Tuesday, March 18, 2014

Somebody Stop Michael Bay!

In 1963 the master of suspense Alfred Hitchcock released a quiet, but haunting film about bird, yes it was called The Birds.  The suspense ridden film terrified audiences because of the simple nature of the premise, and the dark path a simple creature in nature took toward humanity.  The original film centers around Melanie Daniels, played by Tippi Hedron who is traveling in Northern California, and attacked by these vicious creatures.  The film is based on the 1952 short story by Daphne du Maurier, Hitch as he was known, as used Daphne du Maurier's work and adapted the book Rebecca into a film.  Many people will say its time for an update, but the work of Alfred Hitchcock is timeless, look at when Gus Van Sant tried to remake Pyscho.  Now imagine the production/direction of over-exploder, and visual effects extraordinaire Michael Bay, because that's what may happen.

Michael Bay is in talks to produce a re-make of The Birds with Naomi Watts in the lead role, most other details are non-existent, but this is that point when the intervention needs to happen, and someone says put down the bottle, or maybe time to think before you trounce the legacy of a film.

It's hard to believe that it was almost 20 years ago when Michael Bay began his directing career with the film Bad Boys (1995).  Bad Boys reminds me of a seen in the cancelled television series from Logo Noah's Arc. The two men are watching this inane cop duo have things explode around them as the walk in slow motion away from everything.  Bad Boys was a slow start for the director, it only made 65 million, but eventually did well in a VHS, cable world, and was the launching point for Bay's next film.

One year later explosions were becoming part of the box office game (even more), and Bay's The Rock (1996) took the concept of escaping from Alcatraz and it took it to an explosive next level.  Like all director's many films which are part of their early career are usually the best, and this is honestly true for Bay, Bad Boys is fun, The Rock is enjoyable because of Cage and Connery, these were fun 90s roller coaster rides.

The Bay blasted off into some people's hearts with the asteroid epic Armageddon (1998).  Armageddon was the second highest grossing film of the year making 201 million domestic, which was phenomenal, the average ticket price was under 5 dollars back then.  Armageddon was the beginning of the end, force feeding a story that did not matter, placing a cheesy love ballad, sounds like the beginning of the era of his I am going to try and be James Cameron type films.

Bay is seen as "the devil" by many, his directorial style is often offensive and too loud with quick cuts that never let you absorb any of the story.  Bay is quoted as saying the following "There are tons of people who hate me. They hate my movies and whatnot. But you know, hey, my films have made a lot of money around the world. 2-something billion dollars, that's a lot of tickets. They said that I wrecked cinema. They said that my, uh...cutting style. They say I cut too fast. And yet now you see it in movies everywhere. Do I take pride in people knowing my style? I think it's nice people know a director has a style. And you can reinvent yourself too."

I have two responses just because a director has a "style" which is cited does not mean its good, and just because a film makes money does not mean its good either.  He has contributed even further to the style over substance aspect of movies.

Bay tried to be like James Cameron, again,  tackling an interesting real life historical event, and use a love story as a back drop, the end result was trash, oh sorry, Pearl Harbor (2001).   The sad part is there was more time between his films, which means Bay put effort into this crap.  On his television show Rober Ebert destroyed the director/producer saying "Does he actually think we didn't research every nook and cranny of how armor-piercing bombs fell? He's watched too many movies. He thinks they all fall flat - armor-piercing bombs fall straight down, that's the way it was designed! But HE's on the air pontificating and giving the wrong information. That's insulting!"

Audiences fell for this film, it made 198 million dollars domestic.  I almost thought we had Bay on the ropes as a director with his film The Island (2005) it only made 35 million domestic, and cost tons of money.  Enter two eras of Bay, the nostalgia based franchise films, Bay has directed all of the Transformers films, and the reboot of the horror genre, Bay as producer.

Let's tackle the first, Bay has directed all three Transformers films, and is directing the fourth, which is set be released this year.  Worldwide all three of these films have made about 2.6 billion dollars, just at the box office.  Those are huge numbers, while the franchise is weakening on the domestic side, this franchise has only grown at the international box office. The Transformers films are the kind of over cut generic film making style Bay is known for, and Mark Wahlberg will not be able to change or add anything to this fourth film.

To bring things full circle, Bay is known for remaking films within the horror/thriller genre The Texas Chainsaw Massacre (2003), Amnityville Horror (2005), Friday the 13th (2009) to name a few.  Bay was also attached as a producer on the God awful The Purge (2013).  Bay will most likely be a producer on the film, not the director like with these other horror film remakes, but does this need to happen?  Does Hitchcock need a reboot?  A&E has put their own spin on Psycho with Bate's Motel, and while the ratings have proven strong, and this is a fresh look at the material, I am often confounded at the lack of originality in the the minds of people working in Hollywood.

Let's add the part that Bay's films are extremely misogynistic.  In the piece "Dark Side of Michael Bay" the author writes "Michael Bay thinks women are for sex; women are the sexy version of ‘people’ (read: men).  Michael bay only has two ‘real’ female characters in his movie because they make a comment about sex (and really isn't that the only thing they’re good for?).  The rest of his characters are male because those are the ‘normal people’ who can be protagonists and accomplish things (who would want to put those things in the hands of a woman? – which is of course where the ‘caricatured mockery of female leadership’ comes in.)"  This quote centers around the Transformers films.

There was also talk of Megan Fox being difficult, but at the end of the day the bro-fest of Bay films stuck up for the director.  Fox left the Transformers franchise after the second film, but in a world where the men stick up for the king of films for 16 year old boys are you surprised Fox was demonized?  In the the blog The Feminist Guide to Hollywood, the author writes a piece entitled "The Sexist Beatdown of Megan Fox."   The article cites the following "Bay has a history of demeaning his leading ladies, including "Pearl Harbor" star Kate Beckinsale; an individual close to the actress recalled that the director "wasn't very nice" to her on the set, either.Apparently, Fox wasn't the only "Transformers" cast member affected by Bay's rude behavior. TheWrap also learned that "Transformers: Revenge of the Fallen" star Isabel Lucas chose not to join her co-stars on a publicity tour for the film because she didn't get along with the director, who was described as being "too powerful" and "not well-liked" by the female talent community."

Not only does Bay blow up everything in site, but his representation of women is abhorrent.  I get that "women are not his audience" and that "these films are what 16 year old boys like" but at the end of the day Bay is shaping the mind of young individuals who think women should be a sexualized version of Megan Fox, sex objects for the soldier hero, or even Shia Lebouf.  Bay may have his own understanding of his style, and he may cast Naomi Watts in the reboot of his new film, but it's time for him to hit pause, and realize that his films impact the way others are made, and that the gaze of his characters, especially women, is one without depth.  While Bay still makes tons of money, his films are taking this industry in a dangerous direction, and should not be given The Birds to handle.

Thursday, March 6, 2014

American Hustle and The Wolf of Wall Street Lead the MTV Movie Award Nominations

I have to say right around this show turned into the Twilight awards, the MTV Movie Awards disappeared from my television, but if you look at the list of nominees this show has gained some solid credibility.  These could actually be fun awards to watch this year.
See the full list of nominees below:
MOVIE OF THE YEAR
12 Years a Slave (Fox Searchlight Pictures)
American Hustle (Columbia Pictures)
The Hobbit: The Desolation of Smaug 
(Warner Bros. Pictures)
The Hunger Games: Catching Fire 
(Lionsgate)
The Wolf of Wall Street (Paramount Pictures)
BEST FEMALE PERFORMANCE
•    Amy Adams – American Hustle (Columbia Pictures)
•    Jennifer Aniston – We’re the Millers (New Line Cinema)
•    Sandra Bullock – Gravity (Warner Bros. Pictures)
•    Jennifer Lawrence – The Hunger Games: Catching Fire (Lionsgate)
•    Lupita Nyong’o – 12 Years a Slave (Fox Searchlight Pictures)
BEST MALE PERFORMANCE
•    Bradley Cooper – American Hustle (Columbia Pictures)
•    Leonardo DiCaprio – The Wolf of Wall Street (Paramount Pictures)
•    Chiwetel Ejiofor – 12 Years a Slave (Fox Searchlight Pictures)
•    Josh Hutcherson – The Hunger Games: Catching Fire (Lionsgate)
•    Matthew McConaughey – Dallas Buyers Club (Focus Features)
BREAKTHROUGH PERFORMANCE
•    Liam James – The Way Way Back (Fox Searchlight Pictures)
•    Michael B. Jordan – Fruitvale Station (The Weinstein Company)
•    Will Poulter – We’re the Millers (New Line Cinema)
•    Margot Robbie – The Wolf of Wall Street (Paramount Pictures)
•    Miles Teller – The Spectacular Now (A24 Films)
BEST KISS
•    Jennifer Lawrence and Amy Adams – American Hustle (Columbia Pictures)
•    Joseph Gordon-Levitt and Scarlett Johansson – Don Jon (Relativity Media)
•    James Franco, Ashley Benson and Vanessa Hudgens – Spring Breakers (A24 Films)
•    Shailene Woodley and Miles Teller – The Spectacular Now (A24 Films)
•    Emma Roberts, Jennifer Aniston and Will Poulter – We’re the Millers (New Line Cinema)
BEST FIGHT
•    Anchorman 2: The Legend Continues (Paramount Pictures) – Will Ferrell, Paul Rudd, DavidKoechner and Steve Carell vs. James Marsden vs. Sacha Baron Cohen vs. Kanye West vs. Tina Fey and Amy Poehler vs. Jim Carrey and Marion Cotillard vs. Will Smith vs. Liam Neeson and John C. Reilly vs. Greg Kinnear
•    Identity Thief (Universal Pictures) – Jason Bateman vs. Melissa McCarthy
•    The Hobbit: The Desolation of Smaug (Warner Bros. Pictures) – Orlando Bloom and Evangeline Lilly vs. Orcs
•    The Hunger Games: Catching Fire (Lionsgate) – Jennifer Lawrence, Josh Hutcherson and SamClaflin vs. Mutant Monkeys
•    This is the End (Columbia Pictures) – Jonah Hill vs. James Franco and Seth Rogen
BEST COMEDIC PERFORMANCE
•    Kevin Hart – Ride Along (Universal Pictures)
•    Jonah Hill – The Wolf of Wall Street (Paramount Pictures)
•    Johnny Knoxville – Jackass Presents: Bad Grandpa (Paramount Pictures)
•    Melissa McCarthy – The Heat (20th Century Fox)
•    Jason Sudeikis – We’re the Millers (New Line Cinema)
BEST SCARED-AS-S**T PERFORMANCE
•    Rose Byrne – Insidious: Chapter 2 (FilmDistrict)
•    Jessica Chastain – Mama (Universal Pictures)
•    Vera Farmiga – The Conjuring (New Line Cinema)
•    Ethan Hawke – The Purge (Universal Pictures)
•    Brad Pitt – World War Z (Paramount Pictures)
BEST ON-SCREEN DUO
•    Amy Adams and Christian Bale – American Hustle (Columbia Pictures)
•    Matthew McConaughey and Jared Leto – Dallas Buyers Club (Focus Features)
•    Vin Diesel and Paul Walker – Fast & Furious 6 (Universal Pictures)
•    Ice Cube and Kevin Hart – Ride Along (Universal Pictures)
•    Jonah Hill and Leonardo DiCaprio – The Wolf of Wall Street (Paramount Pictures)
BEST SHIRTLESS PERFORMANCE
•    Jennifer Aniston – We’re the Millers (New Line Cinema)
•    Sam Claflin – The Hunger Games: Catching Fire (Lionsgate)
•    Leonardo DiCaprio – The Wolf of Wall Street (Paramount Pictures)
•    Zac Efron – That Awkward Moment (Focus Features)
•    Chris Hemsworth – Thor: The Dark World (Walt Disney Studios Motion Pictures)
#WTF MOMENT
•    Steve Carell, Will Ferrell, Paul Rudd and David Koechner – Anchorman 2: The Legend Continues(Paramount Pictures)
The Channel 4 News Team's afternoon is no longer a delight as their speeding van filled with bowling balls, scorpions and hot oil takes a tumble on the highway.
•    Johnny Knoxville and Jackson Nicoll – Jackass Presents: Bad Grandpa (Paramount Pictures)
Johnny Knoxville and Jackson Nicoll manage to strike fear into a room full of unsuspecting beauty pageant-loving parents thanks to a bump n' grind dance routine to a Warrant classic.
•    Cameron Diaz – The Counselor (20th Century Fox)
Having sex in a car is pretty much a rite of passage, but having sex with a car? Cameron Diaz's Malkinagets down and dirty with a bright yellow Ferrari to show the world how it's done.
•    Leonardo DiCaprio – The Wolf of Wall Street (Paramount Pictures)
Leonardo DiCaprio's iconic portrayal of excessive Wall Street player Jordan Belfort takes a turn for the insane when he takes his Lamborghini for a spin.
•    Danny McBride and Channing Tatum – This is the End (Columbia Pictures)
Danny McBride shows an apocalyptic world, and uncomfortable theater-goers everywhere, that there's no better pet than a scantily-clad Channing Tatum.
BEST VILLAIN
•    Barkhad Abdi – Captain Phillips (Columbia Pictures)
•    Benedict Cumberbatch – Star Trek into Darkness (Paramount Pictures)
•    Michael Fassbender – 12 Years a Slave (Fox Searchlight Pictures)
•    Mila Kunis  – Oz The Great and Powerful (Walt Disney Studios Motion Pictures)
•    Donald Sutherland – The Hunger Games: Catching Fire (Lionsgate)
BEST ON-SCREEN TRANSFORMATION
•    Christian Bale – American Hustle (Columbia Pictures)
•    Elizabeth Banks – The Hunger Games: Catching Fire (Lionsgate)
•    Orlando Bloom – The Hobbit: The Desolation of Smaug (Warner Bros. Pictures)
•    Jared Leto – Dallas Buyers Club (Focus Features)
•    Matthew McConaughey – Dallas Buyers Club (Focus Features)
BEST MUSICAL MOMENT
•    Backstreet Boys, Jay Baruchel, Seth Rogen and Craig Robinson – This is the End (Columbia Pictures)
Spoiler alert! Backstreet Boys reunite in heaven to perform "Everybody" with signature boy band moves and flair for this unforgettable apocalyptic ending.
•    Jennifer Lawrence – American Hustle (Columbia Pictures)
Lawrence cleans and dances her frustrations away as she mouths the words to 70s classic "Live and Let Die."
•    Leonardo DiCaprio – The Wolf of Wall Street (Paramount Pictures)
During his wedding reception, DiCaprio's fraudulent Jordan Belfort pops and locks it to Bo Diddley’s"Pretty Thing."
•    Melissa McCarthy – Identity Thief (Universal Pictures)
To ease the tension of stealing Sandy's identity, McCarthy's Diana shows her musical range as she attempts to sing along with the car radio -- and even hits that high note in "Barracuda."
•    Will Poulter – We’re the Millers (New Line Cinema)
With eyes wide shut, Poulter's Kenny Rossmore throws it back to the 90s with a hilarious rendition of TLC's "Waterfalls."
BEST CAMEO PERFORMANCE
•    Robert De Niro – American Hustle (Columbia Pictures)
•    Amy Poehler and Tina Fey – Anchorman 2: The Legend Continues (Paramount Pictures)
•    Kanye West – Anchorman 2: The Legend Continues (Paramount Pictures)
•    Joan Rivers – Iron Man 3 (Walt Disney Studios Motion Pictures)
•    Rihanna – This is the End (Columbia Pictures)
BEST HERO
•    Henry Cavill as Clark Kent – Man of Steel (Warner Bros. Pictures)
•    Robert Downey Jr. as Iron Man – Iron Man 3 (Walt Disney Studios Motion Pictures)
•    Martin Freeman as Bilbo Baggins – The Hobbit: The Desolation of Smaug (Warner Bros. Pictures)
•    Chris Hemsworth as Thor – Thor: The Dark World (Walt Disney Studios Motion Pictures)
•    Channing Tatum as John Cale – White House Down (Columbia Pictures)

Wednesday, March 5, 2014

What Happened to "Must-See TV"... as Paula Cole would say Where Have all the Great Comedies Gone?

So I am going to preface this saying, I will sound like a crank, a person nostalgic for something which may not be possible anymore, but go with me on this journey.  Around this time, but in January, 43 years ago All in the Family was a mid-season show, and while I was not alive at the time I do know that at this time in history mid-season shows got far less of a push then they do today.  All in the Family is regarded as one of the best television programs of all time, there was not only a message, but it was funny.

While All in the Family was probably both the most popular with audiences, and well liked by the Emmy Awards, there were numerous other comedies in the 70s which also had messages, and pushed boundaries. The Mary Tyler Moore show was one of the first shows about a single girl making it on her own.  Maude was a brash no nonsense feminist, and liberal, who at one point in time got the show's early history got an abortion, the show aired two months before Roe vs. Wade.

In the 70s comedy had a lot of boundaries to push, but comedy has not always been about the issues. Cheers was about a bunch of people sitting around in a bar.  Seinfeld was about, well nothing.  Friends was about friendships, and their misadventures.  Frasier was about a radio broadcaster, his family, and his search for love.  The Cosby Show, which happened to be about a black family, just dealt with typical family matters, not to be confused with Family Matters.

That's not to say that The Cosby Show did not push boundaries or mean anything because it did to the landscape of television.  Cosby was the first show to represent African Americans as doctors, and lawyers, who had success.  Television comedies were still hilarious, but meaningful in the 80s, 90s, and even into the early 00s.  Murphy Brown took Maude a step further, Brown owned her words, and shared them as a broadcaster; she also became a single parent.  The Golden Girls challenged the American norms that life ends after 50.  Designing Women showed four strong independent women running a business, while mixing in message about domestic violence.  Will & Grace was the first sitcom to focus on a central gay male character, and there representation of the supporting characters was one of the first shining glimmer of the understanding of being queer with Jack and Karen.  While many of these shows were not at the top of their game all the time, their legacy is greatness, after 2005 how many "great" comedies or sitcoms have existed?I began to think about this with the end of The Office last year.

The Office had all the elements of Cheers, but instead of a bar, this centered around a an awkward group of misfits working at a paper company.  Was Michael Scott's off putting humor the flaw?  Why didn't people tune into this show people have tuned to other popular sitcoms over the years?  Is it the format, it's different, and that does throw people off.  The Office started before binge watching, and the culture of watching things online.  Sure people were watching things online, and Netflix existed, but these avenues were not as large as they are today.  Part of the problem is probably NBC who has lost their mojo, but NBC does not have the patent on "must see TV."  That title for sitcoms belongs to CBS these days.

CBS sitcoms are the highest rated, and their two dominant shows between 2005 to the present have been Two and a Half Men, and The Big Bang Theory.  Will these two shows be seen as "great?"  I do have a feeling that Big Bang will have a much stronger legacy, and if you take out the laugh track, there would probably be crickets in your living room on Thursday nights.  The show is not bad, it adds to a spectrum of characters created in the television landscape, embracing the nerd culture, but how do you equate that let's say a Murphy Brown, Roseanne, or Frasier.  You can't.  Simply put some of these CBS sitcoms are fun to watch, but their investment in Chuck Lorre's hollow humor is missing the point to what makes television funny.  Mike & Molly, another Chuck Lorre show is a prime example, like Two and a Half Men these shows try to be sinister and darker like The Office, but their sarcasm falls flat, and makes an even bigger joke of their shows.

Back to NBC, while The Office got them mild awards attention and the best ratings, 30 Rock was their savior, and the greatest show they have created in the modern era of comedy.  Rock was saved by critics, and fans, who saw this show about the behind the scenes of an SNL-like shows as something important. Alec Baldwin was the modern day Archie Bunker, like with All in the Family, you had the read through the performance to realize the flaws in the man, like his mother issues.  Meanwhile Tina Fey was the modern day That Girl or Mary Tyler Moore, trying to make it her youth obsessed industry, trying to stand by her beliefs, and have it all.  Fey knows good television, and whether she intentionally mean this message or not her show, was the epitome of greatness in the 2000s.  Even with a slight rating problem, the show stayed on the air for seven years.

ABC has not been part of the conversation much, namely because they fail to give their comedies a chance. They do not nurture their sitcoms they are rather quick with a trigger finger, and have cancelled most things recently (see Happy Endings).  Modern Family is the most recent example of television that will be seen as great, and it is.  The show has some social messaging, it portrays the evolution of the family, the humor is sharp, and unlike many television shows centered around families, it does lot get caught up or lose steam because of children who grow up.  Modern Family is the best example of one of the the last "great" shows.  While the quality has lowered of the last few years, this show, still is one of the best.  Even through a weaker third and fourth season this season this most recent season has only improved.  Modern Family is that show right, now but what about the other comedies, does the cheese stand alone?

Let's look at some of the recent shows that are trying to attain that "great" or classic factor.  If you look at the nominees for Outstanding Comedy Series at the Emmy Awards, you can gather a good image of what the industry finds great at the time.  Let's start with 2006, the first year The Office debuted at the Emmy Awards, and the first year for Two and a Half Men.

2006 Outstanding Comedy Series Emmy Nominees
Arrested Development 
Curb Your Enthusiasm 
The Office 
Scrubs
Two and a Half Men

Many of you have probably been screaming, Arrested Development, Arrested Development, how could you not mention that as a great show.  Arrested Development became a classic, but while the show was on the air it got poor ratings.  Development like The Office, and 30 Rock were save by critics, and the Emmy Awards.  Development won Outstanding Comedy Series in its first year, which helped keep it on the air for three years.  Development led to the continued growth of shows like The Office, 30 Rock, and eventually Parks and Recreation and Community.  Arrested Development not only fits as a classic, but its resurrection on Netflix proves the power of the show.

Curb Your Enthusiasm is an interesting example on this list, for me its hilarious must-see television, it comes from the creator of Seinfeld Larry David, and fits within that pattern of that style of comedy.  Enthusiasm is a niche HBO show, with niche humor, like many cable, and pay cable nominees, or shows not nominated, for example Louie, Girls, Entourage, Weeds, Nurse Jackie, and Veep.  All of these shows have been nominated for this category, but at they "great," are they classics in the way we judge them in the pantheon of television history?  You may find one or two of these shows on those "top" lists at some point now or eventually at some point in history, but are they classics, do they advance the genre?  Do they they fit within the pantheon of Cheers, All in the Family, Frasier, The Cosby Show, and many more?

When I put together my list of shows that should nominated, and critics do the same, there are fewer and fewer comedies to choose from to make a top five or top six list, and even of those five or six they do not always seem to impact the the genre and the evolution of comedic television.  With larger numbers of options to watch on television there has become a fractured system in the type of humor seen.  30 Rock, Arrested Development, and Modern Family seem to be three examples people could get behind as modern classics, you could probably add The Office too.  Yet only one of these is still currently on the air, does anything on today besides maybe Parks and Recreation, or I guess I will count The Big Bang Theory resemble, or reach the level of classic "must-see" television.  Television has done such a great job with drama, and there is a rise on blended series mixing the drama, and comedy, which started with Ally McBeal.  

Yes I have ignored the blended shows throughout this piece, but let's go back to the ones mentioned above, Weeds, Nurse Jackie, and Girls.  I think you have to look at these three shows differently based on their age concept, whether they advance the genre.  Weeds is the senior member of this crew, and told the dark tale of a suburban mother turned drug dealer.  Weeds got lost in the shuffle as its quality dragged in the end years, but if you look at the basic product, it's funny, and it pushes comedy with a modern sensibility.  Things are so bad for this woman that she has to sell drugs in order to maintain her lifestyle.  This has the makings of a classic, I would argue the latter seasons ruin that more than any show like Dexter, but to me Weeds is classic television.  Nurse Jackie is in the middle, and while the Emmy Awards love this show, which is far more drama than comedy, always has been.  Showtime started rubber stamping these female lead shows, like United States of Tara, and The Big C, which I applaud, but none of them scream classic comedy, maybe Tara because the split personality thing was funny.  Girls is too new, too fresh to tell, if you asked me season one I would have said yes, season two no, and now with season three maybe.  I think Lena Dunham is a strong voice of her generation, and if she continues to bring fresh comedy to the table she can help advance the genre.

The main question is how do television comedies evolve?  How do you challenge networks, and now internet providers to bring people more laughter rather than tears?  How to does evolution of the type of comedy like more blended series with drama and comedy like Weeds find its place as a classic? I do not know that solved or further created a problem with my thesis, but I think these are interesting question.  At the end of the day comedic television has stagnated, there have been a couple shows here and there that have pushed the medium forward, and allow artists/creators to share their truly creative visions with people.








Tuesday, March 4, 2014

March Movies to See and to Skip

After another dull month besides The LEGO Movie or if you needed to catch up on any of the nominated Oscar films, which many left the theatres too quickly there was not much to see.  Can March break the winter dry spell, there is a chance audiences will be at least excited about more of the films released this month.

March 7th 

300: Rise of an Empire

The first 300 was 8 years ago, and the introduction of Gerard Butler, who's career has waned since.  The first was a great technical achievement, but Zack Snyder is one of my least favorite directors, and his films are too flashy with little substance.  Snyder is not back, and neither is Butler, could this help the film?  I think many will show up and be entertained, I will be skipping it.

Mr. Peabody & Sherman

This was one of of my favorite cartoons during Rocky and Bullwinkle, and I feel as though this will be a film that will not need to bank on nostalgia to be successful rather it will be a solid entertaining experience for the whole family.

The Grand Budapest Hotel (NY/LA)

This is the most anticapted film of the month for me.  Wes Anderson is one of my favorite writer/directors.  The reviews from Berlin have been fantastic, and the people who do not like it are one of the Village Voice's resident cranky critics Stephanie Zacharek, and the New York Post's often too conservative Kyle Smith, so I am bound to love it!

Pick of the Month: The Grand Budapest Hotel
Pick of the Week: Mr. Peabody & Sherman



March 14th 

Need for Speed

I am sad that this is Aaron Paul's first non-Breaking Bad role, something that looks like a Fast and the Furious knock off.  This film based on a video game has forced franchise film written all over it.

Veronica Mars

One of the best low rated television series of all time!  Can Bell's star power help catapult this film to success after its Kickstarter campaign?  I have not seen much actual advertising for the film, so they better bank on good word of mouth.



Must Skip of the Week: Need for Speed

March 21st 

Muppets Most Wanted

Almost my most anticipated film of the month, the Muppets were my favorite growing up, and the reboot of this franchise has been great.  They know their audience, and it looks to continue the quality of their last film.

Divergent

Many studios have tried to enter the young adult to book movie franchise, and there have been success stories like Harry Potter, and The Hunger Games, there has also been Beautiful Creatures, and The Mortal Instruments.  Shailene Woodley is popular, but I think this one falls somewhere in the middle.

Nymphomaniac Volume One

Von Trier is an interesting film maker, he's a love it or hate it kinda guy.  His last film Melancholia was loved by many critics, I personally hated it, but I have loved his other films Dancer in the Dark and Dogville.  I think the trailer looks fascinating, I will watch (see below).



Must See of the Week: Muppets Most Wanted (yeah I am biased)

March 28th 

Noah

I admire Darren Aronofsky, he did Black Swan, Requiem for a Dream, and The Wrestler; he also did The Fountain.  I have a feeling Noah is more like the latter, its gamble on all levels, and the previews just do not sell this film well.  If anything is helpful, the religious crowds showed up for Son of God, they may show up for this too.

Sabotage

I honestly do not have words, Schwarzenegger is still making these action movies at his age, which is impressive, but isn't time to retire?  

Must Skip of the Month: Sabotage  







Monday, March 3, 2014

Academy Award Week 2014: The Conclusion (The Show, the Winners, the Speeches etc.)

Who thought a tweet would change the face of the Oscars, well it, and its all thanks to Ellen.  After last year's mixed to negative review on Seth MacFarlene, I would imagine Ellen will be invited back on a more regular basis to host the Oscars.  While most of Ellen's monologue rather tame there were two zingers which sealed the deal one to Liza Minnelli saying "You look good sir," which is a reference to numerous men doing a drag version of her.  The other joke was about 12 Years a Slave and not voting for it seeming racist.  The latter joke showed Ellen paying attention and barbing the Academy itself on what many members said was that the film was "too difficult."
Ellen DeGeneres group Oscar selfie

Throughout the rest of the night Ellen shined; she just makes you smile, giggle, and want to see her more.  Her bit with the pizza started out kinda rough, but when she actually brought out the pizza it just proves her bits work, and getting the audience involved and active in the show is what should be done.  The same can be said for her tweeting, and she along with a mass of celebrities have the most re-tweeted tweet ever, they even broke twitter.  What makes this special?  The Oscars have always looked to bring a younger audience into this show, and most of the time its been centered on hosts James Franco and Anne Hathaway, and Seth MacFarlene, but honestly the Academy just needs to go with one motto, keep it simple stupid, and Ellen does that, and she is great at it.

While some of the heroes montages (namely the second won about fictional heroes) gave me the warm fuzzies, the Academy needs to ditch these themes, they make no sense, and make the show longer.  They also need to get presenters who are relevant/entertaining, and know their lines, I'm talking to you Zac Effron, and especially you John Travolta, who is "Adele Dazim?"  Do you mean Idina Menzel, oh that's right, none of you are good at reading off a teleprompter.  Even The Wizard of Oz tribute was great, short, sweet, and to the point, and Pink's performance was great. Why didn't Bette Midler sing during the In Memorium?  Singing after was a bit pointless, but she is the "Wind Beneath my Wings."  On a whole the show dragged a little, but Ellen saved the day, look for her to come back more.

The Winners

If you went with the predictable you did well in your Oscar pool, although Best Picture was nail biter, the eventual Oscar split happened.  12 Years a Slave won Picture, while Gravity won Director.  At the end of the night Slave won three awards including Picture, Lupita Nyong'o won Supporting Actress and the film won Best Adapted screenplay/  John Ridley who wrote the script is only the second black person to win in the screenplay category.  Slave joins two of the other best Best Picture winners Casablanca, and The Godfather as having only won 3 Oscars, but the message of this film will surpass only 3 wins, it is truly one of the most important films released this year, and its win was well deserved.

Gravity won the most awards of the night, 6.  The last film to win 6 awards and not win Best Picture, took place in a galaxy far far away, so space as well, and that was Star Wars.  Gravity's big grab of the night was a  Best Director win for Alfonso Cuaron.  Cuaron is the first Hispanic person to win the Oscar, in this category, and only the second non-white winner, Ang Lee has won this award twice.

The acting prizes went predictably too Matthew McConaughey and Jared Leto won for Dallas Buyers Club, the last film two have won two actors prizes was Mystic River (2003).  Cate Blanchett was rightfully crowned Best Actress, she gave a stunning performance in Blue Jasmine.  

The irony of the night is the non-Best Picture nominee The Great Gatsby scored more wins (2) than Her, Philomena, American Hustle, The Wolf of Wall Street, Nebraska, and Captain Phillips combined.  I like having a stock 10 nominees, not this nine stuff, it does mean some go home empty handed, it also means the Academy members who vote have to do more than just check things off, and rubber stamp a film.  With that said Her still did win one Oscar for Original Screenplay, which made American Hustle got 0 for 10, the last film to have an 0 for 10 night was Gangs of New York (2002).

One of the most interesting/snarky tweets I read last night was that the Academy gave American Hustle so many acting nominations, four one in each category, because they wanted the pretty movie stars to show up.  While that's probably false this film is only the third film in Oscar history to get an acting nomination in every acting category, and not win, the other two are My Man Godfrey (1936), and Sunset Boulevard (1950).  Gangs and Hustle do not have the most loses at the Oscars Turning Point (1977) and The Color Purple (1985) went 0 for 11 at the Oscars.   While Hustle was not the only film to go home empty handed it had tied for the most nominations, and did, not a great honor. See the full list of winners below. 

The Speeches

My favorite speeches of the evening rank this way:

Lupita Nyong'o-Best Supporting Actress, the girl is so mature, and grateful, just a genuine speech



Best Song Winner-Let it Go-Robert and Kristin Anderson Lopez-Quick, cute, and special, and Robert has the EGOT!



Jared Leto for Best Supporting Actor, he wavered in the middle, but his speech and tribute to his mom, brother, and the AIDs cause was so great. (Could not get video yet)

Overall the evening was fun, solid winners, great host, and the most re-tweets! Bravo.  Please see the full list of winners below.

Best Supporting Actor
Michael Fassbender – 12 Years a Slave
>>Jared Leto – Dallas Buyers Club
Bradley Cooper – American Hustle
Barkhad Abdi – Captain Phillips
Jonah Hill – The Wolf of Wall Street

Achievement in costume design
“American Hustle” Michael Wilkinson
“The Grandmaster” William Chang Suk Ping
>>“The Great Gatsby” Catherine Martin
“The Invisible Woman” Michael O’Connor
“12 Years a Slave” Patricia Norris
Dallas Buyers Club

Achievement in makeup and hairstyling
>>“Dallas Buyers Club” Adruitha Lee and Robin Mathews
“Jackass Presents: Bad Grandpa” Stephen Prouty
“The Lone Ranger” Joel Harlow and Gloria Pasqua-Casny

Best animated short film
“Feral” Daniel Sousa and Dan Golden
“Get a Horse!” Lauren MacMullan and Dorothy McKim
>>“Mr. Hublot” Laurent Witz and Alexandre Espigares
“Possessions” Shuhei Morita
“Room on the Broom” Max Lang and Jan Lachauer

Best Animated Film
>>Frozen
Despicable Me 2
The Croods
Ernest and Celestine
The Wind Rises

Achievement in Visual Effects
>>“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
“The Hobbit: The Desolation of Smaug” Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds
“Iron Man 3” Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick
“The Lone Ranger” Tim Alexander, Gary Brozenich, Edson Williams and John Frazier
“Star Trek Into Darkness” Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton

Best live action short film“Aquel No Era Yo (That Wasn’t Me)” Esteban Crespo
“Avant Que De Tout Perdre (Just before Losing Everything)” Xavier Legrand and Alexandre Gavras
>>“Helium” Anders Walter and Kim Magnusson
“Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)” Selma Vilhunen and Kirsikka Saari
“The Voorman Problem” Mark Gill and Baldwin Li

Best Documentary Short Subject
“CaveDigger” Jeffrey Karoff
“Facing Fear” Jason Cohen
“Karama Has No Walls” Sara Ishaq
>>“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
“Prison Terminal: The Last Days of Private Jack Hall” Edgar Barens

Best Documentary Film
The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
>>20 Feet from Stardom

Best Foreign Language Film
The Broken Circle Breakdown – Belgium
>>The Great Beauty – Italy
The Hunt – Denmark
The Missing Picture – Cambodia
Omar – Palestine

Achievement in sound mixing
“Captain Phillips” Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro
>>“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
“The Hobbit: The Desolation of Smaug” Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson
“Inside Llewyn Davis” Skip Lievsay, Greg Orloff and Peter F. Kurland
“Lone Survivor” Andy Koyama, Beau Borders and David Brownlow

Achievement in sound editing
“All Is Lost” Steve Boeddeker and Richard Hymns
“Captain Phillips” Oliver Tarney
>>“Gravity” Glenn Freemantle
“The Hobbit: The Desolation of Smaug” Brent Burge
“Lone Survivor” Wylie Stateman

Best Supporting Actress
>>Lupita Nyong’o – 12 Years a Slave
Jennifer Lawrence – American Hustle
Julia Roberts – August: Osage County
June Squibb – Nebraska
Sally Hawkins - Blue Jasmine

Achievement in cinematography
“The Grandmaster” Philippe Le Sourd
>>“Gravity” Emmanuel Lubezki
“Inside Llewyn Davis” Bruno Delbonnel
“Nebraska” Phedon Papamichael
“Prisoners” Roger A. Deakins

Achievement in film editing
“American Hustle” Jay Cassidy, Crispin Struthers and Alan Baumgarten
“Captain Phillips” Christopher Rouse
“Dallas Buyers Club” John Mac McMurphy and Martin Pensa
>>“Gravity” Alfonso Cuarón and Mark Sanger
“12 Years a Slave” Joe Walker

Achievement in production design
“American Hustle” Production Design: Judy Becker; Set Decoration: Heather Loeffler
“Gravity” Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard
>>“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn
“Her” Production Design: K.K. Barrett; Set Decoration: Gene Serdena
“12 Years a Slave” Production Design: Adam Stockhausen; Set Decoration: Alice Baker

Achievement in music written for motion pictures (Original score)
“The Book Thief” John Williams
>>“Gravity” Steven Price
“Her” William Butler and Owen Pallett
“Philomena” Alexandre Desplat
“Saving Mr. Banks” Thomas Newman

Achievement in music written for motion pictures (Original song)
“Alone Yet Not Alone” from “Alone Yet Not Alone”
Music by Bruce Broughton; Lyric by Dennis Spiegel
“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams
>>“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze
“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson

Best Adapted Screenplay
Before Midnight,
Captain Phillips,
Philomena,
>>12 Years a Slave
The Wolf of Wall Street

Original Screenplay
American Hustle
Blue Jasmine
>>Her
Nebraska

Best Director
>>Alfonso Cuaron – Gravity
Steve McQueen – 12 Years a Slave
David O. Russell – American Hustle
Alexander Payne – Nebraska
Martin Scorsese – The Wolf of Wall Street

Best Actress
Sandra Bullock – Gravity
>>Cate Blanchett – Blue Jasmine
Judi Dench – Philomena
Amy Adams – American Hustle
Meryl Streep – August: Osage County

Best Actor
Chiwetel Ejiofor – 12 Years a Slave
Christian Bale – American Hustle
>>Matthew McConaughey – Dallas Buyers Club
Leonardo DiCaprio – The Wolf of Wall Street
Bruce Dern – Nebraska

Best Picture
>>12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
The Wolf of Wall Street

Saturday, March 1, 2014

Academy Award Week 2014: Oscar Predictions

Best Picture

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
The Wolf of Wall Street
12 Years a Slave 

See my analysis here:
http://eternalthoughtsofkevinsmind.blogspot.com/2014/02/academy-award-week-2014-and-best.html

Will Win: 12 Years a Slave 
Spoiler (s): Gravity followed by American Hustle

Best Actor 
Christian Bale-American Hustle 
Matthew McConaughey-Dallas Buyers Club
Bruce Dern-Nebraska
Leonardo DiCaprio-The Wolf of Wall Street
Chiwetel Ejiofor-12 Years a Slave 

See my analysis here:
http://eternalthoughtsofkevinsmind.blogspot.com/2014/02/academy-awards-week-2014-its-mans-world.html

Will Win: Matthew McConaughey-Dallas Buyer Club
Spoiler (s): Chiwetel Ejiofor followed by Leonard DiCaprio

Best Actress 
Amy Adams-American Hustle 
Cate Blanchett-Blue Jasmine 
Sandra Bullock-Gravity
Judi Dench-Philomena
Meryl Streep-August: Osage County

As much as this could have been a contest, Dench has never won a leading actress Oscar, and Adams has never won an Oscar, Blanchett has never lost the momentum.

Will Win: Cate Blanchett-Blue Jasmine 
Spoiler(s): (not needed) Amy Adams and Judi Dench

Best Supporting Actor 
Barkhad Abdi-Captain Phillips
Bradley Cooper-American Hustle 
Michael Fassbender-12 Years a Slave
Jonah Hill-The Wolf of Wall Street
Jared Leto-Dallas Buyers Club

There has never been much of a race, Leto has dominated this award the way people believe McConaughey has (which he has not).  Leto has really only lost BAFTA.  Another semi-easy win to predict.

Will Win: Jared Leto-Dallas Buyers Club
Spoiler(s): Barhad Abdi

Best Supporting Actress
Sally Hawkins-Blue Jasmine
Jennifer Lawrence-American Hustle
Lupita Nyong'o-12 Years a Slave 
Julia Roberts-August: Osage County
June Squibb-Nebraska 

There are strong possibilities for upsets in this category, and Lead Actor, but surprises happen way more often here than in Lead Actor.  Past surprises were Judi Dench (Shakespeare in Love), Marcia Gay Harden (Pollock), and Tilda Swinton (Michael Clayton).  At the moment this is race between Nyong'o and Lawrence.  Lawrence has the Globe, and BAFTA.  Nyong'o has SAG.  SAG and BAFTA matter more, they each have constituents who vote at the Oscars.  I believe Lawrence won at BAFTA because she did not win last year.  My money is on Nyong'o but never count out Squibb, she is fire cracker, and if enough people liked Nebraska they may vote for her.

Will Win: Lupita Nyong'o-12 Years a Slave
Spoiler(s): Jennifer Lawrence followed by June Squibb

Best Director
Alfonso Cuaron-Gravity 
Steve McQueen-12 Years a Slave
Alexander Payne-Nebraska
David O. Russell-American Hustle 
Martin Scorsese-The Wold of Wall Street

No question, Cuaron wins this in a cake walk

Will Win: Alfonso Cuaron-Gravity 
Spoiler: Steve McQueen-12 Years a Slave 

Best Original Screenplay-Her (American Hustle is VERY close)
Best Adapted Screenplay-12 Years a Slave (Philomena is VERY close)
Best Documentary Feature: 20 Feet from Stardom
Best Foreign Language Feature: The Great Beauty
Best Animated Feature: Frozen
Best Cinematography: Gravity 
Best Costume Design: The Great Gatsby 
Best Film Editing: Captain Phillips
Best Production Design: The Great Gatsby
Best Makeup/Hair Styling-Dallas Buyers Club
Best Original Score: Gravity
Best Original Song: Frozen-"Let it Go"
Best Sound Editing: Gravity
Best Sound Mixing: Gravity
Best Visual Effects: Gravity 
Best Animated Short: Get a Horse  
Best Documentary Short: The Lady in Number 6: Music Saved my Life
Best Live Action Short: Helium