2009 in Review: Good Beginnings

Each part of a film is important – I suppose. I don’t like to look at any particular part is most important, though most would say if it doesn’t start of well all bets are off. Still, it’s important to have a good beginning because sometimes it is nice to catch the audience off guard with a piercing start or some provocative mystery or sometimes just something fun to pique the interest. The thing with some films, I’m not sure what constitutes the beginning. Take Beauty & the Beast. I suppose the “beginning” is the prologue but if I had to decide I’d the say the beginning is everything up to the end of the song “Belle”. We’re a good ten minutes in, but it’s only then that the film really starts. So my “beginnings” my not be accurate, but bear with me. 

 Off the top of my head I’d credit Revolutionary Road with having my favourite beginning of 2008. The first meeting of our protagonists which is so different from what they become…

                       

Now on to 2009…(click on the links for reviews where available)

#10: I Can Do Bad All By Myself: "Rock Steady"

Taraji is lip-syncing, but the ferocity of it as she gives us every movement with all of the attitude she can muster – and that’s very much, mind you. It’s a shame, the film doesn’t deserve her, but Perry knows to direct his musical numbers and the opening sizzles.

          

#9: Three Blind Mice: "Fun & Games"

Incongruous and strangely funny. Newton has perfect delivery and just listening to he and Schmitz bicker is hilarious. The writing is a strongpoint and the beginning is bitingly excellent.

          

#8: Antichrist: "Sex in the Shower"

I don’t love Von Trier and sometimes I think he just f***s with me for the fun of it. The scene is beautiful to look at, but sometimes I wonder what the point of the nudity is. What does it add? Damned if I know, but it’s still beautiful.

         

#7: An Education: "Credits"

What is the beginning? When I think about the beginning of this film I remember the credits. No film has hade more funs with just rolling credits than this in a while and just the snippets of the schooling (some of which are vaguely familiar from my school days, minus the all girl parts of course ;) handled well.

       

#6: Inglourious Basterds: "Somewhere in France..."

It’s another film I’m not sure where the beginning ends, I don’t think it’s fair to consider the entire chapter 1 as the beginning but even if we excise Landa this scene is so excellent only rivalled by Chapter 4. This is the reason I can’t love Basterds as much. Tarantino tantalises with the excellence in those two scenes and then gets gratuitous in others.

       

#5: Nine: "Roll Call"

This reminds me of Basterds since I take the beginning all the way to the end of the Overture. Few things are as lovely as that overture; Nicole Kidman’s silhouette is just sooooo beautiful. What an entrance and as the ladies enter regardless of how you feel about what comes after you can’t deny it’s just lovely.

          

#4: The Hurt Locker: "The Bomb"

 Is it wrong that I feel as if the film goes downhill from here? I still like it fine, but the beginning is just so good.

   

#3: Up: "Montage"

Up gives you in its beginning what could have made a beautiful movie in its own…and it goes waaaaaaay downhill afterwards. But I won’t grudge it too much, and the beginning is excellent.

                  

#2: The Fantastic Mr. Fox: "On the Job" 

It opens so candidly and hearing Streep and Clooney banter is just hilarious. Sure Streep outshines him, but who doesn’t? She does the best reading of the “I’m pregnant” line. How I wish this was a liveaction film…

        

#1: Duplicity: "Do I Know You?"

Not a single film can match the beauty of this opening. Julia and Clive sizzle together and when you give her ammunition she lets loose with it. It’s a perfect setup to keep us guessing, and boy does it work. Pure magic.

Encore Awards: Results

Well, Oscars are tomorrow and I didn't want to post these after. It's my own edition of "If I Had A Ballot" - even if I'm not the best judge in some categories. Still, see what my picks look like in the MAIN CATEGORIES and the ARTISTIC AND TECH CATEGORIES.

Here's the rundown with who medalled the most.
Bright Star 11
Nine 7
An Education  6 
Avatar  6

The Messenger  3
Cheri 3
The Road  2


The Hurt Locker  2
The Fantastic Mr. Fox  2
Three Blind Mice  2
Coraline  2
Star Trek 2
Drag Me To Hell 2
In the Loop  1


The Lovely Bones 1

Moon  1
Harry Potter & the Half Blood Prince 1

It's weird that something like The Hurt Locker which I liked only earned two medals, but oh well. Yay, for Bright Star though...thought it didn't win.
       
Tell me what you think? I want to hear your thoughts.

2009 in Review: 25 Scenes (Ep. 1)

I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.

   

[Click on the links for my reviews]

     

500 Days of Summer: “Just Friends”

I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.

     

Brothers: “The Second Dinner”

MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.

    

Duplicity: “Getting A Copy of the Plan”

Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy knows how to up the adrenaline and he does it here, pulling out all the stops.

     

An Education: “An Important Loss”

This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.

    

Harry Potter & the Half Blood Prince: “The First Horcrux – The Cave”

It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.

   

The Hurt Locker: “A Suicide Bomber”

The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.

     

In the Loop: “First Press Conference”

This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.

       

The Lovely Bones: “Finding the Evidence”

I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey’s house to find important evidence. The screen is taut with tension and shot by shot Jackson keeps up hooked. It’s also a strong moment for Tucci who sells his character without words. What thrill ride.

     

Nine: “Be Italian”

Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.

    

Precious: “The First Class”

Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.

     

The Princess & the Frog: “Almost There”

It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.

      

The Road: “Goodbye, Wife”

I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.

     

A Serious Man: “This is not about woopsy-doopsy.”

I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.

Judith: Sy and I have become very close…. In short: I think it’s time we start talking about a divorce.

Larry: Sy Ableman.

Judith: This is not about Sy.

Larry: You mentioned Sy.

It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.

    

A Single Man: “Dancing”

I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.

     

Where the Wild Things Are: “Meeting the Wild Things”

Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
      

So these are the fifteen runners up, tomorrow I’ll be back with my ten favourite scenes of the year from 9 good films. Interestingly enough one of the films listed there isn’t even in my top twenty, but you’ll see tomorrow.

2009 in Review: War

Films on war have been a norm every year – from historical All Quiet on the Western Front, to The Deer Hunter to Saving Private Ryan. This year was a bit of different spin, we had films on war but instead of the highlights being the Vietnam War or World War II we had contemporary war films on America’s plight in the Middle East. The Hurt Locker was an early gem that impressed me. It was a riveting piece cast excellently from Renner’s leading man to Ralph Fiennes’ cameo. Fellow summer film Inglourious Basterds was more in line with the traditional war epic, kind of. We’ve been to World War II before, but never like this. I was reticent about appreciation of the film as you know, as I’ve said before the target audience would eat this up – and they did. I just was not part of the audience. Still even I could not ignore the scintillating performances of Christoph Waltz and especially Diane Kruger – certainly, neither would be my pick for a multitude of laurels but they’re performances were the highlight of the film for me with that intelligent Chapter Four standing out as the best of the lot – strangely, the one that was Christoph Waltz free. Still, Diane Kruger’s uninhibited turn as Helen Von Bismarck was the most significant part (acting wise) in Tarantino’s Basterds.

                       

The Messenger came out of nowhere turning into one of the more significant examinations of war. It was actually free of any scenes in or around combat, but the tale of a soldier recently come home whose job is to now inform the families of victims of soldiers’ death was one of the more harrowing pieces of the last few years. It’s obvious to see what the film’s selling point is though. It doesn’t show us so much the horrors of the war as it shows the trauma of war for the families of soldiers. Woody Harrelson’s Tony makes an astute point to the hypocrisy of it all. Families all wave and host parties to celebrate deployments and then are shocked when soldiers turn up dead. Of course, not all families are turning a blind eye to the potential misfortune ahead. Samantha Morton’s widow doesn’t, and neither does the entire cast of Brothers, I film I enjoyed much. The first half of Brothers, in fact, rests on this. One of my favourite scenes occurs as the soldiers turn up to tell Portman’s Grace of her husband’s (nonexistent) death. I wonder if Ben Foster’s Will would have taken to her too… There is not overt sadness here, Grace knew this moment was a possibility and she simply covers her mouth and the tears well in her eyes.                              

Next to these portrayals, I suppose In the Loop does look a bit irreverent, and it is – in some ways. Still, the entire point of this intelligent comedy is that the divide between actual combat and the promulgating politics is so different. The very document bemoaning the realities of war is after all amended simply to carry out a political agenda, it’s a bit frightening if we think too hard – but we’re too busy laughing to notice. Even those against war are not cuddly, teddy bear types. There’s nothing cuddly about Mimi Kennedy’s dirty mouthed (literal and figurative) Assistant Secretary of State. Three Blind Mice exists on the same level as In the Loop seeming to gloss over the traumatic incidents with humour, but it goes deeper. Of course, this deals with the Navy which is not the army – but it’s not far off. When Toby Schmitz makes his confession at the dinner table it definitively changes the tone of the film. His mother-in-law gasps, “That’s torture.” – I can’t help thinking in response, that’s the army. It’s not that the film isn’t funny after that; in fact the subsequent drunk scene is the funniest in the film. But the laughter has become less pure, more nervous.

                          

Two films I’m anticipating this year (The Way Back, The King’s Speech) both have war as secondary factors in it. King George struggles to be a better king in the latter and a group of convicts escape imprisonment during apparent guerrilla warfare in the former. If it’s good for nothing else, war is always a good starting point for film. Which was your favourite this year?

Signing Off...

By nature, I am an obsessive soul. Thus, whenever I get interested in something my appreciation of it is not often tempered and usually veers into the neurotic. Neurotic is probably an ideal way to describe my relationship with the Academy Awards. Even though the actual results were less than perfect that first time [re picture] I was hooked from the beginning. There was a time I could list [from memory] Oscar winners in the major categories from the mid-seventies onwards. I told you – neurotic. Even though I’ve gotten wiser in the missteps of the Academy I still [inadvertently sometimes] end up regarding that day in Spring as the culmination of all things cinematic. This year, however, the nominees have not even been announced and I’ve already become disillusioned, I fear.

             

The state of the race [a word more pertinent than we realise] had exasperated me before it even began. The fêting of Meryl Streep from the get-go already annoyed me. Sometimes it really doesn’t help not being a fan of Streep because she is the most ubiquitous actress [actor] at the moment. Nevertheless, despite my general my general apathy towards her I wouldn’t deny excellence if I see it. I'm always ready to recognise a good performance form her, which is why Julie & Julia disgusted me so much. Of course all these adjectives – best, excellent &etc – are completely subjective, but the only thing Julie & Julia did was confuse me as to the validity of its place in the Oscar race. I’ve never been fond of the accented Streep preferring her more subtle performances [her Clarissa Vaughn remains as one of my favourite portrayals of the last two decades]. Of course, she’s accented quite often but Julie & Julia regurgitated memories of Bridges of Madison County a film that only makes me see red. I finally realised my issue with Streep when I read this lucid article on the woman. It gets a bit snarky, but is a startlingly good read. It’s not that her Julia Child is a horrid performance. But, chameleon or not as someone who knows absolutely nothing of Julia Child her performance made me cringe at points. I couldn’t help but imagine the more unaffected Sigourney Weaver in the role. What really irked me was the residual belief that Meryl had been robbed of a third Oscar, this entitled to this win for Nora Ephron’s diverting comedy. It’s as if they had forgotten that La Streep has two Oscars – the entire debate of her comeuppance being extinguished by woman after woman was lost on me. What turned my disappointment in the Best Actress race into the deepest dredges of disgust was the addition of a certain Sandra Bullock. I’ve never bore ill will towards Ms. Bullock – her work in countless comedies from the inspired Ms. Congeniality and While You Were Sleeping to even the dubious Two Weeks Notice has always charmed me in their placid way. I saw The Blind Side late in the game, and although the term abject horror would be an over-exaggeration of my response it wasn’t far from it. I couldn’t even write a proper review the thought of the film annoyed me so much. Of course I’d prefer Streep’s flawed but superior Julia to Bullock’s uninspired Leigh Ann, but the very fact that that’s the end all of it is quite dismal.

                                                      

I’m yet to see the heavyweights for the Actors’ race. Bridges and Firth are not my favourite actors, but with the good roles I’m willing to board either train; but I can’t help feeling cynical and thinking that perhaps Bridges is not being rewarded for a [possibly] good performance in Crazy Heart but for lifetime achievement. Noble perhaps, but still annoying. When people like Ben Foster and even Sam Rockwell are ignored at ceremony after ceremony while Morgan Freeman – a man I admire without fail – can be nominated for his unimaginative Nelson Mandela only puzzles me, but is nothing compared to George Clooney’s moderately charming but lifeless Ryan in Up In the Air. But then I realise that with so many celebrating these pieces it’s not so much as unoriginality from the awards’ ceremonies than actual belief that these performances are the best of the year, which is even more disconcerting. If Freeman gets love for coasting in Invictus, why not Johnny Depp for Public Enemies?

Mo’Nique’s Precious win has many citing it as one of the imminent saving graces of the next award ceremonies and with her eclectic Mary Jones it wouldn’t be completely undeserved. But that category has become so auto-tuned that voters just seem to throwing the usual suspects together and ignoring quieter gems with potential to disturb the waters – Samantha Morton, Marion Cotillard [not only for Nine] on some days even Patricia Clarkson. I’m not saying that all of these women trump Mo’Nique, perhaps none of them do. I realise the ball’s completely in her court, and since I’m an undeterred fan of the comedian I don’t call foul. I’m worried that I’m missing something when Anna Kendrick keeps appearing on so many best-of lists, Seriously? We're touthing this performance? But, I won’t go there.  Again.

          

The race seems to have come down to Avatar and The Hurt Locker and scores have cried foul at Avatar’s Golden Globe win. Not me. I’m still undecided as to which of the two I’d give my vote to, but Cameron’s Avatar has turned into the film I’m rooting for. Not because it’s my favourite film of the year. It’s not. But despite it’s gigantic box-office it’s ironically tuned into the underdog. Someone, I can’t recall who, called it the tendency to hate the popular kid – which Avatar has turned into. I won’t deny the ostensibly potency of The Hurt Locker – it’s probably even more profound for Americans who know its themes all to well. Bigelow and Boal have crafted something wonderful, but the relegating of Avatar to some strange names “video-game movie”, “Pocahontas redux”, “stilted dialogue”, "stodgy acting" and on and on and on confuses me. Some people just don’t like it. That’s understandable, but I’ve never been a film apologist yet I can’t recall the ludicrously horrid dialogue of Cameron. I’m sure it wasn’t Oscar winningly quotable. But since when has Best Picture turned into a screenplay award? I understand the correlation between the two, but I can’t help calling foul when Avatar’s screenplay is advertised as one of the worst this year. But that’s probably one in the long list of things eluding my poor brain this Oscar season.

I’m signing off from this season. I doubt I’ll continue my four year long tradition of skipping school to hear the nominations live [embarrassing], and I’m definitely not inclined to join in predictions, though it’s always fun to read others. I’ve already committed to the LAMB’s 2010 production of Devouring the Oscars and will be writing on a Best Picture nominee. I’d love to see an off-kilter choice like Bright Star, The Messenger or Coraline. I’d prefer not to write on Invictus, Up In the Air, Inglourious Basterds or Precious. I don’t want to write a bashing post since nominations should be a happy thing. I’m sure at least a few of the nominees will be pleasing. Watching the Golden Globes though, I couldn’t ignore the number of sad [and sometimes angry faces] – Lee Daniels, Jason Reiteman, Quentin Tarantino, Jeremy Renner all looked peeved throughout. I wouldn’t have been backing many of them but I realised that each of the nominees want to win and deserved or not I wish them the best of luck. Being nominated has become less estimable and I can understand their apparent melancholies. But as far as Oscar is concerned, I've lost the drive. Let's hope next year is better...