1. "2007 Screen Actors Guild Awards: Winners": The Last Little Miss King & Queen of Scotland.
2. "The 5 Biggest Mismatches in Movie Fight History": With thanks to Patrick Walsh for pointing out the link.
["Action movies have a pretty simple formula when it comes to killing bad guys: you leave the toughest villain for last. It’s why at the end of Die Hard, that dead Russian guy jumps out of a body bag, somehow still armed with an automatic weapon. The filmmakers knew that, despite defying the laws that govern the physical universe, if they had ended the movie killing anyone else, it just wouldn’t have felt right. Leaving the toughest bad guy for last creates a sense of suspense as to whether or not the hero is going to be able to take him. So if the last bad guy is a total pussy, well, the audience is probably going to notice. Below, we count down the five most mismatched climactic fights in action movie history."]
3. "Modern Martyrs": An interview with Aleksandr Sokurov's frequent screenwriter Yury Arabov.
["Until recently, Yury Arabov was primarily known to the general public as the screenwriter of several notable films by art-house director Alexander Sokurov, and, to a rather smaller audience, as a poet. In the past year, though, he gained visibility when NTV television broadcast two high-profile miniseries for which he wrote the scripts: adaptations of Nikolai Gogol's "Dead Souls" and Boris Pasternak's "Doctor Zhivago." Now, Arabov has published a novel, "Flagellants," which is a lament for the death of the Russian intelligentsia -- and, according to the author, a reflection of his own conflicted feelings about being an artist in present-day Russia."]
4. "New Yorkers Score Big at Sundance": The Reeler wraps up Sundance.
["When you looked at the odds, it all made sense in a way: With upwards of 50 films from New York programmed between the shorts, documentary and dramatic competitions at this year's Sundance Film Festival, nobody really could have been that surprised to see the New York contingent take home a suitcase worth of hardware -- including the Dramatic Audience Award (Grace is Gone) and both the Documentary (Manda Bala) and Dramatic (Padre Nuestro) Grand Jury Prizes -- at Saturday night's awards show. "Numb," said Padre Nuestro director Christopher Zalla, who told The Reeler about his reaction to juror Sarah Polley's announcement at the end of the ceremony."]
5. "A long time ago...": Edward Copeland announces a Springtime Blog-a-thon.
["30 years ago, May 25 to be exact ... in theaters across the United States a little film called Star Wars opened and changed much of how Hollywood works, for both good and bad."]
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"Links for the Day": Each morning, the House editors post a series of weblinks that we think will spark discussion. Comments encouraged.
Monday, January 29, 2007
Links for the Day (January 29th, 2007)
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24 comments:
Re: #1. Interesting that three of the top four movie acting awards went to African-Americans. There's probably a complicated welter of reasons for this -- in Eddie Murphy and Forest Whitaker's case, it's an "It's your time" award, and in Jennifer Hudson's case, it's the damn song -- but it's still pretty striking. Also, I'm glad that NBC's "The Office" got best TV comedy ensemble. Too bad "Deadwood" didn't take best ensemble for drama -- it was their last chance.
Re #2: Don't eat or drink while reading this article. Especially when you get to the #1 mismatch, which contains this truism: "Anytime one guy doesn’t require a shirt, and the other stays covered up like a fat kid at the public pool, you know you’ve got a mismatch."
Re #5. I'm already there.
Matt, you're right, #2 is potentially dangerous to computers and other electronic devices.
Ruthless Reviews had a similar, hilarious take on Commando here:
http://www.ruthlessreviews.com/reviews.cfm/id/774/back/80/page/commando.html
Sample:
"But, you can't talk about the amazing gayness of Commando without mentioning Bennett. In fact, if I ever go back to school, my thesis will detail how the late twentieth/early twenty-first century embracing of homosexuality stems from Vernon Wells' portrayal of this particular character. After I'm done, West Hollywood will be renamed "Vernon Wells." Where to even start... Bennett spends nearly the entire movie wearing the following outfit:
Leather pants
A black, sleeveless T-shirt
A chain mail vest
A large belt that turns said chain mail into a little skirt
Fingerless leather gloves
A dog chain choker
A flat top
A push broom moustache
A leather belt that he wore around the chain mail vest, making it seem as if he were wearing a skirt. Yes, I stated this point earlier, but holy fuck does it need repeating!"
I'm a little disappointed because at first glance, I thought the heading on #2 read 'The biggest moustaches in movie history.' I guess I'll have to generate that myself.
Aw, come on! Stop picking on Commando! Readers of this blog know it's my
fave bad Ah-nold movie!
After I'm done, West Hollywood will be renamed "Vernon Wells."
And Chelsea will be renamed "Vernon Chelsea Wells" in NYC. Wells may sell don't ask, don't tell, but Ah-nold never calls him a "girlie man."
If we're going to talk about villains in bad 80's movies going somewhere over the rainbow, how about Christopher George's hideous performance as Mr. Venarius in that Cannon (Group) fodder, Enter the Ninja? "I want my black Ninja!!" cries George, sounding like Liberace. "Where's my black Ninja!!"
MZS: Interesting that three of the top four movie acting awards went to African-Americans. There's probably a complicated welter of reasons for this -- in Eddie Murphy and Forest Whitaker's case, it's an "It's your time" award, and in Jennifer Hudson's case, it's the damn song -- but it's still pretty striking.
That won't happen at the Oscars, but more on that in a second.
Can somebody PLEASE give Forrest Whitaker some lessons on making a speech? He's the favorite, so you would think he has SOME expectation that he'll win awards. It is painful watchng him stammer. Write a goddamn speech and read it, man! I was sitting here at home with a sign that said "STOP FORREST STOP!!"
If he wins the Oscar, Bill Conti is going to come onstage personally and blow a tuba right in his face to play him off the stage. But I don't think I'll get to see that; Methinks Peter O'Toole's going to win. So, Matt, do you want revenge for last year's MZS vs. OD Oscar prediction contest? I toss down the gauntlet at your feet!
I'm stunned that Karate Kid never makes these sorts of lists, though it's a different kind of mismatch. The more I watch that movie -- and it's on cable every hour of every day -- the more glaring it becomes that William Zabka knows how to kick ass while Ralph Macchio knows how to purse his lips and sweat out the seconds until John Avildsen yells "Cut!" They got better at faking it in the sequels, but Zabka's obvious real-life prowess has been sorely underrated.
Fear Zabka! Fear him!
Odie: Being a glutton for punishment, of course I'll go mano-a-mano in Oscar predix again. Since I tend to vote with my heart rather than my head, you might as well pick your restaurant now.
Alan: I agree that Macchio became a more credible fighter in Pt. II, but that Okinawan kid Chozen (Yuji Okumoto), who was built like a brick shithouse, still should have popped Daniel-san's head like a blueberry.
Alan: the more glaring it becomes that William Zabka knows how to kick ass while Ralph Macchio knows how to purse his lips and sweat out the seconds until John Avildsen yells "Cut!"
Um...isn't that how it's supposed to be? We're supposed to believe Daniel-San can get his ass kicked! He's the underdog! It's a cruel, cruel summer, Alan!
Matt, Oscar pistols at dawn on an agreed upon day. Maybe we can get Jeffrey to sing "Do Not Foresake Me, Oh My Darlin'" from High Noon to add to the Western ambience. I guess that makes you Gary Cooper.
Odie,
My cowboy band is a little rusty on "Do Not Forsake Me." You two will have to settle for an emotional rendition of "She's a High Ridin' Woman with a Whip."
Instead of me periodically staring in anguish at a distant clock tower, can I just have Flavor Flav follow me around?
Should the Academy choose to mirror its results after SAG win for win (and the little man who lives in my stomach suspects they will), we'll have a 2nd indefensible BP win in a row.
I genuinely wonder how future critics are going to react - I suppose not too differently as we do towards undeserving films before our time.
Simon: "I genuinely wonder how future critics are going to react - I suppose not too differently as we do towards undeserving films before our time."
Tell me about it. Oliver? What were they thinking? Our cinephile grandchildren will say the same thing about The New World's complete omission.
Odie, there's a difference between being an underdog and looking like you have no idea what the hell you're doing. Even after extensive training with Mr. Miyagi, Daniel-San still can't throw a decent punch or kick, doesn't know how to move around the mat, etc. Much as cinephiles look back at Best Picture winners like "Oliver" with the same disdain as Rob, I imagine Valley martial arts connosieurs curse under their breath whenever Daniel La Russa's name is mentioned.
Agreed, of course. It's incredible to think of how many dull or bad movies, performances, scripts, etc., have been nominated or won Oscars over the years. It's not a recent phenomenon, though it does seem that in recent times, the obnoxiousness of the PR campaign, the "message" or both has overshadowed the question of whether the movie is at least superlatively well-made or aesthetically fresh in some way (as some, but by no means all, of the 60s and 70s nominees and winners were).
The lockstep consensus this year is particularly egregious. I am not sure what, exactly, is to blame. How is it possible that critics in NY and LA, which at least have an opportunity to see all the Oscar worthy films, could arrive at more or less the same general verdict as critics in much smaller cities that don't have immediate access to half as many titles? Are Helen Mirren, Forest Whitaker, "The Queen," "The Departed," "United 93" and Emmanuel Lubezki really the be-all and end-all of cinema circa 2006?
Surely not.
That last was directed to the Oscar/SAG comments, not to the matter of Daniel-san's ass-kicking ability, which I'd say has been settled.
Also -- I wrote "Oscar worthy" when I meant to write "Oscar eligible" -- meaning movies released to theaters for at least a week in NY and LA during calendar year 2006 -- a defining characteristic that means critics in other cities often must experience the films on DVD screener or if/when they play theaters in their city the following year.
In my 37 years, Oscar's choice for best picture has only matched my personal choice (which often wasn't even in their final five) six times.
rob: Tell me about it. Oliver? What were they thinking?
I agree with you on that one, one of the worst Oscar winners ever. But to this:
Our cinephile grandchildren will say the same thing about The New World's complete omission.
I say: speak for your own grandkids. :)
MZS: can I just have Flavor Flav follow me around?
You really don't want that. Might I suggest buying a watch? It's far less obnoxious.
Alan: Even after extensive training with Mr. Miyagi, Daniel-San still can't throw a decent punch or kick, doesn't know how to move around the mat, etc.
Yeah, but he can wax a car like nobody's business! Your complaint is probably why Daniel-San turned into Hilary Swank in Karate Kid III: TransAmerica! Cruel summer, Alan. Cruel summer...
EC, I think our Oscar numbers match up for the same amount of time.
I don't know why everybody is picking on Little Miss Sunshine; I assume it's because it's a comedy and Lord knows, they ain't worthy. God forbid a critic admit to liking a light movie. (I liked it, but then again, I'm a programmer.)
If anything, the movie people's "little men in their stomachs" should be worried about is Babel, which makes Crash look like Do The Right Thing. The way Matt felt about Crash is the way I feel about Babel, a film where everyone is an idiot and I'm supposed to feel sorry for them. For my money, that's the name in the envelope that will force a bullet into my TV come Oscar night. I can accept any of the other choices without any trouble.
At least Babel succeeds on the level of craft (performances, cinematography, music, sound design) where Crash was dismal; and its script, while problematic, is less offensive.
I don't know why everybody is picking on Little Miss Sunshine; I assume it's because it's a comedy and Lord knows, they ain't worthy. God forbid a critic admit to liking a light movie.
I'd have no problems with a comedy winning Best Picture, so long as it was a good one. Doesn't even matter if it's highbrow or lowbrow. If, say, "40-Year-Old Virgin" had been nominated and beat "Crash" and "Brokeback Mountain" last year, I would've been delighted.
I just think "Little Miss Sunshine" is a mediocre comedy. It's cute and it has some good performances, but it's essentially "National Lampoon's Vacation" mixed with every indie dysfunctional family movie cliche ever written.
Jeff, I must respectfully disagree with you. Babel has nice cin-tog and music, but that's where my niceties must end. I do not think the performances are good, and I blame the Idiot Plot script for ruining whatever efforts the actors put into the film. Crash's lousy script relied on silly coincidences; Babel wouldn't even have a story if the characters had one sliver of realistic intelligence PLUS it's even more contrived than Crash; please justify the entire Japanese section. It's a horrid script, and this might be blasphemy here, but it's more offensive than Crash is. I hope someone does a Babel piece here so I can fully express my fury.
Alan: If, say, "40-Year-Old Virgin" had been nominated and beat "Crash" and "Brokeback Mountain" last year, I would've been delighted.
I agree with you on that! While I liked Brokeback, it wasn't on my ten bests, and 40-YOV was. I further agree with you that 40-YOV was a better comedy than Little Miss Sunshine. I'll even go with you in saying it has more than a little National Lampoon's Vacation in it (a movie I hated, by the way). But, despite its last act hypocrisy, I enjoyed it. Maybe it caught me on the right day. Normally "cute and quirky" sends me running for the exits. I liked the performances and, as I've said a hundred bazillion times before, cliche is not a bad thing if it is done right.
As for mediocre comedies winning Oscars, it happens. But since it's "Odie Must Be Nice" day, I shall resist saying somethng nasty about Annie Hall.
I'm with you Odie about Babel. I thought everyone went overboard in their hate for Crash which, while certainly not my choice last year, I thought was OK. Babel on the other hand is preachy, ludicrous AND incoherent. In a recent Variety on the Golden Globes, one of the HFPA admitted that you would have to be superintuitive to figure out that Cate Blanchett's character was mad at Brad Pitt's because he left her after their child died and I have to admit the part completely sailed past me until Josh R wrote his wonderfully blistering dissection of the movie. Too often I think people equate pretentions and vagueness with quality because they are afraid someone else is getting something that they don't and they don't want to look dumb. Babel haters, you are not dumb -- the movie is a moronic mess. It doubly disappointed me because I liked Amores Perros a lot and thought Arriaga's script last year for The Three Burials of Melquiades Estrada was superb.
EC: Too often I think people equate pretentions and vagueness with quality because they are afraid someone else is getting something that they don't and they don't want to look dumb.
AMEN to that! And thanks for reminding me about Josh R.'s piece. I didn't read it because, at the time, I hadn't seen Babel. Now I must go check it out.
I have two questions. How could Deadwood be nominated and not win? If it hadn't been nominated, I guess I'd figure not enough people have watched it. But to be nominated and then to lose to a competent prime time soap opera (no offense to any fans). . . I don't get it.
Also, please tell me what was not great about Forest Whitaker's Idi Amin performance? Not the movie, his performance.
Thanks.
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