As ever, there are essentially two kinds of people in the world: Thinkers and Believers. This is a truth, and one that has little to nothing to do with religion, spirituality, education or lack thereof. It's a simple boiling-down of how one ultimately chooses to approach the world: Through a prism of logic, reason and rationality... or through the other thing.
Below, a YouTube piece that's been making the rounds courtesy the charmingly-named "MIke Hunt" that intercuts the "Demand A Plan" video - in which various celebrities stumped for new gun legislation in the wake of the Sandy Hook massacre - with scenes of the various celebrities appearing participating in movie/TV scenes where they use guns. This is meant to be an "ironic" (the #2 word that both The Internet and American Conservatives tend to not know the actual definition of) exposure of "hypocrisy" (that, of course, would be the #1 word) on behalf of those appearing; because apparently Mr. Hunt occupies a dimension where the laws of physics differ such that fiction and reality are equivalent in some meaningful way...
It ends, as you may expect, on another declaration about the "Culture of Violence" - the shameless buzzword of the moment propped up by The Right and The NRA to be parroted by their willing sheep in the hopes of deflecting the issue from real guns to imaginary movies, books and video-games:
I am, as I've said before, a supporter of both sensible, reasonable gun laws (more reasonable than the ones we have, to start with) but also of the right to gun ownership by sensible, reasonable people; largely on the basis of logic and pragmatism but also because a good number of my friends and relatives are gun owners (I myself am certified but do not have a license or own a gun) and so I have what I feel is proper perspective on the matter.
That having been said... THIS bullshit (here's some folks on a "mainstream" website gleefully fantasizing about "armed resistance" against, well... guess) is getting to the point where I feel like I could see myself supporting a so-called "assault weapons ban" or somesuch just on the basis of getting to watch these bastards sob impotently into their Chik-fil-A. Is it really possible that I share a basic DNA profile with these people? And that there's nothing I can do about that?
Monday, 31 December 2012
Sunday, 30 December 2012
Dyson on "Django"
This past week, Dr. Michael Eric Dyson had been subbing for Ed Schultz on his MSNBC show - which, for one thing, meant that Ed Schultz otherwise unwatchable show was actually pretty watchable for a change - and offered up one of the more enthusiastic and incisive critiques of Quentin Tarantino's holiday hit (it's currently out-performing "Les Miserables," which NOBODY was expecting) "Django Unchained" and the controversy over Spike Lee's one-man "boycott" of the film, alongside colleague Dr. Eric Peterson.
For his trouble, Dr. Dyson has earned a scathing "open letter" accusing him of needing a "cultural pride transplant." Charming.
For his trouble, Dr. Dyson has earned a scathing "open letter" accusing him of needing a "cultural pride transplant." Charming.
Saturday, 29 December 2012
El último Elvis (The Last Elvis)
Armando Bo's debut film tells the most unexpected story about an Elvis Presley impersonator in a kind of weird, wonderful and bittersweet film that if you know the real Elvis sound you could be fooled by this Elvis as non-actor John McInerny really sounds like the older real one.Most interesting is to find that McInerny sang live -no studio recording-, he's an architect and also a real life Elvis impersonator; but his performance when not singing is done more with silences plus face/body expressions and he is impressively good. He won the Best New Actor award at 2012 Premio Sur and is very well-deserved.
So you might think that this is a musical, there are songs but belong within a narrative so is not a musical. So then, is a drama? Yes is a drama but there is nothing dramatic in it as story is told very, very slowly, in almost dream-fashion style of every day life, where not much is happening on the screen; there are moments that you wish movie could go faster or to give you hints of what is going on besides what you see in the screen and when finally you start to get hints of what will come whatever you guessed I assure you will not be what comes at the very end. Quite unexpected finale done in a very non-dramatic way while something quite dramatic happens; but then if you think twice that was the only way this story could end.
There are many readings about story, some say is an emotional father/daughter story while others say that's about a looser, a musician/singer that never made it, a failing husband, father and son, trapped in a boring manufacturing job by day and impersonating someone else by night. No matter if you see one or the other story interpretation (or more) there is one certain fact, main character never is himself, he is Elvis, calls his wife Priscilla and her daughter's name is Lisa Marie.
Co written by Bo and Nicolás Giacobone (co writers of Alejandro González Iñárritu's Biutiful) and produced by González Iñárritu film has top tech specs that give film a look/feel that everything is happening in the 60s or 70s but a cellular phone tells you is not; most spectacular use of light, great attention to detail and more gives the impression that film is from a more accomplished director and not a first timer.
It is a great film but because is very slow tend to believe that is not for everyone, only those that are patient, like to admire details, and don't mind that not much happens for almost half the movie will be able to endure entire movie. Still know that those that are real Elvis fans will be fascinated by how striking alike this Elvis is to the real one in more ways than his singing and his mannerisms.
I'm no Elvis fan but after watching movie read a little about Elvis life only to discover a few key facts that made me see this film story very differently, but won't spoil the movie for you so watch it and then read about Elvis surely you will uncover a different story interpretation.
Enjoy!!!
Watch trailer @MOC
Friday, 28 December 2012
Escape to The Movies: "Django Unchained"
If you haven't seen "Django Unchained" yet, fix that.
Intermission: "The 50 Most Boring Opinions in Geek Culture - Part II"
Intermission: "The 50 Most Boring Opinions in Geek Culture - Part II"
Thursday, 27 December 2012
We Almost Got a (Horrible) "Hong Kong Phooey" Movie
Hat tip: BAD
Hey, entertainment industry? Y'know what'd be just great? If something - anything! - could happen between Christmas and New Years so I'd have some content to post between shows other than celebrity deaths and offbeat scoops linked from bigger websites. Just sayin'.
Anyway, Badass Digest has posted what is apparently authentic test footage director Alex Zamm put together as a proof-of-concept for a proposed live-action/CGI comedy based on "Hong Kong Phooey" with Eddie Murphy in the lead role. You'll be unsurprised to learn that the clip is light on the kung-fu, heavy on an extended joke about dogs drinking from toilets:
Also included: Another video pitch by Zamm for a similarly hideous-looking "Marvin the Martian" feature.
What's odd about this is, I feel like there's actually some real potential being wasted here. "Hong Kong Phooey" was an oddity even for 70s Hannah-Barberra in that it was one of their less cringingly tone-deaf attempts at coopting current cultural trends, in this case the burgeoning blaxploitation genre and the import kung-fu cinema craze that were already beginning to cross over into one another at the time: Scatman Crothers voiced Phooey, and the series was set in a version of gritty(ish) Disco-infected New York:
A modernized version of that - a Hong Kong Phooey whose attitude was perhaps more hip-hop than funk, with action riffing on the Matrix/Jackie Chan/Crouching Tiger iconography rather than Bruce Lee - might well have been a unique and even interesting cartoon hero for today's kids. But, instead, here's The Voice of Donkey eating a urinal cake. Terrific.
Hey, entertainment industry? Y'know what'd be just great? If something - anything! - could happen between Christmas and New Years so I'd have some content to post between shows other than celebrity deaths and offbeat scoops linked from bigger websites. Just sayin'.
Anyway, Badass Digest has posted what is apparently authentic test footage director Alex Zamm put together as a proof-of-concept for a proposed live-action/CGI comedy based on "Hong Kong Phooey" with Eddie Murphy in the lead role. You'll be unsurprised to learn that the clip is light on the kung-fu, heavy on an extended joke about dogs drinking from toilets:
Also included: Another video pitch by Zamm for a similarly hideous-looking "Marvin the Martian" feature.
What's odd about this is, I feel like there's actually some real potential being wasted here. "Hong Kong Phooey" was an oddity even for 70s Hannah-Barberra in that it was one of their less cringingly tone-deaf attempts at coopting current cultural trends, in this case the burgeoning blaxploitation genre and the import kung-fu cinema craze that were already beginning to cross over into one another at the time: Scatman Crothers voiced Phooey, and the series was set in a version of gritty(ish) Disco-infected New York:
A modernized version of that - a Hong Kong Phooey whose attitude was perhaps more hip-hop than funk, with action riffing on the Matrix/Jackie Chan/Crouching Tiger iconography rather than Bruce Lee - might well have been a unique and even interesting cartoon hero for today's kids. But, instead, here's The Voice of Donkey eating a urinal cake. Terrific.
Wednesday, 26 December 2012
War Of The Arrows
Description: The “War of the Arrows… is a 2011 South Korean historical action film starring Park Hae-il. Set after the Second Manchu invasion of Korea, the film is about an archer Choi Nam-yi who risks his life to save his sister from slavery under Prince Dorgon's rule.
The film was honored at the 48th Grand Bell Awards and the 32nd Blue Dragon Film Awards, including Best Actor for Park Hae-il and Best New Actress for Moon Chae-won.
The film's international title is Arrow: The Ultimate Weapon.”
Directed by: Kim Han-min
Produced by: Jang Won-seok and Kim Sung-hwan
Written by: Kim Han-min
Starring: Park Hae-il, Moon Chae-won and Ryoo Seung-ryong
Music by: Kim Tae-sung
Cinematography by: Kim Tae-sung and Park Jong-chul
Editing by: Kim Chang-ju and Choi Min-young
Shark Attack 3: Megalodon
Directed by: David Worth
Written by: Scott Devine and William Hooke
Starring: John Barrowman, Ryan Cutrona, Jenny McShane, Bashar Rahal and George Stanchev
Synopsis: “When two researchers discover a colossal shark's tooth off the Mexican coast, their worst fears surface[:] the most menacing beast to ever rule the waters is still alive and mercilessly feeding on anything that crosses its path."
Category by FTI Movie House: Action
Tuesday, 25 December 2012
Summer Storm
Description: “Summer Storm (German: Sommersturm) is a 2004 German coming-of-age film directed by Marco Kreuzpaintner and starring Robert Stadlober, Kostja Ullmann, Alicja Bachleda-Curuś, and Marlon Kittel. The story is set to the background of a rowing regatta, which climaxes into a summer storm.”
Directed by: Marco Kreuzpaintner
Produced by: Jakob Claussen
Written by: Thomas Bahmann and Marco Kreuzpaintner
Starring: Robert Stadlober, Kostja Ullmann, Alicja Bachleda-Curuś, Miriam Morgenstern, Marlon Kittel, Hanno Koffler, Jürgen Tonkel, Ludwig Blochberger and Tristano Casanova
Music by: Niki Reiser
Cinematography by: Daniel Gottschalk
Editing by: Hansjörg Weißbrich
Category by FTI Movie House: Romance
RIP: Charles Durning
Bummer. We lost a legend early this morning: Charles Durning, legendary character actor of stage and screen. You may not know his name, but you've seen him in movies and probably enjoyed him.
Durning was one of the great self-made men of modern acting. Born into poverty, he left home of his own accord to ease the financial burden on his mother, traveling and taking odd jobs as he found them. While working as an usher in a burlesque house, he found himself standing in for a no-show stage comic and got bitten by the acting bug. But, before he could fully commit to theater, World War II broke out and he enlisted.
Though he seldom ever spoke about his military service, Durning was a decorated hero: He was the only survivor of a first-wave troop that charged Omaha Beach on D-Day only to be ambushed by machine gun fire, he was taken prisoner while fighting at the Battle of The Bulge and was one of only three P.O.W.'s to escape the notorious Malmedy Massacre. All told he was seriously wounded three times, recieving three Purple Hearts and the Silver Star for Valor; and after all but the final injury returned to combat. One of those injuries included being stabbed eight times with a bayonet during hand-to-hand combat with a German soldier in Belgium. He lived through the fight by ultimately bludgeoning his attacker to death with a rock; and would later cite his own horror at the realization that his enemy was only a teenager as a reason he preferred not to discuss his time as a soldier - it was only in the final decade of his life that he became comfortable speaking of it publically, as in this 2007 appearance at the National Memorial Day Concert.
Upon returning to the U.S., he spent a long period going through the veterans health system for his physical and psychological wounds (he'd later state that he still suffered from nightmares into old age) and also training as a dancer, singer and professional boxer; he returned to the stage and established himself as a hardworking and sought-after performer of classical and modern American dramas. In the late-70s and early-60s he broke into the movies as an equally sought-after character and voice actor, lending his unique cadence and feisty energy to films as diverse as "The Sting" and "The Muppet Movie." He was nominated for two Oscars, multiple Emmys and Tonys throughout his career.
Durning passed away of natural causes, in the presence of family. Below, his signature scene from "The Best Little Whorehouse in Texas," a role which netted him one of those Oscar nods:
Durning was one of the great self-made men of modern acting. Born into poverty, he left home of his own accord to ease the financial burden on his mother, traveling and taking odd jobs as he found them. While working as an usher in a burlesque house, he found himself standing in for a no-show stage comic and got bitten by the acting bug. But, before he could fully commit to theater, World War II broke out and he enlisted.
Though he seldom ever spoke about his military service, Durning was a decorated hero: He was the only survivor of a first-wave troop that charged Omaha Beach on D-Day only to be ambushed by machine gun fire, he was taken prisoner while fighting at the Battle of The Bulge and was one of only three P.O.W.'s to escape the notorious Malmedy Massacre. All told he was seriously wounded three times, recieving three Purple Hearts and the Silver Star for Valor; and after all but the final injury returned to combat. One of those injuries included being stabbed eight times with a bayonet during hand-to-hand combat with a German soldier in Belgium. He lived through the fight by ultimately bludgeoning his attacker to death with a rock; and would later cite his own horror at the realization that his enemy was only a teenager as a reason he preferred not to discuss his time as a soldier - it was only in the final decade of his life that he became comfortable speaking of it publically, as in this 2007 appearance at the National Memorial Day Concert.
Upon returning to the U.S., he spent a long period going through the veterans health system for his physical and psychological wounds (he'd later state that he still suffered from nightmares into old age) and also training as a dancer, singer and professional boxer; he returned to the stage and established himself as a hardworking and sought-after performer of classical and modern American dramas. In the late-70s and early-60s he broke into the movies as an equally sought-after character and voice actor, lending his unique cadence and feisty energy to films as diverse as "The Sting" and "The Muppet Movie." He was nominated for two Oscars, multiple Emmys and Tonys throughout his career.
Durning passed away of natural causes, in the presence of family. Below, his signature scene from "The Best Little Whorehouse in Texas," a role which netted him one of those Oscar nods:
Big Picture: "Top Ten Movies of 2012"
ERNEST SAVES CHRISTMAS
Description: The “Ernest Saves Christmas is a 1988 comedy film... It is the third film to feature the character Ernest P. Worrell and chronicles Ernest's attempt to find a replacement for an aging Santa Claus.”
Directed by: John R. Cherry III
Produced by: Joseph Akerman
Screenplay by: Ed Turner and B. Kline
Story by: Ed Turner
Starring: Jim Varney, Douglas Seale, Noëlle Parker and Oliver Clark
Music by: Mark Snow
Cinematography by: Peter Stein
Editing by: Ian D. Thomas
Category by FTI Movie House: Comedy
Directed by: John R. Cherry III
Produced by: Joseph Akerman
Screenplay by: Ed Turner and B. Kline
Story by: Ed Turner
Starring: Jim Varney, Douglas Seale, Noëlle Parker and Oliver Clark
Music by: Mark Snow
Cinematography by: Peter Stein
Editing by: Ian D. Thomas
Category by FTI Movie House: Comedy
Sunday, 23 December 2012
Amour (Love)
First and foremost this is a Michael Haneke film, a 100% Haneke film very similar in almost every sense to his previous films. Yes there is love in this film but also there is illness and death. It's an extremely hard-to-watch magnificent oeuvre and know that as happens with all Haneke's films, each viewer will see what they want to see. The difference seems to be that this time many coincide in seeing love with some saying that is expressed with detachment and coldness. What all seem to agree is that is a great movie. I say no different, but then by now many of you know that I'm a HUGE admirer of master filmmaker Michael Haneke.A very intense experience that crushed me into tears, exploded all kind of emotions in me and made me think about old age, illness and death, my own. After watching I experienced an intense sadness and took me days to overcome the feeling; but I'm grateful as was able to do an introspection into subjects that you tend to not think about, that tend to avoid. Yes, also saw love, the most realistic love I have seen in film, the one that celebrates qualities and defects, the one that exists when you are partners.
I'm so tempted to really dissect film but will stay out of it by saying that Haneke is as controversial as always with his excellent exploration on human dignity in the most difficult moments a person can live, when everyone wants to help the helpless, when outsiders have to help in the caring but for them is just work, when you see the person you have spend your whole life becoming ... a different being, but you still see that the person is still there, suffering. And all of the above applies to the ill and the caretaker.
This is a film so perfect that is impossible to talk about film as a film as you are absolutely overcome by what you saw, you felt and you are still thinking. You are overcome by images, performances, story and Haneke's mastery in filmmaking and storytelling. Still film is crafted very careful as much as a musician has to carefully interpret a masterpiece, with much work, much detail, much technique, much brain and at the same time with much feeling, much brilliance, and much emotion so those that hear the performance are moved beyond their self consciousness.
Some are talking about Haneke's rigorous, liberating unsentimental world view which I clearly understand what they are saying but absolutely disagree. I believe there is nothing unsentimental (or cold) in this and other Haneke's films as his work always make people feel something, make them think and make them to have "sentiments". Maybe he is very objective, his camera surely is, but unsentimental, no.
Subtle and moving performances by French cinema icons Jean Louis Trintignant and Emmanuelle Riva are breathless perfection with face expressions that say a lot more than what words say and sometimes contradict what they are talking reflecting the truth of the situation. Impressive. I am a huge follower of Trintignant and have seen almost all his movies, he has many where his performances are exquisite but in this "comeback" his performance has become one of the few that excel. Isabelle Huppert is magnificent as always in a role that is not like the ones she usually performs as she is not often only emotional in the screen.
Story is about Anne (Riva) and Georges (Trintignant), retired music teachers in their 80s, living in a handsomely furnished, book-lined Paris apartment; they are happy, affectionate, loving, active and content. We can hardly see them when they attend a concert (a magnificent scene where the concert audience is actually the film audience of unknowns) and see them coming back home to his life. One day Anne suffers a stroke, has a 95% success surgery and becomes one of the 5% unsuccessful cases. Everything changes for them and you know the end of the story as is the opening scene.
Filmmakers live from seeing his ideas materialized in the screen, perhaps that's their ultimate reward but they also live from recognition and viewers seeing their films. I believe this is Haneke's year and even when he already was honored with his second Cannes Palm d'Or for this film plus collected many more honors, is time the American Industry recognizes his immeasurable talent. This film deserves an Oscar (is Austria submission to foreign language category) and even a nomination in the Best Film category. Still, you never know with Academy members and its powerful influencers.
Truly believe that Haneke has to be seen in a very special mood, you have to prepare yourself to be surprised by whatever he selects to explore. No matter what you have read about story I strongly urge you to NOT skip this film, you only have to find the right moment to see it and you will have one of the most intense cinematic experiences of your life.
BIG ENJOY!!! PERFECTION!!!
Watch trailer @MOC
Saturday, 22 December 2012
피에타 Pieta
Hugely disappointed by film as story was unbelievably predictable -very early I could tell you how film was going to end-, production values are not on the good side and has a Kim Ki Duk playing with metaphors in perhaps his most commercial film to date. Film is very similar to many Hong Kong movies, the kind I see sometimes but mostly avoid as tell grim/dark tales in very unpleasant ways.Vengeance is the obvious story but he presents us with metaphors to his vision of what money does to people; have to say that tragedy is not one of Kim Ki Duk fortes as also is not his filmmaking in close environments. For me he is a poet and nowadays there is not much poetry in films or at least like he masterly did in Spring, Summer, Fall, Winter ... and Spring, Dream, Breath and The Bow. That's the Kim Ki Duk that leave me breathless in total awe. In this film the poet is gone and just hope is not gone for good.
The impressive movie poster is just a poster with a clever image that is not in film. To me that's kind of cheating viewers by offering a scene that they will not find in movie plus doesn't reflect the filmmaking and storytelling style at all.
If you are not familiar with Kim Ki Duk this is NOT the film to see, no matter if has been honored in major festivals that probably celebrate more his body of work than this film. If you are a Kim Ki Duk fan, suggest to skip film as you probably will be as much disappointed as I was.
Sigh.
Watch trailer @MOC
Friday, 21 December 2012
ANNOUNCEMENT:
Since I really don’t have time anymore to maintain this site, I find it prudent to close it down. Thank you for all your support.
Take care, guys.
HAPPYBOY001
Clarity
As ever, there are two kinds of people in the world: Thinkers and believers.
I just watched the head of The National Rifle Association - one of the most powerful and influential corporate lobbying groups (though they play at being a citizen's rights outfit for gun owners, of course) in the United States - hold a press conference to say, effectively: Guns don't kill people, video-games and Hollywood kill people.
The depressing amusement of the head of The NRA calling anything else a "shadow industry" aside, I'm actually grateful for this kind of public insanity. One thing Mr. LaPierre and I have in common is that we're both fans of clarity - he likes to talk about "good guys with guns" vs "bad guys with guns;" and I like seeing him (a bad guy with guns) come out so strongly in favor of game/movie/etc censorship, because it helps unmuddy the waters: Weak-willed so-called "progressives" who might otherwise have been willing to give ground on "violent" media (instead of keeping the debate laser-focused on the gun lobby, where it belongs) will hopefully be less so when they see it means agreeing with the distraction-tactics of LaPierre and his ilk.
So, this is to be a (political) fight, then. Games, films, entertainers, artists and the people who value them... versus The Right-Wing Gun Lobby. Good. Let's have it, then.
I just watched the head of The National Rifle Association - one of the most powerful and influential corporate lobbying groups (though they play at being a citizen's rights outfit for gun owners, of course) in the United States - hold a press conference to say, effectively: Guns don't kill people, video-games and Hollywood kill people.
The depressing amusement of the head of The NRA calling anything else a "shadow industry" aside, I'm actually grateful for this kind of public insanity. One thing Mr. LaPierre and I have in common is that we're both fans of clarity - he likes to talk about "good guys with guns" vs "bad guys with guns;" and I like seeing him (a bad guy with guns) come out so strongly in favor of game/movie/etc censorship, because it helps unmuddy the waters: Weak-willed so-called "progressives" who might otherwise have been willing to give ground on "violent" media (instead of keeping the debate laser-focused on the gun lobby, where it belongs) will hopefully be less so when they see it means agreeing with the distraction-tactics of LaPierre and his ilk.
So, this is to be a (political) fight, then. Games, films, entertainers, artists and the people who value them... versus The Right-Wing Gun Lobby. Good. Let's have it, then.
Rebelle (War Witch)
A magnificent film by Kim Nguyen with a very-hard to watch story but in Nguyen's hands becomes easier to see while still clearly getting the straight terrible message. A true master storyteller.Film will make you feel all kind of positive and non-positive emotions, maybe you will smile at some moments, marvel with the poetic magic, imagine the unspeakable that's never shown, shed a tear or two, your stomach and heart could ache, and more; but fast, really fast you will know that you are watching a great film.
Film tells the story of Komona, from the moment she is kidnapped in her little village by the rebel army up to the moment she returns to bury her parents. In between there are approximately two years, a slice of life from when she's 12 years-old up to when she's fourteen. Even if you try to imagine what happens you will never guess right as is impossible to imagine the unimaginable. But while you can read elsewhere details of the storyline, here will tell you that this is a story of survival under the most severe circumstances a person can endure, much more a child, but also is about making peace with yourself. It is a contemporary tragedy that does not belong only to African countries and unfortunately not only to war.
But as said from the very first paragraph story becomes easier to watch as storytelling style is simply fabulous as mixes raw realism in an almost documentary style with a magical realism that borders magic poetry. This time I'm not talking about visuals, I'm talking about how the director chose to tell his story. Filmed in chronological order, with actors and non-actors not knowing the complete script, some improvisation and with a voice-over that will guide the narrative, film becomes impressively good and story easier to digest while absolutely being mesmerizing, especially thanks to Rachel Mwanza.
Rachel Mwanza was discovered in the streets of Kinshasa, a non-actor that magnificently carries the entire film with a superb performance that recalls great performances from more mature European actresses. She is so good that everything that happens to her and around her becomes natural, as natural as it is in real-life when a child is not allowed to live her childhood and is violently pushed into faster maturity. Her magnificent performance gave her the Silver Bear for Best Actress at the 2012 Berlinale and the Best Actress Narrative Feature at 2012 Tribeca fest; all honors are well-deserved and hope that she collects more in the future.
Somehow I found many similarities between this film story and Beasts of the Southern Wild but they are two very different films. Didn't liked Beasts but highly liked Rebelle, the main difference is how the similar story is told and how a more experienced filmmaker can add brilliancy to the storytelling. After watching film think about the magic poetry involved in searching for a white rooster, how she becomes a " witch" or the visual presence of the ghosts. There is nothing executed alike in Beasts.
Film premiered in competition at 2012 Berlinale where won a Special Mention of the Ecumenical Jury, won the Best Narrative Feature at Tribeca and collected some more honors. But Nguyen mentioned in an interview how difficult is to get distribution for a film like this one, which is highly regrettable as film and story definitively is worth seeing. As we know is Canada submission to Oscar and let's hope that gets a well-deserved nomination as could mean that many will have a new chance to see this great film and story.
Big Enjoy!!!
Watch trailer @MOC
85th Academy Awards Foreign Language Film Shortlist
A few minutes ago the shortlist of nine films was announced and what everyone was expecting, except me, became reality. Yes France advanced to the next round and bet you will get a nomination; still deep inside me wish to be wrong.With that awful exception the list is almost perfect as there are three excellent directors that deserve a nomination, Haneke, Mungiu and Meier.
These are the films that will advance to the next round.
Austria: Amour (Love), Michael Haneke
Canada: Rebelle (War Witch), Kim Nguyen
Chile: No, Pablo Larraín
Denmark: En Kongelig Affære (A Royal Affair), Nikolaj Arcel
France: Intouchables (The Intouchables), Olivier Nakache and Eric Toledano
Iceland: Djúpið (The Deep), Baltasar Kormákur
Norway: Kon-Tiki by Joachim Rønning and Espen Sandberg
Romania: După dealuri (Beyond the Hills), Cristian Mungiu
Switzerland: L'enfant d'en haut (Sister), Ursula Meier
What I wish will get a nomination are Austria, Romania, Switzerland, Chile and Canada; but you know that's only what I wish. Sigh.
The shortlist will be winnowed down to the five nominees by specially invited committees in New York and Los Angeles. They will spend Friday, January 4, through Sunday, January 6, viewing three films each day and then casting their ballots. Can't help but to comment that three of the above movies per day will be "torture" as most are really intense; so the first they see each day has better probabilities than the rest and yes, of course, there is only one movie in list that's "entertaining" which will make it look different to the others.
The 85th Academy Awards nominations will be announced live on Thursday, January 10, 2013, at 5:30 a.m. PT in the Academy's Samuel Goldwyn Theater.
Thursday, 20 December 2012
Wonderstone
Sometimes all you need is a killer premise: In "The Incredible Burt Wonderstone," Steve Carrell is an oldschool Las Vegas stage magician whose status is threatened by Jim Carrey as a David Blaine-esque usurper. Yeah, that could work:
If they both ran into Morgan Freeman at one point and he seemed to know both of them, I'd laugh.
If they both ran into Morgan Freeman at one point and he seemed to know both of them, I'd laugh.
The Art of Predicting the Oscars
The following are some curious Oscar data; it includes data from the 2012 LA Times survey.
Academy Membership Profile
94% White
2% Black
2% Latino
2% Other
77% Male
23% Female
14% are younger than 50 years old
86% are 50 or older
Median age: 62 years
Members live in
Los Angeles 89%
New York 7%
London 3%
Santa Barbara 0.8%
San Francisco 0.5%
The profile tells us that Academy members probably does NOT look like you and me; it is safe to assume that also we tend to like different things in our movies. So when predicting their behavior we should not think about what we like but about what they most likely prefer in their movies.
AMPAS' 2012 Branch Count
Branch | Active |
Actors | 1,178 |
Art Directors | 370 |
Cinematographers | 212 |
Directors | 371 |
Documentary | 173 |
Executives | 447 |
Film Editors | 227 |
Makeup/Hair | 124 |
Music | 231 |
Producers | 462 |
Public Relations | 371 |
Shorts/Feature Animation | 354 |
Sound | 402 |
Visual Effects | 302 |
Writers | 377 |
Members-at-large | 255 |
TOTAL VOTING MEMBERS | 5,856 |
Associates (non-voting) | 158 |
As we already know or suspected, the Actors Branch has the largest amount of active voters (1,178), followed by Producers (462), Sound (402), Writers (377), Directors (371), Art Directors (370), Visual Effects (302), Film Editors (227), and others that also have Guilds or associations that give yearly awards; but besides Actors, Guilds/Associations yearly winners tell us not that much about possible Oscar winners as each group has not a significant number of Academy members and each group has many more members that are NOT Academy members. Also there are more voting Academy members (1,600) that do not belong to any workers union but they vote to decide winners.
That is why guessing the Best Picture category can sometimes be not that easy, like for example when The King's Speech won when everyone was expecting the more popular (with younger audience profile) The Social Network to be the top winner. Definitively the first is a good movie that better fits the Academy members profile, even when some branches suggested slightly different.
More curious data.
28 Actors have been nominated for playing royalty, 7 won.
8 Actors have been nominated for playing USA President, 0 won.
The 85th edition has in the Best Actor category Daniel Day-Lewis for his performance in Lincoln as the favorite and IF he wins, will be the FIRST time an actor playing US President wins.
No more interesting data, what follows are instructions on how to vote (we thank Variety for helping the majority of Academy members that probably are not much tech savvy), contenders profiles with suggestions and people praising other people. Indeed magazine seems more addressed to the industry than to us, but it's kind of especial to be able to browse what Industry and Academy members are exposed to.
From all articles, that look more "For Your Consideration" than anything else, perhaps this one is the best because who wrote it and the subject of her comments.
CATE BLANCHETT ON MARION COTILLARD
in ‘Rust and Bone’
So the art of predicting the Oscars has something to do with analyzing numbers from the past and then predict future, but also has much to do about guessing true influencers, those that generate buzz that will touch Academy members and move them to do a specific action. The second work is done by many in the Industry, but we "normal" beings have access only to the critics.
Ah! and now for the first time we have Variety open to everyone. Cheers!
Wednesday, 19 December 2012
"Blame the Playmakers!"
Today, as ever, Quentin Tarantino is - within his medium and within his ability - a hero.
As reflexively incensed as I generally get about the "violent media" crusading (particularly when it's raised as a deliberate diversion from the real of what to do about gun violence, as is becoming the case on some ends here) I'm not terribly "worried" about the prospect of anything "bad" happening legislatively in the wake of this. The way "and also video games, and Hollywood" keeps getting dropped in during speeches about gun regulation by both Obama, congressional Democrats and left-of-center pundits reads to me as rhetorical "cover;" i.e. "we're going after the REAL problems and the REAL problem-makers, but hears an empty finger-wag at the movie/video-game boogeyman so The NRA can't say we're singling them out." I'm fine with that, politics is a game of double-talk and misdirection especially when in service of the good.
Team Obama is not stupid: They know that their (read: Democrats) overwhelming support among the Youth Vote would be horribly jeopardized if they threw-in full-force behind censorship the way they did (mistakenly and to disasterous political effect) in the 1990s. They know that the full-throated support of the "immoral" entertainment industry makes up their deficit in financial support from GOP-favoring corporate America. Most importantly of all, no matter how many white-haired Boomer liberals or "Blue Dog" Democrats in the senate actually do believe in a nonexistant causal-relationship between violent media and real-life violence; The President (read: their boss) belongs to a younger generation (and is highly in-tune with the psyche of an even younger one) that knows better.
The real danger to the arts is, as ever, the craven cowardice of the people running them. It's unlikely we'll see anything legislatively come of things like Sen. Rockefeller's useless proposal, but that Hollywood studios and game publishers might scuttle the release or promotion of this or that otherwise worthy work as a "sacrifice" to public anger? Very possible, and already somewhat in effect. That sort of gesture is not only empty and unhelpful - all it does is distract attention from where it ought be otherwise focused.
As reflexively incensed as I generally get about the "violent media" crusading (particularly when it's raised as a deliberate diversion from the real of what to do about gun violence, as is becoming the case on some ends here) I'm not terribly "worried" about the prospect of anything "bad" happening legislatively in the wake of this. The way "and also video games, and Hollywood" keeps getting dropped in during speeches about gun regulation by both Obama, congressional Democrats and left-of-center pundits reads to me as rhetorical "cover;" i.e. "we're going after the REAL problems and the REAL problem-makers, but hears an empty finger-wag at the movie/video-game boogeyman so The NRA can't say we're singling them out." I'm fine with that, politics is a game of double-talk and misdirection especially when in service of the good.
Team Obama is not stupid: They know that their (read: Democrats) overwhelming support among the Youth Vote would be horribly jeopardized if they threw-in full-force behind censorship the way they did (mistakenly and to disasterous political effect) in the 1990s. They know that the full-throated support of the "immoral" entertainment industry makes up their deficit in financial support from GOP-favoring corporate America. Most importantly of all, no matter how many white-haired Boomer liberals or "Blue Dog" Democrats in the senate actually do believe in a nonexistant causal-relationship between violent media and real-life violence; The President (read: their boss) belongs to a younger generation (and is highly in-tune with the psyche of an even younger one) that knows better.
The real danger to the arts is, as ever, the craven cowardice of the people running them. It's unlikely we'll see anything legislatively come of things like Sen. Rockefeller's useless proposal, but that Hollywood studios and game publishers might scuttle the release or promotion of this or that otherwise worthy work as a "sacrifice" to public anger? Very possible, and already somewhat in effect. That sort of gesture is not only empty and unhelpful - all it does is distract attention from where it ought be otherwise focused.
Hey, Guys! The Good Version of Michael Bay is Back!!!
For those of you just joining us: It's become a fairly open secret that Michael Bay re-upped with the "Transformers" franchise for at least one more go-around despite openly despising it in order to get Paramount to throw it's weight behind a low-budget ($22 million - that's pennies in Bay and the studios' world) passion project called "Pain & Gain;" a fact-based, likely R-rated action/comedy with Mark Whalberg, Anthony Mackie and The Rock as a trio of dipshit roid-raging Miami bodybuilders who get in over their heads trying to double-cross a drug kingpin.
Now there's a trailer, and if you've been missing this Michael Bay (love it or loathe it, this specific genre/setting/tone is what he's better at than any other living filmmaker) as much as I have you'll want to have a look:
Pain & Gain Trailer from Michael Bay Dot Com on Vimeo.
Now there's a trailer, and if you've been missing this Michael Bay (love it or loathe it, this specific genre/setting/tone is what he's better at than any other living filmmaker) as much as I have you'll want to have a look:
Pain & Gain Trailer from Michael Bay Dot Com on Vimeo.
Kon-Tiki
Directed by Norwegian most famous directing duo, Joachim Rønning and Espen Sandberg, film tells another Norway's history not that much known tale. First was 2008 Max Manus and now Thor Heyerdahl amazing story where to prove he was right on his scientific findings crossed the Pacific on a balsa wood raft in 1947.The story is truly fantastic and one the world should be aware as he was the first to prove that the Inca traveled to Polynesia which before trip he hypothesized but no one believe him as then it was common knowledge that Polynesia inhabitants origin came only from Asia. So film presents us the character as a kid, an excerpt of his life in Fatu Hiva -where he creates his theory-, his inability to find interest in the expedition, his persistence until succeeding, and the 101-days trip across the ocean.
But as fascinating as the story is, the movie is not much entertaining as drama is built oddly, action takes too much time with the sharks and script needed much more development for viewers to sustain the almost two hours film takes to tell story. There are moments -when the group is at the sea- that you get tired as story doesn't built up but becomes repetitive and some of us knew the end, so movie was about the ride not about reaching an unknown end.
Then acting is too stiff for my liking even when I imagine that they had to represent Nordic behavior under extreme circumstances as close as possible to reality; but a bit of less stiffness could have been more emotions shown by actors while still being very Nordic.
As can be easily imaginable, film has many outstanding visuals; but the most extraordinary does not come with the men at sea, but from the beginning. The opening sequence with a still camera is impressive as also are most of the winter scenes. While watching spontaneously thought that movie keeps the same camera style no matter where they are (winter, hot weather, urban setting, etc) and perhaps if they had changed the style according to the setting then probable visuals would have been even more remarkable in the non-winter moments. Tech specs are great in general as is the biggest ever Norwegian production up to date - co produced with UK and Denmark-.
But if you wish to learn the story in a more engaging way I suggest you watch the "real" documentary directed by Thor Heyerdahl with the same name that went to win the 1951 Oscar in the documentary category. There are two versions, one narrated in English and the other in Norwegian, both narrated by Thor Heyerdahl himself. Still I know documentary is not easy to find, so many will have to conform with the 2012 film.
As we know film is Norway submission to 2013 Oscar, got a 2013 Golden Globes nomination, and more honors surely will come to film. I liked Max Manus as director's storytelling and filmmaking style was good for the story they were telling, but in this sense I find Kon Tiki not as good as their previous film.
Enjoy!!
Watch trailer @MOC
Tuesday, 18 December 2012
Media Sandwich Finale w/Me
Chris and Kyle honored me by having me as the guest for the final installment of the Media Sandwich podcast. Good times:
MovieBob/Game OverThinker at MAGFest
Head's up! "The Game OverThinker" will have it's first independent panel at this year's MAGFest on January 5th at 10:00am. This is my first one of these, so it's going to be straight Q&A format. I'll be out and about at the con itself otherwise from about Friday to Sunday afternoon, in addition. Look forward to seeing any fans there!
Monday, 17 December 2012
Right-Wing Bloggers Exploit CT Massacre to Attack... a Movie Studio.
Egh. So much for otherwise sitting this one out...
"Conservative" astroturfing outfit Breitbart.com doesn't like Jaime Foxx, and definitely don't like that he's the star of Quentin Tarantino's about-to-be-huge slavery-revenge epic "Django Unchained" - a movie they've been trying to "take down" ever since it was announced (for obvious reasons.) They're current tactic? Exploiting the tragedy and Sandy Hooks to attack the film and it's producers over movie violence.
Typically, this sort of thing would be ignorable - craven opportunists doing what they do. Unfortunately, for a variety of the "violent games and movies are part of the problem" refrain seems to resonate lots of otherwise-intelligent, progressive people as well... which is, of course, music to the ears of the gun lobby - who would much prefer the easy targets of the entertainment industry take the fall instead of them.
These are the times when intellectual clarity is needed, but also intellectual fortitude. Rational, thinking people can agree, disagree or compromise over what to do about guns; but no person can be called rational or thinking who buys into the absurd falsehood of "violent" media as a direct contributor to real-life violence - no matter how simple and comforting the myth may be.
We know what the real problems are. We know what the real problems are not. From there, we can arrive at what's to be done. Everything else is white noise.
"Conservative" astroturfing outfit Breitbart.com doesn't like Jaime Foxx, and definitely don't like that he's the star of Quentin Tarantino's about-to-be-huge slavery-revenge epic "Django Unchained" - a movie they've been trying to "take down" ever since it was announced (for obvious reasons.) They're current tactic? Exploiting the tragedy and Sandy Hooks to attack the film and it's producers over movie violence.
Typically, this sort of thing would be ignorable - craven opportunists doing what they do. Unfortunately, for a variety of the "violent games and movies are part of the problem" refrain seems to resonate lots of otherwise-intelligent, progressive people as well... which is, of course, music to the ears of the gun lobby - who would much prefer the easy targets of the entertainment industry take the fall instead of them.
These are the times when intellectual clarity is needed, but also intellectual fortitude. Rational, thinking people can agree, disagree or compromise over what to do about guns; but no person can be called rational or thinking who buys into the absurd falsehood of "violent" media as a direct contributor to real-life violence - no matter how simple and comforting the myth may be.
We know what the real problems are. We know what the real problems are not. From there, we can arrive at what's to be done. Everything else is white noise.
On Scarborough, Guns and The Rest...
I really, really, really didn't want to end up having anything to say about the school massacre in Connecticutt beyond "this is terrible and I feel terrible;" but I happened to have the news on this morning and wound up "angry tweeting" about what I was seeing, so now I probably ought to flesh that out a bit.
What I was reacting to was this now-ubiquitious monologue by former Republican congressman turned MSNBC host Joe Scarborough saying that he now feels his earlier positions against any and all gun regulations (he was highly-rated by the NRA, and you don't get that by taking nuanced positions.) I don't doubt the sincerity and emotion behind what he said, and I admire a public person effectively saying "I've been wrong" on a national broadcast in principle. My "issue" was that he subsequently "moves on" from talking about guns (and mental-health access) to talking about "violent" movies, video games, etc... and yeah, I've gotta be that guy who goes "hold up a minute" on that.
The thing is, I respect that people have emotional "just do something to make me feel less powerless!" reactions to horrible tragedies. I have them myself, and frankly I'm not of the opinion that such reactions are always bad for us - emotion can overwhelm logic, yes, but it can also overwhelm timidity. To cut right to the chase (because I really, really don't want to dwell on this) I'd say that "Fuck this. Enough is enough, we need to finally do something about this country's bullshit approach to gun laws!" is a POSITIVE emotion-driven reaction to this event... whereas "Culture of Violence! Delay the violent movies! Ban the violent video-games!" is decidedly NOT.
I'm aware that this opens me up to accusations of "hypocrisy," i.e. "Oh, so the stuff YOU don't care about can get banned, but leave the stuff you LIKE alone?;" but quite frankly the equivalency just isn't there as far as I'm concerned.
As I've said before, my politics are 99% pragmatic - I don't have some all-or-nothing "ideal" when it comes to things like regulation, I simply hold that things should be regulated to the degree that they require it. While I'm in favor of so-called "gun-rights" - and really, truly HATE seeing good, responsible firearm-owners among my friends (of which there are many) being demonized along with the genuine "gun nuts" in these instances - the fact is guns are incredibly dangerous and their sole purpose is to be lethal; so, YES - they should be subject to regulations and much greater regulations than they currently are. "Banned?" No. But controlled, monitored, tracked, limited, restricted, etc? Absolutely.
However, when it comes to "violent" media, the "requires regulation" part is simply nowhere close to comparable. "Violent" movies and video games are NOT designed to be lethal or to inflict harm, they are NOT in and of themselves dangerous. Furthermore, there has never been a provable, direct, cause-and-effect link between watching violent movies or playing violent video games and actual acts of violence. With guns there IS because what guns ARE is a tool for lethal force.
Put another way? America's Culture of Violence is that the AR-15 Bushmaster rifle that the CT shooter used to kill 20 kindergarteners is marketed with the catchphrase: "CONSIDER YOUR MAN CARD REISSUED."
What I was reacting to was this now-ubiquitious monologue by former Republican congressman turned MSNBC host Joe Scarborough saying that he now feels his earlier positions against any and all gun regulations (he was highly-rated by the NRA, and you don't get that by taking nuanced positions.) I don't doubt the sincerity and emotion behind what he said, and I admire a public person effectively saying "I've been wrong" on a national broadcast in principle. My "issue" was that he subsequently "moves on" from talking about guns (and mental-health access) to talking about "violent" movies, video games, etc... and yeah, I've gotta be that guy who goes "hold up a minute" on that.
The thing is, I respect that people have emotional "just do something to make me feel less powerless!" reactions to horrible tragedies. I have them myself, and frankly I'm not of the opinion that such reactions are always bad for us - emotion can overwhelm logic, yes, but it can also overwhelm timidity. To cut right to the chase (because I really, really don't want to dwell on this) I'd say that "Fuck this. Enough is enough, we need to finally do something about this country's bullshit approach to gun laws!" is a POSITIVE emotion-driven reaction to this event... whereas "Culture of Violence! Delay the violent movies! Ban the violent video-games!" is decidedly NOT.
I'm aware that this opens me up to accusations of "hypocrisy," i.e. "Oh, so the stuff YOU don't care about can get banned, but leave the stuff you LIKE alone?;" but quite frankly the equivalency just isn't there as far as I'm concerned.
As I've said before, my politics are 99% pragmatic - I don't have some all-or-nothing "ideal" when it comes to things like regulation, I simply hold that things should be regulated to the degree that they require it. While I'm in favor of so-called "gun-rights" - and really, truly HATE seeing good, responsible firearm-owners among my friends (of which there are many) being demonized along with the genuine "gun nuts" in these instances - the fact is guns are incredibly dangerous and their sole purpose is to be lethal; so, YES - they should be subject to regulations and much greater regulations than they currently are. "Banned?" No. But controlled, monitored, tracked, limited, restricted, etc? Absolutely.
However, when it comes to "violent" media, the "requires regulation" part is simply nowhere close to comparable. "Violent" movies and video games are NOT designed to be lethal or to inflict harm, they are NOT in and of themselves dangerous. Furthermore, there has never been a provable, direct, cause-and-effect link between watching violent movies or playing violent video games and actual acts of violence. With guns there IS because what guns ARE is a tool for lethal force.
Yes, it can't just be about gun laws. There is a broader conversation that needs to be had, both about access to mental health care and the "culture of violence;" but art, music, movies, games etc. do not have a prominent or even noteworthy place IN that conversation - rather, they serve as a distraction (and, as is often the case, a diversion) from the real issues. The "culture of violence" in America is a real, serious problem, but the "culture of violence" is NOT Call of Duty, "Django Unchained," etc. America's Culture of Violence is the culture of a vague yet potent sense of existential, media-driven panic: "SOMETHING is coming to get me and I require a military-grade arsenal with no background check, waiting period or meaningful limitation of any kind to protect myself from... well, I don't know what from but FoxNews, talk-radio and Infowars SWEAR they're on the way and if you say otherwise you're one of them and that's why you want to take my guns away!"
 |
| Are you kidding me? |
Put another way? America's Culture of Violence is that the AR-15 Bushmaster rifle that the CT shooter used to kill 20 kindergarteners is marketed with the catchphrase: "CONSIDER YOUR MAN CARD REISSUED."
So yes, let's finally have a real discussion about the place of guns and the relevance of Second Ammendment absolutism in the 21st Century. Let's have more discussion of how we treat (in every sense of the word) mental illness. But let's NOT be distracted or diverted by the notion that movies, art, music, games or any other creative works belong "on the table" or even in the discussion. Because they do not.
17th Satellite Awards Winners
Last night the IPA had their award ceremony and winners are in *BLUE.The International Press Academy really liked Silver Linings Playbook that won almost all the motion picture major awards. But saying that Pieta is as good as The Intouchables is something that I do not comprehend. To read winners in all motion picture and television categories go to official site.
12/3
Last year, on November 9, 2011 something quite interesting happened that skipped my radar but will comment now briefly. FEDEORA joined with the International Press Academy (IPA) to extend IPA's membership and the cross-cultural reach of both organizations. FEDEORA is the Federation of Film Critics of Europe and the Mediterranean that was founded in May 2010 in Cannes; the seat of FEDEORA is in London UK.
Perhaps FEDEORA is still a young association but already has started to give awards at some festivals; however what concerns IPA's Satellite Awards is that since last year the base of this Press Academy expanded beyond the American sphere. Since then their purpose to be global has become more meaningful. Still I believe that to gain more visibility within the awards season, the Academy should publish at least its global membership coverage.
Nevertheless IPA describes itself as follows, IPA is a global media association of domestic and foreign entertainment journalists in print, TV, radio, broadcast, and online outlets; including critics, interviewers, reviewers, bloggers, and photographers. The organization is based in Los Angeles and by definition still feels too American to be visualized as global.
A while back IPA President, Mirjana Van Blaricom gave the following declarations.
“We rescheduled the show for Dec. 16; we will include FEDEORA, the Federation of Film Critics of Europe and the Mediterranean. This will have a big impact on our choices as far as new takes on international films. Due to the rise of bloggers, people who never read reviews are now part of the audience for commentary on the industry. This is not only local but global, and we are making adjustments in our membership to realign the parameters of what a press association means in the world today. It’s including a lot of new voices and views."
Perhaps her most visionary comment is when she says: “nobody has a monopoly on covering entertainment anymore.”
So today, in the second year that the organization has become more global, IPA announced their nominations with a very-long list of nominees for Film categories (there are too many nominees in each category) that comes from reliable news sources. If you wish to learn all nominees in Film, Television and New Media check the official site. As soon as they publish will confirm the nominations. The official site hasn't publish the nominations, so perhaps you will like to check the news at THR, go here. (Updated 12/4)
Update 12/16: Official site has the list and nominations have been confirmed.
As you can see nominees, with few exceptions, still look and feel like if they come from an American awards organization as their scope includes mainly English-language films.
Best Picture
Argo
Beasts of the Southern Wild
Life of Pi
Lincoln
Les Misérables
Moonrise Kingdom
*Silver Linings Playbook
Skyfall
The Sessions
Zero Dark Thirty
Best Animated or Mixed Media Film
Brave
Frankenweenie
Ice Age 4: Continental Drift
Madagascar 3: Europe's Most Wanted
*Rise of the Guardians
Wreck-It Ralph
Best Foreign Film
Amour
A Royal Affair
*The Intouchables
Our Children
Kon-Tiki
*Pieta
Beyond the Hills
War Witch
Caesar Must Die
Best Documentary
Ai Weiwei: Never Sorry
*Chasing Ice
Marina Abramovic: The Artist is Present
Searching for Sugar Man
The Central Park Five
The Gatekeepers
The Pruitt-Igoe Myth
West of Memphis
Best Director
*David O. Russell for Silver Linings Playbook
Ben Affleck for Argo
Kim Ki-Duk for Pieta
Ben Lewin for The Sessions
Steven Spielberg for Lincoln
Kathryn Bigelow for Zero Dark Thirty
Best Actress
*Jennifer Lawrence in Silver Linings Playbook
Émilie Dequenne in À perdre la raison (Our Children)
Keira Knightley in Ana Karenina
Emmanuelle Riva in Amour (Love)
Laura Linney in Hyde Park on Hudson
Jessica Chastain in Zero Dark Thrity
Laura Birn in Purge
Best Supporting Actress
Amy Adams in The Master
Hélène Florent in Café de Flore
*Anne Hathaway in Les Misérables
Helen Hunt in The Sessions
Judi Dench in Skyfall
Samantha Barks in Les Misérables
Best Actor
John Hawkes in The Sessions
Omar Sy in The Intouchbles
Hugh Jackman in Les Misérables
Joaquin Phoenix in The Master
Denzel Washington in Flight
Daniel Day- Lewis in Lincoln
*Bradley Cooper in Silver Linings Playbook
Best Supporting Actor
Philip Seymour Hoffman in The Master
Robert De Niro in Silver Linings Playbook
John Goodman in Flight
*Javier Bardem in Skyfall
Tommy Lee Jones in Lincoln
Eddie Redmayne in Les Misérables
Was going to list nominees in all film categories but after reading the nominees my belief is that is not really worth it as their selections are too American for an organization that supposedly now is more global. Besides I find unsettling that the "other" French film is nominated, Jacques Audiard was shut out plus their selection in the foreign film category looks to come more from the films that each country sent to Oscar than from watching non-American films.
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