Thursday, 20 December 2012

Awards Show Update

As 2012 comes to an end, with Santa and Baby New Year fast approaching, awards show season starts to heat up. Most films in contention are out or will soon be out in time for Christmas. I thought I would give a bit of an awards show update, leading up to the 85th annual Academy Awards.

Two large indicators that give a good idea of who and which films that will be nominated are the Golden Globes and SAG (Screen Actors Guild) awards. Both have been announced recently.

But before! Here is a great mash up of films for 2012!

I’ll wait until the nominations for the Oscars to come up with my predictions (not that I don't have an idea already) since I still am waiting to see Les Miserables, Django Unchained and Zero Dark Thirty and a couple of other films.

Sidenote: As a huge fan of HBO’s Game of Thrones and Showtime’s The Borgias, I’m sad at the lack of recognition this year for these awesome shows.

The lists of nominees for the 70th annual Golden Globes are:

http://www.goldenglobes.org/2012/12/nominations-2013/

1.   BEST MOTION PICTURE – DRAMA
a.   ARGO
Warner Bros. Pictures, GK Films, Smokehouse Pictures; Warner Bros. Pictures
b.   DJANGO UNCHAINED
The Weinstein Company, Columbia Pictures; The Weinstein Company/Sony Pictures Releasing
c.   LIFE OF PI
Fox 2000 Pictures; Twentieth Century Fox
d.   LINCOLN
DreamWorks Pictures, Twentieth Century Fox; Touchstone Pictures
e.   ZERO DARK THIRTY
Columbia Pictures and Annapurna Pictures; Sony Pictures Releasing

2.   BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
a.   Jessica Chastain –   ZERO DARK THIRTY
b.   Marion Cotillard – RUST AND BONE
c.   Helen Mirren – HITCHCOCK
d.   Naomi Watts – THE IMPOSSIBLE
e.   Rachel Weisz – THE DEEP BLUE SEA

3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA|
a.   Daniel Day-Lewis – LINCOLN
b.   Richard Gere – ARBITRAGE
c.   John Hawkes – THE SESSIONS
d.   Joaquin Phoenix – THE MASTER
e.   Denzel Washington – FLIGHT

4.   BEST MOTION PICTURE – COMEDY OR MUSICAL
a.   THE BEST EXOTIC MARIGOLD HOTEL  
Blueprint Pictures/Participant Media; Fox Searchlight Pictures
b.   LES MISERABLES
Universal Pictures, A Working Title Films/Cameron Mackintosh Productions; Universal Pictures
c.   MOONRISE KINGDOM
Indian Paintbrush; Focus Features
d.   SALMON FISHING IN THE YEMEN
CBS Films; CBS Films
e.   SILVER LININGS PLAYBOOK
The Weinstein Company; The Weinstein Company

5.   BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
a.   Emily Blunt – SALMON FISHING IN THE YEMEN
b.   Judi Dench – THE BEST EXOTIC MARIGOLD HOTEL
c.   Jennifer Lawrence – SILVER LININGS PLAYBOOK
d.   Maggie Smith – QUARTET
e.   Meryl Streep – HOPE SPRINGS

6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
a.   Jack Black – BERNIE
b.   Bradley Cooper – SILVER LININGS PLAYBOOK
c.   Hugh Jackman – LES MISERABLES
d.   Ewan McGregor – SALMON FISHING IN THE YEMEN
e.   Bill Murray – HYDE PARK ON HUDSON

7.   BEST ANIMATED FEATURE FILM
a.   BRAVE
Walt Disney Pictures, Pixar Animation Studios; Walt Disney Pictures
b.   FRANKENWEENIE
Walt Disney Pictures; Walt Disney Pictures
c.   HOTEL TRANSYLVANIA
Columbia Pictures / Sony Pictures Animation; Sony Pictures Releasing
d.   RISE OF THE GUARDIANS
DreamWorks Animation LLC; Paramount Pictures
e.   WRECK-IT RALPH
Walt Disney Pictures, Walt Disney Animation Studios; Walt Disney Pictures

8.   BEST FOREIGN LANGUAGE FILM
a.   AMOUR (AUSTRIA)
Les Films Du Losange, X Filme Creative Pool, Wega Film; Sony Pictures Classics
b.   A ROYAL AFFAIR (DENMARK)
(En kongelig affære)  Zentropa Entertainment; Magnolia Pictures
c.   THE INTOUCHABLES (FRANCE)
(Les Intouchables)  The WeinstenCompany, Quad Productions, Gaumont, TF1 Films Production, Ten Films, Chaocorp; The Weinstein Company
d.   KON-TIKI (NORWAY/UK/DENMARK)
Nordisk Film Production, Recorded Picture Company; The Weinstein Company
e.   RUST AND BONE (FRANCE)
(De rouille et d’os)  Page 114, Why Not Productions; Sony Pictures Classics

9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
a.   Amy Adams – THE MASTER
b.   Sally Field – LINCOLN
c.   Anne Hathaway – LES MISERABLES
d.   Helen Hunt – THE SESSIONS
e.   Nicole Kidman – THE PAPERBOY

10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
a.   Alan Arkin – ARGO
b.   Leonardo DiCaprio – DJANGO UNCHAINED
c.   Philip Seymour Hoffman – THE MASTER
d.   Tommy Lee Jones – LINCOLN
e.   Christoph Waltz – DJANGO UNCHAINED

11. BEST DIRECTOR – MOTION PICTURE
a.   Ben Affleck – ARGO
b.   Kathryn Bigelow – ZERO DARK THIRTY
c.   Ang Lee – LIFE OF PI
d.   Steven Spielberg – LINCOLN
e.   Quentin Tarantino – DJANGO UNCHAINED

12. BEST SCREENPLAY – MOTION PICTURE
a.   Mark Boal – ZERO DARK THIRTY
b.   Tony Kushner – LINCOLN
c.   David O. Russell – SILVER LININGS PLAYBOOK
d.   Quentin Tarantino – DJANGO UNCHAINED
e.   Chris Terrio – ARGO

13. BEST ORIGINAL SCORE – MOTION PICTURE
a.   Mychael Danna – LIFE OF PI
b.   Alexandre Desplat – ARGO
c.   Dario Marianelli – ANNA KARENINA
d.   Tom Tykwer,  – CLOUD ATLAS
Johnny Klimek,
Reinhold Heil
e.   John Williams – LINCOLN

14. BEST ORIGINAL SONG – MOTION PICTURE
a.   “FOR YOU” — ACT OF VALOR
Music by: Monty Powell, Keith Urban
Lyrics by: Monty Powell, Keith Urban
b.   “NOT RUNNING ANYMORE”—STAND UP GUYS
Music by: Jon Bon Jovi
Lyrics by: Jon Bon Jovi
c.   “SAFE & SOUND” — THE HUNGER GAMES
Music by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett
Lyrics by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett
d.   “SKYFALL”—SKYFALL
Music by: Adele, Paul Epworth
Lyrics by: Adele, Paul Epworth
e.   “SUDDENLY” — LES MISERABLES
Music by: Claude-Michel Schonberg
Lyrics by: Herbert Kretzmer, Alain Boublil

15. BEST TELEVISION SERIES – DRAMA
a.   BREAKING BAD
AMC  Sony Pictures Television
b.   BOARDWALK EMPIRE
HBO  Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions in association with HBO Entertainment
c.   DOWNTON ABBEY: SEASON 2
PBS  A Carnival / Masterpiece Co-Production
d.   HOMELAND
SHOWTIME  SHOWTIME, Teakwood Lane Productions, Cherry Pie Productions, Keshet, Fox 21
e.   THE NEWSROOM
HBO  HBO Entertainment

16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
a.   Connie Britton – NASHVILLE
b.   Glenn Close – DAMAGES
c.   Claire Danes – HOMELAND
d.   Michelle Dockery – DOWNTON ABBEY: SEASON 2
e.   Julianna Margulies -THE GOOD WIFE

17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
a.   Steve Buscemi – BOARDWALK EMPIRE
b.   Bryan Cranston - BREAKING BAD
c.   Jeff Daniels – THE NEWSROOM
d.   Jon Hamm – MAD MEN
e.   Damian Lewis – HOMELAND

18. BEST TELEVISION SERIES – COMEDY OR MUSICAL
a.   THE BIG BANG THEORY
CBS  Chuck Lorre Productions, Inc. in association with Warner Bros. Television
b.   EPISODES
SHOWTIME  SHOWTIME, Hat Trick Productions, Crane Klarik Productions
c.   GIRLS
HBO  Apatow Productions and I am Jenni Konner Productions in association with HBO Entertainment
d.   MODERN FAMILY
ABC  Levitan-Lloyd Productions in association with Twentieth Century Fox Television
e.   SMASH
NBC Universal Television in association with DreamWorks Television

19. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – COMEDY OR MUSICAL
a.    Zooey Deshanel – NEW GIRL
b.   Julia Louis-Dreyfus – VEEP
c.    Lena Dunham – GIRLS
d.   Tina Fey – 30 ROCK
e.   Amy Poehler – PARKS AND RECREATION

20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
a.   Alec Baldwin – 30 ROCK
b.   Don Cheadle – HOUSE OF LIES
c.   Louis C.K. – LOUIE
d.   Matt LeBlanc – EPISODES
e.   Jim Parsons – THE BIG BANG THEORY

21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
a.   GAME CHANGE
HBO  Playtone and Everyman Pictures in association with HBO Films
b.   THE GIRL
HBO  A Wall to Wall, Warner Bros Entertainment GmbH, Moonlighting and BBC Production in association with HBO Films
c. HATFIELDS & MCCOYS
HISTORY Thinkfactory Media in association with History
d.   THE HOUR
BBC AMERICA  Kudos Film and Television/BBC America co-production
e.   POLITICAL ANIMALS
USA NETWORK Berlanti Productions and Laurence Mark Productions in association with Warner Horizon Television

22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
a.   Nicole Kidman – HEMINGWAY & GELLHORN
b.   Jessica Lange – AMERICAN HORROR STORY: ASYLUM
c.    Sienna Miller – THE GIRL
d.   Julianne Moore – GAME CHANGE
e.   Sigourney Weaver – POLITICAL ANIMALS

23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
a.   Kevin Costner – HATFIELDS & MCCOYS
b.    Benedict Cumberbatch – SHERLOCK (MASTERPIECE)
c.   Woody Harrelson – GAME CHANGE
d.    Toby Jones – THE GIRL
e.   Clive Owen – HEMINGWAY & GELLHORN

24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
a.    Hayden Panettiere – NASHVILLE
b.    Archie Panjabi – THE GOOD WIFE
c.   Sarah Paulson – GAME CHANGE
d.   Maggie Smith – DOWNTON ABBEY: SEASON 2
e.   Sofia Vergara – MODERN FAMILY

25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
a.    Max Greenfield – NEW GIRL
b.   Ed Harris – GAME CHANGE
c.    Danny Huston – MAGIC CITY
d.   Mandy Patinkin – HOMELAND
e.   Eric Stonestreet – MODERN FAMILY

Dwight Schrute

SAG AWARDS HONORS FOR STUNT ENSEMBLES

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
THE AMAZING SPIDER-MAN (Columbia Pictures)
THE BOURNE LEGACY (Universal Pictures)
THE DARK KNIGHT RISES (Warner Bros. Pictures)
LES MISÉRABLES (Universal Pictures)
SKYFALL (Columbia Pictures)

Outstanding Action Performance by a Stunt Ensemble in a Television Series
BOARDWALK EMPIRE (HBO)
BREAKING BAD (AMC)
GAME OF THRONES (HBO)
SONS OF ANARCHY (FX)
THE WALKING DEAD (AMC)

LIFE ACHIEVEMENT AWARD

Screen Actors Guild 49th Annual Life Achievement Award

DICK VAN DYKE

It has been a great year for film, both in terms of Hollywood blockbusters and "independent" films.

Happy viewing!

Sunday, 16 December 2012

Film Review: The Hobbit: An Unexpected Journey

Directed by: Peter Jackson. Stars: Sir Ian McKellen, Martin Freeman, Richard Armitage, Andy Serkis. Screenplay By: Peter Jackson, Philippa Boyens, Fran Walsh, Guillermo del Toro. Adapted by J.R.R Tolkien’s The Hobbit. Released: December 2012

It has been almost 10 years since the release of The Lord of the Rings: The Return of the King, and throughout the decade mummers of an adaptation of Tolkien’s The Hobbit have come and gone. After a rough start getting production going, including Guillermo del Toro dropping out of directing, Peter Jackson (rightfully so) decided to lead and bring audiences back to Middle Earth.

I also want to mention I watched the film in regular 2D. Not 3D, HFR 3D (faster film rate) or Imax.

It was nice to go back and the look, tones, textures, special effects and sounds are all there. I’m fairly certain they filmed in some of the same locations around New Zealand as well.

The Hobbit: An Unexpected Journey takes place sixty years before The Lord of the Rings: The Fellowship of the Ring. This time a younger Bilbo Baggins leads us on our journey. His so-called burglar skills are called upon by Gandalf the Grey (Sir Ian McKellen) to help Thorin Okenshield (Richard Armitage,) the rightful king of the Dwarves gain their land/mountain back after the powerful dragon Smaug took it from them years before for all the Dwarves gold.

As mentioned it was lovely to go back, the air of familiarity was there. The Hobbit also blends and references The Fellowship of the Ring very well. The soundtrack, costumes, cinematography and humour from the previous trilogy is all there. One prime example (without giving too much away) is a scene between Gandalf, Galadriel, Saruman the White (Christopher Lee) and Lord Elrond. I couldn't help but have a smile on my face during that scene, and it wasn't even a funny scene. There were other moments like that as well.

But not all is well in the Shire.

I may have been one of the few that weren't jumping up and down when it was announced that the original two films planned have been stretched to three films. First off, The Hobbit is one book and two scripts were penned and essentially filmed. Peter Jackson has also admitted (beyond the normal changes that come with a film adaptation) that they were expanding and adding scenes that were mentioned in the appendixes of the book. Yes, this may not be a bad thing overall, but adding a fluffing a story and stretching it out unnecessarily is a bad thing. I felt that this was my main issue. The Hobbit on its own isn’t as complicated a story as The Lord of Rings trilogy, and I feel as least with An Unexpected Journey that despite stretching and fluffing, I still can’t name all the thirteen dwarves. That beyond eating, singing, being gross and messy, and joking around there was no character development there. I feel that the adding and fluffing takes away from the story rather than strengthen it. It makes for a weaker film overall. That to me is the difference from the previous trilogy. It will be interesting to see how the next two films deal with this.

There were also one too many last minute saves for my liking. Even for a fantasy genre.

The performances are lovely and help carry the film as well. Martin Freeman as Bilbo has the large task of leading and carrying the film. He gets Bilbo’s personality. Starting out as a home body to reluctant hero and all the emotions and nuances that come along with it is shown with ease by Martin. His resemblance to Ian Holm, who plays the older Bilbo, is uncanny. It is understandable why production waited for Martin Freeman to be free from his Sherlock Holmes schedule.

Sir Ian McKellen is Gandalf, he was born to play the part and that is pretty much that.

Richard Armitage as Thorin balances Bilbo’s and plays against him well. On top of background it offers a heart and depth to the story. It can be considered that the friendship between Thorin and Bilbo can be a parallel to Frodo and Aragorn’s, although not as heart warming. You can see through Armitage’ performance that yes, Thorin is a leader.

The stand out performance and my favourite moment of the film is Andy Serkis as Gollum. It is a motion capture performance during a pivotal scene of the discovery of the ring by Bilbo, (the exception to the stretching and fluffing) that stays with you. The character is essentially two, both Gollum and Smeagol. Serkis goes between the two with such ease that many actors can only dream of. The body posture, voice, eye movements, etc all change back and forth during a game of riddles. If Andy Serkis wasn’t tired after filming his scene(s), I was just by watching him.

Despite a weaker plot and characterization, the film is enjoyable and satisfies Lord of the Rings fans and worth seeing it on a large screen, no matter what version you see it in.

The Hobbit: The Desolation of Smaug and The Hobbit: There and Back Again will be released late 2014 and 2015 respectively.

Thursday, 29 November 2012

10 Tips To Dating A Cinephile

"Film is Truth 24 Frames a Second, and Every Cut is a Lie." - Jean-Luc Godard

A former classmate and friend posted this on her personal Facebook page, and I had to share it because it is so brilliant and pretty darn accurate. Some pertain more to me than others, but in the end they all do to some degree.

This list is from the website "whatculture.com" and after reading this list, I ended up passing a significant amount of time exploring the site and reading other lists that are film and TV related.

http://whatculture.com/film/10-things-you-should-know-about-dating-a-cinephile.php/10

I will admit that I have some trouble thinking of myself as a cinephile, because I don't consider myself a film expert. I feel that I still have an incredible amount to learn about this art form that I have been in love with since childhood, and I am always attempting to continue my film education. On top of that, there is a an undercurrent of snobbishness that is associated with being thought of as a cinephile that is in part true, I admit.

Finally, I still have hundreds, if not thousands of films I still need to watch.

Here we go!

So, it seems that super hunky fella or that totally choice lady has caught your eye. Well, first let’s step out of the 1950s, and next, let’s hone in on what you feel might be a problem. It seems your hopeful significant other is, in fact, a self-proclaimed cinephile. They’re movie obsessed. They’ve seen more frames of footage than you’ve drawn breath. They know more movie scripts line-for-line than you even do words. They are intimidating, because they’re wanting to bring you into this world of celluloid.

Don’t panic. Cinephiles aren’t all that bad, but it’s important to remember they certainly aren’t perfect. They’re open to a complete world of cinema, which means that they’re probably pretty open-minded about…well, anything. They’re probably pretty-well versed, but could possibly be a bit socially awkward. Below are some things that you can sort of expect from the likes of a cinephile. Some good, some bad, and some fairly universal.

Good luck on your first date and prospective relationship! Just remember…

10) We Don't Make Out in the Theatre

The idea of smacking your lips around with our own is a foreign concept when the lights dim and the projector starts up. It’s not that we find our dates unattractive or repugnant; it’s simply that we didn’t come see a movie to ignore it, no matter what the movie is. Even if we’re not into the film itself, it’s entirely possible that we might feel guilty if we don’t actually sit there and watch it. You might try and fool us by buying us tickets to see the new Ice Age, but I can assure you that you’ll be greatly disappointed if you go in expecting to get some action and come out learning about which scenes had un-rendered animation.

The theater is a place of respect. Like the religious with church, theater is where patrons come to adorn the work created and crafted for us, and dammit, we’re going to adorn and respect it even if it’s complete croshwaddle. That’s not to say we’ll enjoy the picture. Hey, we might even be so bored or disgusted by its contents that we walk out. But while we’re in there, you would do well to keep your lips to yourself. In our minds, there’s nothing romantic about traveling to a public location, sitting in a room with an enormous, lit-up screen, and ruining the theater experience for others by playing a game of tongue-choke.

Just let us mosey about in our natural habitat for two hours, then you can take us home and listen to us talk about the film for another two hours.

9) We Remember Dates By Years in Film

What were the years of the Civil War? *Thinks back to Glory. “1861-1865.”
When did the Titanic sink? *Thinks back to Titanic. “1912.”
When was the Writers’ Strike? *Thinks back to what won Best Picture that year. “2007-2008.”

This is how films help us in a practical way. See enough movies about true-life events, and they’ll be engrained in your head. I can’t tell you how to solve an algorithm of U x 76 pi, or even if that is an algorithm at all, but I can tell you all the important events of 1991 because The Rocketeer was released that summer. Does it make sense? Not much, but there it is.

Want us to be able to remember our anniversary? Take us out to see a movie. We’ll remember, if nothing else, by the release date. Are you really paranoid about us not remembering the day we got married? After the service, tell the driver of the car not to take us to the airport and our honeymoon, but to make a beeline for the nearest showing of Madea’s Giraffe Exploitation(working title). It may seem silly, but it helps us. And then we’re able to fire back a lot of details about that day, if the movie left a big enough impression (good or bad).

“Of course I remember, honey. You wore white that day.”
“That was my wedding dress.”
“And here I am, not wrong.”

8) We Complain About Things in Movies You Probably Didn't Notice

Product placement. Faulty editing. An off-kilter mis-n-scene set-up. Maybe you didn’t notice, because you were actually involved with the picture itself. Maybe you don’t even know what those things are. But a cinephile will often distance themselves from a picture and have a hard time coming back to it when something stands out that warps out of the story being told. When Mountain Dew bottles line a floor or when we linger on a Ford logo for a bit too long, cinephiles roll their eyes. It may have shot over your head and you’ll probably be wondering what we’re complaining about by the time the movie’s over.

Cinephiles have an appreciation for the components of film, which includes elements of editing, narrative, set design, stunt practicality…which means we have a lot to complain about when something stands out enough to push us out of the film. And a lot of times, we’re called pompous or pretentious because we can’t ignore it. Or because we waste time on thinking about it. But the fact is, when you see as many movies as we do, it sticks out because it’s often the result of laziness. And we hate laziness. You hate it when your sports team starts to slack off on the field, and likewise, we hate it when the director slacks off behind the camera. No, there’s nothing we can do about it, but it’s there and it’s annoying.

Just nod your head and listen to us. Maybe hold our hand or stroke our arm. But let us get it out. If we see that you’re genuinely listening to us, we’re more prone to invite you in to further discussions that may not be so one-sided. And that’s where the connections are made. We’re a lot to put up with over such a simple thing, but we will try to make up for it, I promise.

7) Memorabilia Is the Best Present

Every year for Christmas I ask for the same thing. Movies. Every year, I just say that one word and my family shrugs and sighs. And almost every year, I get a collection of films I either already own or loathe with a burning passion. I have no one to blame but myself, because I strangely assumed that the people closest to me know exactly what I know, or that they really care enough to go out and search for “those daggum movies Cameron ain’t seen yet!” And how unfair of me is it to put all that on them? Incredibly. It’s just another unrealistic expectation.

But there is a solution to outsmart both me and the other cinephiles out there. Unless we’re all packrats, cinematic memorabilia is almost always appreciated. Even if it’s from a movie we haven’t seen or that we hate, we’re still prone to thinking the gift you gave us is pretty damn cool. Like lamps! I personally can’t stand A Christmas Story, but if you got me a Leg Lamp, you can bet your bottom dollar I’ll display that mofo like it was a photo of my son winning the Indy 500 (that’s a joke, I’d never let my son go to Indianapolis). I was in the mall the other day and saw a Boondock Saints lamp, in the shape of two guns. I can’t stand the movie, but I also can’t legally say the things I would have done to own that lamp.

And for many, movie posters are the bomb. From the 80s, from the 90s, from Japan or other countries…movie posters are pretty much always awesome, as long as they aren’t from The Accidental Husband.

6) We Secretly and Unfairly Judge Everyone We Meet by Their Favourite Movie

Movie taste is very telling. There’s often quite a difference in personality between people who’s favorite movies are the likes of The Deer Hunter and Schindler’s List versus those who swear up and down that the remake of The Nutty Professor is a cinematic staple. And you should never completely judge who someone is based on some of their favorite movies. This article proves that some of the best minds in Hollywood unabashedly love films that make us tilt our heads with questioning.

But since cinephiles are prone to bridge the gap between real life and celluloid, you should know that we’re very much getting a feel for who you are based upon your subjective film taste. For some of us, it’s a good barometer for film discussion and if we’ll be able to make a connection with you at all. If you tell a hardened Tarantino fan that the last Tarantino movie you enjoyed was Lock, Stock, and Two Smoking Barrels, then you’ve just unknowingly shut yourself off from being seen as relatable. Often times, cinephiles will correct your mistake (sometimes pompously), and then make an effort to change the subject from film, seeing as that you probably won’t find much common ground.

This isn’t to say you can’t get along or date someone who’s favorite movie is Band of Outsiders if yours is just The Outsiders, but you should be prepared for that conversational shut down.

5) We Understand Demographics and Will Watch Movies With That Understanding

Real cinephiles will laugh at Twilight, but their laughing comes apart from the rest of the world. People who have watched everything from Bambi to Battle Royale probably have a good grasp of demographic, so when they watch Twilight, they often-times are intelligent enough to compare it to the likes of movies in the same vein. We often laugh because Twilight has slopped together editing, laughable writing, and malnourished acting. We’re not exactly laughing at the premise, like so many people are. In fact, we’ll probably point you in the direction of the 1987 film Near Dark, which is the darker side of the Twilight coin.

And we also understand who Twilight is being marketed to, as well. The trailers and marketing do not pander to a hard-action, male-oriented audience. So, when guys often gang up on the films, it’s because they’re seeking it out. They’re going out of their way to disregard something, which is idiotic in and of itself. Not convinced? Let’s take this stance then:

Imagine that you grow up wanting to follow in the footsteps of the legends of your chosen medium. You practice and find that you have the natural talent for it, you just need to be refined and marketed. You’re discovered and trained and thrust into the spotlight for wild success. And then you realize that you’re, strangely, the butt of everyone’s joke. Sound familiar? If it doesn’t, ask Justin Bieber, a kid who makes music for girls his age and is often called a homosexual for it. Think about how confusing that must be for an artist who watches Usher, Stevie Wonder, and Michael Jackson make songs for women and come out clean, and when he does the same, he’s smacked about as a homosexual with negative connotation. Maybe music critics pass him off the same way movie critics pass off Twilight, but at least they’re doing it by the merits of the medium and not the overexposure of the product.

Cinephiles understand demographic fairly well, so prepare to have discussions based on that end of the spectrum, and not the side of wild, illogical hate.

4) We Relish Intelligent Cinematic Competition and Debate and Can Turn into Total Jerks About It

If you haven’t noticed, movies are a pretty big deal around here. And cinephiles will get exceptionally riled up about film the same way teenagers with access to the Internet get riled about politics. We love debate, and we love winning even more. We love the engagement and hearing opinions, because it makes us feel like we’re actually using our “movie knowledge” in everyday life. But if you know something about movies that you know this cinephile is getting wrong, then don’t back down. Don’t let it go. Are you listening?

DO NOT LET THE CINEPHILES WIN.

We talk about movie themes and styles and directorial choices like we were there first hand, and we need to be pulled back, sometimes. Because, no, we don’t know everything, but we do need moments where we act like we do. It’s therapeutic for us, and having these conversations with us will makes us feel comfortable with you in the end. But if you always let us win, we’ll start to shut down in future debates. We’ll have a tendency not to listen to you, despite how well-argued you may have become. Don’t concede. Don’t let us win.

And please, please love us anyway.

3) We Become Giddy at the Prospect of Certain Projects

Why were people so excited about The Avengers? Half of it was because it was a project on such an enormous scale, but cinephiles were practically convinced of its success the moment it was attached to the name of Joss Whedon. It was a moment where we felt that Hollywood had reached down and hand-picked the perfect director all for us. It made us giddy. The idea that Christopher Nolan took an entire Batman trilogy under his wing made us giddy. Even smaller projects like J.J. Abrams teaming with Spielberg to make an 80s coming-of-age homage in Super 8 made many people giddy.

That’s the magic of cinema, and it can hit you at practically any age. The giddy don’t go, Joe. And if you’re planning on dating a cinephile, you should prepare for our giddy moments, which will seem silly because of how distant the medium may seem to us. To you, it could be “just a movie,” but for us, “just a movie” is what is the undercurrent to our lives. So, forgive our giddiness, and please try to find it cute if you can.

2) We Know Better Than to Compare You to a Movie Character

here are lots of articles on this site about “Movie Boyfriends/Girlfriends We Wish Were Our Boyfriends/Girlfriends.” And they’re very entertaining, and for a lot of people they could be very true. However, in one of the rare cases of where cinephiles are able to separate film from reality, we understand that you, our prospective date, are not someone out of a movie. We are fully aware that you are a person, with flaws, and you might be lacking in the creatively romantic department. We don’t expect you to be Lloyd Dobler or Ramona Flowers. We’re ecstatic with you just being you, and we don’t need a movie romance.

That’s why we’re excited by movies that get it right. Movies like High Fidelity or Before Sunrise that showcase real relationships not laden with over-enthusiastic, romantic epiphanies. We understand that a life mirroring Love, Actually would drive us absolutely crazy. There’s a time and place for super, sappy sweetness, and we’ve put that time and place in the movies. So, don’t feel like you have to live up to these incredible standards set by the likes of Tom and Summer; we’ll want you just the way you are.

However, convincing us that we aren’t movie characters might be a bit of a challenge.

1) We Will Make You Site Through The Credits

Now, not every one of us is like this. I don’t make my girlfriend sit through the credits unless I know there’s something coming at the end. Though there are a few instances in which I’m curious as to which special effects companies were involved, etc. etc. In those cases, I do ask that my lady stays. And odds are, you might be asked too. Luckily, you don’t have to stay silent and it’s a good time to start your conversation about the picture.

Just don’t look at your date with crazy eyes if they ask to stay for the credits. Pretend it’s because they want to spend more time with you if you have to.

I hope you enjoyed this fun list as much as I did.

Saturday, 24 November 2012

Film Review: Silver Linings Playbook

Directed by: David O Russell. Screenplay by: David O. Russell and adapted from: The Silver Linings Playbook by Mathew Quick. Stars: Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker. Released November 2012

When Silver Linings Playbook won the Audience award at the 2012 Toronto International Film Festival I, and many others were surprised. Many thought that Ben Affleck’s Argo (an enjoyable and pretty solid film all around) was going to win. Then this little film that almost came out of nowhere continued to win at the Hollywood Film Awards, Gotham Awards, Austin and Philadelphia film festivals among other festivals and award ceremonies. Now with awards season about to begin in earnest, Silver Linings Playbook is considered one of the top contenders.

The story of Pat (Cooper) who suffers from bi-polar disorder after being released from an eight month court ordered stay at a mental health facility, as a result from beating (almost to death) the man who his wife has cheated on him with. He still believes that (despite a restraining order) he can reconcile with his wife. He then meets Tiffany (Lawrence) a young misunderstood widow who out of depression, anger and loneliness isolates herself and is known for being the former town slut who is “crazy” herself.

It is difficult to blend drama and comedy when it comes to issues of mental health, especially with the social stigma (and still largely misunderstood) attached to bi-polar disorder and crushing depression. Thank you Charlie Sheen. David O. Russell does a decent job of the blend and the film is an overall crowd pleaser, but I personally would have liked a grittier look at these issues. At times the film feels a little too much like a romantic comedy for my tastes and metal health is more of a plot device to make the characters quirky and these serious mental health issues more fun than how they can seriously affect one’s life and those around who love them.

The performances and the chemistry are the stand outs in the film. I’ve only seen Bradley Cooper in a few other films and was/still am neutral when it comes to him as an actor. I don’t think he’s terrible but I haven’t been blown away by him per se. He does seem to want to challenge himself as an actor and break away from the image of his character from The Hangover and I respect that. I agree that that this seems to be his strongest performance so far. His comedic talent comes in handy with the witty dialogue but doesn't overshadow when the dramatic emotions and moments that come along and often at the same time. It doesn't feel like a forced performance and you want Pat to succeed in staying positive, believe in his “silver lining” theory and be able to handle his illness and live his life. He shows a range of emotions throughout the film and even within the same scenes seamlessly. Some believe a nomination is possible for Cooper, I wouldn't be totally surprised if it happens, but a win is long shot. If he continues with performances like this in his career he will be known as a strong actor with a sold resume.

The standout performance for me was Jennifer Lawrence as Tiffany. At this point in the Oscar race for lead actress, it seems between Jennifer and Marion Cotillard (Rust and Bone). You also can’t exclude the Harvey Weinstein connection and power behind Jennifer’s campaign, but that’s another discussion altogether. At 22 and on the cusp of her second nomination, Jennifer Lawrence is showing that all the talk of her being a force is true. In her short career Jennifer has showed range in terms of the types of characters she can play. She can do young (Katniss Everdeen, Mystique) and mature (Ree in Winter’s Bone) among other characters along with her subtle and effective performance as Tiffany. Tiffany is still dealing with her husband’s death and the result of her actions after. She is aware of this and accepts her issues as well as how others see her and doesn't shy away from it. In her words “I like the messy parts of myself.” At the same time she does attempt in her own way to deal with her depression and anger and live her life. Jennifer also shows the ability of depicting a range of emotions in a short amount of time that doesn't feel forced and realistic to someone in her situation.

As mentioned before with both characters, my minor issue is that at times mental health feels more quirky, but the face paced and witty banter between Pat and Tiffany is one of the standouts of the film. I’m personally harsh when it comes to on-screen chemistry and often am not impressed in romantic couples with their chemistry. It’s not mind blowing, but they play off each other well and I became invested in their relationship and how they were helping each other heal. I’m not the only one who liked the chemistry between Bradley Cooper and Jennifer Lawrence. Producers liked what they saw so much the two were hired again and will be seen as husband and wife in the depression era film Serena next year.

To round off the solid performances is Robert De Niro as Pat’s father-Pat Sr. His gambling on football and superstition (borderline OCD) can be seen as a parallel to Pat Jr’s bi-polar. He wants a relationship with his son, but the two often clash, but in the end and not surprisingly manage to mend their relationship. Jacki Waver as mother and wife adds a touching and sympathetic perspective as well. Chris Tucker as a fellow inmate of the mental health institute that Pat stayed at adds comedic levity to certain scenes, but in the end his character doesn't actually add anything to the plot and story.

It’s not a typical romance and David O. Russell does well once again showing family dynamics and drama like he did with The Fighter. The performances in the end are the stand outs, but the portrayal of bi-polar and depression is attempted to have a light shed upon them and the stigma taken out, but falls short when used too lightly in moments. In the end it is still enjoyable and a strong film and I became invested.

Sunday, 18 November 2012

Film Review: Lincoln

Directed by Steven Spielberg. Staring Daniel Day-Lewis, Sally Fields, Tommy Lee Jones, Joseph Gordon- Levitt, David Strathairn . Screenplay by Tony Kushner and adapted from Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin. Released: November 2012

I love history and learning about it, but I’d the first to admit that I am no expert. Beyond conversations with my father (another history fan) watching TLC, A&E, TVO specials and other documentaries, and courses I've taken in school, my history education stops there. I've also been vocal in my belief that film and books can be an amazing catalyst to learn about history and culture.

It’s an enormous task to condense the life of one of the most revered presidents, not just of America but the world. Spielberg and screenplay writer Tony Kushner knew better than this and have decided to keep the focus on the last four months of Lincoln’s life (oh right!! spoiler!) and one of the president’s and history’s greatest achievements, the thirteenth Amendment to the Constitution that leads to the abolishment of slavery.

It is a very dialogue heavy film and at times I felt I needed a dictionary, so be prepared. During the two and half hour film we see the backroom politics, the buying of votes, the discussions and meetings, senate sessions all leading up the vote and the end of the American Civil War. There is a lot of detail that is in the film and at times it can feel a bit much. I felt that I should have known the names of the senators and their role during this time. There is some comic relief provided by the three lobbyists hired to secure votes by Secretary of State William Seward (Strathairn), and Lincoln’s love of telling long stories before he makes his point. You also realize that politics in 1865 were not that different than politics in 2012.

I’m also known for my love for Daniel Day-Lewis and he can pretty much do no wrong in my eyes. If I ever, by the powers that be, were to be in his presence, my fantasy is a lovely conversation about art and culture with a bear hug at the end. I know myself well enough that in actuality one of two things would happen. Fall on my knees and claim “I’m not worthy, I’m not worthy!” a la Wayne Cambell and Garth Algar. Or I would be frozen and unable to communicate at all, forever to regret the missed opportunity late into my spinsterhood alone with my fifty cats.

Day-Lewis once again shows why he is considered by many one of the greatest actors, ever. It is a controlled and overall quieter performance by Day-Lewis, where eye movement and facial mannerisms are highlighted, but you can’t take your eyes off from him and presence and charisma as Lincoln holds you in. Lincoln’s voice when the trailer was first released was greatly talked about, that it wasn't the traditional lower bass type voice. Both Spielberg and Daniel Day-Lewis have discussed that through research with historians, along with documents by those who describe Lincoln’s voice, that it was a higher tone. Of course we can’t know exactly what his voice was like, but combined with their research and Day-Lewis’s hearing of “a voice” in his head (as he does with all his characters) a “Lincoln” voice was conceived to the best of their knowledge.

Lincoln was known as a tall man and with a presence around him. The humanization of Lincoln is unlike any other portrayal I’ve seen before. One example is Lincoln himself getting on his knees and poking the fire and adding another log, all while discussing matters of state. Lincoln helping his wife Mary (Fields) untie her corset and even sleeping on the floor, cuddling his youngest son. These little things and others help to show him as just a man, husband and father. Don’t let the quiet fool you though. When Lincoln is talking or addressing a crowd, all eyes are him and he is in charge. Lincoln is shown as a man, not some American demi-God, who would listen to various people and opinions, take his time and agonize over a matter, but in the end and as seen through his words in a dramatic speech to get the final two votes he needs, “I am the President, cloaked in immense power! You will procure me these votes.” Where Daniel Day-Lewis’s performance as Bill the Butcher and Daniel Plainview was all about how bombastic and larger than life they were, Day-Lewis’s Lincoln is equal but in the subtleness and detail in the performance.

The supporting cast is equally strong. Some of my favourite scenes were the ones between Lincoln and his Wife. Sally Fields is the strongest I've seen her in a long time. She fought for the role of the misunderstood Mary Todd Lincoln, and it shows how passionate she was about it. The couple argue, they laugh, have difference of opinions and share the grief of a lost child. The term first lady was made for a reason. Tommy Lee Jones as radical Republican Thaddeus Stevens who worked for thirty years for racial equality makes you laugh with his speeches and then cry with his reaction once the vote passes and his personal connection to the importance of it. A supporting nomination for Tommy Lee Jones is pretty much a certainty. Others include Joseph Gordon-Levitt, as the eldest son, Todd, even in his few scenes managed to show a young man struggling living in the shadow of his father and wanting to make his own mark in the world very well.

As mentioned before the film is rich in its detail. The costumes look as authentic and as uncomfortable as they probably were. When there is a wool blanket wrapped around Lincoln, you feel cold yourself. The settings help to bring the world to life, such as The White House, the senate room and trenches that are dirty and a horrific place where no one should be.

Although the political players were not African American and it is about the political process, the only “non-white” characters are shown briefly throughout the film as solders, maids and butlers. Maybe I’m being overly sensitive, but that felt a little odd for a film with this subject matter.

True to Spielberg's style, the ending is hopeful and with a message that is meant to resonate today as well, just as it did then. That we are all equal.

Thursday, 15 November 2012

Film Review: Skyfall

Directed by: Sam Mendes. Staring Daniel Craig, Dame Judi Dench, Javier Bardem, Ralph Fiennes. Written by Robert Wade, John Logan and Neal Purvis; inspired by the novels of Sir Ian Fleming. Released: November 2012.

With it being fifty years since Sean Connery first donned the tux as the iconic British Spy, the question of how to keep James Bond relevant and fresh cannot have escaped the minds to all those involved with the twenty-third film in the franchise-Skyfall.

The theme of relevance and old vs. new was prevalent throughout the film, from the start with the classic opening credits to Adel’s theme song of the same name. Does James Bond still have what it takes to get the bad guy? Is Bond still relevant and his “old school” espionage style (originated during the Cold War era) capable of outsmarting this new world of cyber hacking or cyber terrorism, and not the traditional bad guy out for world domination. There was hardly a scene where this was not brought up to some degree; whether it was Bond’s physical (and mental) health and capability to go up against Silva (Bardem) to the importance of MI6 in the twenty-first century.

One personal favourite example is when Q tells Bond that he can do more damage while on his computer in his pajamas before he finishes his first cup of Earl Grey tea in the morning. Ending the scene with Bond looking unimpressed with his new gun and a radio/tracking device, Q responds “What did you expect, exploding pens? We don’t really go for that anymore.”

Continuing with the old vs. new theme and at the heart of the story and plot is the relationship between M (Dench) and Bond. I can’t think of another Bond film that places such importance on this and explores it as deeply as Skyfall does. It was a smart move that adds an emotional pull for the audience and adds a depth of character and adds to the characterization and history of Bond and M where we thought we knew everything already. It makes it more than a regular Bond/action/spy film.

You can’t have a Bond film without a villain. I’ll admit that when the first photo of Javier Bardem as Silva was released I was a little worried. Here he was again, a bad guy with bad hair. Where they trying to go for another Anton Chigurh? Fortunately that is where the similarities end. On top of the characterization being different, Bardem’s talent shines through. His physical mannerisms, voice and overall demeanour is all different. DUH! It’s called acting. Not that I ever thought Bardem was a bad actor (watch The Sea Inside and Biutiful for further confirmation).You can tell that Bardem had fun with this. Silva is a great blend of classic Bond villain with a modern edge.

Director Sam Mendes was a bit of a gamble by MGM to direct, but it paid off, literally, with Bond’s biggest opening. Mendes is a genre and character driven director and it is noticeable throughout the film. MGM whose recent financial troubles nearly bankrupt the studio and almost sold the rights to Bond put the film on hold, but once their troubles were over, they fast-tracked the production. MGM also recently announced that Daniel Craig (who once again is a great Bond) has signed on for two more films down the line before he gives up the tux (ending his reign as Bond not long before his 50^th birthday). It’s all full circle in the end, isn’t it?

A Bond fan or not, Skyfall is an entertaining film from start to finish.

Little Film Buff

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