Jeffrey Wells The GoGo in-flight wifi that I paid $12 bucks for sucks so I can’t really watch this, but right off the top I have a problem with the title “Cinematic Joy,” and especially if the editor is a guy named “MrBenZuk.”
Wait…the wifi is working better now. I’ve seen about 55 seconds worth. The best year-end montages express interior stuff — themes, moods, unspoken things. Mmmm…I’m not sure Zukky is after that.
There are so many things in Asghar Farhadi‘s A Separation that attract admiration or delight, but one of my favorite parts is the finale. I’m not giving anything away by saying it doesn’t end with a definitive answer but a question, and particularly with a choice not yet made. For me it’s nothing short of brilliant. The audience that I saw A Separation with in Telluride was clearly delighted. I’m trying to think of an American film that has played its cards this way.
TheWrap‘s Steve Pond has suggested that Golden Globes emcee Ricky Gervais could make a joke or two about Angelina Jolie‘s In The Land of Blood and Honey being nominated for a Best Foreign-Language Film GG nominee because the HFPA just wants her to attend, etc. I honestly don’t think there’s a joke there. Jolie’s film is entirely solid and 100% respectable. Jolie could be fat and homely and unmarried and it still could have been nominated.
Our LAX-to-JFK Virgin flight just passed over Republican City, Nebraska. Is there a town in Oregon or Northern California called “Liberal Corners” or “Leftyville”?
The guy in front of me has a little extra leg room because he’s sitting right behind the plastic, blue-tinted panel that divides first class from coach, so he’s doing pretty well. But with that extra comfort he just had to go for a little more and lean his seat back, right into my 18 inches of private space and my 13″ Macbook Pro. Uhm…Fred? I’m trying to work here and it’s pretty tight as it is without you being a thoughtless dick about it. Okay, thanks…much appreciated. He doesn’t know how lucky he is. If he hadn’t complied I would done the old accidental-spillage-of-Coke-on-his-head routine.
Drive‘s awards consultant on the “seemingly monumental oversight” that resulted in Albert Brooks not being included among SAG’s the Best Supporting Actor nominees, by way of Movieline‘s (and more particularly Oscar Index’s) Stu Van Airsdale: “Thank you for all of your shout-outs to Albert Brooks on Twitter and in your analyses of the SAG nominations in regards to his not being recognized today. We remain confident that the Supporting Actor race still boils down to a two-man showdown between Albert and Christopher Plummer.” In other words, calm the fuck down.
Update: This isn’t working. The Globe producers took forever to finally get started and the cab for my flight is waiting outside. But the most nominated contender is apparently George Clooney with multiple Ides of March noms on top of his expected Best Actor nom for The Descedants.
The Ides elbow apparently resulted in the Best Motion Picture, Drama nom tally rising to six instead of the usual five. The six are The Ides of March, The Descendants, War Horse, Moneyball, The Help and Hugo.
And I’m pretty sure I heard Rooney Mara‘s name mentioned this morning.
My Virgin flight leaves at 7:40 am and arrives at JFK…something like 4 pm or thereabouts. Wifi all the way plus a viewing of Margaret.
This Fandor video — produced, written and cut by Kevin B. Lee — explores a persistent Steven Spielberg signature that has been used, over and over and over, for close to 40 years. For me it provides an understanding of a kind of hacksmanship. I fell in love with Spielberg’s awe-face when I first saw Close Encounters in ’77 — we all did — but after a decade or two I got sick of it. Haven’t we all by now? No, argues Lee — “Spielberg face” is our own.
Note to chronic complainers: Lee’s video was uploaded yesterday and I thought it was worth kicking around…that’s all.
The top-of-the-page reaction to this morning’s SAG nominations from The Guardian‘s Sarah Hughes: “The Screen Actors Guild exists in an entirely different reality from the rest of the world. This is the only explanation for their frankly bizarre nominations. [The organization] seems to be going out of its way to reward the mediocre or well-known at the expense of the interesting.”
Megan Fox: “A ruby? Is this is a joke? Am I a Kardashian?” Sasha Baron Cohen’s bearded dictator: “Of course not — you’re much less hairy.”
Fox Searchlight’s L.A. publicists didn’t invite me to their recent Margaret screenings on the lot, and they’re not sending out screeners and it’s not playing theatrically in New York or Los Angeles but somehow or some way I’ll eventually see it. Hey, Kenneth Lonergan — I’m in NYC from 12.15 (tomorrow) through 12.26. Let me know if you hear of any showings.
Everyone knows the background but for those who don’t, here’s a just-posted Margaret summary from N.Y. Times critic Manohla Dargis: “To recap briefly, Mr. Lonergan had a difficult time finishing the movie; received editing help from [Martin] Scorsese; entered into legal wrangling; and a 2 hour 29 minute cut — not Mr. Lonergan’s longer preferred cut — received a cursory, perhaps contractually obligated theatrical release by Fox Searchlight.
“It was reviewed, somewhat favorably, if often with hesitations and qualifications, and then disappeared after four weeks only to become the subject of a passionate campaign to have it reshown to critics for awards voting.
“I saw the movie finally a few weeks ago and was surprised by how much I liked it, despite its unevenness. I really admire its ambition. It makes such a stark contrast to so much American independent cinema, less in terms of budget and production scale than in its towering ambition toward that most fascinating subject: another human being. Part of what Mr. Lonergan has in mind is nothing less than the inner life of a teenager, Lisa (Anna Paquin): not just her boy problems and mother troubles but the entirety of her being at a certain moment in post-Sept. 11 time on the Upper West Side, New York, the United States, the World, the Universe.
A.O. Scott: “Margaret is most certainly a movie that fights, like its young heroine, to free itself from received wisdom and genre conventions. It tries to take account of that feeling of bigness, of mystery, that lurks within ordinary experience. I’m afraid it scores, at best, a Pyrrhic victory. There are scenes as wild and insightful as anything on screen this year: the fatal bus accident that sets the story in motion; the awkward, funny, ruthlessly serious sex scene involving Ms. Paquin and Kieran Culkin; the angry, precocious classroom political debates.
“But then, after about 90 amazing minutes, it all falls apart. The writing becomes more shrill, the scenes choppier, the themes at once hectically muddy and overemphatic. And a story that seemed so wonderfully expansive dwindles back into anecdote.”
Yesterday the Richmond Times Dispatch posted a Thomas Hoffman photo of Daniel Day Lewis in costume and makeup as Abraham Lincoln, walking on or near an outdoor Lincoln set with director Steven Spielberg. The shot was taken near the Richmond state capitol on 12.8.
Slashfilm‘s Russ Fischer posted the same earlier today.