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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Film Babble Blog’s Top 10 Movies of 2014 (Plus Their Key Lines)

Since the Oscar nominations were announced a week ago, and I’m pretty caught up on all the major, and not so major, movies of 2014, it’s time to list my 10 favorite films of last year (plus some spillover). This time instead of providing a blurb for each entry, I’m going to only highlight a key line, or at least what I think is one of the most memorable, for each movie. Also, unlike in previous year’s lists, I’m listing them from 10 down to 1. Click on the film's titles to read my original reviews:

10. CALVARY (Dir. John Michael McDonagh)

Father James Lavelle (Brendan Gleeson): “The commandment ‘Thou shalt not kill’ does not have an asterisk beside it, referring you to the bottom of the page where you find a list of instances where it's okay to kill people.”

9. ONLY LOVERS LEFT ALIVE
(Dir. Jim Jarmusch)

Adam (Tom Hiddleston): “You drank Ian.”

8. THE GRAND BUDAPEST HOTEL

(Dir. Wes Anderson)



M. Gustave (Ralph Fiennes): “The most dreadful and unattractive person only needs to be loved and they will open up like a flower.”
Also: “I sleep with all my friends.”

7. THE LEGO MOVIE

(Dirs. Phil Lord & Christopher Miller)

Vitruvius (Morgan Freeman): “The only thing anyone needs to be special is to believe that you can be - I know that sounds like a cat poster, but it’s true.”

6. INHERENT VICE (Dir. Paul Thomas Anderson)



Dr. Rudy Blatnoyd, D.D.S. (Martin Short): “It’s not groovy to be insane.”

5. SELMA (Dir. Ava DuVernay)



Martin Luther King (David Oyellowo): “That means protest! That means march! That means disturb the peace! That means jail! That means risk! That is hard!”

4. WHIPLASH (Dir. Damien Chazelle)



Fletcher (J.K. Simmons): “My dear god, are you one of those single tear people?”

3. LIFE ITSELF (Dir. Steve James)



Roger Ebert: “Look at a movie that a lot of people love and you’ll find something profound no matter how silly the film may seem.”

2. BIRDMAN (Dir. Alejandro González Iñárritu)

Riggan Thomson as his inner Birdman (Michael Keaton): “People, they love blood. They love action. Not this artsy fartsy, philosophical bullshit”

1. BOYHOOD (Dir. Richard Linklater)

“Never leave your mother’s womb, unless you wanna see how hard a broken heart can swoon.” - Tweedy (from the end credits song “Summer Noon”)

And now, in no particular order, a bunch of 2014 spillover, with a few of their key lines too:

EDGE OF TOMORROW (Dir. Doug Liman) “Okay, first of all, terrific presentation. Just Terrific.”

FRANK (Dir. Lenny Abrahamson)

NIGHTCRAWLER (Dir. Dan Gilroy)  “Do you know what fear stands for? False Evidence Appearing Real.”

WILD (Dir. Jean-Marc Vallée)

THE RAID 2 (Dir. Gareth Evans)

GUARDIANS OF THE GALAXY (Dir. James Gunn): “It's got a real shining-blue suitcase, Ark of the Covenant, Maltese Falcon sort of vibe.”

FORCE MAJEURE (Dir. Ruben Östlund)

A MOST VIOLENT YEAR (Dir. J.C. Chandor)

GONE GIRL (Dir. David Fincher) “We're so cute. I wanna punch us in the face.”

UNDER THE SKIN (Dir. Jonathan Glazer)

JOHN WICK (Dir. David Leitch & Chad Stahelski): “Oh.”

All in all, not a bad year for film.

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THE GRAND BUDAPEST HOTEL: The Film Babble Blog Review

Now playing at an indie art house near you:

THE GRAND BUDAPEST HOTEL
(Dir. Wes Anderson, 2014)

The world of Wes Anderson just got a lot wackier with his newest work, a screwball romp set in a fictional European country in the 1930s, ostensibly inspired by the writings of Austrian writer Stefan Zweig.

Ralph Fiennes, in a role that thankfully made me forget his creepy turn as Charles Dickens earlier this year in THE INVISIBLE WOMAN, stars as M. Gustave, the charming concierge of the Grand Budapest Hotel in the Republic of Zubrowka as World War II approaches.

One of the hotel's newest employees, a Lobby Boy (Tony Revolori) named Zero, gets swept up in Fienne's farcical adventures involving the death of the wealthy Madame D (Tilda Swinton), with a valuable painting entitled "Boy With Apple" being left to the concierge in her will.

Swinton's family led by returning Anderson player Adrien Brody (sporting a Salvador-Dalí-esque mustache) as her son objects to Fiennes getting the priceless piece of art, and the family's dead-eyed hired hitman (Willem Dafoe) goes after our two plucky protagonists.

The tale is told as a story within a story by F. Murray Abraham as the older Zero in the 1960s to Jude Law credited only as "Young Writer." It's actually a story within a story within a story as the entire narrative by way of Law's later memoirs is being read in the present day by a teenage girl (Jella Niemann).

Anderson and cinematographer Robert Yeoman present each time frame in a different aspect ratio to reflect which film format was in use when the sequence is set. I.e. the '30s scenes that dominate the movie are seen in what's known as the "Academy ratio," an almost square-shaped frame. The later day '60s scenes are shot in widescreen, and the more modern material material is in conventional “flat” (1.85:1) format.

This whole process is so Wes Anderson-y. So is the eye-catching color scheme, the jaunty score by Alexandre Desplat (since it's mostly set in the '30s, there are no obscure Kinks songs on the soundtrack), and, of course, the cast full of Anderson regulars.

Jason Schwartzman, Jeff Goodblum, Edward Norton, Owen Wilson, and the great Bill Murray all don magnificent mustaches and join in. Even though none of them are really given much to do except just to be there, they're all nice to see as they briskly go by.

Along with Law and Abraham, and new to the Anderson stable is Saoirse Ronan as Zero's love interest (shades of the kids in love in Anderson's previous project MOONRISE KINGDOM), Tom Wilkinson as the older version of Law's character, and a bald Harvey Keitel as one of Fienne's fellow prison inmates who helps him escape.

It's a funny coincidence (to me at least), that this and MUPPETS MOST WANTED, also releasing in the area today, have elaborate prison break sequences.

Anyway, THE GRAND BUDAPEST HOTEL is maybe the most fun film of Anderson's oeuvre. It has a witty playfulness to match its picturesque beauty - gotta love the miniture models, matte paintings, and dioramic backgrounds that largely make up the scenery.

It's not going to convert those who find Anderson's work to be twee, too quirky for its own good, or pretentious, but those as in love with his style as he is, will find it to be a very filling feast.

That it's a film made for Wes Anderson fans by the biggest Wes Anderson fan of them all, Wes Anderson, doesn't get in the way of the infectious whimsy one bit.

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