Oscars 2015: Oh, How Wrong I Was

For a while, during the broadcast of the 87th Academy Awards broadcast, which I watched at the Rialto Theater in Raleigh (pictured above) last night, I was getting every category right as per my predictions posted last Friday. But my winning streak ended approximately halfway through after 14 Oscars were given out, when my pick for Best Editing, BOYHOOD, was beaten out by WHIPLASH. After that I lost 4 others (see below) including the biggest one, Best Picture.

I was happy that BIRDMAN and its director, Alejandro González Iñárritu, won (the film was my #2 favorite of 2014), but I was really rooting for BOYHOOD, and Richard Linklater to take home the gold because I thought it had the slight innovative and emotional edge going for it. 

As for the show itself, first-time host Neil Patrick Harris did a good job starting with his intro - “Tonight we honor Hollywood's best and whitest -sorry brightest” - and the opening song and dance number (especially the Jack Black bit) was one of the stronger ones of recent years, but he wasn't given the best material to work with, something many are blaming on Oscar Head Writer Greg Berlanti, who's so not a comedy writer.

I enjoyed Lady Gaga's tribute to the 50th anniversary of THE SOUND OF MUSIC, the “Everything is Awesome” (from the otherwise snubbed THE LEGO MOVIE) production number (featuring amusing appearances by Tegan and Sara, The Lonely Island and Questlove!), and the acceptance speeches by Julianne Moore, Patricia Arquette, IDA director Paweł Pawlikowski (glad this win may get more people to see the striking IDA), and director Iñárritu in particular.

But I wasn't a fan of NPH's running gag about his Oscar predictions being sealed in a briefcase, locked in a clear box onstage, with his recruiting previous Oscar winner Octavia Spencer to keep her eyes on it throughout the show - the supposed pay off really didn't result in big laughs. I also was disappointed that Joan Rivers, who I tweeted “was in a lot of films, even directed one (a big flop but it starred Oscar fave Billy Crystal)” and SNL's Jan Hooks, who also appeared in a lot of movies including a pivotal part in PEE WEE'S BIG ADVENTURE, were left out of the In Memorium segment.

Anyway, here's the 5 Oscar predictions that I got wrong:

Best Picture: BIRDMAN

Best Actor: Eddie Redmayne. 

Yes, Keaton was robbed, but Redmayne's humble giddiness at winning was a little touching and funny, and his performance as Stephen Hawking in THE THEORY OF EVERYTHING was solid, even if I wasn't so hot on the film. But, again, yeah, it would've been really sweet for the 63-year old Keaton to have finnally gotten that bigtime recognition.

Best Director: Alejandro González Iñárritu

Best Editing: WHIPLASH

Best Original Screenplay: BIRDMAN

Besides BIRDMAN, the other big winner of the night was THE GRAND BUDAPEST HOTEL, which won 4 Oscars. Now, those I got right.

Well, that's it for this year's Oscars. 19 of of 24 wasn't so bad, and I got a few surprises. Now back to watching movies for fun and not for sport.

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Hey Kids! Funtime 2015 Oscar Picks!

Yep, here we go again. The 87th Academy Awards Ceremony is this Sunday, February 20th, so it's time for Film Babble Blog's official predictions to be posted.

Now, last year I got 21 out of 24 right - my best score ever - but this year I find myself really wanting to be wrong about some of these. I would love some surprises, some upsets, to shake things up this time. I want to see first-time host Neil Patrick Harris quipping between categories about some unexpected thing that just happened. Even NPH says he's “hoping for a scandal.”

Anyway, on to my picks which go something like this: 

1. BEST PICTURE: BOYHOOD

This is battling it out with BIRDMAN (which I wouldn't mind winning as I loved it too), but my money is on Richard Linklater's 12 years in the making epic about life, love, and time. It was my #1 favorite film of 2014 so I'm way biased, but it feels so right.

2. BEST DIRECTOR: Richard Linklater for BOYHOOD

3. BEST ACTOR: Michael Keaton for BIRDMAN

I'm biased here too because I love Keaton and thought he did an incredible job as actor Riggan Thompson/Birdman. Hard to believe the guy has never been nominated before - I think he should've been for CLEAN AND SOBER back in '88. Eddie Redmayne for his performance as Stephen Hawking in THE THEORY OF EVERYTHING seems to be the major competitor, but, c'mon! It has to Keaton

4. BEST ACTRESS: Julianne Moore for STILL ALICE

5. BEST SUPPORTING ACTOR: J.K. Simmons for WHIPLASH

6. BEST SUPPORTING ACTRESS: Patricia Arquette for BOYHOOD

And the rest: 

7. PRODUCTION DESIGN: Adam Stockhausen & Anna Pinnock for THE GRAND BUDAPEST HOTEL

8. CINEMATOGRAPHY: BIRDMAN

9. COSTUME DESIGN: THE GRAND BUDAPEST HOTEL

10. DOCUMENTARY FEATURE: CITIZENFOUR

11. DOCUMENTARY SHORT: CRISIS HOTLINE: VETERANS PRESS 1

12. FILM EDITING: BOYHOOD

13. MAKEUP: THE GRAND BUDAPEST HOTEL

14. VISUAL EFFECTS: INTERSTELLAR

15. ORIGINAL SCORE: THE THEORY OF EVERYTHING

16. ORIGINAL SONG: “Glory” from SELMA - I'd actually prefer “Everything is Awesome” from THE LEGO MOVIE to win because I'm not a big fan of Common's song, but SELMA should at least win something. Then again THE LEGO MOVIE got snubbed too so we'll see.

17. ANIMATED SHORT: FEAST / Dark horse: THE DAM KEEPER

18. LIVE ACTION SHORT: THE PHONE CALL

19. SOUND EDITING: AMERICAN SNIPER

20. SOUND MIXING: WHIPLASH

21. ORIGINAL SCREENPLAY: THE GRAND BUDAPEST HOTEL

22. ADAPTED SCREENPLAY: THE IMITATION GAME

23. ANIMATED FEATURE FILM: BIG HERO 6

24. BEST FOREIGN FILM: IDA

There's no way I'm going to do as well as last year, so like I always say: Tune in Monday to see how many I got wrong.

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GONE GIRL: The Film Babble Blog Review

Opening today at a multiplex near you...

GONE GIRL (Dir. David Fincher, 2014)

David Fincher’s adaptation of Gillian Flynn’s bestselling novel is a great, gripping piece of cinema – one of the year’s best. It’s an immaculately crafted thriller that will throw you for many loops throughout its twisty narrative, while at the same time it provides a chilling commentary on the troubling impact of public perception, and how matrimony can drive one mad.

Ben Affleck, in perhaps his most layered performance, plays Nick Dunne, who finds on the morning of his fifth wedding anniversary that his beautiful blonde Amy (Rosamund Pike) is missing, and there’s a broken glass table and traces of blood around the house to suggest foul play.

Affleck calls the cops, and a pair of detectives, Kim Dickens (THE BLIND SIDE, Treme) and Patrick Fugit (ALMOST FAMOUS), begin investigating the disappearance. Through flashbacks we see the young couple in their early courtship as young idealistic magazine writers that are “so cute I want to punch us in the face,” as Pike puts it.

We learn that after the recession left them both jobless, the married couple moved to Affleck’s hometown of North Carthage, Missouri to help take care of his dying mother. Affleck opens a local bar with his twin sister (Carrie Coon) with Pike’s trust fund money, and teaches community college, while unhappy housewife Pike, heard in voiceover, details the deterioration of their marriage in her diary.

Led by Missi Pyle as a Nancy Grace-style cable TV pundit, the media scrutinize Affleck and Pike’s relationship, with suspicions from all quarters coming in that he’s responsible for her death, even though there’s been no body found.

There’s so many tasty twists that it would be wrong to go any deeper into the ins and outs of the plot, I’ll just say that halfway through this film’s two and a half hour running time you’ll get the first of several satisfying shockers.

As somebody who has been hated in real life (see: GIGLI), Affleck nails his part as the “a corn-fed, salt-of-the-earth Missouri boy” who’s grown cynical with his deer-in-the-headlights reaction to cameras at the first press conference and his nervousness towards the crowd at a candlelight vigil are dead-on. He pulls off the attempts to take control of the situation with mighty aplomb as well.

Pike, who should be a household name after her sharply focused work here, gives us a character with whom we initially trust and sympathize, but the more we learn, the less we like.

But as Affleck and Pike are perfectly cast, so are Tyler Perry (yes, that Tyler Perry) as a slick Johnny Cochran-ish lawyer, Neil Patrick Harris as a creepy ex-boyfriend of Pike’s, and Casey Wilson (SNL, Happy Endings) as a ditzy neighbor claiming to be Pike’s best friend, and David Clennon and Lisa Barnes as Pike’s rich parents who had co-authored a series of childrens’ books inspired by their daughter (“Amazing Amy”).

Author Flynn has refashioned her novel into the film’s sprawling yet concise screenplay, which is laced with wicked wit, as well as some grotesque touches that moviegoers won’t soon forget. Fincher’s procedural skills have been well honed in films such as SE7EN and ZODIAC, and they’re on vivid and immersive display here.

GONE GIRL is Fincher’s best film since 2010’s THE SOCIAL NETWORK (his 2011 version of THE GIRL WITH THE DRAGO TATTOO wasn’t bad; just a bit redundant, since the Swedish original pretty much covered it), and it’s the most solid, intelligent thriller I’ve seen in years.

Its haunting ending had me trembling, and thinking, even though I know my marriage (coincidentally also at the five year mark) is on much better ground than theirs, that I should better watch my step.

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2 Takes On Seth MacFarlane's Newest

I've decided to excuse myself from seeing and reviewing Seth MacFarlane's new comedy Western A MILLION WAYS TO DIE IN THE WEST, simply because, hey, I'm not a fan of the man's brand of comedy. You could probably guess that based on my review of TED. 

However, I was interested in what a few friends, who are MacFarlane fans, thought of the film, which has gathered mostly negative critical reaction (it's at 34% on Rotten Tomatoes) but is at a respectable #3 placing at the box office.

First up, William Fonvielle, who maintains the fine film blog Filmvielle, posted a review Friday. Here's the first half of it:

“Seth MacFarlane specializes in Whitman's Samplers of comedy. Keep digging, and sooner or later you'll find a joke you enjoy. Unfortunately, in the case of A MILLION WAYS TO DIE IN THE WEST, he plays to an audience of mostly diabetics.

Hot off his smash 2012 directorial debut TED, A MILLION WAYS sports all the makings of a passion project for MacFarlane - the sort of sprawling, big budget comedy he can make after earning so much money directly out of the gate. Why else cast himself as the leading man, in addition to directing and co-writing, after a 15 year career spent largely behind the scenes?

Because he can, that's why. Not to knock the guy. That he took this long to step in front of the camera, after spending much of his 30s doing everything else, shows impressive restraint. And he needn't have worried anyway. As a movie star, he brings a completely nonthreatening presence. He doesn't spin gold, but he doesn't embarrass himself either. The same sort of effortless charm you'd expect this deep in a career whose success is rather remarkable considering how many comedy fans fantasize about his head on a stick.

His entire career is really an exercise in conundrums. Does he want to be an old school ENTERTAINER, telling consciously lame one-liners and crooning the standards with utmost sincerity? Does he want to swim in the shallow wading pool of shit and dick jokes? Or possibly be the savior of intellectualism in modern America, blending low and high comedy with aplomb (anyone who's caught him on Real Time With Bill Maher knows he ain't no slouch, brains-wise)?

Such questions extend to A MILLION WAYS. It's a movie that can't decide quite what it wants to be, so it decides to be nothing. As said, MacFarlane stars as Albert, a cowardly sheep farmer in an upstart 1882 Arizona town whose girlfriend Louise (Amanda Seyfried in a nothing role that exists purely to spark conflict) leaves him after he backs out of a duel. 

Soon she's in the arms of another man, local mustachioed gentleman Foy (Neil Patrick Harris, twirling his ‘stache to utmost evil glee), leaving a distraught Albert to wallow in the misery that is the Old West. All until the mysterious and beautiful Anna (Charlize Theron). She's beautiful. She's an expert gunslinger. She also falls for MacFarlane, because MarFarlane made the movie.”

Read the rest of William's review, in which he quips that the film “boasts all the laser focus of a visually impaired child set loose in the bumper cars for the first time,” at Filmvielle.

Secondly, Kevin Brewer, whose podcast postmodcast I've guested on (listen to the latest one here) saw the movie over the weekend and emailed me his thoughts:

“Seth MacFarlane is a divisive pop culture figure, both an undeniable talent and the leading purveyor of fart jokes.

MacFarlane has produced five television series for Fox: one brilliant animated series, two knockoffs of that one, one unwatchable live action sitcom and Cosmos, the critically acclaimed space documentary with Neil deGrasse Tyson. 

His big band album was nominated for a Grammy. He hosted the Oscars. He directed TED and wrote the lyrics for its best song nominee, ‘Everybody Needs a Best Friend.’

A MILLION WAYS TO DIE IN THE WEST, MacFarlane’s new satire of 1960s Westerns and their macho bullshit, is more ambitious than TED and more coherent than Family Guy. It is often hilarious. It mostly works. It is, of course, excessively scatological.

Along with writing (with Alec Sulkin and Wellesley Wild), directing and producing, MacFarlane also stars as cowardly sheep farmer Albert Stark in Arizona in 1882 - ‘a terrible place in time’ -probably because he can’t help himself. He is the bastard son of Mel Brooks (BLAZING SADDLES), making out with Charlize Theron. He is also quite likeable, probably because he looks like grown-up Peter Brady.

There are fart, piss and cum jokes, because, you know, Seth MacFarlane. There is also a carnival game with runaway slaves as the punchline. In the middle of all of that, there is a dance number and fancy score (by Joel McNeely) that proves MacFarlane is capable of much more.

The fact that MacFarlane talked Theron (laughing at all of his jokes), Liam Neeson, Amanda Seyfried and Neil Patrick Harris (with graphic diarrhea) into this thing is half the fun. Theron makes fun of Seyfried’s big doe-y eyes, which takes balls, because those peepers are two of the most adorable things in Hollywood.

If it matters, Theron dumps boyfriend Neeson, and Seyfriend dumps boyfriend MacFarlane. Seyfried finds Harris, and MacFarlane finds Theron, which pisses off Neeson. Wes Studi, long-suffering Native American supporting character of Westerns, provides spiritual guidance and a drug-induced trip to MacFarlance’s character. Neither MacFarlane nor Brooks have given Indians any revenge for their genocide. Neither has Tarantino.

Sarah Silverman (who else) provides vaginal humor. She is a prolific prostitute who has never had sex with boyfriend Giovanni Ribisi. She is no Madeline Kahn. There are four winning cameos, including one by an Academy Award winner that avenges the earlier goof on slavery. They might be the smartest bits in the movie.”

Sure looks like Kevin liked the film a lot more than William. Does anyone else out there want to speak up?

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BEASTLY: The Film Babble Blog Review

BEASTLY (Dir. Daniel Barnz, 2011)

A week ago I had no idea who Alex Pettyfer is. Now I’ve seen 2 movies starring the bed headed pretty boy – the first being I AM NUMBER FOUR, and then this modernized take on the ancient fairy tale “Beauty And The Beast” aimed at the TWILIGHT teens – and no one else.

We meet the arrogant Pettyfer as he’s running for his New York city High School’s “Green Committee” on a platform based entirely on his looks.

Pettyfer decides to humiliate one of the uglies – a fellow student (a punk attired Mary-Kate Olsen!) who he calls a “self-mutilated, tattooed Frankenskank” (I only remember this phrase because it’s said more than once) by inviting her to a school dance when he already has a date (Dakota Johnson).

Olsen, who with no background given is a real witch, retaliates by casting a vicious spell on Pettyfer that leaves him bald, tattooed, and scarred beyond recognition. He will remain that way forever unless somebody tells him that they love him by the end of a year.

Pettyfer’s just as vain television anchorman father Peter Krause (Six Feet Under) can’t stand to live (or look at) with his deformed son so he banishes him to a Brooklyn townhouse with their Jamaican maid (Lisa Gay Hamilton) and a blind tutor (Neil Patrick Harris).

Because of the dire charisma less acting, I was so thankful when Harris showed up. He’s intended to be the film’s one-liner spouting comic relief, but he functions as much more than that – he’s the only likable presence here.

So Pettyfer starts pining for a girl – Vanessa Hudgens (HIGH SCHOOL MUSICAL) – he thinks can help him out of this predicament by at first stalking her, then implausibly getting her to move in to his townhouse in order to protect her from her junkie father’s dangerous drug dealer.

There is not a single surprise in this cutesy cringe-inducing piece of fluff. There’s no believable chemistry between the leads, and its moralizing is offensive as although Pettyfer is supposedly uglied up (in real life NYC his appearance wouldn’t get a second glance) he’s still an empty jerk with money who gets all that he wants in the end.

If nothing else I can now recognize Alex Pettyfer as a British model (he’s so not being cast for his acting chops) who stars in soon to be forgotten dumping ground movie season fodder.

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