the golden globes are one of my favorite award shows. everyone eats, drinks, kibbitzes and has fun. it was at the golden globes that brad pitt after winning for "13 monkeys" thanked the hollywood foreign press for "this maalox moment". another year after winning for best supporting actor, ving rhames, insisted that co nominee jack lemmon deserved the award, made him come on stage with him and take his statue. and jack did it! all hijinx no one would dream of doing at the oscars. this is the warm up act, the rules don't apply.
this has been a particularly weak year. i am at least looking forward to an award season in which no one is a sure winner. we may just hear more than one name for each category called over and over and over to the podium. that would be a nice change.
my picks are:
best movie drama: the hurt locker
best movie comedy/musical: 500 days of summer
best director: kathryn bigelow for the hurt locker
best screenplay original: mark boal for the hurt locker
best screenplay adapted: nick hornby for an education
best actor drama: jeff bridges in crazy heart
best actor comedy/musical: joseph gordan -levitt in 500 days of summer
best actress drama: carey mulligan in an education
best actress comedy/musical: meryl streep in julie/julia
best supporting actor: christoph waltz in inglourious basterds
best supporting actress: anna kendrick in up in the air
best song: cinema italiano from nine
best documentary: my favorite wasn't nominated - it might get loud.
golden globes are on sunday, january 17, at 5, on nbc.
Saturday, January 16, 2010
young victoria
hollywood royalty (martin scorcese) and actual royalty (sarah fergeson) have come together to produce a film about the longest reigning royal in english history- victoria. this story starts when she is very young and ends when she is a little less young. i wish they re assemble everyone from this movie and make "middle aged victoria", and "elderly victoria" and maybe even "dead victoria". i'd watch them.
the rule for quite a while in oscar world has been: play an english queen and win a nomination and or an oscar- helen mirren played and won for elizabeth II, judy dench for elizabeth I and cate blanchett was nominated (and was robbed) for a younger elizabeth I. emily blount as victoria is beautiful (difficult in the bizarre hair and dress fashions of the early 1800's) and gives a lovely performance, but she should be happy with a nomination. it's not her fault, the script isn't very meaty despite all the dramatic opportunities in her early reign. there really isn't that much for her to do that oscar likes to reward. the performance with which i was most taken was rupert friend who plays vicoria's much beloved husband, alpert of germany.(she built a huge gold statue of him as just one of her tributes to him) rupert was earnest, elegant and also lovely. he reminded me of a young omar shariff in "the mayerling" or louis jordan in "the swan" with his very chiseled features and gracious, believably royal demeanor. paul bettany, miranda richardson, and mark strong, give good supporting performances as the evil self promoting adults who are meant to protect and guide victoria in her earliest days. mark strong needs to stop playing villians, he's good yes, but i have only seen him play bad guys- "sherlock holmes", "rocknrolla", "miss pettingrew lives for a day" and "stardust". jim broadbent gets to have the most fun playing the spoiled, over privileged king william. just for grins, princess beatrice, 5th in line for the english throne, had a non-speaking role as an extra at the wedding of her great-great-great-great grandmother victoria. it helps having mommy as a producer.
the sets are beautiful- it was filmed in kensington palace where victoria acutally lived ( i've been there), windsor castle, blenheim palace, arundel castle and belvoir castle.(it helped having a duchess on the payroll) the jewels and costumes are gorgeous. there is not a lot to not like. but, the editing while sometimes is very fun, can be clumsy. also, the movie seems to just stop. it gets running at a good pace and then drops you off a cliff. the end it's over. which was disappointing because i could have watched much more of it.
the rule for quite a while in oscar world has been: play an english queen and win a nomination and or an oscar- helen mirren played and won for elizabeth II, judy dench for elizabeth I and cate blanchett was nominated (and was robbed) for a younger elizabeth I. emily blount as victoria is beautiful (difficult in the bizarre hair and dress fashions of the early 1800's) and gives a lovely performance, but she should be happy with a nomination. it's not her fault, the script isn't very meaty despite all the dramatic opportunities in her early reign. there really isn't that much for her to do that oscar likes to reward. the performance with which i was most taken was rupert friend who plays vicoria's much beloved husband, alpert of germany.(she built a huge gold statue of him as just one of her tributes to him) rupert was earnest, elegant and also lovely. he reminded me of a young omar shariff in "the mayerling" or louis jordan in "the swan" with his very chiseled features and gracious, believably royal demeanor. paul bettany, miranda richardson, and mark strong, give good supporting performances as the evil self promoting adults who are meant to protect and guide victoria in her earliest days. mark strong needs to stop playing villians, he's good yes, but i have only seen him play bad guys- "sherlock holmes", "rocknrolla", "miss pettingrew lives for a day" and "stardust". jim broadbent gets to have the most fun playing the spoiled, over privileged king william. just for grins, princess beatrice, 5th in line for the english throne, had a non-speaking role as an extra at the wedding of her great-great-great-great grandmother victoria. it helps having mommy as a producer.
the sets are beautiful- it was filmed in kensington palace where victoria acutally lived ( i've been there), windsor castle, blenheim palace, arundel castle and belvoir castle.(it helped having a duchess on the payroll) the jewels and costumes are gorgeous. there is not a lot to not like. but, the editing while sometimes is very fun, can be clumsy. also, the movie seems to just stop. it gets running at a good pace and then drops you off a cliff. the end it's over. which was disappointing because i could have watched much more of it.
Sunday, January 10, 2010
crazy heart
jeff bridges performance is the reason "crazy heart" is getting a lot of oscar attention. it should get your attention too as it is a good little film. it's sweet, funny, entertaining, and manages to make country and western music listenable- is that a word?
bridges plays a washed up, drunkard, country and western singer who hits the skids playing bowling alleys in towns like clovis, new mexico. we learned that bridges is musical from "the fabulous baker boys". we learned he can play an alcoholic in "the morning after". we learned that he is a phenomenal actor in "starman"(he was robbed of an oscar). so we knew he could play this role. he does it so effortlessly you don't even see him doing it. he just morphs into kris kristofferson right before your eyes and you can't even see the wires. bridges gives the best performance i've seen this year. it's so good you don't really realize it until after the film is over. it's a non performance.
maggie gylenhaal keeps up with bridges nicely as his possible love connection- the girl who always makes the wrong choices or she wouldn't be with him. a big surprise for me was when colin ferrell walked onto the screen. how come nobody mentioned that little bonus? and he sings!! ferrell plays a one time student to bridges character "bad blake", who surpasses and leaves him behind in the dust as he becomes c&w's new "it" boy. robert duval shows up as blake's friend and sometime employer. he also reminds us that this movie is easier to watch than his own "tender mercies"- duval's 1983 counterpart.
based on the novel by thomas cobb, scott cooper only wanted two things in order to do this movie- jeff bridges and t bone burnett. thankfully for us he got both. burnett wrote the music that was good enough for me to think about buying the soundtrack which is saying a lot given how much i detest c&w music. i won't buy it, but i did consider it. cooper and cobb deliver a believable story about people and turning points. it's never too late too turn your life around and hopefully for bridges, it's never too late to finally win an oscar.
bridges plays a washed up, drunkard, country and western singer who hits the skids playing bowling alleys in towns like clovis, new mexico. we learned that bridges is musical from "the fabulous baker boys". we learned he can play an alcoholic in "the morning after". we learned that he is a phenomenal actor in "starman"(he was robbed of an oscar). so we knew he could play this role. he does it so effortlessly you don't even see him doing it. he just morphs into kris kristofferson right before your eyes and you can't even see the wires. bridges gives the best performance i've seen this year. it's so good you don't really realize it until after the film is over. it's a non performance.
maggie gylenhaal keeps up with bridges nicely as his possible love connection- the girl who always makes the wrong choices or she wouldn't be with him. a big surprise for me was when colin ferrell walked onto the screen. how come nobody mentioned that little bonus? and he sings!! ferrell plays a one time student to bridges character "bad blake", who surpasses and leaves him behind in the dust as he becomes c&w's new "it" boy. robert duval shows up as blake's friend and sometime employer. he also reminds us that this movie is easier to watch than his own "tender mercies"- duval's 1983 counterpart.
based on the novel by thomas cobb, scott cooper only wanted two things in order to do this movie- jeff bridges and t bone burnett. thankfully for us he got both. burnett wrote the music that was good enough for me to think about buying the soundtrack which is saying a lot given how much i detest c&w music. i won't buy it, but i did consider it. cooper and cobb deliver a believable story about people and turning points. it's never too late too turn your life around and hopefully for bridges, it's never too late to finally win an oscar.
did you hear about the morgans?
in many ways i enjoyed did you hear about the morgans? more than it's competition, "it's complicated". mostly becuase morgans delivered. "comlicated" did not- see earlier review. granted "morgans" has less to offer but it doesn't drop the ball once. "it's complicated" had so much potential yet the sky was raining basketballs.
hugh grant and sarah jessica parker (for ease i call her serica) are two new yorkers who go into the witness protection program and are sent to live with sam elliot and mary steenburgen in wyoming. we've seen this plot line twice lately in "the proposal" with sandra bullock and "new in town" with renee zellweger as two displaced big city people who are very angry and don't adjust to life outside manhatten. most of those movies are about teaching them humility and life in the real world. in "morgans", hugh and serica handle their situation with grace, respect, and humor- which is new. sam and mary play a married couple in love with each other and their chosen lifestyle without being cartoonish (see betty white in "the proposal" or better yet don't).
the script is simple and tight. there's not only the main plot line, but a secondary story line, as well as intersecting stories. these people actually interact and effect one another! i swear hugh grant has his own scriptwriter who follows him from film to film because he can always be counted on for wry humorous quips. serica does a good job as the wounded wife- very understated. there's an appearance by wilford brimley, (love him) that just worries me- he looks bloated, uncomfortable and orange.
due to all the oscar worthy movies thrown at us at the end of the year, "morgans" should be closer to the bottom of you movie going list. but definitely put it on your rental list. it's a romantic comedy that's worth watching and that is sadly so rare.
hugh grant and sarah jessica parker (for ease i call her serica) are two new yorkers who go into the witness protection program and are sent to live with sam elliot and mary steenburgen in wyoming. we've seen this plot line twice lately in "the proposal" with sandra bullock and "new in town" with renee zellweger as two displaced big city people who are very angry and don't adjust to life outside manhatten. most of those movies are about teaching them humility and life in the real world. in "morgans", hugh and serica handle their situation with grace, respect, and humor- which is new. sam and mary play a married couple in love with each other and their chosen lifestyle without being cartoonish (see betty white in "the proposal" or better yet don't).
the script is simple and tight. there's not only the main plot line, but a secondary story line, as well as intersecting stories. these people actually interact and effect one another! i swear hugh grant has his own scriptwriter who follows him from film to film because he can always be counted on for wry humorous quips. serica does a good job as the wounded wife- very understated. there's an appearance by wilford brimley, (love him) that just worries me- he looks bloated, uncomfortable and orange.
due to all the oscar worthy movies thrown at us at the end of the year, "morgans" should be closer to the bottom of you movie going list. but definitely put it on your rental list. it's a romantic comedy that's worth watching and that is sadly so rare.
invictus
shortly after nelson madela took office as president of south africa, after serving 27 years as a political prisoner, he hit upon the idea of using the national rugby team, the springboks, as a rallying point for the unifying the blacks and whites of his country. rugby had been considered a white sport and soccer a black sport. the springboks had been playing so badly that they were voted out of existence by the sports council under nelson's new administration which was seen as a victory over there recent oppressors until mandela personally stepped in a prevented it by preaching forgiveness and the pitfalls of petty revenges. the guards at his prison had all been devotees of rugby and the springboks so mandela had taught himself everything about the sport in order to better understand his enemy.
nine
as a movie, nine, makes a great stage play. which is what is was and what it should have stayed...except then we would have missed out on the wonderful performances presented by this talented cast. so, go to this musical but expect a parade of videos and you will leave happy. and may even buy the soundtrack.
"nine" started out in 1982 as a tony award winning best broadway musical version of fellini's autobiographical 81/2 starring raul julia (love and miss him) as guido contini/fellini, a celebrated director as the voice of his era who has come down with laryngitis- he's run out of ideas- but still expected to produce the next masterpiece. as contini is hounded by producers and the press for a nonexistent screenplay he is imminently scheduled to shoot, the women of his life present him with his life in song and dance numbers. a story that was also done in 1979 in bob fosse's also autobiographical "all that jazz". in the 2003 revival of "nine" on broadway, guido was played by antonio banderas who won a tony as did the revival. the casting of daniel day-lewis was risky as he is not known for singing and dancing, but he is above all else a consummate actor and he acts the part of a singer of dancer just fine- a singer and dancer is the middle of a breakdown. in my research i did not find any production of this play in which guido contini was played by an italian- julia is puerto rican, jonathon pryce(love him)- english, banderas-spanish, john stamos-american and day-lewis- english. marcello mastroni is the only one in the original 8 1/2.
what director rob marshal is best known for is production numbers- see "chicago". and that's what really shines here. who knew penelope cruz could sing? and boy howdy does she! she plays carla, the mistress. jane krakowski of 30 rock won a tony for her portrayal of carla, but sorry jane i just can't see it after watching cruz- she is amazing. as are her costars, fergie, from the black-eyed peas, plays a prostitute who obviously can sing but she really legitimately belts out the anthem of this film, "be italian", while throwing sand around. marion cotillard, who sang her way to an oscar in the edith piaf bio-pic, plays the wife and nicole kidman who also previously earned her musical chops, in "moulon rouge", plays the actress/muse. and even a corseted judy dench as the costumer lip syncs (she couldn't possibly sing in that outfit) a tribute to the "folies begere" while sofia loren, as the mother, believably sings "guarda la luna", which is not in the original book,- better than i could!! but the best number in the film is kate hudson's. although we've never seen her sing and dance before, we're not surprised she's her mother's daughter as she kills "cinema italiano" a sixties mod dance number written especially for the film.
marshal is generally being pounced on by the critics and i think that is mostly because "nine" is not "chicago". well, it isn't. but, it is a very entertaining succession of awesome production numbers featuring incredibly talented people. and that' good enough for me.
"nine" started out in 1982 as a tony award winning best broadway musical version of fellini's autobiographical 81/2 starring raul julia (love and miss him) as guido contini/fellini, a celebrated director as the voice of his era who has come down with laryngitis- he's run out of ideas- but still expected to produce the next masterpiece. as contini is hounded by producers and the press for a nonexistent screenplay he is imminently scheduled to shoot, the women of his life present him with his life in song and dance numbers. a story that was also done in 1979 in bob fosse's also autobiographical "all that jazz". in the 2003 revival of "nine" on broadway, guido was played by antonio banderas who won a tony as did the revival. the casting of daniel day-lewis was risky as he is not known for singing and dancing, but he is above all else a consummate actor and he acts the part of a singer of dancer just fine- a singer and dancer is the middle of a breakdown. in my research i did not find any production of this play in which guido contini was played by an italian- julia is puerto rican, jonathon pryce(love him)- english, banderas-spanish, john stamos-american and day-lewis- english. marcello mastroni is the only one in the original 8 1/2.
what director rob marshal is best known for is production numbers- see "chicago". and that's what really shines here. who knew penelope cruz could sing? and boy howdy does she! she plays carla, the mistress. jane krakowski of 30 rock won a tony for her portrayal of carla, but sorry jane i just can't see it after watching cruz- she is amazing. as are her costars, fergie, from the black-eyed peas, plays a prostitute who obviously can sing but she really legitimately belts out the anthem of this film, "be italian", while throwing sand around. marion cotillard, who sang her way to an oscar in the edith piaf bio-pic, plays the wife and nicole kidman who also previously earned her musical chops, in "moulon rouge", plays the actress/muse. and even a corseted judy dench as the costumer lip syncs (she couldn't possibly sing in that outfit) a tribute to the "folies begere" while sofia loren, as the mother, believably sings "guarda la luna", which is not in the original book,- better than i could!! but the best number in the film is kate hudson's. although we've never seen her sing and dance before, we're not surprised she's her mother's daughter as she kills "cinema italiano" a sixties mod dance number written especially for the film.
marshal is generally being pounced on by the critics and i think that is mostly because "nine" is not "chicago". well, it isn't. but, it is a very entertaining succession of awesome production numbers featuring incredibly talented people. and that' good enough for me.
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