Due respect and congratulations to the six women who earlier today were nominated for Best Actress by the Critics Choice Association — The Eyes of Tammy Faye‘s Jessica Chastain, The Lost Daughter‘s Olivia Colman, House of Gucci‘s Lady Gaga, Licorice Pizza‘s Alana Haim, Being The Ricardo‘s Nicole Kidman and Spencer‘s Kristen Stewart.
Five of the above were also nominated for the Golden Globe Best Actress award (i.e., Alana Haim didn’t make the cut).
The CCA nominated Haim for having tapped into something genuine and grounded and non-actressy, but CCA voters can’t tell me with a straight face that Haim gave a more affecting and relatable performance than Cruz did. C’mon…
All of the above connected (Gaga especially with paying audiences), but HE and the Movie Godz are again declaring that elbowing aside Penelope Cruz‘s just-right turn in Pedro Almodovar‘s Parallel Mothers was a wrongo — it really was. There’s no question in my mind that Cruz gave the year’s finest female lead performance — none whatsoever.
I don’t get Penelope Cruz‘s performance in Nine — decent, respectable, nothing earth-shaking — being nominated in the Best Supporting Actress category since it doesn’t hold a candle to Marion Cotillard‘s in Public Enemies. If you add Cottilard’s fine Nine performance to the equation it really makes no sense that Cruz made the cut and she didn’t.
Except for people possibly saying “well, Cotillard won the Best Actress Oscar for playing Edith Piaf a couple of years ago so she can sit this year out.” And their deciding to simultaneously vote for Cruz’s work in Broken Embraces. Right?
We all know Mo’nique will take the award for her Precious performance. Cheers anyway to Maggie Gyllenhaal for her Best Supporting Actress turn in Crazy Heart, which her backers wanted to push in the Best Actress category before sounder thinking prevailed. My personal favorite among the nominees is still Vera Farmiga ‘s performance in Up in the Air.
The losers include Julianne Moore (A Single Man); Melanie Laurent (Inglourious Basterds); Emma Thompson (An Education) and Cara Seymour (An Education).
12:40 pm Update: The New York Film Critics Circle has just handed its Best Actor prize to Milk‘s Sean Penn, its Best Foreign Film award to Cristian Mungiu‘s 4 Months, 3 Weeks and 2 Days , and its Best Documentary award to James Marsh‘s Man on Wire.
11:45 am Update: The New York Film Critics Circle has just handed its Best Supporting Actress award to Vicky Cristina Barcelona‘s Penelope Cruz, who took the same honor yesterday from the L.A. Film Critics Association. And Frozen River director Courtney Huntwon for Best First Film.
11:25 am Update: Oh, my God — Happy Go Lucky‘s Mike Leigh has just been named Best Director by the New York Film Critics Circle. What is this? Are the New York crickets going to give HGL their Best Picture prize also? It’s a fine, well-made film as far as it goes, but c’mon…it’s not some drop-dead masterwork teeming with visual splendor. It’s just a lively, well-honed thing about a woman who drives people crazy with her happy vibes.
Hawkins won the same award yesterday from the L.A. Film Critics Association, and Brolin was nominated in the Best Supporting Male category yesterday morning by the BFCA.
I’m okay with Hawkins’ win, but at the same time not quite overjoyed. As I’ve said several times, I admire Hawkins talent and pizazz but loathed her HGL character. On top of which Kate Winslet‘s Revolutionary Road performance has gotten blanked, blanked and blanked again. Why is this happening? And what about poor Kristin Scott Thomas? Something’s really and truly not right here. Meryl Streep, Melissa Leo, Anne Hathaway and Kate Beckinsale have also been elbowed aside.
It’s interesting that the BFCA didn’t even nominate Hawkins. No accounting for taste in either camp.
10:35 am Update: Rachel Getting Married screenwriter Jenny Lumet has taken the Best Screenplay award, and Slumdog Mllionaire‘s dp Anthony Dod Mantle has won for Best Cinematography.
Incidentally, in 1956 the New York Film Critics Circle gave its Best Picture prize to….wait for it….Around the World in Eighty Days. It was bad enough that the Academy gave this nothing film its Best Picture Oscar, but the NYFCC? A major historical embrassment.
And in 1938 the NYFCC gave its Best Picture award to King Vidor‘s The Citadel. Until this moment I’d never even heard of this film, much less seen it on DVD. Robert Donat, Rosalind Russell, Ralph Richardson, Rex Harrison, etc..
“Penelope Cruz‘s work in Vicky Cristina Barcelona is the most bolt-out-of-the-blue performance I have seen since Daniel Day Lewis‘ work in There Will Be Blood, which, and of itself, was the most bolt-out-of-the-blue performance since Robert De Niro‘s work as La Motta,” writes an HE loyalist and successful screenwriter. “Nothing I have ever seen from Cruz quite prepared me for what was coming. In fact, no actress’s work would have prepared me for what she gave up here — the ultimate bi-polar portrayal, equally believable in her character’s moments of hysteria and tenderness.
“Woody Allen has given Cruz and costar Javier Bardem the gift of allowing them to navigate two languages within single scenes, sometimes even within phrases and sentences. Its sensational stuff and some sort of case study in reactive acting, in listening (even when she despairs in listening). VCB is loaded up with great performances, I believed every second of every look made and word uttered, but its Cruz’s show all the way.
“Give the release date of the film and my expectation that the movie will crash and burn at the box office, there will probably be no nomination for this woman. That will be an outrage we can all look back on.”
Whenever I think of the great Volver, the story of Penelope Cruz‘s fake prosthetic ass never comes to mind. Maybe it will henceforth, after reading Rebecca Winters Keegan‘s story in the current Time.
This Chanel Iconic Handbag spot is a tribute to Claude Lelouch‘s A Man and a Woman (’66). The dreamy mood, the black-and-white cinematography (although the original was shot in monochrome, sepia and color), Francis Lai‘s famous musical theme.
The stars of that 58-year-old romantic classic, Jean Louis Trintignant and Anouk Aimee, were in their early-to-mid 30s when it was shot in ’65. Today’s Chanel costars, Brad Pitt and Penelope Cruz, are significantly older (60 and 49 respectively) and so the directors, Inez and Vinoodh, have digitally de-aged them.
I get the idea, of course, but Pitt doesn’t look like a 30something — he looks like a late 50something whose face has been almost totally erased, certainly of character. I like the slightly weathered, crinkly-eyed guy he played in Once Upon a Time in Hollywood better.
Alejandro Amenábar‘s Abre los ojos, a psychological horror film about self-loathing and self-mutilation and penance, opened 27 years ago. I was intrigued by it but less than a fan. It was definitely an odd detour flick if I’d ever seen one.. I pretty much decided “okay, first-rate film but too unsettling and therefore never again.”
And then along came Cameron Crowe‘s Vanilla Sky (’01), an English-language remake that creeped me out even worse. It’s been 22 years and change since my first and only viewing. In my head this wasn’t a film about Tom Cruise‘s youung publisher character going through all kinds of traumas and convulsions and suppressed freak-outs…it was about me and my selfishness and assholery and self-delusion.
To this day I can’t recall another 21st Century film that made me feel quite so awful as this one.
The quality of Vanilla Sky is/was undeniable — a haunting Manhattan nightmare vibe, first-rate direction, superb John Toll cinematography, powerfully acted by Cruise, Penélope Cruz, Kurt Russell (I don’t even remember who or what Russell played), Cameron Diaz, Jason Lee, etc. It’s definitely a stretch movie — Crowe and Cruise stepping outside of their safe zone and then some.
The more I think about it the idea of re-experiencing the commanding assurance of this film, the high-dive plunge of it all, is tempting, but I don’t want to drop into that pit of dread and anxiety ever again.
HE’s 15 Richest, Best Crafted, Most Compellingly Performed Tom Cruise Films (in this order and excluding all of his high-powered, robo-bunny formula action franchise films): Jerry Maguire, Collateral, Risky Business, The Firm, Born on the Fourth of July, Rain Man, Jack Reacher, American Made, The Color of Money, Tropic Thunder, A Few Good Men, Edge of Tomorrow, Losin’ It, Interview with the Vampire, Magnolia.
HE’s 14 Least Favorite Cruise Films (excluding all of his high-powered, robo-bunny formula action franchise films): Cocktail, Far and Away, Legend, Days of Thunder, Eyes Wide Shut (very well made, compulsive watchable but finally a curiously chilly experience), Minority Report (irritating Kaminsky bleachy-gray color scheme), Vanilla Sky, The Last Samurai, War of the Worlds (good film with atrocious ending), The Mummy, Knight and Day, Valkyrie, Lions for Lambs, The Outsiders.
Posted on 7.29.15: The basic thrust of Mark Harris‘s Grantland piece on Tom Cruise (posted as part of the site’s “Tom Cruise Week” tribute) is that his decision to become the dominant 50something energizer bunny of the action-franchise realm is unfortunate because he seems to have concurrently shut down his ambitious acting game.
Eight or nine years ago Mark Harris obxserved that Cruise’s peak acting years happened between 1988 and ’99, or the timespan in which Born on the Fourth of July, Jerry Maguire and Magnolia were released. That’s because Cruise’s performance in each landed a Best Actor nomination, but that’s not encompassing enough.
Cruise also delivered riveting, touch-bottom performances as a selfish, resentful younger brother in Barry Levinson‘s Rain Man (’88) and as Vincent-the-compassionate-assassin in Michael Mann‘s Collateral, and he delivered aggressively A Few Good Men (’92), The Firm (’93), Interview with the Vampire (’94) and Vanilla Sky (’01).
With the exception of having handed their Best Supporting Actress trophy to The Holdovers' Da'Vine Joy Randolph and having honored Ferrari's Penelope Cruz with first-runner-up status, the National Society of Film Critics has voted in a somewhat curious, Planet Neptune sort of way....like the Branch Davidian Spirit Awards.
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For nearly a quarter-century Michael Mann made a series of intensely male-ish, high-stakes grand-slammers — hardcore films about headstrong fellows forging their own paths, sometimes outside the bonds of legality but always single-mindedly. And man, did they hit the spot!
The hot streak began with 1981’s Thief and ended with 2006’s Collateral, and also included Manhunter (’86), The Last of the Monicans (’92), Heat (’95), The Insider (’99) and Ali (’01) — seven films in all.
Then came the “excellent work but not quite a bell-ringer” period…Miami Vice (’06), Public Enemies (’09) and Blackhat (’15)…movies that registered as ground-rule doubles or triples. Which felt disorienting to Mann-heads given his 23-year home run history.
Now comes Ferrari (Neon, 12.25), which is made of authentic, bruising, searing stuff. In my eyes it’s another grand-slammer but what do I know? Obviously the reaction so far has been mixed-positive — many admirers but also a modest-sized crowd of dissenters.
May December‘s Charles Melton has won the Gotham Award for Best Supporting Performance. Good, fine and congrats, but may I ask where this Melton energy came from? Why did this happen? What voting bloc rammed this through? What is this?
It is Hollywood Elsewhere’s opinion, due respect, that no less than eight Gotham nominees in this category delivered far more arresting performances than Melton.
HE’s best-of-the-best is The Holdovers‘ Da’Vine Joy Randolph, closely followed by BlackBerry‘s Glenn Howerton. HE’s #3, #4 and #5 picks are Ferrari‘s Penélope Cruz, The Taste of Things‘ Juliette Binoche and All Of Us Strangers‘ Claire Foy.
Then comes Jamie Foxx in The Burial (#6), Rachel McAdams in Are You There God? It’s Me, Margaret (#7) and Ryan Gosling in Barbie (#8).
The Outstanding Lead Performance award went to Lily Gladstone in The Unknown Country, a film that no one relatively few have seen or reviewed, to go by general impressions. The urge to socially and culturally celebrate Gladstone’s Killers of the Flower Moon Oscar campaign was the motivating factor here. Congrats to her handlers.
The Best Feature award went to Past Lives…yeesh. The Gotham voters really and truly live on their own tight little island.
Yesterday’s Oscar Poker chat (the details are posted below) was lively, stimulating, funzie, contentious.
Sorry for posting it late but I’ve been trying to find my big, fat elephant-hide wallet, which has everything in it — cash, passport, driver’s license, all the cards, receipts, you name it. I was certain it had somehow dropped out of my overcoat while I was watching Maestro on Friday, 11.3, but Bernie the projectionist says it’s not there.
My last hope are the guys at Joe and the Juice, where I paid for a cappuccino sometime around 3 pm on Friday. Do they answer their phone? Of course not. You have to dig through their corporate website and then fill out a customer form. If they had the wallet, would they check the driver’s license and maybe try and call? Or reach out on Facebook? Of course not.
Jeff and Sasha recap portions of his 11.3 Maestro screening, a total turn-on event. They also discuss the Incredible Weeping Guy plus the (hopefully temporary) loss of Jeff’s elephant-hide wallet. Plus Anatomy of a Fall, Best Supporting Actress contenders, a fight with an old friend, political chatter and a discussion about how the identity-focused politics of Hollywood has ruined storytelling.
Underlining for emphasis: Incredible Weeping Guy was just behaving like a human being when he succumbed to Maestro, and that there’s nothing the least bit “wrong” or unwelcome or out of bounds about a guy tearing up during a screening. I’ve done it a few times myself — I’m just not as demonstrative as a rule.
0:00:00 – Jeff’s fight with his childhood friend over politics.
0:13:00 – Politics stuff — Israel/Hamas briefly.
0:14:00 – Jeff’s cat meows.
016:00 – Joe Biden and Dean Phillips
0:18:00 – Trump Derangement Syndrome
0:26:18 – Jeff on Maestro
0:28:00 – A Star is Born
0:36:00 – Nyad
0:39:00 – Grading on a curve
0:40:00 – Jeff’s friend openly weeping during Maestro
0:43:00 – Why storytelling matters
0:44:00 – The Holdovers — Alexander Payne’s film about kids left over at boarding school over Christmas
0:48:00 – The Taste of Things – a French film starring Juliette Binoche.
0:48:47 – Jeff’s friend “gasping and weeping” – what makes us cry in movies.
0:56:20 – May December – Todd Haynes’ film starring Natalie Portman and Julianne Moore
1:00 – Anatomy of a Fall – a French movie starring Sandra Huller about whether or not she murdered her husband.
1:20 – Most searched sex positions in New York Post article.
1:21 – Sasha’s road trip to Ohio for Thanksgiving.
1:22 – Best Actress is heating up.
1:30 – Sex in Anatomy of a Fall?
1:33 – Supporting Actress – Da’Vine Joy Randolph in The Holdovers, Penelope Cruz for Ferarri, etc.
1:33 – Outro