Welcome to a new weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.
The category: Best Ensemble Cast
Why it should exist: This one actually makes the most sense given that the Screen Actors Guild hands out this very award, recognizing a cohesive cohort of thespians on their collective work rather than individual merit. It’s different enough from the Best Picture race, which rewards an overall rounded film instead of all the onscreen players.
Why it doesn’t exist: Unlike the Emmys or the Golden Globes, the Oscars hand out a small number of acting trophies each year: four. That makes the achievement of winning an Oscar for acting all the more esteemed, and awarding an entire cast would prove much more difficult and diminish from its impact. It’s also possible that these nominees would mirror the Best Picture nominees too closely.
Who might have been nominated the past five years:
2011: The Artist, The Descendants, The Help, Hugo, Midnight in Paris
2010: The Fighter, The Kids Are All Right, The King’s Speech, The Social Network, True Grit
2009: The Hurt Locker, Inglourious Basterds, Nine, Precious, Up in the Air
2008: The Curious Case of Benjamin Button, Frost/Nixon, Milk, Slumdog Millionaire, The Wrestler
2007: Hairspray, Juno, Michael Clayton, No Country for Old Men, There Will Be Blood
Thursday, May 31, 2012
Wednesday, May 30, 2012
Wednesday Oscar Retrospective: The Forgotten Five of 2011
Welcome to a returning weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Forgotten Five was the first in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed. Since I started this feature back in 2010, I’ll now be filling in the past two years.
Each year, a number of films are left off of Oscar’s Best Picture list. This year, even with ten nominees, films still didn’t make the cut. What I’m interested in looking at is the Forgotten Five – five films that probably came closest to getting nominated for Best Picture and ended up without a single nomination.
The rules are that the film cannot have earned any Oscar nominations at all. These are the movies that came so close and had buzz but just couldn’t ultimately cut it. If you disagree with my choices or think I missed one, please leave a note in the comments. This is designed to be a fun look back at some of the movies that may have been great (or not) and just missed the mark.
The Forgotten Five of 2011
Coriolanus was the directorial debut for two-time Oscar nominee Ralph Fiennes. Though Kenneth Branagh has successfully drawn Oscar nominations from Shakespeare adaptations, this modern-day take on a famous play with the original dialogue preserved didn’t earn any Oscar traction, despite buzz for Vanessa Redgrave’s mother.
Melancholia was a visually astounding apocalyptic tale from director Lars Von Trier, who previous films “Breaking the Waves” and “Dancer in the Dark” earned Oscar attention. His unconventional film may have turned some off, but not as much as the anti-Semitic remarks he made at the Cannes Film Festival in May 2011, which likely dashed his chances altogether.
Martha Marcy May Marlene was highly buzzed-about in anticipation of its release, and Elizabeth Olsen seemed set for a Best Actress nomination after plenty of critics awards. The film faltered and got ignored, probably since the somewhat similar (and superior) “Winter’s Bone” had been released the year before and voters weren’t in the mood for another depressing and dark drama.
Shame probably intrigued as many people as it turned off with its NC-17 rating. Director Steve McQueen reteamed with actor Michael Fassbender after his first film, “Hunger,” to create a truly unique and compelling adult drama. Fassbender got a Golden Globe nomination, but that’s as far as this arthouse indie went.
Take Shelter gave Michael Shannon, who earned a surprising Best Supporting Actor nomination in 2008 for “Revolutionary Road,” an excellent showcase for his talents in a strong, well-made psychological thriller. The film may have peaked too early, released at the end of September, since it was completely forgotten by Oscar time.
Take a look at past editions of the Forgotten Five, and other Wednesday Oscar Retrospective series.
Each year, a number of films are left off of Oscar’s Best Picture list. This year, even with ten nominees, films still didn’t make the cut. What I’m interested in looking at is the Forgotten Five – five films that probably came closest to getting nominated for Best Picture and ended up without a single nomination.
The rules are that the film cannot have earned any Oscar nominations at all. These are the movies that came so close and had buzz but just couldn’t ultimately cut it. If you disagree with my choices or think I missed one, please leave a note in the comments. This is designed to be a fun look back at some of the movies that may have been great (or not) and just missed the mark.
Coriolanus was the directorial debut for two-time Oscar nominee Ralph Fiennes. Though Kenneth Branagh has successfully drawn Oscar nominations from Shakespeare adaptations, this modern-day take on a famous play with the original dialogue preserved didn’t earn any Oscar traction, despite buzz for Vanessa Redgrave’s mother.
Melancholia was a visually astounding apocalyptic tale from director Lars Von Trier, who previous films “Breaking the Waves” and “Dancer in the Dark” earned Oscar attention. His unconventional film may have turned some off, but not as much as the anti-Semitic remarks he made at the Cannes Film Festival in May 2011, which likely dashed his chances altogether.
Martha Marcy May Marlene was highly buzzed-about in anticipation of its release, and Elizabeth Olsen seemed set for a Best Actress nomination after plenty of critics awards. The film faltered and got ignored, probably since the somewhat similar (and superior) “Winter’s Bone” had been released the year before and voters weren’t in the mood for another depressing and dark drama.
Shame probably intrigued as many people as it turned off with its NC-17 rating. Director Steve McQueen reteamed with actor Michael Fassbender after his first film, “Hunger,” to create a truly unique and compelling adult drama. Fassbender got a Golden Globe nomination, but that’s as far as this arthouse indie went.
Take Shelter gave Michael Shannon, who earned a surprising Best Supporting Actor nomination in 2008 for “Revolutionary Road,” an excellent showcase for his talents in a strong, well-made psychological thriller. The film may have peaked too early, released at the end of September, since it was completely forgotten by Oscar time.
Take a look at past editions of the Forgotten Five, and other Wednesday Oscar Retrospective series.
Tuesday, May 29, 2012
Tuesday’s Top Trailer: The Great Gatsby
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
The Great Gatsby – Opening December 25, 2012
This trailer has been buzzing around the Internet for the past week. I’m not a devotee of the F. Scott Fitzgerald work on which this is based, so I’ll come at it strictly as a filmgoer and Oscar predictor. This film, more than anything, looks visually astonishing, decorated with costumes and colors and just about the most gorgeous scenery ever conceived of for film. Its story looks exceptionally intriguing as well, with Leonardo DiCaprio once again taking on the role of a mystery man with a whole lot of power and a lack of social grace to know how best to handle it. I’m thrilled to see Carey Mulligan get a role like this after her standout performances in “An Education” and “Shame,” and she seems to fit right into the 1920s, as does Tobey Maguire. Isla Fisher, Jason Clarke (“The Chicago Code”), and Joel Edgerton (“Warrior”) also appear in the supporting cast, all dressed for the part in this period piece. Director Baz Luhrmann, as it happens, has only ever made four feature-length films. “Australia” and “Romeo + Juliet” earned Oscar nominations for costume design and art direction, respectively, while “Moulin Rouge” won both those awards and also received a handful of other nominations, including Best Picture. This will be Luhrmann’s best shot at recapturing the excitement and creativity of that film, and this is sure to be one of the most anticipated movies of awards season. I think it looks dazzling and magnificent, and I can only hope that the experience of the film is as grand and majestic as the trailer.
The Great Gatsby – Opening December 25, 2012
This trailer has been buzzing around the Internet for the past week. I’m not a devotee of the F. Scott Fitzgerald work on which this is based, so I’ll come at it strictly as a filmgoer and Oscar predictor. This film, more than anything, looks visually astonishing, decorated with costumes and colors and just about the most gorgeous scenery ever conceived of for film. Its story looks exceptionally intriguing as well, with Leonardo DiCaprio once again taking on the role of a mystery man with a whole lot of power and a lack of social grace to know how best to handle it. I’m thrilled to see Carey Mulligan get a role like this after her standout performances in “An Education” and “Shame,” and she seems to fit right into the 1920s, as does Tobey Maguire. Isla Fisher, Jason Clarke (“The Chicago Code”), and Joel Edgerton (“Warrior”) also appear in the supporting cast, all dressed for the part in this period piece. Director Baz Luhrmann, as it happens, has only ever made four feature-length films. “Australia” and “Romeo + Juliet” earned Oscar nominations for costume design and art direction, respectively, while “Moulin Rouge” won both those awards and also received a handful of other nominations, including Best Picture. This will be Luhrmann’s best shot at recapturing the excitement and creativity of that film, and this is sure to be one of the most anticipated movies of awards season. I think it looks dazzling and magnificent, and I can only hope that the experience of the film is as grand and majestic as the trailer.
Monday, May 28, 2012
Monday Sequel Spotlight: Die Hard 2
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
Die Hard 2
Directed by Renny Harlin
Released July 4, 1990
On Memorial Day, it seems fitting to feature an all-American hero, John McClane, who has no patience for terrorists and won’t sit back and let them ruin his Christmas. The first film, released in 1988, was a huge success, and paved the way for many other action movies over the past twenty years. The second film doesn’t necessarily get as much credit, but, objectively, it’s a fantastic follow-up. A new director didn’t change the excitement and the thrills as John’s wife was on a plane home and John, waiting for her in the airport, discovered a terrorist operation underway and wouldn’t let it take place on his watch. The humor of the first film is present again, and John embraces the “wrong place, wrong time” adage by stepping in to help when only airport police are present to help him take down the bad guys. In between Alan Rickman and Jeremy Irons, William Sadler, who appeared in “The Shawshank Redemption” and also recently guest-starred on “Hawaii Five-0,” is a fitting substitute, equally committed to destruction, no matter what the cost. Dennis Franz, pre-“NYPD Blue,” is also present to butt heads with McClane. This is the kind of role that Bruce Willis became famous for playing, and there’s a reason why that is. Watch the trailer above to travel back and experience the nostalgia. The follow-up films, “Die Hard: With a Vengeance” and “Die Hard: Live Free or Die Hard,” are actually pretty good as well, but neither of them does as a good a job of replicating the feel of the first film.
Die Hard 2
Directed by Renny Harlin
Released July 4, 1990
On Memorial Day, it seems fitting to feature an all-American hero, John McClane, who has no patience for terrorists and won’t sit back and let them ruin his Christmas. The first film, released in 1988, was a huge success, and paved the way for many other action movies over the past twenty years. The second film doesn’t necessarily get as much credit, but, objectively, it’s a fantastic follow-up. A new director didn’t change the excitement and the thrills as John’s wife was on a plane home and John, waiting for her in the airport, discovered a terrorist operation underway and wouldn’t let it take place on his watch. The humor of the first film is present again, and John embraces the “wrong place, wrong time” adage by stepping in to help when only airport police are present to help him take down the bad guys. In between Alan Rickman and Jeremy Irons, William Sadler, who appeared in “The Shawshank Redemption” and also recently guest-starred on “Hawaii Five-0,” is a fitting substitute, equally committed to destruction, no matter what the cost. Dennis Franz, pre-“NYPD Blue,” is also present to butt heads with McClane. This is the kind of role that Bruce Willis became famous for playing, and there’s a reason why that is. Watch the trailer above to travel back and experience the nostalgia. The follow-up films, “Die Hard: With a Vengeance” and “Die Hard: Live Free or Die Hard,” are actually pretty good as well, but neither of them does as a good a job of replicating the feel of the first film.
Sunday, May 27, 2012
Sunday Similar Standards: Emily Blunt
Welcome to a new semi-regular weekly feature here at Movies with Abe. On those weeks where reviews are sparse, I’ll be taking a look at an actor or actress whose body of work boasts many roles that may not be as diverse as those taken on by other actors or actresses. This is hardly a judgment on their abilities; rather an analysis of the kind of parts they play so well.
Emily Blunt
This lovely British actress has become known for playing extremely sarcastic, often lonely and unsatisfied women. Sometimes she’s in a great relationship, be it romantic or platonic, but usually she’s just working hard to make ends meet and find happiness in the midst of a chaotic and busy world.
The Devil Wears Prada (2006): Blunt’s American breakthrough as a bitchy assistant training Anne Hathaway earned her a Golden Globe nomination. She threw her whole life into her work, creating many comic moments.
Dan in Real Life (2007): In a small role, Blunt got to be on top as a formerly unattractive woman set up on a date with Steve Carell’s Dan, having overcome a life of loneliness to reach a high point.
Sunshine Cleaning (2008): Blunt teamed with Amy Adams, previously written about in this feature, to play the sardonic deadbeat sister living with her father who joined forces to create a hazardous material cleaning crew.
The Young Victoria (2009): Blunt ditched the sarcasm to play the young Queen of England, ruling over the people as a lonely regal figure, but fortunate enough to find a lasting love and the admiration of her people.
Wild Target (2010): Blunt played a con woman in this eccentric and charming comedy with a distaste for telling the truth and a surprising attraction to the assassin who saved her life.
The Wolfman (2010): Blunt donned period garb again to play a woman whose fiancé was killed by a werewolf in the 1890s fearing for her life as his brother arrives to try to save her and the town from the beast.
The Adjustment Bureau (2011): Blunt was seductive and unforgettable as a dancer who caught the eye of a New York politician and caused his world to unravel, desperate to be united with this alluring mystery woman.
The Five-Year Engagement (2012): Blunt was at her most charming working her way through a relationship while balancing graduate school and her own uncertainties about how to best get through life.
Your Sister’s Sister (2012): Blunt gets caught between in her best friend and her lesbian sister at a remote cabin in this forthcoming dramedy in which she struggles to let her best friend know how she really feels about him.
Anything different?
Not to this point.
What’s next?
Roles in two science fiction thrillers, “Looper” and “All You Need is Kill,” and in the comedy “Arthur Newman, Golf Pro,” opposite Colin Firth.
The verdict?
Blunt is great in just about everything, and allowing her to use sarcasm to deflect the loneliness of her characters always works like a charm. “The Five-Year Engagement” and “Your Sister’s Sister” indicate that she’s very funny, so maybe straight comedy is something that she could do in the future, though she’s doing just fine as is.
This lovely British actress has become known for playing extremely sarcastic, often lonely and unsatisfied women. Sometimes she’s in a great relationship, be it romantic or platonic, but usually she’s just working hard to make ends meet and find happiness in the midst of a chaotic and busy world.
The Devil Wears Prada (2006): Blunt’s American breakthrough as a bitchy assistant training Anne Hathaway earned her a Golden Globe nomination. She threw her whole life into her work, creating many comic moments.
Dan in Real Life (2007): In a small role, Blunt got to be on top as a formerly unattractive woman set up on a date with Steve Carell’s Dan, having overcome a life of loneliness to reach a high point.
Sunshine Cleaning (2008): Blunt teamed with Amy Adams, previously written about in this feature, to play the sardonic deadbeat sister living with her father who joined forces to create a hazardous material cleaning crew.
The Young Victoria (2009): Blunt ditched the sarcasm to play the young Queen of England, ruling over the people as a lonely regal figure, but fortunate enough to find a lasting love and the admiration of her people.
Wild Target (2010): Blunt played a con woman in this eccentric and charming comedy with a distaste for telling the truth and a surprising attraction to the assassin who saved her life.
The Wolfman (2010): Blunt donned period garb again to play a woman whose fiancé was killed by a werewolf in the 1890s fearing for her life as his brother arrives to try to save her and the town from the beast.
The Adjustment Bureau (2011): Blunt was seductive and unforgettable as a dancer who caught the eye of a New York politician and caused his world to unravel, desperate to be united with this alluring mystery woman.
The Five-Year Engagement (2012): Blunt was at her most charming working her way through a relationship while balancing graduate school and her own uncertainties about how to best get through life.
Your Sister’s Sister (2012): Blunt gets caught between in her best friend and her lesbian sister at a remote cabin in this forthcoming dramedy in which she struggles to let her best friend know how she really feels about him.
Anything different?
Not to this point.
What’s next?
Roles in two science fiction thrillers, “Looper” and “All You Need is Kill,” and in the comedy “Arthur Newman, Golf Pro,” opposite Colin Firth.
The verdict?
Blunt is great in just about everything, and allowing her to use sarcasm to deflect the loneliness of her characters always works like a charm. “The Five-Year Engagement” and “Your Sister’s Sister” indicate that she’s very funny, so maybe straight comedy is something that she could do in the future, though she’s doing just fine as is.
Saturday, May 26, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
I’m hoping to get a chance to see Men in Black 3 while I’m in Los Angeles this weekend, though it’s not a priority since I wasn’t enamored with the second film. Chernobyl Diaries looks absolutely terrifying, not to mention awful, and you couldn’t pay me to see that. I would, however, love to see Moonrise Kingdom, though I’m not sure I’ll get around to seeing it in a timely fashion.
New to DVD
Certified Copy (recommended): For those who don’t like subtitles, it might not be the best choice, but it’s not hard to follow the fascinating conversation that happens between two strangers in English, French, and Italian starring Juliette Binoche and William Shimell.
Perfect Sense (recommended): This romance takes place in the near future, when a chef and a scientist fall in love while humanity is losing their senses, starting with smell, one at a time. It’s a bleak but engaging film with strong performances and a great score, very well-conceived in terms of its execution.
Now Playing in NYC
I’m hoping to get a chance to see Men in Black 3 while I’m in Los Angeles this weekend, though it’s not a priority since I wasn’t enamored with the second film. Chernobyl Diaries looks absolutely terrifying, not to mention awful, and you couldn’t pay me to see that. I would, however, love to see Moonrise Kingdom, though I’m not sure I’ll get around to seeing it in a timely fashion.
New to DVD
Certified Copy (recommended): For those who don’t like subtitles, it might not be the best choice, but it’s not hard to follow the fascinating conversation that happens between two strangers in English, French, and Italian starring Juliette Binoche and William Shimell.
Perfect Sense (recommended): This romance takes place in the near future, when a chef and a scientist fall in love while humanity is losing their senses, starting with smell, one at a time. It’s a bleak but engaging film with strong performances and a great score, very well-conceived in terms of its execution.
Friday, May 25, 2012
Friday for Your Consideration: The Avengers
Welcome to a special edition of a seasonal weekly feature here at Movies with Abe, Friday For Your Consideration. As every year nears to a close, there are a number of actors nominated for Golden Globes, Oscars, and countless other awards. There are so many spots and there are so many deserving contenders, yet some inevitably get left out. This week, I’d like to spotlight a film that may be forgotten by the end of 2012, at least in terms of awards.
The Avengers
Why it deserves it: It might be strange to think of this film as one to be forgotten since it already stands as the 5th highest-grossing film of all time after less than a month out in theatres. The question therefore becomes whether the energy people seem to have it makes it a deserving contender for the expanded Best Picture race, in which “viewer’s choice” nominees like “The Blind Side” can make an appearance. I’d argue that its visual effects, sound, and sound editing are more clearly worthy of recognition, though a Best Picture bid would be pretty damn cool too.
Standout scene: There are plenty, but the one that best exemplifies the visual and audial qualities I’d like to emphasize is the attack by the alien army in which the Avengers team up to run around midtown Manhattan trying to save human lives and working together to use their powers to send those aliens back where they came from.
Why it won’t get it: I certainly hope it will, but it’s unwise to jump to such a conclusion. Six films featuring the Avengers leading into this one have mustered up a mere three nominations, and they’re all for Iron Man movies. While the Spider-Man saga managed to net a few nominations and one win, none of the X-Men movies even merited a mention. Hopefully this seeming bias against Marvel films will be contradicted by the success of this film in the technical categories.
Why it deserves it: It might be strange to think of this film as one to be forgotten since it already stands as the 5th highest-grossing film of all time after less than a month out in theatres. The question therefore becomes whether the energy people seem to have it makes it a deserving contender for the expanded Best Picture race, in which “viewer’s choice” nominees like “The Blind Side” can make an appearance. I’d argue that its visual effects, sound, and sound editing are more clearly worthy of recognition, though a Best Picture bid would be pretty damn cool too.
Standout scene: There are plenty, but the one that best exemplifies the visual and audial qualities I’d like to emphasize is the attack by the alien army in which the Avengers team up to run around midtown Manhattan trying to save human lives and working together to use their powers to send those aliens back where they came from.
Why it won’t get it: I certainly hope it will, but it’s unwise to jump to such a conclusion. Six films featuring the Avengers leading into this one have mustered up a mere three nominations, and they’re all for Iron Man movies. While the Spider-Man saga managed to net a few nominations and one win, none of the X-Men movies even merited a mention. Hopefully this seeming bias against Marvel films will be contradicted by the success of this film in the technical categories.
Thursday, May 24, 2012
Movie with Abe: Ashley’s Ashes (Capsule Review)
Ashley’s Ashes
Directed by Christopher Hutson & Chris Kazmier
Released on VOD on May 23, 2012
This light-hearted ensemble drama, which arrived on VOD yesterday after appearing at a number of film festivals, features Googy Gress, an occasional TV guest star, as Bob, a disgruntled man who is left the ashes of a mystery person. Gress is hardly the most energetic or endearing lead, but the film is littered with more engaging personalities, played by the likes of Daniel Baldwin, Orson Bean (“Desperate Housewives”), Christian Clemenson (“Boston Legal”), Lee Arenberg (“Once Upon a Time”), Scott Michael Foster (“Californication”), Willie Garson (“White Collar”), Clint Howard, and others, to help him along towards discovering just who this person whose ashes he has inherited was. His journey towards finding a better state of happiness is a slow-moving rollercoaster with several peaks, and the film manages an effective dramatic ending after 100 minutes of soul-searching on Bob’s part. The film seems made to be inspirational, and therefore it’s hard to fault its light tone and easy to sit back and enjoy this generally pleasant and relaxing film. It’s always a delight to root for the underdog, and Bob is certainly that. As a film to watch at home, this one should be perfect for a casual night in, almost guaranteed to make you smile.
B
Directed by Christopher Hutson & Chris Kazmier
Released on VOD on May 23, 2012
This light-hearted ensemble drama, which arrived on VOD yesterday after appearing at a number of film festivals, features Googy Gress, an occasional TV guest star, as Bob, a disgruntled man who is left the ashes of a mystery person. Gress is hardly the most energetic or endearing lead, but the film is littered with more engaging personalities, played by the likes of Daniel Baldwin, Orson Bean (“Desperate Housewives”), Christian Clemenson (“Boston Legal”), Lee Arenberg (“Once Upon a Time”), Scott Michael Foster (“Californication”), Willie Garson (“White Collar”), Clint Howard, and others, to help him along towards discovering just who this person whose ashes he has inherited was. His journey towards finding a better state of happiness is a slow-moving rollercoaster with several peaks, and the film manages an effective dramatic ending after 100 minutes of soul-searching on Bob’s part. The film seems made to be inspirational, and therefore it’s hard to fault its light tone and easy to sit back and enjoy this generally pleasant and relaxing film. It’s always a delight to root for the underdog, and Bob is certainly that. As a film to watch at home, this one should be perfect for a casual night in, almost guaranteed to make you smile.
B
Wednesday, May 23, 2012
Wednesday Oscar Retrospective: First Five Forgotten in 2001
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, or further, in the case of this specific series, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2001
Hayden Christensen (Life as a House): Before winning Razzie Awards for Worst Supporting Actor for two of the “Star Wars” prequels, Christensen actually netted both Golden Globe and SAG nods for his performance in “Life as a House,” a film that was entirely ignored by Oscar voters. It’s a shame, too, since that and “Shattered Glass” are almost universally considered to be his only decent performances.
Cameron Diaz (Vanilla Sky): Between 1998 and 2002, Diaz netted four Golden Globe nominations and no Oscar love. Cameron Crowe’s mind-bending science fiction thriller was her first true dramatic role, and showed that she could be serious as well as seductive and funny. Since then, she’s made more action films and comedies, but that seems to be where her strengths lie following this surprisingly strong performance.
Dakota Fanning (I Am Sam): This young actress delivered her breakout film performance at age seven as the precocious daughter of a mentally-challenged man (played by nominee Sean Penn). She got a SAG nomination for that performance and a slew of strong follow-up roles in comedy, action, and drama. She may yet cross paths with Oscar, and her younger sister Elle is already following in her footsteps.
Ewan McGregor (Moulin Rouge): This Scottish actor tends to pick good roles in good movies, but he doesn’t usually get the attention for them. After a breakout turn in Danny Boyle’s “Trainspotting” five years earlier, McGregor costarred with nominee Nicole Kidman in the year’s acclaimed musical sensation. He only got a Globe nomination for his troubles, and if charming subsequent parts in “Big Fish” and “Beginners” couldn’t attract him Oscar attention, I’m not sure what will.
Carl Reiner (Ocean’s Eleven): The now 90-year-old actor has won eight Emmys, for work both in front of and behind the camera. He got his best shot at Oscar as one of the standouts of a furiously entertaining ensemble in this insanely popular heist flick. Though it fared well with audiences, Oscar voters ignored it, missing out on what could have been an extremely fun inclusion.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Hayden Christensen (Life as a House): Before winning Razzie Awards for Worst Supporting Actor for two of the “Star Wars” prequels, Christensen actually netted both Golden Globe and SAG nods for his performance in “Life as a House,” a film that was entirely ignored by Oscar voters. It’s a shame, too, since that and “Shattered Glass” are almost universally considered to be his only decent performances.
Cameron Diaz (Vanilla Sky): Between 1998 and 2002, Diaz netted four Golden Globe nominations and no Oscar love. Cameron Crowe’s mind-bending science fiction thriller was her first true dramatic role, and showed that she could be serious as well as seductive and funny. Since then, she’s made more action films and comedies, but that seems to be where her strengths lie following this surprisingly strong performance.
Dakota Fanning (I Am Sam): This young actress delivered her breakout film performance at age seven as the precocious daughter of a mentally-challenged man (played by nominee Sean Penn). She got a SAG nomination for that performance and a slew of strong follow-up roles in comedy, action, and drama. She may yet cross paths with Oscar, and her younger sister Elle is already following in her footsteps.
Ewan McGregor (Moulin Rouge): This Scottish actor tends to pick good roles in good movies, but he doesn’t usually get the attention for them. After a breakout turn in Danny Boyle’s “Trainspotting” five years earlier, McGregor costarred with nominee Nicole Kidman in the year’s acclaimed musical sensation. He only got a Globe nomination for his troubles, and if charming subsequent parts in “Big Fish” and “Beginners” couldn’t attract him Oscar attention, I’m not sure what will.
Carl Reiner (Ocean’s Eleven): The now 90-year-old actor has won eight Emmys, for work both in front of and behind the camera. He got his best shot at Oscar as one of the standouts of a furiously entertaining ensemble in this insanely popular heist flick. Though it fared well with audiences, Oscar voters ignored it, missing out on what could have been an extremely fun inclusion.
Tuesday, May 22, 2012
Tuesday’s Top Trailer: Argo
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Argo – Opening October 12, 2012
I’m coming at this particular trailer with mixed feelings. In essence, it’s a spy thriller based on a real operation, but it certainly doesn’t feel that way for most of the trailer. There’s plenty of comedy to be found, as this imaginary science fiction film that needs to be shot in Tehran is supposed to be the worst ever conceived of, leading to several jokes about not working in Hollywood. The cast is certainly stacked with talent, including John Goodman, Alan Alda, Bob Gunton, Philip Baker Hall, Bryan Cranston, Kyle Chandler, Victor Garber, Tate Donovan, Clea Duvall, Titus Welliver, and Chris Messina, among others, also in the ensemble, though it’s hard to recognize anyone because of the overbearing mustaches designed to indicate that this is in fact 1979. Making a film about a crisis with Iran feels very timely, even if this harks back over thirty years to a time before the nation posed such a continuous threat. Were this approached with greater seriousness, it could be thought of like “Munich,” but perhaps that’s just what this film has going for it – that it’s offbeat and somewhat comical in tone in the face of immense danger and desperate circumstances. In terms of Ben Affleck’s direction, I loved “Gone Baby Gone” but wasn’t as enthusiastic about “The Town,” and I feel like this could be a real success but could also turn out to be a disappointment. It’s not something I would rush to see, but given the pedigree of the people involved and the subject matter, it may just pick up Oscar buzz.
Argo – Opening October 12, 2012
I’m coming at this particular trailer with mixed feelings. In essence, it’s a spy thriller based on a real operation, but it certainly doesn’t feel that way for most of the trailer. There’s plenty of comedy to be found, as this imaginary science fiction film that needs to be shot in Tehran is supposed to be the worst ever conceived of, leading to several jokes about not working in Hollywood. The cast is certainly stacked with talent, including John Goodman, Alan Alda, Bob Gunton, Philip Baker Hall, Bryan Cranston, Kyle Chandler, Victor Garber, Tate Donovan, Clea Duvall, Titus Welliver, and Chris Messina, among others, also in the ensemble, though it’s hard to recognize anyone because of the overbearing mustaches designed to indicate that this is in fact 1979. Making a film about a crisis with Iran feels very timely, even if this harks back over thirty years to a time before the nation posed such a continuous threat. Were this approached with greater seriousness, it could be thought of like “Munich,” but perhaps that’s just what this film has going for it – that it’s offbeat and somewhat comical in tone in the face of immense danger and desperate circumstances. In terms of Ben Affleck’s direction, I loved “Gone Baby Gone” but wasn’t as enthusiastic about “The Town,” and I feel like this could be a real success but could also turn out to be a disappointment. It’s not something I would rush to see, but given the pedigree of the people involved and the subject matter, it may just pick up Oscar buzz.
Monday, May 21, 2012
Monday Sequel Spotlight: Indiana Jones and the Last Crusade
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
Indiana Jones and the Last Crusade
Directed by Steven Spielberg
Released May 24, 1989
“Raiders of the Lost Ark” remains easily one of the best action-adventure films ever made. The plot of its sequel, “Indiana Jones and the Temple of Doom,” wasn’t nearly as strong, and so it’s better to forget that installment. The third film, however, did a magnificent job doing exactly what a sequel is supposed to do: capture the excitement of the original film and amplify it. Bringing in Sean Connery as Professor Henry Jones Sr., the father of Harrison Ford’s professor and world traveler, was the best decision that Steven Spielberg and company could have made. His demeanor and humor were perfect for the film’s tone and atmosphere, and his familial chemistry with Ford worked excellently. I still remember the fantastic scene in which one villain tells another that “Jones is getting away,” only to be told “I think not,” to which the first responds, “Not that Jones, the other Jones!” The magic was still all there – somewhat literally – as father and son pursued the Holy Grail and once again had to thwart its evil influences. It’s hard to find a sequel as capable – or as beloved – as this one. Made only eight years after the first film, it served as a great cap to a fun and memorable trilogy. For some reason, Spielberg and George Lucas thought it worthwhile to add another film to the franchise in 2008, and it was hardly a welcome addition. Scenes were almost exactly replayed from the previous films in an effort to recall the excitement, and the plot was rather miserable. Sometimes a trilogy should just stay a trilogy, and this third installment is probably the best argument for that.
Indiana Jones and the Last Crusade
Directed by Steven Spielberg
Released May 24, 1989
“Raiders of the Lost Ark” remains easily one of the best action-adventure films ever made. The plot of its sequel, “Indiana Jones and the Temple of Doom,” wasn’t nearly as strong, and so it’s better to forget that installment. The third film, however, did a magnificent job doing exactly what a sequel is supposed to do: capture the excitement of the original film and amplify it. Bringing in Sean Connery as Professor Henry Jones Sr., the father of Harrison Ford’s professor and world traveler, was the best decision that Steven Spielberg and company could have made. His demeanor and humor were perfect for the film’s tone and atmosphere, and his familial chemistry with Ford worked excellently. I still remember the fantastic scene in which one villain tells another that “Jones is getting away,” only to be told “I think not,” to which the first responds, “Not that Jones, the other Jones!” The magic was still all there – somewhat literally – as father and son pursued the Holy Grail and once again had to thwart its evil influences. It’s hard to find a sequel as capable – or as beloved – as this one. Made only eight years after the first film, it served as a great cap to a fun and memorable trilogy. For some reason, Spielberg and George Lucas thought it worthwhile to add another film to the franchise in 2008, and it was hardly a welcome addition. Scenes were almost exactly replayed from the previous films in an effort to recall the excitement, and the plot was rather miserable. Sometimes a trilogy should just stay a trilogy, and this third installment is probably the best argument for that.
Sunday, May 20, 2012
Sunday Similar Standards: Ryan Gosling
Welcome to a new semi-regular weekly feature here at Movies with Abe. On those weeks where reviews are sparse, I’ll be taking a look at an actor or actress whose body of work boasts many roles that may not be as diverse as those taken on by other actors or actresses. This is hardly a judgment on their abilities; rather an analysis of the kind of parts they play so well.
Ryan Gosling
This actor is easily one of the best young performers currently working, and therefore saying that he tends to play the same kind of role is so much an example of analysis rather than judgment. In a little over ten years, Gosling has turned in some terrific performances, but usually they don’t make him very likeable or social. Many find him irresistibly attractive particularly because of his loner attitude.
The Believer (2001): Gosling’s first major role saw him as an angry neo-Nazi who was actually Jewish, determined to visit his frustration on the people he blamed for it.
The United States of Leland (2004): This little-known but excellent drama features Gosling as a quiet young man sent to prison for murdering a mentally challenged teenager.
Stay (2005): This mind-bending movie gave Gosling a bad haircut as a disturbed patient and sent him on a very lonely trip towards losing his grip on reality.
Half Nelson (2006): The movie that has given Gosling his lone Oscar nomination cast him as a kindly teacher struggling with drug addiction.
Fracture (2007): This decent thriller saw Gosling as an up-and-coming, highly motivated lawyer distracted and unwound by one particular case.
Lars and the Real Girl (2007): Gosling got delusional as a kind soul with an odd attachment to a sex doll that he thought was his girlfriend.
All Good Things (2010): Gosling was dark and frightening as a mentally unstable heir with serious anger issues.
Blue Valentine (2010): Gosling starred with last week’s featured performer from this series, Michelle Williams, as an initially seductive but ultimately vicious man.
The Ides of March (2011): Gosling had better social skills than usual as a campaign staffer but still only had a mind for himself and his career.
Drive (2011): Gosling was soft-spoken and monumentally cool as a loner stunt car driver who moonlighted as a getaway driver.
Anything different?
Yes indeed! Gosling has caused girls to swoon over him because of his personality twice, once in romantic drama, in The Notebook (2004), and then last year as a smooth talker in Crazy Stupid Love (2011).
What’s next?
Three crime thrillers – “Gangster Squad,” “Only God Forgives,” and “The Place Beyond the Pines.”
The verdict?
Gosling is superb at making antisocial characters utterly fascinating, and though he’s also proven to be skilled at comedy, he takes on challenging roles because he’s so adept at diving into unlikeable characters and giving them redeeming, or at least immensely watchable, qualities.
This actor is easily one of the best young performers currently working, and therefore saying that he tends to play the same kind of role is so much an example of analysis rather than judgment. In a little over ten years, Gosling has turned in some terrific performances, but usually they don’t make him very likeable or social. Many find him irresistibly attractive particularly because of his loner attitude.
The Believer (2001): Gosling’s first major role saw him as an angry neo-Nazi who was actually Jewish, determined to visit his frustration on the people he blamed for it.
The United States of Leland (2004): This little-known but excellent drama features Gosling as a quiet young man sent to prison for murdering a mentally challenged teenager.
Stay (2005): This mind-bending movie gave Gosling a bad haircut as a disturbed patient and sent him on a very lonely trip towards losing his grip on reality.
Half Nelson (2006): The movie that has given Gosling his lone Oscar nomination cast him as a kindly teacher struggling with drug addiction.
Fracture (2007): This decent thriller saw Gosling as an up-and-coming, highly motivated lawyer distracted and unwound by one particular case.
Lars and the Real Girl (2007): Gosling got delusional as a kind soul with an odd attachment to a sex doll that he thought was his girlfriend.
All Good Things (2010): Gosling was dark and frightening as a mentally unstable heir with serious anger issues.
Blue Valentine (2010): Gosling starred with last week’s featured performer from this series, Michelle Williams, as an initially seductive but ultimately vicious man.
The Ides of March (2011): Gosling had better social skills than usual as a campaign staffer but still only had a mind for himself and his career.
Drive (2011): Gosling was soft-spoken and monumentally cool as a loner stunt car driver who moonlighted as a getaway driver.
Anything different?
Yes indeed! Gosling has caused girls to swoon over him because of his personality twice, once in romantic drama, in The Notebook (2004), and then last year as a smooth talker in Crazy Stupid Love (2011).
What’s next?
Three crime thrillers – “Gangster Squad,” “Only God Forgives,” and “The Place Beyond the Pines.”
The verdict?
Gosling is superb at making antisocial characters utterly fascinating, and though he’s also proven to be skilled at comedy, he takes on challenging roles because he’s so adept at diving into unlikeable characters and giving them redeeming, or at least immensely watchable, qualities.
Saturday, May 19, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
I’m still catching up on other recent releases, but I can skip both Battleship and The Dictator.
New to DVD
Albert Nobbs (mixed bag): This Oscar-nominated film features a calculated performance by Glenn Close and a humorous one from Janet McTeer, but the film itself isn’t quite certain what tone it wants to take and suffers as a result. It’s worthwhile from the performances, but that’s about it.
The Grey (recommended): This thriller essentially functions as a vehicle for Liam Neeson to be awesome as his oil rig worker and companions are chased through the snowy Alaskan wilderness by wolves following a plane crash. It’s a lot of fun, and quite a stressful experience.
Now on Netflix Instant Streaming
Drive (highly recommended): This Cannes Best Director winner, which received a lone Oscar nomination for Best Sound Editing, is an absolutely thrilling, captivating film that’s dark and moody but never sinks too deep. Ryan Gosling is perfectly cast as a near-silent stunt man moonlighting as a getaway driver, and the rest of the ensemble is top-notch as well. Bloody and violent at times, but so worth it.
London Boulevard (recommended): This gangster drama marks the directorial debut of “The Departed” scribe William Monahan and features a superb cast led by Colin Farrell and Keira Knightley working with an entertaining script full of humor.
Looking for Eric (recommended): This intriguing British comedy from 2010 is certainly unique, featuring Englishmen and a soccer star who appears to the main character as his moral cheerleader. It may not be for everyone, but it’s a worthwhile and interesting film.
Severe Clear (recommended): This 2010 documentary came out right when “The Hurt Locker” was peaking, and the comparisons between the two are well-deserved. This is an instance of a strong documentary that effectively uses footage to tell a story without making it seem like research or supportive evidence for some larger claim.
Now Playing in NYC
I’m still catching up on other recent releases, but I can skip both Battleship and The Dictator.
New to DVD
Albert Nobbs (mixed bag): This Oscar-nominated film features a calculated performance by Glenn Close and a humorous one from Janet McTeer, but the film itself isn’t quite certain what tone it wants to take and suffers as a result. It’s worthwhile from the performances, but that’s about it.
The Grey (recommended): This thriller essentially functions as a vehicle for Liam Neeson to be awesome as his oil rig worker and companions are chased through the snowy Alaskan wilderness by wolves following a plane crash. It’s a lot of fun, and quite a stressful experience.
Now on Netflix Instant Streaming
Drive (highly recommended): This Cannes Best Director winner, which received a lone Oscar nomination for Best Sound Editing, is an absolutely thrilling, captivating film that’s dark and moody but never sinks too deep. Ryan Gosling is perfectly cast as a near-silent stunt man moonlighting as a getaway driver, and the rest of the ensemble is top-notch as well. Bloody and violent at times, but so worth it.
London Boulevard (recommended): This gangster drama marks the directorial debut of “The Departed” scribe William Monahan and features a superb cast led by Colin Farrell and Keira Knightley working with an entertaining script full of humor.
Looking for Eric (recommended): This intriguing British comedy from 2010 is certainly unique, featuring Englishmen and a soccer star who appears to the main character as his moral cheerleader. It may not be for everyone, but it’s a worthwhile and interesting film.
Severe Clear (recommended): This 2010 documentary came out right when “The Hurt Locker” was peaking, and the comparisons between the two are well-deserved. This is an instance of a strong documentary that effectively uses footage to tell a story without making it seem like research or supportive evidence for some larger claim.
Friday, May 18, 2012
Movie with Abe: The Five-Year Engagement
The Five-Year Engagement
Directed by Nicholas Stoller
Released April 27, 2012
So many comedies are about relationships. There are different stages within a relationship, all of which are ripe for jokes and entertaining plots, not the least of which is the transition from dating to marriage. In the last collaboration between writer-actor Jason Segel and director Nicholas Stoller, “Forgetting Sarah Marhall,” Segel’s character faced a breakup almost from the start, struggling for the length of the film to get over his ex while she turned out to be rather present in his daily life. This time, Segel found the perfect woman and didn’t let her go, but, as always seems to be the case, especially in movies, getting hitched isn’t as simple as it seems.
Segel proved himself enormously capable of taking on a lead role in “Forgetting Sarah Marshall.” Here, as Tom, he’s less energetic and more of a straight man, reacting more calmly to most things and playing the jokes smaller. He’s paired with a lovely leading lady, the wonderful Emily Blunt, who has established herself as enormously capable in a variety of genres over the last decade. As Violet, Blunt is charismatic and likeable, and the two make a terrific duo, extremely knowledgeable at how best to play off each other for the greatest possible effect.
Like all such films, there’s a reliable ensemble behind the stars. This movie draws particularly from the NBC TV comedy world, poaching Chris Pratt from “Parks & Recreation,” Alison Brie from “Community,” and Mindy Kaling from “The Office” to add laughs in their supporting roles. Rhys Ifans also takes on a less comic part and serves as a crucial part of the film’s plot as Violet’s professor. While some characters are definitely extravagant, none are too over-the-top to be excessively distracting. Pratt and Brie make an extremely entertaining duo as Tom’s best friend and Violet’s sister, respectively.
Like “Wedding Crashers” and “Knocked Up” before it, “The Five-Year Engagement” has an above-average running time for a comedy, clocking in at two hours and four minutes. Yet it doesn’t feel overlong, incorporating plenty of plot developments and character transformations as its two protagonists experience highs and lows. It’s not excessively inappropriate or exceptionally clever, instead presenting a rather straightforward, perfectly enjoyable, decently dramatic and enthralling story filled with rich characters and amusing writing. Its many ups and downs feature just one truly lamentable stretch – in which Tom boasts unbelievably unfortunate facial hair – and the film manages, more often than not, to get itself back on track when it starts to derail. Throughout the film, Tom and Violet are more than likeable, and it’s hard not to enjoy seeing their relationship develop.
B+
Directed by Nicholas Stoller
Released April 27, 2012
So many comedies are about relationships. There are different stages within a relationship, all of which are ripe for jokes and entertaining plots, not the least of which is the transition from dating to marriage. In the last collaboration between writer-actor Jason Segel and director Nicholas Stoller, “Forgetting Sarah Marhall,” Segel’s character faced a breakup almost from the start, struggling for the length of the film to get over his ex while she turned out to be rather present in his daily life. This time, Segel found the perfect woman and didn’t let her go, but, as always seems to be the case, especially in movies, getting hitched isn’t as simple as it seems.
Segel proved himself enormously capable of taking on a lead role in “Forgetting Sarah Marshall.” Here, as Tom, he’s less energetic and more of a straight man, reacting more calmly to most things and playing the jokes smaller. He’s paired with a lovely leading lady, the wonderful Emily Blunt, who has established herself as enormously capable in a variety of genres over the last decade. As Violet, Blunt is charismatic and likeable, and the two make a terrific duo, extremely knowledgeable at how best to play off each other for the greatest possible effect.
Like all such films, there’s a reliable ensemble behind the stars. This movie draws particularly from the NBC TV comedy world, poaching Chris Pratt from “Parks & Recreation,” Alison Brie from “Community,” and Mindy Kaling from “The Office” to add laughs in their supporting roles. Rhys Ifans also takes on a less comic part and serves as a crucial part of the film’s plot as Violet’s professor. While some characters are definitely extravagant, none are too over-the-top to be excessively distracting. Pratt and Brie make an extremely entertaining duo as Tom’s best friend and Violet’s sister, respectively.
Like “Wedding Crashers” and “Knocked Up” before it, “The Five-Year Engagement” has an above-average running time for a comedy, clocking in at two hours and four minutes. Yet it doesn’t feel overlong, incorporating plenty of plot developments and character transformations as its two protagonists experience highs and lows. It’s not excessively inappropriate or exceptionally clever, instead presenting a rather straightforward, perfectly enjoyable, decently dramatic and enthralling story filled with rich characters and amusing writing. Its many ups and downs feature just one truly lamentable stretch – in which Tom boasts unbelievably unfortunate facial hair – and the film manages, more often than not, to get itself back on track when it starts to derail. Throughout the film, Tom and Violet are more than likeable, and it’s hard not to enjoy seeing their relationship develop.
B+
Thursday, May 17, 2012
Thursday Triple Features
Welcome to a weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My tenth triple feature experience, I’m sad to say, came over a year after my ninth. That’s what graduating from college and getting a full-time job will do to you. Like the two before it, this was also a trio of press screenings. Most interesting about it was the fact that there were two R-rated features, and the other was rated G. These three films couldn’t have been made for more different audiences, yet I got the unique opportunity to process them all together.
July 6, 2011
Movie #1: A Good Old Fashioned Orgy
Theatre: Magno Review 1
Time of Day: 2:00pm
Runtime: 95 minutes
My experience seeing this film was inarguably and unfavorably influenced by having seen the very funny “Horrible Bosses” the night beforehand. This film is actually fairly well-done, and contains a number of humorous scenes. It’s not as flat-out hilarious as it should be, yet it does make good use of its ensemble and probably deserves a second look.
Movie #2: Winnie the Pooh
Theatre: Disney Screening Room
Time of Day: 6:30pm
Runtime: 68 minutes
It’s almost impossible not to love Winnie the Pooh, and this new take on the classic character was quite warm and familiar. Clocking in at just over an hour, this film managed to revisit a beloved personality with a light yet perfectly amusing tale of his latest search for honey with the best of friends.
Movie #3: The Future
Theatre: Broadway Screening Room
Time of Day: 8:00pm
Runtime: 91 minutes
This off-kilter comedic drama looked terrific, and Miranda July proved herself as a director, writer, and actress in “Me and You and Everyone We Know.” This entry, however, was extraordinarily intriguing but not nearly as fulfilling, containing glimmers of glory but never quite reaching its full potential as a quirky independent experimental film.
The review: A decent and unobjectionable slate of films.
The grades: B, B+, C+
A good lineup? I never would have chosen it had the screening times not been offered, but these three films were all relatively smile-inducing, which made them enjoyable even if two of them weren’t as satisfying as I might have hoped.
My tenth triple feature experience, I’m sad to say, came over a year after my ninth. That’s what graduating from college and getting a full-time job will do to you. Like the two before it, this was also a trio of press screenings. Most interesting about it was the fact that there were two R-rated features, and the other was rated G. These three films couldn’t have been made for more different audiences, yet I got the unique opportunity to process them all together.
Theatre: Magno Review 1
Time of Day: 2:00pm
Runtime: 95 minutes
My experience seeing this film was inarguably and unfavorably influenced by having seen the very funny “Horrible Bosses” the night beforehand. This film is actually fairly well-done, and contains a number of humorous scenes. It’s not as flat-out hilarious as it should be, yet it does make good use of its ensemble and probably deserves a second look.
Movie #2: Winnie the Pooh
Theatre: Disney Screening Room
Time of Day: 6:30pm
Runtime: 68 minutes
It’s almost impossible not to love Winnie the Pooh, and this new take on the classic character was quite warm and familiar. Clocking in at just over an hour, this film managed to revisit a beloved personality with a light yet perfectly amusing tale of his latest search for honey with the best of friends.
Movie #3: The Future
Theatre: Broadway Screening Room
Time of Day: 8:00pm
Runtime: 91 minutes
This off-kilter comedic drama looked terrific, and Miranda July proved herself as a director, writer, and actress in “Me and You and Everyone We Know.” This entry, however, was extraordinarily intriguing but not nearly as fulfilling, containing glimmers of glory but never quite reaching its full potential as a quirky independent experimental film.
The review: A decent and unobjectionable slate of films.
The grades: B, B+, C+
A good lineup? I never would have chosen it had the screening times not been offered, but these three films were all relatively smile-inducing, which made them enjoyable even if two of them weren’t as satisfying as I might have hoped.
Wednesday, May 16, 2012
Wednesday Oscar Retrospective: First Five Forgotten in 2002
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, or further, in the case of this specific series, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2002
Richard Gere (Chicago): The two-time Golden Globe nominee won his first trophy on the third try with his song and dance performance a famed lawyer Billy Flynn in the eventual Oscar winner for Best Picture. He got a SAG nod too but ended up sixth on the slate when he lost out to veteran Oscar nominee and two-time winner Michael Caine for his more traditional dramatic performance. This was probably the closest he ever got to Oscar, and if he couldn’t get nominated for this, I don’t know if he’ll ever be.
Ray Liotta (Narc): This excitable 80s and 90s film star returned with a vengeance as an allegedly dirty cop, buttoned up under a coat, extra pounds, and a gray beard. It’s the kind of transformation that usually means Oscar attention, but this crime thriller was likely too dark for voters. Liotta was excellent in this role, but most would probably cite it as his strongest performance, not likely to be repeated.
Alfred Molina (Frida):
This British character actor got his first solo awards attention for playing the famous female painter’s husband. Molina netted a SAG nod, a BAFTA nod, and more, but only Hayek and the film’s visual and audial elements made it all the way to Oscar. Molina came close to Oscar again in 2009 with “An Education,” and he’s had no shortage of roles since, including playing Dr. Octopus in “Spider-Man 2.”
Dennis Quaid (Far From Heaven): If there was one lock for an Oscar nomination in 2002, it was Quaid, for his performance as a closeted gay husband in Todd Haynes’ gorgeous period drama. His snub allowed for Golden Globe and SAG lists to be merged, but his career best performance went unrecognized in a year when he also earned rave reviews for his lead role in “The Rookie.” Quaid did score a slew of nominations for his performance as Bill Clinton in the TV movie “The Special Relationship,” and continues to make occasionally good films.
Adam Sandler (Punch-Drunk Love): This comedian got serious to star in Paul Thomas Anderson’s quiet drama. Anderson’s two previous films and his subsequent film all netted plenty of Oscar nominations, but not this one. It did get Sandler his first Golden Globe nod in the comedy category, proving that, though he doesn’t often shoot for it, he can turn off his goofy side if need be. His successive dramatic effort, “Reign Over Me,” didn’t quite click, and now he’s back to full-on comedy.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Richard Gere (Chicago): The two-time Golden Globe nominee won his first trophy on the third try with his song and dance performance a famed lawyer Billy Flynn in the eventual Oscar winner for Best Picture. He got a SAG nod too but ended up sixth on the slate when he lost out to veteran Oscar nominee and two-time winner Michael Caine for his more traditional dramatic performance. This was probably the closest he ever got to Oscar, and if he couldn’t get nominated for this, I don’t know if he’ll ever be.
Ray Liotta (Narc): This excitable 80s and 90s film star returned with a vengeance as an allegedly dirty cop, buttoned up under a coat, extra pounds, and a gray beard. It’s the kind of transformation that usually means Oscar attention, but this crime thriller was likely too dark for voters. Liotta was excellent in this role, but most would probably cite it as his strongest performance, not likely to be repeated.
Alfred Molina (Frida):
This British character actor got his first solo awards attention for playing the famous female painter’s husband. Molina netted a SAG nod, a BAFTA nod, and more, but only Hayek and the film’s visual and audial elements made it all the way to Oscar. Molina came close to Oscar again in 2009 with “An Education,” and he’s had no shortage of roles since, including playing Dr. Octopus in “Spider-Man 2.”
Dennis Quaid (Far From Heaven): If there was one lock for an Oscar nomination in 2002, it was Quaid, for his performance as a closeted gay husband in Todd Haynes’ gorgeous period drama. His snub allowed for Golden Globe and SAG lists to be merged, but his career best performance went unrecognized in a year when he also earned rave reviews for his lead role in “The Rookie.” Quaid did score a slew of nominations for his performance as Bill Clinton in the TV movie “The Special Relationship,” and continues to make occasionally good films.
Adam Sandler (Punch-Drunk Love): This comedian got serious to star in Paul Thomas Anderson’s quiet drama. Anderson’s two previous films and his subsequent film all netted plenty of Oscar nominations, but not this one. It did get Sandler his first Golden Globe nod in the comedy category, proving that, though he doesn’t often shoot for it, he can turn off his goofy side if need be. His successive dramatic effort, “Reign Over Me,” didn’t quite click, and now he’s back to full-on comedy.
Tuesday, May 15, 2012
Tuesday’s Top Trailer: Gangster Squad
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Gangster Squad – Opening September 7, 2012
This period drama, which comes from the director of “Zombieland” and “30 Minutes or Less,” is chock full of stars, and as long as it’s not like a certain 2006 ensemble period drama starring Sean Penn, it should be a roaring success. Penn is hamming it up as big-time gangster Mickey Cohen, but Penn does that a lot, and it usually pans out. I imagine most are intrigued to see Ryan Gosling embody yet another sly assassin, this time with the full force of the law behind him as a member of Josh Brolin’s secret death squad, whose ranks also include Anthony Mackie of “The Hurt Locker” and Giovanni Ribisi. Nick Nolte actually looks enthusiastic as the commissioner of said task force, and Emma Stone once again gets the chance to flirt with Gosling as Mickey’s girl. This film has all the makings of a hit, and could be really exciting if everything works out well. Its Los Angeles setting is definitely a plus, and it’s going to be fun to see these actors working hard to play stereotypical characters with an atypical mission. That scene in which the squad blasts through a movie screen is particularly appealing, and hopefully this film will deliver.
Gangster Squad – Opening September 7, 2012
This period drama, which comes from the director of “Zombieland” and “30 Minutes or Less,” is chock full of stars, and as long as it’s not like a certain 2006 ensemble period drama starring Sean Penn, it should be a roaring success. Penn is hamming it up as big-time gangster Mickey Cohen, but Penn does that a lot, and it usually pans out. I imagine most are intrigued to see Ryan Gosling embody yet another sly assassin, this time with the full force of the law behind him as a member of Josh Brolin’s secret death squad, whose ranks also include Anthony Mackie of “The Hurt Locker” and Giovanni Ribisi. Nick Nolte actually looks enthusiastic as the commissioner of said task force, and Emma Stone once again gets the chance to flirt with Gosling as Mickey’s girl. This film has all the makings of a hit, and could be really exciting if everything works out well. Its Los Angeles setting is definitely a plus, and it’s going to be fun to see these actors working hard to play stereotypical characters with an atypical mission. That scene in which the squad blasts through a movie screen is particularly appealing, and hopefully this film will deliver.
Monday, May 14, 2012
Monday Sequel Spotlight: Rush Hour 2
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
Rush Hour 2
Directed by Brett Ratner
Released August 3, 2001
I just had to feature this film since I mentioned it in my post about “X-Men: The Last Stand,” which was also directed by Brett Ratner, last week. This is one sequel that represents a fine-tuning of the themes and jokes presented in the first film, proving that some films do deserve a sequel since they can make an equally good, if not better, film. This is almost inarguably Chris Tucker’s best performance (I say that since he’s appeared in fewer than a dozen films and I’ve seen only a few of them), and his mispronunciation of gefilte fish in the bloopers reel at the end of the film still makes me laugh. Jackie Chan was also at his best trying hard to speak English and showing that he’s enormously capable of excellent martial arts. The Triad gang plotline worked well, but this is really about the comedy and the action, two things that blend incredibly well in this terrific film. Unfortunately, this wasn’t the final film in the series produced. The third installment, released in 2007, didn’t have the same spark, and it seems like a five-year recess resulted in the lost of the chemistry between its leads and its effectiveness as both a comedy and an action film. That doesn’t diminish the strength of the second film, definitely one of the funniest comedies of 2001.
Rush Hour 2
Directed by Brett Ratner
Released August 3, 2001
I just had to feature this film since I mentioned it in my post about “X-Men: The Last Stand,” which was also directed by Brett Ratner, last week. This is one sequel that represents a fine-tuning of the themes and jokes presented in the first film, proving that some films do deserve a sequel since they can make an equally good, if not better, film. This is almost inarguably Chris Tucker’s best performance (I say that since he’s appeared in fewer than a dozen films and I’ve seen only a few of them), and his mispronunciation of gefilte fish in the bloopers reel at the end of the film still makes me laugh. Jackie Chan was also at his best trying hard to speak English and showing that he’s enormously capable of excellent martial arts. The Triad gang plotline worked well, but this is really about the comedy and the action, two things that blend incredibly well in this terrific film. Unfortunately, this wasn’t the final film in the series produced. The third installment, released in 2007, didn’t have the same spark, and it seems like a five-year recess resulted in the lost of the chemistry between its leads and its effectiveness as both a comedy and an action film. That doesn’t diminish the strength of the second film, definitely one of the funniest comedies of 2001.
Sunday, May 13, 2012
Sunday Similar Standards: Michelle Williams
Welcome to a new semi-regular weekly feature here at Movies with Abe. On those weeks where reviews are sparse, I’ll be taking a look at an actor or actress whose body of work boasts many roles that may not be as diverse as those taken on by other actors or actresses. This is hardly a judgment on their abilities; rather an analysis of the kind of parts they play so well.
Michelle Williams
This former “Dawson’s Creek” actress has earned Oscar nominations for Best Actress twice in a row, and while she definitely has talent, most of her characters have much in common. Whether she’s playing someone famous or a nobody with few friends, don’t expect her to be too happy, since she’s likely displeased with her choice in man or otherwise lacking a connection to society around her, yearning for something different. That’s a key job description for an Oscar nominee, so expect her to earn more nominations in the future.
The Station Agent (2003): She was an unhappy librarian looking for people to treat her better in this independent gem.
The United States of Leland (2004): She was a devastated sister of a murdered mentally challenged brother in this terrific and powerful film.
Brokeback Mountain (2005): She was a participant in a loveless marriage who always resented her husband for being gay.
Wendy and Lucy (2008): She was a woman wandering around with her dog, less than capable of making human connections.
Shutter Island (2010): She was the silent, non-communicative mother haunting Leonardo DiCaprio’s dreams in this frightening thriller.
Blue Valentine (2010): She was the long-suffering wife whose dream guy didn’t turn out to be nearly as charming as he initially seemed.
My Week with Marilyn (2011): She was the biggest star in the country, Marilyn Monroe, whose great fame couldn’t make up for her incredible loneliness.
Take This Waltz (2012): She was a young wife unfulfilled by her life and tempted by her extremely kind and enticing neighbor in this Tribeca entry slated for theatrical release in June.
Anything different?
Not just yet.
What’s next?
Playing Glinda in Disney’s “Wizard of Oz” prequel due next March.
The verdict?
She’s clearly skilled at playing this particular type of character, but her movies can feel awfully lonely and depressing as a result.
This former “Dawson’s Creek” actress has earned Oscar nominations for Best Actress twice in a row, and while she definitely has talent, most of her characters have much in common. Whether she’s playing someone famous or a nobody with few friends, don’t expect her to be too happy, since she’s likely displeased with her choice in man or otherwise lacking a connection to society around her, yearning for something different. That’s a key job description for an Oscar nominee, so expect her to earn more nominations in the future.
The Station Agent (2003): She was an unhappy librarian looking for people to treat her better in this independent gem.
The United States of Leland (2004): She was a devastated sister of a murdered mentally challenged brother in this terrific and powerful film.
Brokeback Mountain (2005): She was a participant in a loveless marriage who always resented her husband for being gay.
Wendy and Lucy (2008): She was a woman wandering around with her dog, less than capable of making human connections.
Shutter Island (2010): She was the silent, non-communicative mother haunting Leonardo DiCaprio’s dreams in this frightening thriller.
Blue Valentine (2010): She was the long-suffering wife whose dream guy didn’t turn out to be nearly as charming as he initially seemed.
My Week with Marilyn (2011): She was the biggest star in the country, Marilyn Monroe, whose great fame couldn’t make up for her incredible loneliness.
Take This Waltz (2012): She was a young wife unfulfilled by her life and tempted by her extremely kind and enticing neighbor in this Tribeca entry slated for theatrical release in June.
Anything different?
Not just yet.
What’s next?
Playing Glinda in Disney’s “Wizard of Oz” prequel due next March.
The verdict?
She’s clearly skilled at playing this particular type of character, but her movies can feel awfully lonely and depressing as a result.
Saturday, May 12, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
The only notable film out this week is Dark Shadows, which I’m not rushing to see but could see being decent.
New to DVD
Nothing to report this week!
Now on Netflix Instant Streaming
After a slew of releases last week, there’s just one that I have to comment on this week. Refer to previous editions of Saturday Night Movie Recommendations with Abe for more options.
Ajami (recommended): This 2009 nominee for Best Foreign Film is Israel’s least impressive entry from the past couple of years, but it’s still a strong if somewhat jumbled portrayal of multicultural Jaffa, featuring standout performances from non-professionals actors.
Now Playing in NYC
The only notable film out this week is Dark Shadows, which I’m not rushing to see but could see being decent.
New to DVD
Nothing to report this week!
Now on Netflix Instant Streaming
After a slew of releases last week, there’s just one that I have to comment on this week. Refer to previous editions of Saturday Night Movie Recommendations with Abe for more options.
Ajami (recommended): This 2009 nominee for Best Foreign Film is Israel’s least impressive entry from the past couple of years, but it’s still a strong if somewhat jumbled portrayal of multicultural Jaffa, featuring standout performances from non-professionals actors.
Friday, May 11, 2012
Movie with Abe: The Avengers
The Avengers
Directed by Joss Whedon
Released May 4, 2012
Combining six superheroes from four film franchises is no easy task. Films like this often fail to stand on their own, presuming that audiences have had the opportunity to see all of the previous films in the expanded series. The flip side to that coin is an overlong exposition, in which every character needs to be reintroduced again, for those viewers unfamiliar with their back stories. Fortunately, “The Avengers” fills in the necessary gaps with short and formidable entrances for each one of its protagonists, detailing their powers and purposes and preparing them for a monumental intergalactic fight.
Like many Marvel movies before it, “The Avengers” is highly defined by comedy. The egotistical Tony Stark (Robert Downey Jr.), also known as Iron Man, doesn’t play well with others, but finds himself in awe of genius Dr. Bruce Banner (Mark Ruffalo), though he’s not against prodding him to try to get him to shift into the Hulk. Most modern-day references are lost on frozen World War II hero Steve Rogers (Chris Evans), or Captain America, though he at least understands a joke about “The Wizard of Oz” that’s entirely alien to Thor (Chris Hemsworth), himself a god from another dimension. Russian assassin Natasha Romanoff (Scarlett Johansson), or Black Widow, and Clint Barton (Jeremy Renner), or Hawkeye, round out the cast, each given the opportunity to demonstrate their skills, and their sarcasm, without the benefit of a previous film dedicated solely to each of them. Samuel L. Jackson’s Nick Fury also gets a handful of signature lines.
Featuring six protagonists means that there’s always a lot going on, and the instances of infighting, most of which involve the pretentious Stark, help to define these heroes. Tom Hiddleston’s Loki returns from “Thor” to threaten the fate of humanity, and, though he has a flair for drama, he’s most efficient when he sits back and lets the Avengers tear each other apart. Choosing just one villain, and his frightening alien army, makes it more possible to flesh out the strengths and weaknesses of the good guys, and it’s all but guaranteed that a sequel will give them another chance to fight evil.
“The Avengers” is at its best when it’s in full-blown action mode, involving every one of its characters in battle and showing off just what they can do. The story presumes that Loki’s alien army would attack only midtown Manhattan, leaving the heroes to aim to save individual human lives in the midst of mass destruction reigning down upon them. Though it seems less than genuine at first, it ultimately works out, as the heroes, especially Captain America and Iron Man, are easy to root for, making their near-misses and eventual successes all the more exciting. Even if it’s not a perfect film, it’s better that it leave something to be desired, so that the sequel(s) can come back and revisit this truly cool and incomparable team.
B+
Directed by Joss Whedon
Released May 4, 2012
Combining six superheroes from four film franchises is no easy task. Films like this often fail to stand on their own, presuming that audiences have had the opportunity to see all of the previous films in the expanded series. The flip side to that coin is an overlong exposition, in which every character needs to be reintroduced again, for those viewers unfamiliar with their back stories. Fortunately, “The Avengers” fills in the necessary gaps with short and formidable entrances for each one of its protagonists, detailing their powers and purposes and preparing them for a monumental intergalactic fight.
Like many Marvel movies before it, “The Avengers” is highly defined by comedy. The egotistical Tony Stark (Robert Downey Jr.), also known as Iron Man, doesn’t play well with others, but finds himself in awe of genius Dr. Bruce Banner (Mark Ruffalo), though he’s not against prodding him to try to get him to shift into the Hulk. Most modern-day references are lost on frozen World War II hero Steve Rogers (Chris Evans), or Captain America, though he at least understands a joke about “The Wizard of Oz” that’s entirely alien to Thor (Chris Hemsworth), himself a god from another dimension. Russian assassin Natasha Romanoff (Scarlett Johansson), or Black Widow, and Clint Barton (Jeremy Renner), or Hawkeye, round out the cast, each given the opportunity to demonstrate their skills, and their sarcasm, without the benefit of a previous film dedicated solely to each of them. Samuel L. Jackson’s Nick Fury also gets a handful of signature lines.
Featuring six protagonists means that there’s always a lot going on, and the instances of infighting, most of which involve the pretentious Stark, help to define these heroes. Tom Hiddleston’s Loki returns from “Thor” to threaten the fate of humanity, and, though he has a flair for drama, he’s most efficient when he sits back and lets the Avengers tear each other apart. Choosing just one villain, and his frightening alien army, makes it more possible to flesh out the strengths and weaknesses of the good guys, and it’s all but guaranteed that a sequel will give them another chance to fight evil.
“The Avengers” is at its best when it’s in full-blown action mode, involving every one of its characters in battle and showing off just what they can do. The story presumes that Loki’s alien army would attack only midtown Manhattan, leaving the heroes to aim to save individual human lives in the midst of mass destruction reigning down upon them. Though it seems less than genuine at first, it ultimately works out, as the heroes, especially Captain America and Iron Man, are easy to root for, making their near-misses and eventual successes all the more exciting. Even if it’s not a perfect film, it’s better that it leave something to be desired, so that the sequel(s) can come back and revisit this truly cool and incomparable team.
B+
Thursday, May 10, 2012
Thursday Triple Features
Welcome to a weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My ninth triple feature experience, the second featuring all press screenings, came less than one week after my previous one of that sort. Looking back on it, it’s probable that people have only heard of one of the films (“Please Give”), and most probably don’t even know that one. The random scheduling of these press screenings is really the only thing that led to me pairing these particular films up.
April 6, 2010
Movie #1: After.Life
Theatre: Magno Review 1
Time of Day: 12:00pm
Runtime: 104 minutes
This awful drama about a woman (Christina Ricci) kept conscious by a sadistic mortician (Liam Neeson) after her death was entirely stupid and devoid of coherent moments. Ricci was impossibly lost in a poorly-written part, and not even Neeson could save this miserably boring thriller.
Movie #2: Please Give
Theatre: Sony Screening Room
Time of Day: 4:00pm
Runtime: 90 minutes
This quirky dramedy had an awesome cast, featuring Rebecca Hall and Amanda Peet as sisters, and Catherine Keener, Oliver Platt, Sarah Steele, and 81-year-old Ann Guilbert in the ensemble. Its multigenerational talent was well-utilized with a clever script and some truly biting dialogue.
Movie #3: The Joneses
Theatre: Magno Review 2
Time of Day: 6:00pm
Runtime: 95 minutes
This inventive comedy took selling a lifestyle to a whole new level, crafting a ready-made family of salesmen from Demi Moore, David Duchovny, Amber Heard, and Ben Hollingsworth. The movie didn’t stir up much buzz, but it was enjoyable, entertaining, and impressively creative.
The review: The first was awful, but I quite enjoyed the other two.
The grades: F, B+, B+
A good lineup? Sure. I wouldn’t wish the first film upon anyone, but the other two went well together since they both utilized eclectic ensembles and were relatively light in tone.
My ninth triple feature experience, the second featuring all press screenings, came less than one week after my previous one of that sort. Looking back on it, it’s probable that people have only heard of one of the films (“Please Give”), and most probably don’t even know that one. The random scheduling of these press screenings is really the only thing that led to me pairing these particular films up.
Theatre: Magno Review 1
Time of Day: 12:00pm
Runtime: 104 minutes
This awful drama about a woman (Christina Ricci) kept conscious by a sadistic mortician (Liam Neeson) after her death was entirely stupid and devoid of coherent moments. Ricci was impossibly lost in a poorly-written part, and not even Neeson could save this miserably boring thriller.
Movie #2: Please Give
Theatre: Sony Screening Room
Time of Day: 4:00pm
Runtime: 90 minutes
This quirky dramedy had an awesome cast, featuring Rebecca Hall and Amanda Peet as sisters, and Catherine Keener, Oliver Platt, Sarah Steele, and 81-year-old Ann Guilbert in the ensemble. Its multigenerational talent was well-utilized with a clever script and some truly biting dialogue.
Movie #3: The Joneses
Theatre: Magno Review 2
Time of Day: 6:00pm
Runtime: 95 minutes
This inventive comedy took selling a lifestyle to a whole new level, crafting a ready-made family of salesmen from Demi Moore, David Duchovny, Amber Heard, and Ben Hollingsworth. The movie didn’t stir up much buzz, but it was enjoyable, entertaining, and impressively creative.
The review: The first was awful, but I quite enjoyed the other two.
The grades: F, B+, B+
A good lineup? Sure. I wouldn’t wish the first film upon anyone, but the other two went well together since they both utilized eclectic ensembles and were relatively light in tone.
Wednesday, May 9, 2012
Wednesday Oscar Retrospective: First Five Forgotten of 2003
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2003
Maria Bello (The Cooler): The former star of “ER” got Golden Globe and SAG nominations for her performance as the woman that made William H. Macy’s luck turn around, and she seemed a sure thing until a veteran heavy hitter and another newbie stole her slot on nominations day, leaving Alec Baldwin as the sole representative of her film. She earned another Globe nod for “A History of Violence” and is likely to brush with Oscar again someday.
Paddy Considine (In America): This British actor came close to an Oscar nod for Best Actor when his two adult costars, Samantha Morton and Djimon Hounsou, managed surprise bids on nominations day. Unfortunately, Considine’s devoted father was left out, but he’s now doing quite well for himself, earning prizes for stepping behind the camera as a director.
Peter Dinklage (The Station Agent): This little independent film had a hugely unexpected showing at the SAG awards with three nominations, and Dinklage seemed primed to upset the Best Actor race, as is usually the case with late-breaking SAG inclusions. Ultimately, the film was entirely shut out, but Dinklage now stars on HBO’s “Game of Thrones,” for which he won an Emmy this past year and is likely to win again.
Scarlett Johansson (Lost in Translation): With only “The Horse Whisperer,” “Ghost World,” and a few other films under her belt, the nineteen-year-old charmed with her breakout turn as Bill Murray’s muse in Japan. He scored his first Oscar nod, but she had to stay content with a Golden Globe since she’s not everyone’s cup of tea and some may not have felt her performance was terribly demanding. She’s not quite Oscar-bound these days, but she does have a great career ahead of her.
Evan Rachel Wood (Thirteen): At age sixteen, Wood delivered an astounding performance as an out-of-control teenager that earned her both Golden Globe and SAG nods. She was ultimately snubbed in favor of a surprise nominee and another young actress, while veteran actress Holly Hunter scored a supporting nod for the same film. Being considered a costar with the also excellent Nikki Reed probably didn’t help, and Wood has done somewhat well to show that she has great ability, most evident in her recent performances in “The Ides of March” and the miniseries “Mildred Pierce.”
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Maria Bello (The Cooler): The former star of “ER” got Golden Globe and SAG nominations for her performance as the woman that made William H. Macy’s luck turn around, and she seemed a sure thing until a veteran heavy hitter and another newbie stole her slot on nominations day, leaving Alec Baldwin as the sole representative of her film. She earned another Globe nod for “A History of Violence” and is likely to brush with Oscar again someday.
Paddy Considine (In America): This British actor came close to an Oscar nod for Best Actor when his two adult costars, Samantha Morton and Djimon Hounsou, managed surprise bids on nominations day. Unfortunately, Considine’s devoted father was left out, but he’s now doing quite well for himself, earning prizes for stepping behind the camera as a director.
Peter Dinklage (The Station Agent): This little independent film had a hugely unexpected showing at the SAG awards with three nominations, and Dinklage seemed primed to upset the Best Actor race, as is usually the case with late-breaking SAG inclusions. Ultimately, the film was entirely shut out, but Dinklage now stars on HBO’s “Game of Thrones,” for which he won an Emmy this past year and is likely to win again.
Scarlett Johansson (Lost in Translation): With only “The Horse Whisperer,” “Ghost World,” and a few other films under her belt, the nineteen-year-old charmed with her breakout turn as Bill Murray’s muse in Japan. He scored his first Oscar nod, but she had to stay content with a Golden Globe since she’s not everyone’s cup of tea and some may not have felt her performance was terribly demanding. She’s not quite Oscar-bound these days, but she does have a great career ahead of her.
Evan Rachel Wood (Thirteen): At age sixteen, Wood delivered an astounding performance as an out-of-control teenager that earned her both Golden Globe and SAG nods. She was ultimately snubbed in favor of a surprise nominee and another young actress, while veteran actress Holly Hunter scored a supporting nod for the same film. Being considered a costar with the also excellent Nikki Reed probably didn’t help, and Wood has done somewhat well to show that she has great ability, most evident in her recent performances in “The Ides of March” and the miniseries “Mildred Pierce.”
Tuesday, May 8, 2012
Tuesday’s Top Trailer: Virginia
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Virginia – Opening May 18, 2012
Jennifer Connelly has been looking for a great film role since she won an Oscar in 2001 for her astounding performance in “A Beautiful Mind,” one of my personal favorite films. In the time since, she has appeared in three films that attracted Oscar attention for others – “House of Sand and Fog,” “Little Children,” and “Blood Diamond” – but didn’t capture any of that buzz for herself. The trailer for this highly irreverent film worries me slightly because of her participation in a somewhat similar film from last year, “Salvation Boulevard,” an over-the-top religious parody. This film seems much more focused on this lead character of Virginia, whose energetic desire to find about Mormonism absolving her sins is merely part of what makes her a compelling protagonist and not her sole defining trait. I love that she’s being paired back up with Ed Harris, her costar from “A Beautiful Mind,” and he’s another actor, who also appeared in “Salvation Boulevard,” is search of a great role after a prolific period about a decade ago. Emma Roberts, Carrie Preston, and Toby Jones are in the supporting cast, which should help make this film even more nutty. Hopefully it will find itself more tailored to strict comedy than outright foolishness, and this film, written and directed by Dustin Lance Black, the Oscar-winning writer of “Milk,” should be a lot of fun.
Virginia – Opening May 18, 2012
Jennifer Connelly has been looking for a great film role since she won an Oscar in 2001 for her astounding performance in “A Beautiful Mind,” one of my personal favorite films. In the time since, she has appeared in three films that attracted Oscar attention for others – “House of Sand and Fog,” “Little Children,” and “Blood Diamond” – but didn’t capture any of that buzz for herself. The trailer for this highly irreverent film worries me slightly because of her participation in a somewhat similar film from last year, “Salvation Boulevard,” an over-the-top religious parody. This film seems much more focused on this lead character of Virginia, whose energetic desire to find about Mormonism absolving her sins is merely part of what makes her a compelling protagonist and not her sole defining trait. I love that she’s being paired back up with Ed Harris, her costar from “A Beautiful Mind,” and he’s another actor, who also appeared in “Salvation Boulevard,” is search of a great role after a prolific period about a decade ago. Emma Roberts, Carrie Preston, and Toby Jones are in the supporting cast, which should help make this film even more nutty. Hopefully it will find itself more tailored to strict comedy than outright foolishness, and this film, written and directed by Dustin Lance Black, the Oscar-winning writer of “Milk,” should be a lot of fun.
Monday, May 7, 2012
Monday Sequel Spotlight: X-Men: The Last Stand
X-Men: The Last Stand
Directed by Brett Ratner
Released May 26, 2006
For some reason, the third installment of a trilogy always seems to be either the best or the worst of the bunch. In the most ideal scenario, the third film amplifies what worked about the first two and utilizes it to deliver a strong finish, and in the least ideal, it manages to lose sight of what was so great about the first two and produce an underwhelming, disappointing experience. After the terrific “X2: X-Men United” followed up “X-Men,” this franchise lost director Bryan Singer, who coincidentally went over to helm a lackluster Superman sequel, and replaced him with Brett Ratner, who, despite success like the first two “Rush Hour” films and the fantastic “Red Dragon,” wasn’t nearly as capable. Something about it just didn’t click, and its events were rather tiring instead of exciting, as had been the case with the first two films. None of the new characters were terribly worthwhile, and the film wasn’t nearly as effective. Portraying a mutant-on-mutant battle and Dark Phoenix should have been much cooler. It’s not a good sign if it takes just five years for the franchise to be rebooted, though I have many more problems with that remake since it is much less faithful to the original comic book series. Simply put, if you want to see the X-Men on film, watch the 2000 and 2002 films and then stop. This third film and its successive remake aren’t bad films by any means; they’re just nowhere near as good.
Directed by Brett Ratner
Released May 26, 2006
For some reason, the third installment of a trilogy always seems to be either the best or the worst of the bunch. In the most ideal scenario, the third film amplifies what worked about the first two and utilizes it to deliver a strong finish, and in the least ideal, it manages to lose sight of what was so great about the first two and produce an underwhelming, disappointing experience. After the terrific “X2: X-Men United” followed up “X-Men,” this franchise lost director Bryan Singer, who coincidentally went over to helm a lackluster Superman sequel, and replaced him with Brett Ratner, who, despite success like the first two “Rush Hour” films and the fantastic “Red Dragon,” wasn’t nearly as capable. Something about it just didn’t click, and its events were rather tiring instead of exciting, as had been the case with the first two films. None of the new characters were terribly worthwhile, and the film wasn’t nearly as effective. Portraying a mutant-on-mutant battle and Dark Phoenix should have been much cooler. It’s not a good sign if it takes just five years for the franchise to be rebooted, though I have many more problems with that remake since it is much less faithful to the original comic book series. Simply put, if you want to see the X-Men on film, watch the 2000 and 2002 films and then stop. This third film and its successive remake aren’t bad films by any means; they’re just nowhere near as good.
Sunday, May 6, 2012
Broadway with Abe: Memphis
It’s not often that, amid all the movies and TV, I have the opportunity to see a Broadway show. I had that very rare chance this past Thursday night, as I saw the 2009 Tony Award-winning Best Musical “Memphis.” This energetic play starts off with fantastic music and a whole lot of spirit, as the naïve and wacky Huey Calhoun wanders into an African-American bar in Memphis and begins breaking down racial barriers one awkward hillbilly comment at a time. Adam Pascal is a fantastic lead as the energetic and truly odd Huey, and he’s well-matched by the lovely Montego Glover as the object of his affection with quite the set of pipes, Felicia Boswell. James Monroe Iglehart steals every scene he’s in as Bobby, a janitor turned performer with superb dancing abilities. The music is fun and the story is great too, and this show never loses its rhythm for a minute.
Saturday, May 5, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Sad to say, after a productive week with four new films last Friday, I haven’t seen a single new release from this week. I really want to see The Avengers, and I hope to do soon sometime this coming week. That’s about it.
New to DVD
New Year’s Eve (mixed bag): I didn’t classify this one under “anti-recommended” merely because anyone who watches the trailer knows exactly what to expect. It’s not nearly as unbearable as it could have been, and a step up from “Valentine’s Day,” but that’s about it. Hardly the best romance blockbuster I’ve ever seen.
Now on Netflix Instant Streaming
Adaptation (highly recommended): This 2002 comedy about a screenwriter writing himself into his screenplay is exceptionally brilliant, featuring a superb dual performance from Nicolas Cage and a career-defining Oscar-winning performance from Chris Cooper
Analyze This (recommended): This amusing 1999 mob parody is clever and entertaining than to funny performances from Robert DeNiro as a gangster and Billy Crystal as his therapist..
Big Daddy (recommended): This Razzie award-winning film doesn’t get much credit, but it’s actually quite hilarious, and features Adam Sandler in the kind of role he was born to play, not trying too hard and not failing too miserably either.
Big Night (highly recommended): This food movie is delightfully appetizing and entertaining, featuring superb performances from Tony Shalhoub and Stanley Tucci as Italian restaurant owners preparing for their biggest and most important night yet.
Cruel Intentions (mixed bag): This 1999 take on “Dangerous Liaisons” is so bad it’s good, with Ryan Phillippe, Sarah Michelle Gellar, Selma Blair, and Reese Witherspoon starring in a campy tale of seduction and betrayal.
Griff the Invisible (highly recommended): This superhero film is the exact opposite of what “Super” was and does a marvelous job crafting a fun movie about a delusional man who thinks he’s a superhero. Ryan Kwanten from “True Blood” and Maeve Dermody turn in magnificently charming performances.
Hannibal (mixed bag): This sequel to “The Silence of the Lambs” has its hypnotic moments, and Anthony Hopkins is operating at full capacity, but it doesn’t manage to capture the feel and awesomeness of the first film or the subsequent prequel “Red Dragon.” Some would say that has to do with the absence of Jodie Foster, but the film has other problems.
Letters from Iwo Jima (recommended): This 2006 Best Picture nominee is the more somber of Clint Eastwood’s back-to-back productions about World War II, shot almost entirely in Japanese and featuring a powerhouse central performance from Ken Watanabe. It’s an effective, moving, and honest war film.
Meet Joe Black (recommended): This 1998 fantasy film presents Brad Pitt as a humanized version of Death, being led around the world by Anthony Hopkins. It’s a dramatic, slightly overlong (just around three hours), thought-provoking experience.
Mr. Nice (recommended): This light-hearted drama is a caper film about a real-life drug smuggler who got away with a whole lot. Rhys Ifans is fun in the lead role, but mainly it’s just a great story that does get a little silly sometimes but ultimately entertains.
My Best Friend’s Wedding (recommended): This 1997 romantic comedy classic is one of the definitive Julia Roberts movies, in which she pursues her best friend upon his engagement. Rupert Everett steals most of the spotlight as her gay other best friend, but the whole cast contributes to this endearing comedy.
Of Mice and Men (recommended): The 1992 adaptation of the John Steinbeck novel features strong performances from Gary Sinise and John Malkovich in a compelling retelling of a classic story.
Starship Troopers (anti-recommended): This film is almost so bad it’s good, but it’s really just bad. Fighting giant alien bugs makes for great fun, especially when the actors - Casper Van Dien, Dina Meyer, Denise Richards, and others - are annoying, but this film is just hopeless in so many ways.
Trucker (recommended): This relatively unknown independent film is a strong showcase of star Michelle Monaghan as a truck driver who finds out she has a son, and includes great supporting performances from Nathan Fillion and Jimmy Bennett as her son.
What Doesn’t Kill You (anti-recommended): This rip-off of “Before the Devil Knows You’re Dead” is a mob movie that’s trying too hard, and focuses much more on trying to put on Boston accents than anything else.
Now Playing in NYC
Sad to say, after a productive week with four new films last Friday, I haven’t seen a single new release from this week. I really want to see The Avengers, and I hope to do soon sometime this coming week. That’s about it.
New to DVD
New Year’s Eve (mixed bag): I didn’t classify this one under “anti-recommended” merely because anyone who watches the trailer knows exactly what to expect. It’s not nearly as unbearable as it could have been, and a step up from “Valentine’s Day,” but that’s about it. Hardly the best romance blockbuster I’ve ever seen.
Now on Netflix Instant Streaming
Adaptation (highly recommended): This 2002 comedy about a screenwriter writing himself into his screenplay is exceptionally brilliant, featuring a superb dual performance from Nicolas Cage and a career-defining Oscar-winning performance from Chris Cooper
Analyze This (recommended): This amusing 1999 mob parody is clever and entertaining than to funny performances from Robert DeNiro as a gangster and Billy Crystal as his therapist..
Big Daddy (recommended): This Razzie award-winning film doesn’t get much credit, but it’s actually quite hilarious, and features Adam Sandler in the kind of role he was born to play, not trying too hard and not failing too miserably either.
Big Night (highly recommended): This food movie is delightfully appetizing and entertaining, featuring superb performances from Tony Shalhoub and Stanley Tucci as Italian restaurant owners preparing for their biggest and most important night yet.
Cruel Intentions (mixed bag): This 1999 take on “Dangerous Liaisons” is so bad it’s good, with Ryan Phillippe, Sarah Michelle Gellar, Selma Blair, and Reese Witherspoon starring in a campy tale of seduction and betrayal.
Griff the Invisible (highly recommended): This superhero film is the exact opposite of what “Super” was and does a marvelous job crafting a fun movie about a delusional man who thinks he’s a superhero. Ryan Kwanten from “True Blood” and Maeve Dermody turn in magnificently charming performances.
Hannibal (mixed bag): This sequel to “The Silence of the Lambs” has its hypnotic moments, and Anthony Hopkins is operating at full capacity, but it doesn’t manage to capture the feel and awesomeness of the first film or the subsequent prequel “Red Dragon.” Some would say that has to do with the absence of Jodie Foster, but the film has other problems.
Letters from Iwo Jima (recommended): This 2006 Best Picture nominee is the more somber of Clint Eastwood’s back-to-back productions about World War II, shot almost entirely in Japanese and featuring a powerhouse central performance from Ken Watanabe. It’s an effective, moving, and honest war film.
Meet Joe Black (recommended): This 1998 fantasy film presents Brad Pitt as a humanized version of Death, being led around the world by Anthony Hopkins. It’s a dramatic, slightly overlong (just around three hours), thought-provoking experience.
Mr. Nice (recommended): This light-hearted drama is a caper film about a real-life drug smuggler who got away with a whole lot. Rhys Ifans is fun in the lead role, but mainly it’s just a great story that does get a little silly sometimes but ultimately entertains.
My Best Friend’s Wedding (recommended): This 1997 romantic comedy classic is one of the definitive Julia Roberts movies, in which she pursues her best friend upon his engagement. Rupert Everett steals most of the spotlight as her gay other best friend, but the whole cast contributes to this endearing comedy.
Of Mice and Men (recommended): The 1992 adaptation of the John Steinbeck novel features strong performances from Gary Sinise and John Malkovich in a compelling retelling of a classic story.
Starship Troopers (anti-recommended): This film is almost so bad it’s good, but it’s really just bad. Fighting giant alien bugs makes for great fun, especially when the actors - Casper Van Dien, Dina Meyer, Denise Richards, and others - are annoying, but this film is just hopeless in so many ways.
Trucker (recommended): This relatively unknown independent film is a strong showcase of star Michelle Monaghan as a truck driver who finds out she has a son, and includes great supporting performances from Nathan Fillion and Jimmy Bennett as her son.
What Doesn’t Kill You (anti-recommended): This rip-off of “Before the Devil Knows You’re Dead” is a mob movie that’s trying too hard, and focuses much more on trying to put on Boston accents than anything else.
Friday, May 4, 2012
Friday For Your Consideration: Headhunters
Welcome to a special edition of a seasonal weekly feature here at Movies with Abe, Friday For Your Consideration. As every year nears to a close, there are a number of actors and films nominated for Golden Globes, Oscars, and countless other awards. There are so many spots and there are so many deserving contenders, yet some inevitably get left out. This week, I’d like to spotlight a film being released last week that is sure to be forgotten by the end of 2012.
Headhunters
Why it deserves it: With up to ten films in the running over the past few years, it makes sense that a foreign import or two might have a legitimate shot at cracking the Best Picture list. This Norwegian thriller is just the film that deserves to be remembered as one of the strongest movies of the year, combining all of its elements to create a well-rounded and exceptional film.
Standout scene: It’s hard to pick one without giving anything away, since the film contains so many unexpected twists, but a great scene comes early in the film when Roger completely deconstructs the latest applicant for a job, following up his skewering interview by robbing the man of an expensive piece of art.
Why it won’t get it? Firstly, premiering in April doesn’t help its case since plenty of memorable films will be bunched up at the end of the year. More crucially, if something like “The Girl with the Dragon Tattoo” couldn’t crack the list, then there’s not much chance for this one. Only English-language international fare like “District 9” has managed it in the recent past, and it will be hard, if not impossible, for this film to break that barrier.
Why it deserves it: With up to ten films in the running over the past few years, it makes sense that a foreign import or two might have a legitimate shot at cracking the Best Picture list. This Norwegian thriller is just the film that deserves to be remembered as one of the strongest movies of the year, combining all of its elements to create a well-rounded and exceptional film.
Standout scene: It’s hard to pick one without giving anything away, since the film contains so many unexpected twists, but a great scene comes early in the film when Roger completely deconstructs the latest applicant for a job, following up his skewering interview by robbing the man of an expensive piece of art.
Why it won’t get it? Firstly, premiering in April doesn’t help its case since plenty of memorable films will be bunched up at the end of the year. More crucially, if something like “The Girl with the Dragon Tattoo” couldn’t crack the list, then there’s not much chance for this one. Only English-language international fare like “District 9” has managed it in the recent past, and it will be hard, if not impossible, for this film to break that barrier.
Thursday, May 3, 2012
Thursday Triple Features
Welcome to a weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My eighth triple feature experience was groundbreaking for two reasons: it was my first press screening extravaganza (though another critic managed to see five films on that same day), and I almost missed the entire thing due to some extensive flooding in Rhode Island that nearly kept me in Massachusetts following a Passover seder. Fortunately, it all worked out, and I had a chance to see this eclectic trio of films with which most are unfamiliar.
April 1, 2010
Movie #1: Paper Man
Theatre: Broadway Screening Room
Time of Day: 3:00pm
Runtime: 110 minutes
This comedic drama follows Jeff Daniels as an author experiencing writers’ block in a remote Long Island cabin, interacting only with a spunky young girl played by Emma Stone and his imaginary protagonist, Captain Awesome, played by Ryan Reynolds. It’s a fun if not entirely memorable riff on literature and loneliness.
Movie #2: When You’re Strange
Theatre: Magno Review 1
Time of Day: 6:00pm
Runtime: 89 minutes
This documentary about the Doors was especially interesting to this reviewer entirely unfamiliar with the band, providing an in-depth look at its members and the many events that came to define them. Two years later, it’s hard to recall its details, but, at the time, it was engaging and informative.
Movie #3: Micmacs
Theatre: Sony Screening Room
Time of Day: 8:00pm
Runtime: 104 minutes
This wonderful French film is the most recent movie from director Jean-Pierre Jeunet, following “Amelie” and “A Very Long Engagement.” It was one of my favorite films of 2010, featuring a delightful ensemble in a thoroughly original, creative, and eye-popping cinematic experience.
The review: All good choices, actually, even if I don’t remember the first two as strongly as I do the third.
The grades: B+, B+, A-
A good lineup? Yes. All were relatively light and the themes were different, going from drama to documentary to fantasy (sort of). Not three films I would have though to combine, but an effective set nonetheless.
My eighth triple feature experience was groundbreaking for two reasons: it was my first press screening extravaganza (though another critic managed to see five films on that same day), and I almost missed the entire thing due to some extensive flooding in Rhode Island that nearly kept me in Massachusetts following a Passover seder. Fortunately, it all worked out, and I had a chance to see this eclectic trio of films with which most are unfamiliar.
Theatre: Broadway Screening Room
Time of Day: 3:00pm
Runtime: 110 minutes
This comedic drama follows Jeff Daniels as an author experiencing writers’ block in a remote Long Island cabin, interacting only with a spunky young girl played by Emma Stone and his imaginary protagonist, Captain Awesome, played by Ryan Reynolds. It’s a fun if not entirely memorable riff on literature and loneliness.
Movie #2: When You’re Strange
Theatre: Magno Review 1
Time of Day: 6:00pm
Runtime: 89 minutes
This documentary about the Doors was especially interesting to this reviewer entirely unfamiliar with the band, providing an in-depth look at its members and the many events that came to define them. Two years later, it’s hard to recall its details, but, at the time, it was engaging and informative.
Movie #3: Micmacs
Theatre: Sony Screening Room
Time of Day: 8:00pm
Runtime: 104 minutes
This wonderful French film is the most recent movie from director Jean-Pierre Jeunet, following “Amelie” and “A Very Long Engagement.” It was one of my favorite films of 2010, featuring a delightful ensemble in a thoroughly original, creative, and eye-popping cinematic experience.
The review: All good choices, actually, even if I don’t remember the first two as strongly as I do the third.
The grades: B+, B+, A-
A good lineup? Yes. All were relatively light and the themes were different, going from drama to documentary to fantasy (sort of). Not three films I would have though to combine, but an effective set nonetheless.
Wednesday, May 2, 2012
Wednesday Oscar Retrospective: First Five Forgotten in 2004
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2004
Zach Braff (Garden State): The star of NBC’s hit series “Scrubs” made a strong transition to film as the writer and director of this light-hearted drama about being thirty. At the height of his show’s popularity, Braff scored a WGA nod for his original script and, though he was snubbed by Oscar, probably garnered some votes for his mature, honest performance as well.
David Carradine (Kill Bill Vol. 2): The title villain was nearly absent from Quentin Tarantino’s first film, but he was central in the second, and Carradine managed to earn a Golden Globe nod for his layered portrayal. This particular Tarantino flick didn’t catch on with Oscar voters, which is probably why Alan Alda took the late actor’s spot for Martin Scorsese’s “The Aviator.”
Jim Carrey (Eternal Sunshine of the Spotless Mind): The famous comedian won two Golden Globes for his more serious performances, and his third such role seemed primed to get him all the way to Oscar. There was too much competition, however, and the film earned a Best Actress nod for costar Kate Winslet and also took home the Oscar for Best Original Screenplay.
Colin Farrell (Alexander): This is one of those choices that wasn’t actually quite so close to Oscar, but, a year out, it seemed like one of the frontrunners. Oliver Stone’s epic was a huge failure, and Farrell, who later won a Golden Globe for “In Bruges,” had to endure this flop before getting back on track and becoming a major star in the United States.
Freddie Highmore (Finding Neverland): This mature twelve-year-old actor, who would go one to score the lead roles in “Charlie and the Chocolate Factory,” “The Golden Compass,” and others, got his big start with this story of the genesis of “Peter Pan,” for which he earned a SAG nod. Ultimately, he may have been too young, and he’s likely to get his chance eventually.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Zach Braff (Garden State): The star of NBC’s hit series “Scrubs” made a strong transition to film as the writer and director of this light-hearted drama about being thirty. At the height of his show’s popularity, Braff scored a WGA nod for his original script and, though he was snubbed by Oscar, probably garnered some votes for his mature, honest performance as well.
David Carradine (Kill Bill Vol. 2): The title villain was nearly absent from Quentin Tarantino’s first film, but he was central in the second, and Carradine managed to earn a Golden Globe nod for his layered portrayal. This particular Tarantino flick didn’t catch on with Oscar voters, which is probably why Alan Alda took the late actor’s spot for Martin Scorsese’s “The Aviator.”
Jim Carrey (Eternal Sunshine of the Spotless Mind): The famous comedian won two Golden Globes for his more serious performances, and his third such role seemed primed to get him all the way to Oscar. There was too much competition, however, and the film earned a Best Actress nod for costar Kate Winslet and also took home the Oscar for Best Original Screenplay.
Colin Farrell (Alexander): This is one of those choices that wasn’t actually quite so close to Oscar, but, a year out, it seemed like one of the frontrunners. Oliver Stone’s epic was a huge failure, and Farrell, who later won a Golden Globe for “In Bruges,” had to endure this flop before getting back on track and becoming a major star in the United States.
Freddie Highmore (Finding Neverland): This mature twelve-year-old actor, who would go one to score the lead roles in “Charlie and the Chocolate Factory,” “The Golden Compass,” and others, got his big start with this story of the genesis of “Peter Pan,” for which he earned a SAG nod. Ultimately, he may have been too young, and he’s likely to get his chance eventually.
Tuesday, May 1, 2012
Tuesday’s Top Trailer: Ruby Sparks
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Ruby Sparks – Opening July 25, 2012
It’s always entertaining to take a trip into a writer’s mind as his story plays out simultaneously on screen. Will Ferrell and Emma Thompson did this dance back in 2006 in “Stranger than Fiction,” which proved to be an amusing experiment. Now Paul Dano, known for portraying outcasts and loners, is an author whose main character comes to life. Zoe Kazan, who has appeared in “It’s Complicated” and who I got to interview several years ago when she starred in “The Exploding Girl,” is the girl in question, who seduces Dano’s Calvin and throws him for a loop by constantly appearing in his life even though he invented her. I’m thrilled by two people in the supporting cast in particular. Chris Messina, who appeared in this past week’s new release “The Giant Mechanical Man,” has the part of the cheerleading brother, and Elliott Gould, so funny in his recurring role as Monica and Ross’ dad on “Friends,” looks to be having a blast as Calvin’s encouraging therapist. A film like this doesn’t stress logic, and that means that there’s plenty of potential for everyone just to have a good time. Kazan herself wrote the screenplay, and the film comes from Jonathan Dayton and Valerie Faris, the directors of “Little Miss Sunshine,” a truly endearing movie. I love the line “Don’t tell me how it ends” as uttered by Ruby in the trailer, and I hope that this movie is just as marvelous and magical as it looks.
Ruby Sparks – Opening July 25, 2012
It’s always entertaining to take a trip into a writer’s mind as his story plays out simultaneously on screen. Will Ferrell and Emma Thompson did this dance back in 2006 in “Stranger than Fiction,” which proved to be an amusing experiment. Now Paul Dano, known for portraying outcasts and loners, is an author whose main character comes to life. Zoe Kazan, who has appeared in “It’s Complicated” and who I got to interview several years ago when she starred in “The Exploding Girl,” is the girl in question, who seduces Dano’s Calvin and throws him for a loop by constantly appearing in his life even though he invented her. I’m thrilled by two people in the supporting cast in particular. Chris Messina, who appeared in this past week’s new release “The Giant Mechanical Man,” has the part of the cheerleading brother, and Elliott Gould, so funny in his recurring role as Monica and Ross’ dad on “Friends,” looks to be having a blast as Calvin’s encouraging therapist. A film like this doesn’t stress logic, and that means that there’s plenty of potential for everyone just to have a good time. Kazan herself wrote the screenplay, and the film comes from Jonathan Dayton and Valerie Faris, the directors of “Little Miss Sunshine,” a truly endearing movie. I love the line “Don’t tell me how it ends” as uttered by Ruby in the trailer, and I hope that this movie is just as marvelous and magical as it looks.