Movie with Abe: The Road

The Road
Directed by John Hillcoat
Released November 25, 2009

Post-apocalyptic subject matter is usually harrowing, bleak, and intensive in the gloomy journey it undertakes. This adaptation of a Cormac McCarthy novel certainly fits that bill, and its characters trudge through an eternally gray, dreary landscape with no real aim other than to stay together and to survive. Becoming a part of the dismal experience is easy, though it’s not as clear whether this road actually leads anywhere.

“The Road” follows two survivors of a devastating worldwide catastrophe as they struggle for their lives, fighting off hunger, winter, and murderous gangs who comb the countryside looking for helpless prey. The film joins their journey well into it, and it’s evident that the road has wearied these two travelers. They stare at their emaciated bodies and salivate at the mere mention of food. They know that their endless path may truly have no end, and they may wander until they simply can’t move another step or they have nowhere else to go. The title is a perfect way to describe what now defines their lives: the road to something else, even if it’s only tomorrow.

There’s an incredible timelessness in “The Road.” The lack of technology used or displayed signifies that, though it is likely set sometime in today’s near future, it could easily have happened at any point. Bomb shelters have not lost their relevance or importance, and it’s still a matter of staying smart and one step ahead of everyone else that will ensure, or at least prolong, survival. The two protagonists, a father and son referred to as Man (Viggo Mortensen) and Boy (Kodi Smit-McPhee), are the center of the story rather than the gangs who ride ominously down the remnants of what used to be streets in slow-moving trucks because their ability to stay alive is just as strong as those who travel in packs. Man knows what he needs to do in order to survive, and he has something the gangs don’t: family.

Both lead actors are more than up to the task of burrowing themselves in their nameless roles. Mortensen has the hardened look and sharp eyes of someone who never actually lets him guard down, and his quiet severity makes Man a fiercely protective parent. Young Smit-McPhee is extremely impressive, and conveys how much the tragedy in this world has forced him to grow up at a monstrously accelerated pace. It’s their acceptance of the reality around them that makes the film believable, and the desire to see them triumph that makes their journey compelling. A strong score by Nick Cave and Warren Ellis accompanies and guides Man and Boy through their trip along the road, and the gray visuals serve to trap audiences in the experience. The road is a frightening one where Man and Boy are alone in so many ways, yet always far too close to danger. Where the movie disappoints is in its lack of an essential climax. Since the story is about the road, it seems the destination isn’t as important.

B+

Wednesday Oscar Watch with Abe

Welcome to a new weekly feature here at Movies with Abe, Wednesday Oscar Watch with Abe. Every Wednesday, I’m taking a look at the awards chances for all of the films released the previous week. Chime in with your thoughts on the Oscar chances for these films in the comments section.

This week features films released between last week’s edition on November 18th and November 30th.

The Road
This post-apocalyptic film was supposed to be released a year ago and was detested by many when it was shown at that point. Now, it opened to much kinder reviews, but I’m not sure that anyone was quite enthusiastic enough about it to propel it to the top ten films of the year in the Best Picture category. Viggo Mortensen, nominated in 2007 for “Eastern Promises,” might have a chance in the Best Actor category, but I doubt it, and all buzz for child actor Kodi Smit McPhee seems to have died. This may pop up in the Best Cinematography, Best Art Direction, or Best Makeup categories, but I think that’s probably it. Another vision of a devastating future, “Children of Men,” was a non-starter at all the precursors and ended up with nods for writing, cinematography, and editing. This film could probably manage a Best Adapted Screenplay nomination, but I think there are stronger candidates.

Broken Embraces
Pedro Almodovar’s latest film wasn’t submitted as Spain as its foreign language entry, though his last film, “Volver,” which was submitted, was shockingly snubbed on nomination day. This year is too crowded for Almodovar to break into the Best Director category like he did in 2002 for “Talk to Her,” but I’d hedge my bets more on the lead actress who earned herself her first nomination for “Volver,” Penelope Cruz. She won the Best Supporting Actress award last year, and she probably has a better chance to repeat in that category for “Nine.” She’s likely better off at the Golden Globes.

The Princess and the Frog
This animated film, advertised as being in the tradition of beloved Disney classics, should be a sure thing in two categories, and two categories only. With the Best Animated Feature field expanded to include five nominees, this one looks almost as certain as “Up,” and while it may not be able to beat that film for the trophy, it will certainly earn a nomination. The other category is Best Song, where Disney films used to dominate, and this film should be good to earn a nod there.

Me and Orson Welles
This film is notable only for the performance of breakout actor Christian McKay, who plays the latter role with incredible fervor that he dominates the film without anyone or anything else coming anywhere close. He chews scenery and steals every scene as the eccentric and controlling director, and it’s an extremely impressive turn for the British newcomer. The film doesn’t stand a chance in any other category, and it’s likely that it won’t be seen widely enough to propel McKay to the top. He might break through somewhere, like the Golden Globes, but he’ll only make it all the way to the finish line if the Best Supporting Actor category is especially weak.

The Private Lives of Pippa Lee
Robin Wright Penn is a respected actress who has never been up for an Oscar, despite Globe and SAG nods for “Forrest Gump” and a SAG mention for “She’s So Lovely.” This could have been her big role, but the film isn’t very big and hasn’t received overwhelmingly positive reviews, like “Frozen River” or “The Savages,” which both produced Best Actress nominees. Simply put, Penn has too much competition, and if there’s an indie actress who might have a shot at cracking the top five this year, it’s probably past winner Tilda Swinton for “Julia.”

Bad Lieutenant: Port of Call New Orleans
This quasi-remake of the 1992 film starring Harvey Keitel is being touted by some prognosticators as a potential awards vehicle for lead actor Nicolas Cage. I’m puzzled since this film, though it’s earned strong reviews, didn’t make any big splash, and it’s not as if the first film was swimming in awards (it was a hit at the Independent Spirit Awards, but that’s not too relevant to the Oscar race). More importantly, Cage hasn’t exactly been making smart movie choices lately, and I don’t think this small role is his comeback by a long shot. There’s no room for him in this race anyway. He was last nominated in 2002 for “Adaptation,” a huge indie hit, and didn’t even manage a Golden Globe nomination for “Matchstick Men” the following year.

The Blind Side
Sandra Bullock has never been nominated for an Oscar. She has two Golden Globe nominations to her name, for “While You Were Sleeping” and “Miss Congeniality,” for her signature romantic comedy roles. Bullock could be a double nominee at the Golden Globes this year for this film and her familiar turn in “The Proposal.” Some suggest that her dramatic role in the heartwarming movie might be her chance to break through, but I think that lukewarm reviews and a whole host of more deserving contenders will prevent her from doing that this year. Also, “All About Steve” really does not work in her favor.

Home (Switzerland) and Planet 51 are both submitted in the Best Foreign Film and Best Animated Feature categories, respectively, but they’re well behind a number of other contenders in terms of buzz and chances.

Independent releases Mammoth, The Missing Person, Fix, and Ninja Assassin are not going to get any Oscar nominations this year. Two other wide releases, Twilight: New Moon and Old Dogs, no matter how much money they rake in at the box office, are also not going to earn Oscar attention either.

There are only a couple of weeks in the year left! Come back every Wednesday for an analysis of the previous Friday’s theatrical releases and their Oscar chances. Thanks for reading!