Showing posts with label Christian Bale. Show all posts
Showing posts with label Christian Bale. Show all posts

Tuesday, January 12, 2016

LeapBackBlog 2015 Film Awards

2015 was a fantastic year for film. There were so many good films that many that I really liked could not make the top 25 (and even more wonderful performances did not make the top 25 performances). I have put an “*” next to my personal favorite from each category.


Favorite 25 Films of 2015

Avengers: Age of Ultron, an action adventure drama directed by Joss WhedonTrailer
Beasts of No Nation, a coming of age/war drama directed by Cary Joji Fukunaga – Trailer
The Big Short, a character drama/financial drama/comedy directed by Adam McKay – Trailer
Blackhat, a thriller directed by Michael Mann – Trailer
Bridge of Spies, a spy drama directed by Steven Spielberg – Trailer
Brooklyn, a romance drama directed by John Crowely – Trailer
Carol, a romance drama directed by Todd Haynes – Trailer
Creed, a sports drama directed by Ryan Coogler – Trailer
The End of Tour, a character drama directed by James Ponsoldt – Trailer
Ex Machina, a sci-fi drama directed by Alex Garland – Trailer
The Hateful Eight, a western directed by Quentin Tarantino – Trailer
Inside Out, a coming of age comedy directed by Pete Docter – Trailer
Joy, a character drama/bio-pic directed by David O. Russell – Trailer
Macbeth, a period drama directed by Justin Kurzel – Trailer
Mad Max: Fury Road, an action adventure drama by George Miller – Trailer
The Martian, a sci-fi drama directed by Ridley ScottTrailer
The Revenant, a western thriller directed by Alejandro G. Inarritu – Trailer
Room, a character drama directed by Lenny Abrahamson – Trailer
Sicario, a crime drama directed by Denis Villeneuve – Trailer*
Spectre, a spy action adventure directed by Sam Mendes – Trailer
Spotlight, a drama directed by Tom McCarthy – Trailer
Star Wars: The Force Awakens, a sci-fi fantasy adventure directed by J.J. Abrams – Trailer
Steve Jobs, a character drama directed by Danny BoyleTrailer
Tomorrowland, a sci-fi fantasy adventure drama directed by Brad Bird – Trailer
Trainwreck, a romantic comedy directed by Judd Apatow – Trailer


Favorite 25 Performances of 2015

Christian Bale, a leading performance in The Big Short
Cate Blanchett, a leading performance in Carol
Emily Blunt, a leading performance in Sicario
Marion Cotillard, a leading performance in Macbeth
Matt Damon, a leading performance in The Martian
Paul Dano, a leading performance in Love & Mercy
Leonardo DiCaprio, a leading performance in The Revenant
Michael Fassbender, a leading performance in Macbeth*
Michael Fassbender, a leading performance in Steve Jobs
Tom Hanks, a leading performance in Bride of Spies
Tom Hardy, a supporting performance in The Revenant
Samuel L. Jackson, a leading performance in The Hateful Eight
Brie Larson, a leading performance in Room
Jennifer Lawrence, a leading performance in Joy
Jennifer Jason Leigh, a supporting performance in The Hateful Eight
Rooney Mara, a leading performance in Carol*
Eddie Redmayne, a leading performance in The Danish Girl
Daisy Ridley, a leading performance in Star Wars: The Force Awakens
Saoirse Ronan, a leading performance in Brooklyn
Jason Segel, a leading performance in The End of the Tour
Sylvester Stallone, a supporting performance in Creed
Kristen Stewart, a supporting performance in Clouds of Sils Maria
Alicia Vikander, a leading performance in Ex Machina
Alicia Vikander, a leading performance in The Danish Girl
Kate Winslet, a supporting performance in Steve Jobs


Favorite 25 Artistic, Technical & Aesthetic Achievements

Adam Arkapaw, cinematography for Macbeth
Carter Burwell, composer for Carol
Roger Deakins, cinematography for Sicario
Jack Fisk, production design for The Revenant
Cary Joji Fukunaga, cinematography for Beasts of No Nation
Dennis Gassner, production design for Spectre
Colin Gibson, production design for Mad Max: Fury Road*
Todd Haynes, directing for Carol
Hoyte Van Hoytema, cinematography for Spectre
Alejandro G. Inarritu, directing for The Revenant
Johan Johannsson, composer for Sicario*
Jed Kurzel, composer for Macbeth
Edward Lachman, cinematography for Carol
Emmanuel Lubezki, cinematography for The Revenant*
Arthur Max, production design for The Martian
George Miller, directing for Mad Max: Fury Road
Ennio Morricone, composer for The Hateful Eight
Thomas Newman, composer for Spectre
John Seale, cinematography for Mad Max: Fury Road
Francois Seguin, production design for Brooklyn
Steven Spielberg, directing for Bridge of Spies
Quentin Tarantino, directing for The Hateful Eight
Yohei Taneda, production design for The Hateful Eight
Denis Villeneuve, directing for Sicario*
John Williams, composer for Star Wars: The Force Awakens


A Few More Fun, Entertaining and Interesting Smaller Films You Might Have Missed from 2015

’71, a thriller directed by Yann Demange – Trailer
Clouds of Sils Maria, a character drama directed by Olivier Assayas – Trailer
The Danish Girl, a period character drama directed by Tom Hooper – Trailer
Dope, a comedy directed by Rick Famuyiwa – Trailer
Going Clear: Scientology and the Prison of Belief, a documentary directed by Alex Gibney – Trailer
It Follows, a horror thriller directed by David Robert Mitchell – Trailer
Love & Mercy, a character drama directed by Bill Pohlad – Trailer
Me and Earl and the Dying Girl, a dramedy directed by Alfonso Gomez-Rejon – Trailer
Slow West, a western directed by John Maclean – Trailer
What We Do in the Shadows, a horror comedy directed by Jemaine Clement & Taika Waititi – Trailer


Good Films I Have Yet to See (that probably would have factored into the above lists)

99 Homes, a drama directed by Ramin Bahrani
The Hunting Ground, a documentary directed by Kirby Dick
Son of Saul, a period war drama directed by Laszlo Nemes
Suffragette, a period drama directed by Sarah Gavron

Wednesday, March 11, 2015

Top 25 Performances of the Decade So Far (2010-2014) – March 2015

Picking the 50 best films of the decade so far was incredibly hard, but this was far more difficult. Every year there is a ton of very strong work to choose from – some performances are just incredible, and those are the easy ones to pick, but for the most part there are a lot of performances that just as easily could have made this list. I have put an “*” next to my favorite performance from each year. Anyway, here are my picks:


2010
Christian Bale, a supporting role in The Fighter*
Claire Danes, a leading role in Temple Grandin
Tom Hardy, a supporting performance in Inception
Natalie Portman, a leading Role in Black Swan


2011
Kirsten Dunst, a leading performance in Melancholia
Michael Fassbender, a leading performance in Shame
Rooney Mara, a leading performance in The Girl with the Dragon Tattoo*
Carey Mulligan, a supporting performance in Shame


2012
Jessica Chastain, a leading performance in Zero Dark Thirty
Daniel Day-Lewis, a leading performance in Lincoln
Jennifer Lawrence, a leading performance in Silver Linings Playbook
Joaquin Phoenix, a leading performance in The Master*


2013
Cate Blanchett, a leading performance in Blue Jasmine*
Leonardo DiCaprio, a leading performance in The Wolf of Wall Street
Chiwetel Ejiofor, a leading performance in 12 Years a Slave
Adele Exarchopoulos, a leading performance in Blue is the Warmest Color
Michael Fassbender, a supporting performance in 12 Years a Slave
Brie Larson, a leading performance in Short Term 12
Mads Mikkelsen, a leading performance in The Hunt
Lupita Nyong’o, a supporting performance in 12 Years a Slave


2014
Ralph Fiennes, a leading performance in The Grand Budapest Hotel
Edward Norton, a supporting performance in Birdman
Rosamnd Pike, a leading performance in Gone Girl*
Eddie Redmayne, a leading performance in The Theory of Everything
Mark Ruffalo, a supporting performance in Foxcatcher

Friday, February 20, 2015

Academy Awards Retrospective – Movies Spotlight – February 2015

I thought it might be interesting to look back at the Oscar winners from 2001’s show through last year’s, giving my thoughts, now in retrospect, of who probably is most deriving today (looking at all films, not just those nominated).

2001:
Best Picture: Gladiator
Best Director: Steven Soderbergh, Traffic
Best Actor: Russell Crowe, Gladiator
Best Actress: Julia Roberts, Erin Brockovich
Best Supporting Actor: Benicio Del Toro, Traffic
Best Supporting Actress: Maricia Gay Harden, Pollock

Looking back, 2000 was a pretty lousy year for movies. I do not have any thoughts on many of the categories because there is just no real standout work that has stood the test of time. Best Actor, however, I think probably belongs to Christian Bale for his electric and career-making performance in American Psycho (one of my ten favorite performances of the decade). Best Director now goes to Christopher Nolan for Memento, which seems like a no-brainer today. Best Picture is In the Mood for Love, arguably the best film from the decade.


2002:
Best Picture: A Beautiful Mind
Best Director: Ron Howard, A Beautiful Mind
Best Actor: Denzel Washington, Training Day
Best Actress: Halle Berry, Monster’s Ball
Best Supporting Actor: Jim Broadbent, Iris
Best Supporting Actress: Jennifer Connelly, A Beautiful Mind

Best Actress Halle Berry is very good in Monster’s Ball; it is by far her best work; however, Maribel Verdu’s performance in Y Tu Mama Tambien is even better. And yet, I think Audrey Tautou takes the award today; her work is among my ten favorite performances of the decade. Her performance in Amelie is iconic and lasting. Best Actor I think belongs to Gene Hackman for his work in The Royal Tenenbaums. Best Director is far more difficult, Ridley Scott’s direction of Black Hawk Down is exceptional, but really it is a toss-up between David Lynch for Mulholland Drive and Jean-Pierre Jeunet for Amelie. The same is true for Best Film. Mulholland Drive and Amelie are just as important and relevant today. I will also add Spirited Away to the mix as well.


2003:
Best Picture: Chicago
Best Director: Roman Polanski, The Pianist
Best Actor: Adrien Brody, The Pianist
Best Actress: Nicole Kidman, The Hours
Best Supporting Actor: Chris Cooper, Adaptation
Best Supporting Actress: Catherine Zeta-Jones, Chicago

Three of the four acting categories are hard to dispute this year; however, Julianne Moore and Meryl Streep are far better in The Hours (assuming you consider them potential Best Supporting Actress nominees, which the Academy did). Just to mix things up, I think Bill Pullman is wonderful in Igby Goes Down (is what is about a cameo’s worth of screen time worth a Best Supporting Actor Oscar?) and Robin Williams is delightfully insane in Death to Smoochy. Best Actress is hands down Nicole Kidman for The Hours, one of my favorite ten performances of the decade. Best Actor Adrien Brody is excellent in The Pianist, but I also very much enjoy Chiwetel Ejiofor in Dirty Pretty Things and Al Pacino in Insomnia. Best Director is rightfully Roman Polanski’s, but Paul Greengrass with Bloody Sunday and Danny Boyle with 28 Days Later… introduced new styles and aesthetics, changing cinema. Best Picture is a toss-up between The Lord of the Rings: The Two Towers (which only suffers a minor setback from being the middle of a grander narrative – it is still my favorite of the series) and The Hours, a beautifully constructed and acted film.


2004:
Best Picture: The Lord of the Rings: The Return of the King
Best Director: Peter Jackson, The Lord of the Rings: The Return of the King
Best Actor: Sean Penn, Mystic River
Best Actress: Charlize Theron, Monster
Best Supporting Actor: Tim Robbins, Mystic River
Best Supporting Actress: Renee Zellweger, Cold Mountain

Starting with Best Supporting Actor, Remy Girard is un-matched in The Barbarian Invasions. Best Actress is Scarlett Johansson in Lost in Translation and Best Actor is Bill Murray also in Lost in Translation, another of my ten favorite performances of the decade.. Best Director rightfully belongs to Peter Jackson, not just for The Lord of the Rings: The Return of the King but really the whole trilogy. I also want to mention Kevin Costner for making the brilliant western Open Range, Gus Van Sant for the chilling and unflinching Elephant and Chan-wook Park for the jaw-dropping mystery thriller Oldboy. It is hard for me to deny The Lord of the Rings: The Return of the King Best Picture, because it is a monumental achievement and I do love it, but Lost in Translation transcends with its beautiful, touching and funny performances and the simplicity of its premise. It is a movie about friendship and life.


2005:
Best Picture: Million Dollar Baby
Best Director: Clint Eastwood, Million Dollar Baby
Best Actor: Jamie Foxx, Ray
Best Actress: Hilary Swank, Million Dollar Baby
Best Supporting Actor: Morgan Freeman, Million Dollar Baby
Best Supporting Actress: Cate Blanchett, The Aviator

Jamie Foxx is very good in Ray, but Christian Bale’s transformation in The Machinist is staggering and Bill Murray’s hard-luck adventurer/oceanographer Steve Zissou is funny yet emotionally complex. None of them are Best Actor, however, that alone belongs to Bruno Ganz in Downfall. Back in 2005, I agreed with Million Dollar Baby winning the awards it won. Today, I still think it is a powerful and well-told narrative, but it is not Best Picture or even Best Director. For director, I put forth Oliver Hirschbiegel for Downfall and Kar Wai Wong for 2046; and yet, honestly I think the year belongs to franchise sequels. Alfonso Cuaron’s Harry Potter and the Prisoner of Azkaban and Sam Raimi’s Spider-Man 2 are the best crafted and most entertaining films of the year. With Spider-Man 2, Raimi constructs a perfect narrative. For Best Picture, I will also add Hotel Rwanda to the mix, but it is Spider-Man 2 all the way.


2006:
Best Picture: Crash
Best Director: Ang Lee, Brokeback Mountain
Best Actor: Philip Seymour Hoffman, Capote
Best Actress: Reese Witherspoon, Walk the Line
Best Supporting Actor: George Clooney, Syriana
Best Supporting Actress: Rachel Weisz, The Constant Gardener

Best Supporting Actress and Best Supporting Actor very well could be The Squid and the Whale’s Laura Linney and Jeff Daniels; although, Niels Arestrup is very good in The Beat That My Heart Skipped, Val Kilmer is hilarious in Kiss Kiss Bang Bang and Tom Hollander steals scenes in Pride & Prejudice. That said, I think Best Support Actor, for me, is Chiwetel Ejiofor in Serenity. I love Reese Witherspoon in Walk the Line (and Joaquin Phoenix is wonderful as well), but Best Actress is Keira Knightely in Pride & Prejudice, another of my ten favorite performances from the decade. Best Director very well could be Ang Lee for Brokeback Mountain, but I would also like to mention Jacques Audiard for The Beat That My Heart Skipped, Terrence Malick for The New World, Rian Johnson for Brick (reimagining the film noir genre, blending it with a teen film), Steven Spielberg for Munich, Joe Wright for Pride & Prejudice (with his fantastically fluid and kinetic camera), Joss Whedon for Serenity, and Christopher Nolan for Batman Begins (making me forget that Tim Burton even attempted another Batman film before, something seemingly infeasible to my late 1980s adolescent self). Best Picture is among all these films as well as Capote and Sophie Scholl: The Final Days. I am torn between Batman Begins, Pride & Prejudice and Serenity – each is highly entertaining, very well-made and just as vital and relevant today. 2005 was a standout year for film.


2007:
Best Picture: The Departed
Best Director: Martin Scorsese, The Departed
Best Actor: Forest Whitaker, The Last King of Scotland
Best Actress: Helen Mirren, The Queen
Best Supporting Actor: Alan Arkin, Little Miss Sunshine
Best Supporting Actress: Jennifer Hudson, Dreamgirls

2006 mostly comes down to two films: The Prestige and Children of Men, but let us dig a little deeper. Best Support Actor, for me, is Bill Nighy in Pirates of the Caribbean: Dead Man’s Chest (just utter brilliance and joy). Best Actress is Carice van Houten for her tour de force performance in Black Book. Best Actor easily could be Francois Cluzet in Tell No One or Ulriche Muhe in The Lives of Others, but Christian Bale is phenomenal in The Prestige, another of my ten favorite performances of the decade. Martin Scorsese was due to win a Best Director Oscar, and cinema fans were happy to see him win, but there were some move deserving directors: Paul Verhoeven for Black Book, Paul Greengrass for United 93, J.J. Abrams for Mission: Impossible III (I know you are shocked by this, but he made the best action film of the decade with MI3; it is just wholly entertaining), Florian Henckel von Donnersmarck for The Lives of Others, and Guillermo del Toro for Pan’s Labyrinth. The award, however, belongs to either Alfonso Cuaron for Children of Men (its aesthetic and technical degree of difficulty) or Christopher Nolan for The Prestige (its masterful construction). I tend to favor Nolan, as I favor The Prestige for Best Picture. I also want to throw in the genuine, sad and heartfelt musical Once, just to mention it. It is a great film.


2008:
Best Picture: No Country for Old Men
Best Director: Joel Coen and Ethan Coen, No Country for Old Men
Best Actor: Daniel Day-Lewis, There Will Be Blood
Best Actress: Marion Cotillard, La Vie en Rose
Best Supporting Actor: Javier Bardem, No Country for Old Men
Best Supporting Actress: Tilda Swinton, Michael Clayton

2007 was also a very good year for film. I agree with most of Oscar winners. Tilda Swinton is very good in Michael Clayton (a film that has not remained vital in any regard), but Saoirse Ronan is extraordinary in Atonement; she is 2007’s Best Supporting Actress. Javier Barden is Best Supporting Actor, no question, but Tom Wilkinson in Michael Clayton, Casey Affleck in The Assassination of Jesse James by the Coward Robert Ford and Philip Seymour Hoffman in Charlie Wilson’s War probably would have all won in different years. There is also no denying Daniel Day-Lewis Best Actor, but Brad Pitt is sensational in The Assassination of Jesse James by the Coward Robert Ford (probably the best performance of his career, and the performance that won me over; he has since become one of my favorite actors), as is Richard Jenkins in The Visitor. I concur with the Coen Brothers being Best Director and No Country for Old Men being Best Picture, but I also love Wes Anderson’s The Darjeeling Limited, Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford (I know you have not seen it, but if you love westerns, you must), Joe Wright’s Atonement, and Paul Thomas Anderson’s There Will Be Blood.


2009:
Best Picture: Slumdog Millionaire
Best Director: Danny Boyle, Slumdog Millionaire
Best Actor: Sean Penn, Milk
Best Actress: Kate Winslet, The Reader
Best Supporting Actor: Heath Ledger, The Dark Knight
Best Supporting Actress: Penelope Cruz, Vicky Cristina Barcelona

Best Supporting Actress Penelope Cruz and Best Supporting Actor Heath Ledger (giving maybe the performance of the decade, and one of my ten favorite) are both very deserving (although, you can make cases for Taraji P. Henson and Tilda Swinton in The Curious Case of Benjamin Button, both of whom are also very good). Best Actress Kate Winslet is better in Revolutionary Road and should have won for that film; I also very much enjoy Rebecca Hall in Vicky Cristina Barcelona and Cate Blanchett in The Curious Case of Benjamin Button. Sean Penn is great in Milk (it is my favorite performance of his), but I also want to nominate Jason Segel in Forgetting Sarah Marshall (perfectly conveying the humor and sadness – it is the decade’s best romantic comedy), Leonard DiCaprio in Revolutionary Road, Tom Hardy in Bronson, Chiwetel Ejiofor in Redbelt, Brad Pitt in The Curious Case of Benjamin Button, and my pick for Best Actor Michael Fassbender in Hunger. Christopher Nolan for The Dark Knight, David Fincher for The Curious Case of Benjamin Button and Tomas Alfredson for Let the Right One In are all good choices for Best Director, but Steve McQueen does something exceptional with Hunger. It is mesmerizing, haunting and unforgettable. WALL-E deserves to be mentioned along with these others, as one of the few animated films to really make an impact as one of the year’s very best movies. Yet, Best Picture comes down to The Curious Case of Benjamin Button and The Dark Knight – two grand epics. I pick The Dark Knight.


2010:
Best Picture: The Hurt Locker
Best Director: Kathryn Bigelow, The Hurt Locker
Best Actor: Jeff Bridges, Crazy Heart
Best Actress: Sandra Bullock, The Blind Side
Best Supporting Actor: Christoph Waltz, Inglourious Basterds
Best Supporting Actress: Mo’Nique, Precious

This year’s Oscars has a lot of wrongs. Starting with Best Supporting Actress, my pick is Anna Kendrick in Up in the Air, but in close proximity are Rosamund Pike in An Education and Diane Kruger in Inglourious Basterds. Christoph Waltz is Best Supporting Actor, unquestionably, but there were some other great supporting performances by men in 2009: Michael Fassbender in Inglourious Basterds, Tom Hollander and Peter Capaldi in In the Loop (hysterically funny), Niels Arestrup in A Prophet, and Christian Bale in Public Enemies. The Blind Side being nominated for Best Picture is laughable (almost as laughable as Crash winning in 2006) and Sandra Bullock’s performance boarders on caricature, but I guess everyone decided it was her year, good performances be damned. My pick for Best Actress is Melanie Laurent in Inglourious Basterds, followed closely be Carey Mulligan in An Education, Katie Jarvis in Fish Tank and Emily Blunt in The Young Victoria. Jeff Bridges is good in Crazy Heart, but Colin Firth in A Single Man, Sam Rockwell in Moon, Sharlto Copley in District 9, Brad Pitt in Inglourious Basterds, and my pick for Best Actor Michael Stuhlbarg in A Serious Man all give more interesting and dynamic performances. Best Director could be Kathryn Bigelow for The Hurt Locker, Pete Docter and Bob Peterson for Up, Michael Mann for Public Enemies, Juan Jose Campanella for The Secret in Their Eyes, Jacques Audiard for A Prophet, Armando Iannucci for In the Loop, or Cary Fukunaga for Sin Nombre, but my pick is Quentin Tarantino for Inglourious Basterds, which also my pick for Best Picture.


2011:
Best Picture: The King’s Speech
Best Director: Tom Hooper, The King’s Speech
Best Actor: Colin Firth, The King’s Speech
Best Actress: Natalie Portman, Black Swan
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Melissa Leo, The Fighter

I think all the performances that won are very deserving. I just want to mention some other great performances from the year not nominated: for Best Supporting Actress Rooney Mara in The Social Network; she makes a tiny amount of screen time resonate throughout the whole narrative. Keira Knightley is also excellent in Never Let Me Go, playing off type. For Best Supporting Actor Andrew Garfield is brilliant in both The Social Network and Never Let Me Go, having a breakthrough year. Matt Damon and Barry Pepper (in a tiny role) are great in True Grit. Ben Mendelsohn (who has become one of our best working character actors) is electric and terrifying in Animal Kingdom. And, Tom Hardy is just a treat to watch in Inception. For Best Actress Hailee Steinfeld is wonderful in True Grit, as is Carey Mulligan in Never Let Me Go. And for Best Actor, Leonardo DiCaprio is very good in Inception, a deseptively difficult performance. Best Director is unquestionably Christopher Nolan (did the Academy not see Inception?). Incendies, Never Let Me Go, True Grit and The Social Network are all top-notch, and could have won Best Picture if not for Inception, a breathtaking feat of directorial skill, narrative construction and realization. In a time dominated by series and series, Inception is a grand and original blockbuster.


2012:
Best Picture: The Artist
Best Director: Michel, Hazanavicius, The Artist
Best Actor: Jean Dujardin, The Artist
Best Actress: Meryl Streep, The Iron Lady
Best Supporting Actor: Christopher Plummer, Beginners
Best Supporting Actress: Octavia Spencer, The Help

The 2012 Oscars were dominated by nostalgia, but in retrospect they got most everything wrong. Best Supporting Actress Octavia Spencer is deserving, but it is a shame that Carey Mulligan did not get nominated for Drive or Shame, Jessica Chastain for The Tree of Life, Elle Fanning for Super 8, Anna Kendrick for 50/50, Keira Knightley for A Dangerous Method, and Shailene Woodley for The Descendents (who probably gave the best performance of the bunch). Best Supporting Actor Christopher Plummer is also deserving, but I also really enjoy Michael Fassbender in Jane Eyre, Omar Sy in The Intouchables, Ezra Miller in We Need to Talk About Kevin, Albert Brooks in Drive, Brad Pitt in The Tree of Life, Corey Stoll in Midnight in Paris, and Jonah Hill in Moneyball. And then things go wrong. Best Actress is Rooney Mara in The Girl with the Dragon Tattoo, followed by other excellent performances by Kirsten Dunst in Melancholia, Mia Wasikowska in Jane Eyre, Tilda Swinton in We Need to Talk About Kevin, and Felicity Jones in Like Crazy. Best Actor is Michael Fassbender in Shame, followed by other excellent performances by Gary Oldman in Tinker Tailor Soldier Spy, Brad Pitt in Moneyball, Tom Hardy in Warrior, Michael Shannon in Take Shelter, and Francois Cluzet in The Intouchables. Best Director is David Fincher for The Girl with the Dragon Tattoo (making an even better version of what was already a great Swedish film and book). Steve McQueen’s work on Shame is also striking. A few others worthy of mentioning: Cary Fukunaga for Jane Eyre, Nicolas Winding Refn for Drive, Terrence Malick for The Tree of Life, and J.J. Abrams for Super 8. There were quite a few great films in 2011, like the blockbusters Harry Potter and the Deathly Hallows (which actually lived up to the hype, and surpassed it) and Super 8, fun dramedies like 50/50 and Midnight in Paris, and profound dramas like Shame and Jane Eyre. The Best Picture of the year, however, is The Girl with the Dragon Tattoo (revisit it and you will see its brilliance).


2013:
Best Picture: Argo
Best Director: Ang Lee, Life of Pi
Best Actor: Daniel Day-Lewis, Lincoln
Best Actress: Jennifer Lawrence, Silver Linings Playbook
Best Supporting Actor: Christoph Waltz, Django Unchained
Best Supporting Actress: Anne Hawthaway, Les Miserables

I agree with the acting categories. Anne Hathaway is also fabulous as Selina Kyle in The Dark Knight Rises, which would have been my favorite Best Supporting Actress performance of the year if not for her work in Les Miserables (it is the only thing worth watching the very tedious movie for). Kelly Reilly is excellent in Flight, but did not get a nomination. Christoph Waltz winning Best Supporting Actor is probably right, but it was a strong year. These standout performance were not even nominated: Javier Bardem in Skyfall, Ezra Miller in The Perks of Being a Wall Flower, Leonardo DiCaprio in Django Unchained, Tom Hardy in The Dark Knight Rises (his Bane is one of my favorite superhero film villains, up there with Heath Ledger’s Joker and Tom Hiddleston’s Loki), Michael Fassbender in Prometheus (the best part of the film, along with its aesthetics), and Ben Mendelsohn in Killing Them Softly. Jennifer Lawrence is undeniably charming and engaging in Silver Linings Playbook winning Best Actress, but I think Marion Cotillard’s performance in Rust and Bone is just as good (maybe even better). Other great performances not nominated include: Keira Knightley in Anna Karenina (a visual whirlwind, but grounded by her strong work), Alicia Vikander in A Royal Affair and Greta Gerwig in Frances Ha. Daniel Day-Lewis is probably our best working actor presently, he utterly becomes his characters. He deserved to win Best Actor for Lincoln, but here are some exceptional performances not nominated: Mads Mikkelsen in The Hunt, Christian Bale in The Dark Knight Rises, Jamie Foxx in Django Unchained, Brad Pitt in Killing Them Softly, and Suraj Sharma in Life of Pi. Ang Lee’s Life of Pi is remarkable. He took 3-D, an improperly used technology, and used it to produce an incredible film experience. And yet, Kathryn Bigelow’s directorial feats on Zero Dark Thirty are just about as impressive. In terms of blockbuster filmmaking, Joss Whedon’s The Avengers is uneven, but he knocked the third act out of the park, creating the year’s most entertaining film, while Christopher Nolan ends his Dark Knight Trilogy with another astoundingly good film in The Dark Knight Rises. Rian Johnson also exhibits flourishes of sheer brilliance in the montages of Looper. And, Paul Thomas Anderson gets pitch perfect performances across the board in The Master. Best Director is a toss-up. If I have to pick though, I tend to lean towards Kathryn Bigelow (Zero Dark Thirty is just so enthralling). Best Picture comes down to The Master, Life of Pi, The Dark Knight Rises, and Zero Dark Thirty. Argo is a good thriller, but nowhere near the level of these films. I love Nolan’s Batman trilogy, and so my pick is The Dark Knight Rises, but if you were to take that out of the running I would go with Zero Dark Thirty.


2014:
Best Picture: 12 Years a Slave
Best Director: Alfonso Cuaron, Gravity
Best Actor: Matthew McConaughey, Dallas Buyers Club
Best Actress: Cate Blanchett, Blue Jasmine
Best Supporting Actor: Jered Leto, Dallas Buyers Club
Best Supporting Actress: Lupita Nyong’o, 12 Years a Slave

We have finally come to the end. I will make this one quick. I agree with Lupita Nyong’o as Best Supporting Actress. I question if anyone will care about Dallas Buyers Club in five year, or if anyone even cares about it now. Michael Fassbender in 12 Years a Slave is Best Supporting Actor. I agree with Cate Blanchett as Best Actress. Chiwetel Ejiofor in 12 Years a Slave is Best Actor. Initially I did agree that Alfonso Cuaron deserved to win Best Director for the technical challenges of Gravity, but now I feel differently. The film does not really hold up to multiple viewings and Steve McQueen’s directorial work on 12 Years a Slave is much more profound and interesting. I think Spike Jonze for Her and Marin Scorsese for The Wolf of Wall Street are also more deserving, but McQueen is my pick today. I agree with 12 Years a Slave as Best Picture.



Enjoy the 2015 Academy Awards on Sunday.

Tuesday, December 23, 2014

Exodus: Gods and Kings (2014) – Review

Review: Exodus: Gods and Kings is a grand epic of spectacle, built around the changing relationship between two brothers and impressive visuals.

The film is about Moses and Ramses. Pharaoh Seti found baby Moses abandoned in a basket along the Nile river, deciding to raise him as his own along with his natural son Ramses. The two brothers grew up as princes, relying on it other in battle and life; however, as the brothers come into their own, Moses learns about his past – that he is actually of Jewish decent (a downtrodden people who are greatly abused as slaves by the Egyptians) – a truth he refuses to believe. Once Pharaoh Seti has died of illness and Ramses becomes leader of Egypt, enemies of Moses expose his secret. Always slightly fearing Moses’s power and the love his father showed him, Ramses ceases the opportunity to banish Moses. Far from Egypt, Moses struggles to accept the truth about himself and the new mission his people’s god has anointed him with – to set the Jewish people free in Egypt. Moses, now with newfound purpose, returns to Egypt to do just that, but Ramses will not make it easy on him.

Director Ridley Scott’s biblical epic feels very similar to his other religious epic Kingdom on Heaven. Exodus: Gods and Kings features impressive visuals, a massive scale and scope and very good central performances. Yet, like Kingdom of Heaven’s theatrical release, which was gutted of most of its character moments in favor of a shorter runtime, this film too seems to lack needed character moments for its supporting cast. Moses and Ramses have their moments, and the story does serve them well, but no one else is really given much to do (while the film still runs for around 150 minutes), leading me to believe that this too was streamlined for its theatrical release and somewhat expect a fuller, longer version of the film to be released for home consumption – keeping the runtime under a certain length allows the film to screen more times in a day, which theoretically translates to more box office, at the expense of creative expression/integrity (because Hollywood moviemaking is a business first, and that is especially true for massive blockbusters like this film). It is just too bad, as the film would have played a lot stronger with its supporting characters fleshed out and overall narrative given time to breath, allowing the emotion and drama to be more fully realized. As it is, the film works solely thanks to its impressive aesthetics and great leading performances.

Even at 150 minutes, the film is paced rather briskly (presumably thanks to much of the extra dramatic meat being cut out of Scott’s initial version). Time passes in chunks in between scenes in many instances, requiring viewers to pay extra attention or lose their place.

Scott is a very skilled filmmaker, and that is clear again with Exodus: Gods and Kings. Aesthetically, the film showcases the stark juxtaposition between the wealthy Egyptian lords and the impoverished slaves – possibly drawing comparisons to the ever-widening wealth gap in the western world (let alone the rest of the world). Some fear that if the struggling classes ever really found out how the very wealthy live, there would be a revolution. Maybe that sounds dramatic and far-fetched, but history shows us that it has happen again and again throughout time – this film detailing one of the most famous (along with its overlying religious aspects).

Scott takes a very evenhanded approach to religion in Kingdom of Heaven, treating Islam with respect and fairness, when many films focus more on the negative factions (something that seems to tinge many, if not all, religions). Here, Scott is less so. The Egyptians are portrayed as many villains are in many films of this nature – entitled, ambivalent and uncaring. The slaves are just that, not deserving a second thought. The slaves are a subspecies in their minds, existing only to benefit their interests, and thus do not deserve the same rights and freedoms. When the Jewish god unleashes the plagues upon the Egyptian people. They are bewildered, refusing to accept that this god is more powerful than their own, that these people should be set free. Ramses sees himself as a god on Earth. He just cannot accept that to be untrue, as it crushes his whole way of life, his whole belief system. The brisk pacing does not give Scott the opportunity to explore the Egyptians any further, leaving them mostly as seemingly out-of-touch, arrogant villains – even though there are certainly strong hints that Scott intended much more depth.

The portrayal of god in the film, as a young boy, is an interesting choice. In the story, god must do great and terrible things to the Egyptians. Things that seem cruel and viscous, but they are done because the Egyptians (and Ramses) just will not accept the truth of the circumstances, because it goes against everything they believe. I think Scott chose god to be seen as a small child to juxtapose the terror he must rain upon the Egyptians with the innocence of a small child. Although, at the same time, young children can also be the most cruel and vicious when left to their own devices. Without societal pressures and laws obstructing them, children have been shown to act sometimes without compassion (think of the classic example: Lord of the Flies), exhibiting our natural tendencies for survival, stronger oppressing the weaker. A childlike god, though capable of love and compassion, might also act when angered with unabated rage and cruelty.

In many ways, Exodus; Gods and Kings is a disappointing film, as Scott’s films always have so much promise (based on the great works of his past). It features all the ingredients to be something special and yet it is lacking – namely in dramatic weight and fuller supporting characters. Scott does do a good job with the central drama of the film, as Moses and Ramses are fleshed out and their narrative is compelling, but everything else feels incomplete – and it probably has do to with the film being revised down from its original longer version for theatrical release. As I said above, it is too bad. But, hopefully, the film as it was initially intended will be released later (as Kingdom of Heaven and Blade Runner’s director’s cut eventually were).


Technical, aesthetic & acting achievements: Ridley Scott makes fantastically impressive visual films. Exodus: Gods and Kings follows in that tradition. Visually speaking, it is quite entertaining on a spectacle level with a grand scope and scale. Scott also garners very good performances as well, and this too is true of this film. Despites the film’s commercial and critical failings, I do hope to see Scott’s director’s cut at some point (assuming it is released) and his next film The Martian, coming next year.

On a quick side note, with Exodus: Gods and Kings and Noah. It is interesting to see biblical stories being portrayed in a darker manner, stripping away some of the overly rosy arbitrage and getting right at the heart of what is actually transpiring. In each story, god’s actions directly result in the death of thousands (millions in Noah’s case) of people. The films do not just focus on the justification of these actions (be them teaching humanity a lesson or helping his people find freedom) but also on the gravity of the actions, which is much more compelling.

Back to the aesthetics, composer Alberto Iglesias provides a score for the film that tonally fits well and captures the flavor of the time and place. Cinematographer Dariusz Wolski’s photography is very good, as he uses mostly a more washed out color palate, which too fits the darker tone the film has. His work, along with production designer Arthur Max’s (whose sets, as always, are brilliant), also highlights the striking economic differences between the Egyptian lords, who are covered in clean whites and gold jewelry, inhabiting expansive homes, and the slaves, who are packed in dirty, crowded, cramped environments. The Egyptians are all very manicured and without facial hair (assuming I remember correctly) while the slaves are bearded and somewhat unkempt. Interestingly, Moses has a beard from the start, but it is much more groomed than any of the slaves’ beards. As he comes to accept his place among them as their leader, his beard becomes more unwieldy.

There are quite a few name actors in the film who have had their roles essentially cut out due to most of the supporting character work and excess drama being taken out. Aaron Paul, Sigourney Weaver and Ben Kingsley almost have nothing to do in the film (outside of a scene, here or there).  Indira Varma, Maria Valverde and John Turturro are good in small supporting roles. Ewen Bremner plays a scientist of sorts in the Egyptian court, explaining the logic behind the plagues, assuring that they are not acts from an angry god. He is just fantastic and goofy in the small role. Ben Mendelsohn, also in a small role, playing the corrupt Egyptian Viceroy Hegep, who outs Moses to Ramses, is wonderful as well. He is so smarmy and slimy. He is a great character actor – one of the best currently. Joel Edgerton is very good as Ramses, bringing the right mix of entitlement, compassion and utter bewilderment about what is happening to the role. In lesser hands, Ramses would have been a one dimensional, boring villain, but here he is a full character. Christian Bale is excellent as Moses (as he generally is in everything he does). He is able to convey the heartbreak of his deteriorating relationship with his brother and the pain of finding out the truth about himself. The scenes with god could have played as being a bit odd, Moses conversing with a young boy, but Bale plays the scenes with complete commitment. Despite the gutting the film seems to have gone through during its final edit, it still works thanks in most part of Bale’s great performance.


Summary & score: Exodus: Gods and Kings lacks emotional and dramatic depth, and yet it is still an entertaining, visually compelling and overall solid epic due to Ridley Scott’s fine directing and strong central characters (and great leading performances), overcoming its shortcomings. 7/10

Monday, September 22, 2014

Movie of the Week – Public Enemies

This week’s movie: Public Enemies (2009)

John Dillinger is public enemy number one after a string of headline-grabbing bank robberies during the 1930s; however, the Feds are closing in around him and other notable criminals like Baby Face Nelson and Pretty Boy Floyd. Melvin Purvis has been tasked with heading up the Chicago office with the specific goal of capturing or killing Dillinger. The two men play a deadly game of cat and mouse.

Public Enemies is the latest film from American auteur Michael Mann (at least until his cyber thriller Blackhat comes out in 2015), master of the sprawling crime drama. Mann worked with a superb group on the film including: composer Elliot Goldenthal, cinematographer Dante Spinotti, and production designer Nathan Crowley.

The film has a phenomenal cast, headlined by Johnny Depp and Christian Bale. The supporting ensemble features David Wenham, Jason Clarke, Stephen Dorff, Channing Tatum, Rory Cochrane, Carey Mulligan (although, she is in it for maybe a second), Branka Katic, Emilie de Ravin, Billy Crudup, Marion Cotillard, Giovanni Ribisi, John Ortiz, Shawn Hatosy, Stephen Graham, Stephen Lang, Lili Taylor, and Leelee Sobieski.

Michael Mann has made a number of fantastic crime dramas – Thief, Heat, Collateral, and Miami Vice (highly underrated). Public Enemies is his first period crime drama, though he has made a few great period dramas (notably The Last of the Mohicans). What works exceptionally well about his films, Public Enemies included, is that he garners wonderful character-driven performances in worlds that feels very gritty and realistic. Some of that has to do with his collaborations with Dante Spinotti, whose photography is stunning and feels naturalistic. He is also the best at shooting gun fights. His staging, photography, and sound design are second to none (Heat probably has the best gun fight ever filmed). In some ways, Public Enemies feels a lot like Heat. The themes are the same in many ways. And, both feature great action set pieces. The film was mildly received upon its release in 2009 and has still not really found an audience, but it is magnificent. Depp and Bale are fantastic and it is visually dazzling. I think it is a must-see for fans of Mann’s work and those who enjoy grand crime dramas. It is probably the best gangster film of the last five years (my three favorite films of 2009 are Inglourious Basterds, Up, and Public Enemies to give you an idea of the esteem I hold for this film).


Trailer: Here
Available on: Blu-ray and Video On-Demand