“Oh, Jude”

"I have an eye for talent."

I’m a big fan of Jude Law. That in itself feels like a gross understatement. Next to Ralph Fiennes he’s my favourite living actor. And it’s weird, I’m always wailing about consistency, but Jude doesn’t have an impeccable track record. Like any good actor he stars in less than in interesting projects I often wonder if Jude sincerely believes in the films he promotes – maybe he’s self deluded like Errol Flynn, remember his line in The Aviator “I have an eye for talent”, considering the times he's been great - you'd think so. Then, considering things like Sherlock Holmes, Repo Men, The Imaginarium of Dr. Parnassus – not bloody likely.

                         

Oh, but I do love him – even if my worth as a fan is incredibly precarious when I consider the Jude Law films I haven’tI Heart Huckabees, which with its eclectic must be seen one day; or Breaking & Entering, which as a staunch Anthony Minghella fan I have no excuse for not seeing; or AI: Artificial Intelligence, which I’ve seen showing often but never bothered to watch. And yet, I’ve still got five performances of his that I especially love.

Jerome Eugene Morrow in Gattaca (1997) - REVIEWED

“If at first you don’t succeed...try, try again.”

What is it about Jude playing moguls of perfection? I like to remember this movie for Ethan Hawke and Uma Thurman, the former especially who's never revered as much as he ought to be, but Jude steals the show playing the perfect man, who's not so perfect. Jerome is a bit of a dick, okay a lot of a dick - but that's the thing about Jude, even when you hate him...you can't. Even though Niccol's Gattaca didn't take off as well as it should have, does anyone (besides me) remember it anymore?

Dickie Greenleaf in The Talented Mr. Ripley (1999) - REVIEWED

“Everybody should have one talent, what’s yours?”

And he moves from the somewhat sympathetic epitome of past perfection, to a full blown cad who's know for his (you guessed it) perfection. Dickie Greenleaf is still my favourite Jude performance...it's one of my favourite supporting performances period, he just has those line-readings down pat. And when he says everyone has one talent, you kind of think that his is playing perfect - and being a pretentious douchebag, that we still can't help wishing we were friends with.

                        

(Somewhere in between this he played another epitome of perfection in AI: Artificial Intelligence)

              

Harlen Maguire in Road to Perdition (2002)

“I’m something of a rarity.”

He's nowhere near perfection (inside or out) in Road to Perdition, for heaven sakes he takes photos of the dead - and forgive me if I can't help feeling a bit of necrophilia here. And yet he's sort of right, Jude is a bit of a rarity. When he's playing perfect, he seems made for it but he's absolutely disgusting in Road to Perdition, and not even in an over-the-top look-at-me way, it's as if he really was made for the role in an eerie way. I'll never understood why the performance, why the entire film actually, was shafted that year.

Inman in Cold Mountain (2003) - REVIEWED

“You are all that keeps me from sliding into some dark place.”

As it is, though, I do find something beautiful in the fact that Jude earned his two Oscar nominations (thus far) for Anthony Minghella projects. Truth be told, I might have given him the Oscar this year - it's so tough for me to choose between him and Sean Penn. He's every bit as awkward as you'd expect his hillbilly character to be. Inman is probably my favourite character of him, which is surprising since he's the most introverted. You don't expect him to be a good introvert, but the extroversion in Cold Mountain is left to Renee Zellweger and Phillip Seymour Hoffman. Jude handles his role beautifully, though I admit I spent an undue amount of time waiting for him and Nicole to umm...get it on...and they were apart for sooooooo much of the movie. (I  demand a rematch.)

Dan in Closer (2004) - Performance REVIEW

“Deception is brutal, I’m not pretending otherwise.”

Is it because Dan is such a stealth meanie that this performance didn't catch on? Yeah, I'd have probably Oscar-ed him for this one too. He is my best-in-show, and I LOVE this movie. 2004 was supposed to be his year, he was downright impossible to avoid - I did love him in Sky Captain & the World of Tomorrow, that one's delightful amidst all the madness and woefully underrated.

                          

The recent drought of any substantial Jude roles feels a bit like a broken promise, he's supposed to be getting more work by now. I'm hoping that Contagion and Hugo Cabret (with SCORSESE) take off, I'm a bit tired of waiting on this train to arrive. But, then again, it's Jude and his moments of perfection outweigh the current drought. I were to rank the five it'd be #5: Jerome, #4: Harlan, #3: Inman, #2: Dan and #1: Dickie.

                 

What's your favourite Jude moment?

“Lying’s the most fun a girl can have without taking her clothes off...”

“...but it’s usually better if you do.”

               

From Closer to Cold Mountain to Brothers to The Other Boleyn Girl: Natalie Portman

                                                     

Natalie Portman puzzles me. Not in the way that the cinematic appeal of, for example, Megan Fox, might confound; but in the sense that I’m never sure where I stand on her scope as an actress. It just so happened that the year I began taking a serious interest in cinema was the same year that Ms. Portman was making strides to be a “serious” actress in Mike Nichols’ Closer (or what I like to call, Who’s Afraid of Virginia Woolf 2). When I say that find Portman’s performance in that much underrated film as the film’s least impressive, it’s not a slight at her because I think the entire quartet in the film is pretty brilliant. If I consider her Alice, though, it’s essentially encapsulates my issues with her. At her best she’s brilliant, it’s odd her strongest moments in the film are arguably the strongest of any actors, but her lowest points are also the worst – what she lacks is consistency.

Her general presence, off screen, seems so innocent it’s weird that it’s those moments of lightness in Alice that Portman doesn’t thrive in. My single favourite scene in the film is one where the quarter is on screen – in spurts, in their correct duos (Law/Roberts and Portman/Owen). They’re at Anna’s latest art showing and Larry and Alice stand at a photo of Alice. I’m always impressed at how tautly Portman manages to infuse Alice – who’s still a veritable mystery – with a striking sense of bravado while still managing to remain subtly pathetic. What’s weird is that that scene comes just before what’s probably her weakest scene, where she leaves Dan. It’s difficult to say that she’s performing poorly because Natalie, like Alice, is an enigma. I’m not sure if she’s deliberately playing the character inconsistently, or if it comes off as a possibility because Marber frames the play that way. In a way it doesn’t make sense that that’s the same girl who we met at the beginning that doesn’t eat fish because they piss where they live. (And, then again, maybe it does – sort of like a teenager trapped in a young adult’s body, but still with the emotional complexity of both.)

But still, Jude is the actor in the film she seems most comfortable with. I can’t help but think that that’s because of their history in Cold Mountain – I’ve waxed on about how impressive she is there – and that’s one of the reasons I think that she has the potential to be the consummate supporting actress*. She’s effective in small bits, but loses a bit of her intensity over time – although sometimes that works for her. I’m thinking of her work in Brothers last year which over time has turned into a performance I remember rather fondly from the year. I’m still partial to Alice, so I can’t call it her best performance – but it is the one that shows the most potential. It’s a sort of parallel with her Sara from Cold Mountain but expanded – but Sheridan is so intent on approaching Brothers with such a quiet tone that Natalie’s reticence ends up working brilliantly. Sort of like that final dinner-scene where her daughter is so vociferous about what Uncle Tommy and mommy have been doing, her reaction is almost a non-reaction in its quietness; and yet when you think back to her quiet nod of acceptance when she thought her husband had died it makes sense.

It’s the sort of serenity she thrives on which is why I’m not fond of her work in The Other Boleyn Girl. I find it difficult to compare her to her contemporary Scarlett Johansson just because they’re such polar opposites, and yet Scarlett is completely unlike her prototypical role as Mary Boleyn. Visually, Natalie is perfect for the role but I get that same feeling of doubt because she’s so very earnest in her linereadings I’m still wondering if she’s overselling it (or the character is), and I still have a palpably bitter taste in my mouth about that whole experience. (But neither she nor ScarJo is to blame, it’s a horrible film based on an even more horrible novel.) So, where I’m left at is essentially a place of uncertainty. I like Portman fine, and considering how she so often seems to slip through the cracks when people consider younger actresses I’m kind of glad to see her getting recognition for Black Swan*. I’d like to have more faith in her talent, even if the performance is as stupefying as the creditors infer I don’t think that’ll be enough. But, that’s not a slight at her. Portman’s sort of incomparable in how much of a slow burn she is – there’s loads of potential there...even if she’s still a mystery to me (just like Alice).

                                  

*This was written a few days ago, before I saw Black Swan, not that I’m revealing my thoughts on that one – yet.

(This is part of CS' feature from LAMB's Acting School focusing on Ms. Portman this month)

The Spin-Off, Season One: Episode 4

I vaguely remember in the wake of the, somewhat, mixed reactions to Nicole Kidman in Cold Mountain a slew of bloggers suggested that Natalie Portman would have been a more ideal choice for Ada Munroe. I’ve never read the book, so I can’t say anything about the translation to screen. I am a big fan of Anthony Minghella, and Nicole Kidman so I loved Cold Mountain. It’s nowhere near Minghella’s best, but it’s admirable – and its cast is top-notch.

            

Even if I don’t cherish the prospect of young Ms. Portman as Ada I do appreciate the performance she gives in the film as a young woman who Inman meets on his journey. Like any story divided in two one take precedence and Ada and Ruby are more interesting that Inman’s trek across the country – even if Jude Law is brilliant. But the moment where his journey gets most poignant is in the scene with Sarah. I’m vaguely fond of Portman, but I’m not wholly bowled over by her talent. Case in point, I think she’s fine in Closer, but still the least impressive of the quartet. When it comes to taking small roles and making them memorable her incarnation of Sarah ranks at the top. Everything in those few moments works in a way that I don’t expect. We are salivating waiting for Inman to reach Ada but for that scene we’re completely focused on Sarah.

 

It’s the type of role I’d like to see Natalie tackle. My excitement for Black Swan is slightly tamp though I’m still anxious to see Portman hold down an entire film. Perhaps the role of a woman waiting at home for her husband to return from war is generic, but an inspired writer could always do wonders with the story. It would be a fine piece for Natalie to tackle, she’s the sort of actor who’s good when pushed but is easily lost in the shuffle in an ensemble. I wouldn't mind seeing her headline something like this.

             

Previously

Patricia Clarkson takes centre stage, from her character Judy in Vicky Cristina Barcelona

Richard and Susan examine their marriage troubles from Babel

Meredith Logue and Tom Ripley continue their journey in The Talented Mr. Ripley

Marjorie Mellor before her daughter, Jenny, got her (An) Education

Decade in Review, Revisited: 25 Tear Jerking Scenes (Part One)

I got the inspiration for this post months ago from here. I promised to followup since then, and then the meme made me remember how much I cry at movies. I can’t remember the last time I cried in real life (I’m an emotional cripple), but I’m happy to share pain vicariously with fictional characters. It would be too much to trudge through all the films I’ve seen, I’ll stick to the last decade. Today, bottom fifteen in alphabetical order. Next time, the top ten.

Each entry has the potential to be a  spoiler-ish entry, if you haven’t seen it don’t read.
           
Atonement: Tete a tete, En Francais (Guilty Party: Romola Garai)

Briony’s adeptness in what she refers to as “school French” never fails to elicit an eye roll from me. Nonetheless, Atonement I’m already a big fan of Romola here and she’s responsible for one of Atonement’s most moving scenes. The conversation with the soldier seems odd at first, and perhaps it still is, but it works simply because Romola puts so much effort into it. Her eyes are always at work, and though it could be a bit too on the nose it’s still a brilliant moment of poignancy.
          
Avatar: Graces Dies (Guilty Party: James Cameron and Sigourney Weaver)
Call it what you will, but cold would be a dubious accusation to mete out to Avatar. The death of Grace is the most poignant. Maybe it’s because it’s Sigourney, the film’s strongest “actor”…maybe it’s just the realisation of the scope of the destruction that has occurred. Either way, her death is the film’s most moving moment (more than the burning of the tree) and a definite tearjerker.

Away From Her: “Forsaken” (Guilty Party: Julie Christie)
I’m still not certain on how I feel about Away From Her. It seems so manipulative at times, and then starkly honest at others. Either way, I like Julie Christie in it. The moment in the film that always causes me to tear up is the ending. What will happen with Fiona and Grant? Has she really regained lucidity? Alzheimer’s is just a thoroughly depressing disease throughout and Christie just makes it all the more sad.

Babel: Confession (Guilty Party:Boubker Ait El Caid)
Babel had a number of poignant moments, but the most moving came from the arc’s that’s usually most forgotten. The plot point of the two brother’s inadvertent foray into crime fails to hit home at times, but the climax makes it worth it. Boubker Ait El Caid’s confession is brilliant (for a child actor and for an adult) and yes, the words are overly precise. But it doesn’t matter. It’s too distressing for me to care.

Big Fish: The Funeral (Guilty Party: Tim Burton)
Burton gets called out for being too irreverent. Pity those detractors didn’t see Big Fish, one of the decade’s strongest films. The moment where Billy Crudup lifts his father into the water surrounded by all the “characters” we’ve met is the film’s most brilliant scene and it’s oh, so moving. It’s a tribute to parents and it goes to show that Tim Burton really can do anything, perhaps not as prolific as some, but in his own way – still excellent.

Bright Star: Crying (Guilty Party: Abbie Cornish)
It’s Abbie’s strongest moment, which is odd considering that her Fanny is built on keeping her emotions in check. We know John will die, she knows John will die and yet… It’s one of those rare bouts of crying on screen that’s realistic. Even as she says lines like “I can’t breathe” there’s no doubt that she really can’t breathe. It’s the sort of blunt sadness Jane Campion isn’t averse to showing and Abbie rises to the occasion, brilliantly. More of this.

Cold Mountain: Death (Guilty Party: Nicole Kidman)
Although I’d hardly attribute Nicole’s talents to solely being a good reactor, her brilliance in Cold Mountain (yes, brilliance) comprises her stellar ability to the more overt acting of her cast members and make her Ada Munroe work. She has already reacted to a death earlier in the film (her father), but of course it’s Inman’s death that’s the emotional juggernaut. I do think Jude Law is rather good here, but this moment is all Nicole.

Finding Neverland: The Performance (Guilty Party: Kate Winslet)
I have a soft spot for Finding Neverland and though it gets too saccharine at times I’m willing to cut it some slack, particularly in the final moments of Kate’s performance. “Peter Pan” has always been a distressing tale in its own right, and juxtaposed with the eventual death of Sylvia it only becomes more so.

Gosford Park: “Don’t cry, they’ll hear.” (Guilty Parties: Helen Mirren and Eileen Atkins)
I think, at the end of the day Gosford Park is a comedy, but that doesn’t stop Helen from eliciting a few tears. We don’t expect to get so caught up in the revelations of paternity and such, and Helen “perfect servant” Mirren’s confession doesn’t seem that emotional. Of course, she’s putting on a mask. Her stilted entry into the room, and then Eileen’s quiet line reading is just so painful (yet brilliant) to watch.

I’ve Loved You So Long: Confession (Guilty Party: Kristin Scott Thomas)
I’ve Loved You So Long is, in its way, as emotionally manipulative as many. Kristin makes me forget about that. It’s all leading up to inevitable revelation and though it’s just a trifle odd it doesn’t make it any less sad. 2008 was not as poor a film year as many think, a number of gems were just unjustly ignored.

Little Miss Sunshine: A Hug (Guilty Party: Paul Dano)

I still marvel at Paul Dano’s brilliance in Little Miss Sunshine. The scene in question is probably my favourite scene of the film. Dwayne has just had his freak-out with his parents and leaves the bus angrily to sit on the road. Olive comes up behind and gives him a hug that’s so unexpected, and yet do realistic. It’s just one of the many reasons Little Miss Sunshine is as good as we think it is.

A Mighty Heart: Crying (Guilty Party: Angelina Jolie)
Hopefully this will go down as one of the forgotten gems of the last decade. Like Abbie’s moment this is important for the crying, though it’s more a scream than a cry. From the moment Marianne learns of her husband’s death we anticipate waterworks, but the way the waterworks come is so unexpected, almost as if we’re watching something we shouldn’t be privy to. Angelina is so bloody brilliant here.

Mona Lisa Smile: Bicycles (Guilty Party: Kristin Dunst)

Who hasn’t been touched by a teacher in their lives? Mona Lisa Smile has its problems (the cast, though, isn’t one of them). The ending of the film sees the student cast riding bicycles as Julia Roberts’ bohemian teacher departs in the car. It’s Kristin Dunst who steals the moment though. She was the toughest student to win over and her frantic refusal to stop riding (you’re on a bicycle, damn it) is post ridiculous and sad. Letting go just isn’t that simple.

Mystic River: Parade (Guilty Parade: Marcia Gay Harden)

I will forever tout Mystic River as Clint Eastwood’s (lone) masterpiece. Evocative, provocative and poignant. The thing is, I’m never inclined to get teary eyed through out the machination of the main three (even Sean’s bloodcurdling scream or Tim’s moving “confession”). It's as if I’m seeing it, but not feeling it…until the end. When Marcia walks frantically through the street at that dismal parade it’s as if all the drama finally reaches it’s peak and we realise how morose the lives of these people are. And Marcia does it all without uttering a single word. brilliant? I think so too.

You Can Count On Me: Ending (Guilty Parties: Laura Linney and Mark Ruffalo)

I mentioned my allegiance to this sibling pairing a few days ago. It’s the only ending that would have worked for You Can Count On Me, but it doesn’t make Terry’s departure any less sad. What’s the lesson we learned? Sometimes it’s easier to love from afar? I don’t know. Who does? The departure is real though, it works and Laura and Mark delivering brilliant performances is a significant part of that.

   

Have you shed a tear for any of these scenes?
           
(Care to wager which ten films make my top ten? Hints: a quasi stranger in a kitchen, a sexless goodbye in a bedroom, running through the streets, end credits, return of a “ghost”, death of a warrior, voiceover, revelation of truths, montage of characters, a lover’s promise, death of a star. Those are the clues…)

Decade in Review: Music of the Night

Somewhere along the line I fizzled out on this series, but it's April and as I said I'm doing the exorcism...so here goes. I like music, actually I used to be obsessed with it (more than books and film, gasp). Not so much anymore, though. I'm probably one of the few who love the music categories at the Oscars though. I've taken a look back over the decade of the pieces of film music that really moved me this past decade.

THE SCORES - I linked to youtube clips of each piece, and embedded my three favourites
The Lord of the Rings: The Fellowship of the Rings [Shore] It's as epic as it needs to be and always so moving, especially the bits in the Shire. listen
      
The Hours [Glass] His use of the wood instruments is startlingly good, the music is just as important as the editing in the joining the lvies of our three women. listen
      
Cold Mountain [Yared] From the opening note he gets me hooked. Not as lovely as his work on The English Patient, but still excellent. listen
     
The Lord of the Rings: The Return of the King [Shore] I find it even better than the first two, it's not as made up of refrains as The Two Towers and it's darker than the first. listen
    
Finding Neverland [Kaczmareck] It's a shame has hasn't done anything notable since. listen    

Pride & Prejudice [Marianelli] I always assumed that actual classical music was being played. The pieces at the ball are particularly jaunty and fun. listen
    
Atonement [Marianelli]

As soon as that typewriter started clicking I knew I was on to something especial...and I was.
     

The Curious Case of Benjamin Button [Desplat]

This particular entry "Mr Gateau" is my favourite portion of the score, but it's all excellent. What a snub that was.
     
Bright Star [Bradshaw]

What an excellent debut for a newcomer. It's not abundant, but it's excellent.

The Fantastic Mr. Fox [Desplat] listen

It's so different from his good work on Button and Cheri. The music is almost its own character, throroughly original and inventive.
      
THE SONGS - I linked to youtube clips of each piece, and embedded my three favourites, and another...

"Come What May" from Moulin Rouge! listen

The snub heard around the world...this was due to the always weird rules of the Oscar's music branch.  Moulin Rouge!'s love duet is so lovely and it's so nice hearing Ewan McGregor and Nicole Kidman harmonise. Isn't it?
        
"May It Be" from The Lord of the Rings: The Fellowship of the Rings  listen

Enya is a talented singer, and her vocalising is major part of why this track is always so haunting. It sets the perfect tone for the trilogy.

"I Move On" from Chicago


I liked this song fine when I heard it play over the credits with Roxie and Velma hoping to "move on", but it was when a pregnant Catherine Zeta Jones and Queen Latifah performed it at the Oscars that I realised the beauty of this number. Ebb and Kander know a thing or two about excellence, and this song is just that.
     
"Scarlet Tide" from Cold Mountain


Alison Krauss is a talented singer and her ballads for Cold Mountain are lovely. This song easily stands out as my favourite film number of the decade. It's eerie how much the words have to do with the plot for the film...just lovely.
   
"Into the West" from The Lord of the Rings: The Return of the King listen

Annie Lennox's number for the trilogy features as a good companion piece for "May It Be". I won't lie, I shed a tear as the credits starting rolling at the cinema and this tune started playing. For shame.

"Learn to Be Lonely" from The Phantom of the Opera


Even though I actively loathe Andrew Lloyd Webber, hearing Beyonce sing this at the Oscars (remember tha year?) made me realise that the man has his moments. The ballad is simple, but in no way pedestrian and it fits so perfectly with the life of The Phantom. It's not my favourite of the ten, but it really is an excellent performance from Ms. Knowles.

      

"Falling Slowly" from Once listen
Who doesn't at least like this? Just beautiful.      

"So Close" from Enchanted listen

This stood out as my favourite of the enchanted numbers. It doesn't really do that much in context of the film, but it's a good song nonetheless.
      
"Once In A Lifetime" from Cadillac Records listen

2008 was a travesty in terms of the song category, they snubbed Springsteen and they snubbed this good piece from Cadillac Records, an underappreciated film. I'm still not sure how it ties to the film's plot (which is probably why it was not nominated), but it really is something special - says me.
     
"Smoke Without A Fire" from An Education 


It's so clear that the film was written with Jenny Mellor in mind when you listen to the lyrics, and Duffy's unique voice makes it all the more moving with no schmaltz.
   
Well, you know my taste in films...but what are your thoughts on my musical tastes? Which score remain in your memories from this past decade, which songs can't you stop humming?

Decade in Review: Cinematic Romance

 

  

  

  

  

  

  

  

  

 

2003: Breaking It Down

So I’m done with 2003. That was easy. Wasn’t it? I’ve seen 89 films that were officially released [American] in 2003. Of course it's my luck that the year I see a bunch of films many of them were horrible, so in ascending order here is the lot.

F: #89-#76

What a year, fifteen films failed. Here they are.

Kangaroo Jack, Scary Movie 3, The Lizzie McGuire Movie, Boat Trip, Duplex, Haunted Mansion, Daredevil, What A Girl Wants, The Texas Chainsaw Massacre, Bad Boys 2, Stuck On You, Cradle to the Grave, Love Don’t Cost a Thing, Anger Management, Johnny English

Each left something a bad taste in my mouth and I don't care to see any again. They're in ascending order, but I found Anger Management especially horrible since Marisa Tomei tried so hard. But that film was just terrible.

       

D: #74-#70

Offensively bad, but it could have been worse

American Wedding, My Boss’ Daughter, Daddy Day Care, Honey

             

D+: #69-#59

They’re not very good, you probably should avoid them…but there are moments…

Gothika, Malibu’s Most Wanted, Girl With A Pearl Earring, Legally Blonde 2, How to Lose A Guy in Ten Days, 2 Fast 2 Furious, Just Married, View From the Top, Uptown Girls, Agent Cody Banks, Biker Boyz

   

C-: #58-#51

Guilty, but not so pleasurable. They’re not all bad though.

Fighting Temptations, Underworld, Terminator 3, Holes, Hulk, Tears of the Sun, Matrix Revolutions, Dickie Roberts: Former Child Star

        

C: #50-#40

Hmmm. Passable.

Old School, Charlie’s Angel: Full Throttle, I Capture the Castle, Whale Rider, Sinbad: Legend of the Seven Seas, Once Upon A Time in Mexico, Brother Bear, Lara Croft Tomb Raider: Cradle of Life, Head of State, Cheaper By the Dozen, Intolerable Cruelty

           

C+: #39-#33

Guilty pleasures…or good in parts but sometimes disappointing

Bend It Like Beckham, Cat in the Hat, Under the Tuscan Sun, Freddy vs. Jason, Beyond Borders, The Italian Job, Bruce Almighty

        

B-: #32-#18

Some are good, some are fine, some are odd…but they’re all good. ish.

School of Rock, Monster, How to Deal, The Human Stain, X Men 2, Freaky Friday, Matrix Reloaded, Bringing Down the House, The Cooler, In America, Calendar Girls, Missing, Master & Commander, House of Sand & Fog, Pieces of April

          

B: #17-#12

They’re good. Really good.

Down With Love, Mona Lisa Smile, Kill Bill, Love Actually, Seabiscuit, 21 Grams

         

The Top Eleven

#11 – Lost in Translation [B+]

As I said, I don’t think I got it as much as the mass. Sure I liked it, and sure Scarlett and Bill were wonderful together. It was a nice little film, and in that realm it was successful. One of the best things about it was that it wasn’t self conscious. Coppola did well.

              

#10 – Le Divorce [B+]

I will never understand the hate for this. It currently holds 37% on Rotten Tomatoes which bewilders. It’s light but not a bauble and it features a great cast. Sure it’s not as socially aware as we would assume, but I think it knows that. It’s blessed comedy for Christ’s sake!

            

#9 – Something’s Gotta Give [B+]

Sometimes it gets a little too full of itself, but it’s Nancy Meyers. It’s more than Keaton’s great performance. It’s a nice film altogether.

              

#8 – Peter Pan [B+]

Underrated. I really can’t say much more than that. This one really makes me tear up, and I hate the Peter Pan story. One depressing thing.

             

#7 – Phone Booth [B+]

It turns into this very pervasive character study with a solid performance from Farrell. It’s a good film, and worthy of a look.

            

#6 – Finding Nemo [B+]

Didn’t love it like a diehard, but it’s my favourite Pixar by a mile. Ellen D. steals the show of course, but all things considered it’s great.

          

#5 – Pirates of the Caribbean: The Curse of the Black Pearl [B+]

As I said in my review, it’s a perfect crowd-pleaser. I hope that it’ll redeem itself with the next instalment, though I will miss Knightley and Bloom.

             

#4 – Cold Mountain [A-]

Unfairly maligned, in my opinion. It’s a beautiful piece from Minghella. Kidman, Law and Zellweger are the driving forces and they’re good…but it’s little performances from Kathy Bakers haunting portrayal to Donald Sutherland’s cameo of sorts along with Natalie Portman and Jenna Malone taking a few lines and making them resonate and of course Phillip Seymour Hoffman – the perfect ally. Add that to those technical achievements, and you’ve got a good film.

                 

#3 – Mystic River [A]

Eastwood can’t get any better for me. It’s a solid ensemble and each performance is outstanding. The script is subtle and so is the direction [surprisingly]. It’s just good.

         

#2 – Big Fish [A]

I have to review this sooner or later. So I’ll save it all for then. I like it much. That’s obvious.

              

#1 – The Lord of the Rings: The Return of the King [A+]

I’m a fanboy. I have the novels, I’ve got the DVD. I can quote the script. I’m not going to lie, maybe I’m prejudiced. But how could you not vote for this?

                      

So. There you have it. What topped your list? Which of top 11 shocked you? Is Le Divorce crap? Do those 15 films deserve Fs? What do you think?

2003: The Acting: …Then the Men

So now it's on to the men. I suppose my picks are just about as strange as the men, but I stand by choices especially in the Supporting Actor category that was royally f***ed up. Okay not quite, but still - just saying...

           
Supporting Actor
Tier Three
Kevin Bacon, Mystic River
Billy Crudup, Big Fish
Djimon Honsou, In America
Derek Luke, Pieces of April
Viggo Mortenson, The Lord of the Rings: The Return of the King
Okay Viggo had done his best work of the trilogy in the second installment, but they could have thrown him a bone. I can't be too pissed at Honsou's nomination, I like him,  but I really wasn't all that blown away. And what made Bacon's work in Mystic River so unimportant?

                        
Tier Two
Sean Astin, The Lord of the Rings: The Return of the King
Alec Baldwin, The Cooler
Ian McKellen, The Lord of the Rings: The Return of the King
Philip Seymour Hoffman, Cold Mountain
Cillian Murphy, Girl With a Pearl Earring
I really was not heavy on Oscar buzz back in 2003, but I remember loads of people predicting Sean Astin. For the record I was not a fan of Sam, but damn he carried Frodo up the freakin' mountain and you can't even give him some love. Astin is really good here, depressing, but good. Cillian Murphy was one of the few things I could tolerate in Girl With a Pearl Earring, he is desperately in need of a good role. They could even have thrown a second nomination to Gandalf. Perhaps Hoffman wasn't any good in Cold Mountain. But then again, nah.                       
The Nominees
Billy Boyd, The Lord of the Rings: The Return of the King

Benicio Del Toro, 21 Grams

Albert Finney, Big Fish
David Hyde Pierce, Down With Love

Tim Robbins, Mystic River   

So two Oscar nominees are here, and three performances that were thoroughly overlooked. I guess my one and two would be Robbins and Del Toro [in that order], they were amazing – I’ve said it before. As I’ve said that Albert Finney, my third choice, was good. Boyd was always my favourite of the hobbits, and his Pippin in this third film was perfect. Of the hobbits, he did the most growing and it was a great performance. Hyde Pierce had amazing comedic timing in the under loved Down With Love.
             
The Actors
Tier Three
Anthony Hopkins, The Human Stain
Tommy Lee Jones, Missing
Tobey MaGuire, Seabiscuit
Ewan McGregor, Down With Love
Jack Nicholson, Something’s Gotta Give
I probably should rewatch The Human Stain. I don't remember it fondly, but I do remember it with some respect. . McGregor and Tommy Lee Jones are the best of this lot...Ewan just had a great year and yet he was ignored like nobody's business. Gah!
                    
Tier Two
Collin Farrell, Phone Booth
Russell Crow, Master & Commander
Ben Kingsley, House of Sand & Fog
William H. Macy, The Cooler
Sean Penn, 21 Grams
Am I crazy with the love for Farrell? It's so weird how Russell picked up almost no traction - they've really fallen out of love with him. Sean Penn is someone else who had quite a year. Luckily they rewarded him for Mystic River. Not that 21 Grams would have been undeserving, but it would have been way too predictable. Kingsley was good of course, hr just didn't make my top 5.

         
The Nominees
Johnny Depp, Pirates of the Caribbean: The Curse of Black Pearl

Jude Law, Cold Mountain

Ewan McGregor, Big Fish 
Bill Murray, Lost in Translation

Sean Penn, Mystic River 

Well this is pretty easy. Sure Penn and Law battle it out and no one's a winner,because I'm a coward. Ewan gives his best performance that no one seems to care about in Big Fish, so do Depp and Murray actually but people take notice of them. Altogether, it was a very good year for the men - but damn them for not even taking a look at Ewan. Ugh. Fail.
            
So what are your thoughts? McGregor, Law, Penn, Penn. Or, Robbins, Del Toro, Finney?

2003: Technical Talk

I didn’t realise until recently that in my own discordant and inadvertent way I’ve been recapping the decade. Yes I have, I’ve been posting my assessment of each of the past ten years. So far I’ve covered 2004, 2005, 2006, 2007 and 2008 – five years, which is actually not bad. It’s always interesting to do retrospectives and even though this often ends with me unintentionally letting you know what my top 100 will look like I’m going to continue the trend and jump to 2003. The information is already here on my computer, so what the hell?

                   

So for today, let me take a look at the technical aspects of the year, I’ll eventually post on the acting and then on the films. Bear with me.

           

Costumes

Cold Mountain

Down with Love

Girl With A Pearl Earring

The Lord of the Rings: The Return of the King

The Missing

          

Art Direction

Cat in the Hat

Cold Mountain

The Lord of the Rings: The Return of the King

Pirates of the Caribbean: Curse of the Black Pearl

Peter Pan

          

There was a freakishly large amount of period films in 2003. Maybe not the typical period films, but those films with the lush costumes and rich sets. Many films that had both still couldn’t catch a break, noticeably Big Fish and Master & Commander. The Lord of the Rings was a shoo in for sets, and that sort of went without saying. I was toying with the idea of giving Down With Love the costume award [like the designers were biting their nails waiting on the results].They sure had the original side of their jobs down, but eventually it was Cold Mountain which I’m sure sounds really generic, but it was either them or The Lord of the Rings, and Cold Mountain had that lived in effect that made it look all authentic.

          

Visual Effects

Big Fish

The Lord of the Rings: The Return of the King

Pirates of the Caribbean: Curse of the Black Pearl

     

Need I explain this? I hope not. The Lord of the Rings was just a visual spectacle, in the best way possible. A picture would belie the grandiosity of it all, but I'm going to put one anyway.

          

Sound

Big Fish

Kill Bill

The Lord of the Rings: The Return of the King

Master & Commander

Pirates of the Caribbean: Curse of the Pearl

       

So this was easy too, although I must say Pirates had some exceptional technical work. But The Lord of the Rings took it, again.

Cinematography

Big Fish

Cold Mountain

Kill Bill

The Lord of the Rings: Curse of the Pearl

Master & Commander

         

Editing

Big Fish

Cold Mountain

The Lord of the Rings: The Return of the King

Missing

Mystic River

       

It seems so blase, but once again it's The Lord of the Rings. I don't know why people were all in a tizzy when it swept the [technical] awards. It's not like it didn't deserve the majority of them.

 

Score

Big Fish

Cold Mountain

Finding Nemo

Girl With the Pearl Earring

The Lord of the Rings: The Return of the King 

 

All these films, even the loathsome Girl With A Pearl Earring, had excellent scores and I can only imagine how tough it was for the voters...then again, maybe no. It came down to The Lord of the Rings as a major force, but eventually Yared's Cold Mountain score won me over.

         

Original Song

"Scarlet Tide" from Cold Mountain

"You Will Be My Ain True Love" from Cold Mountain

"Into the West" from The Lord of the Rings: The Return of the King

              

What were your technical thoughts in 2003?