There's plenty of actual politics to discuss, but it all revolves around the fact that both Hillary Clinton and Barack Obama are currently behaving like @$$#0!es, so let's have another round of fake politics, eh wot?
Since publishing my personal take on the Year in Film, the honest-to-goodness Oscar nominations were announced.
It should surprise no one that I have ... opinions. These aren't predictions, per se, but rather how I would vote if I were one of the special and privileged few who submit Oscar ballots each year (which, by the way, thank Goddess that "the public" doesn't vote for Oscar winners, since elections decided upon by said "public" don't always turn out so good ... just sayin').
And away we go ...
Performance by an actor in a leading role
George Clooney in "Michael Clayton"
Daniel Day-Lewis in "There Will Be Blood"
Johnny Depp in "Sweeney Todd The Demon Barber of Fleet Street"
Tommy Lee Jones in "In the Valley of Elah"
Viggo Mortensen in "Eastern Promises"
My take: I'm a little surprised -- not unhappy, just surprised -- to see Tommy Lee Jones and Viggo Mortenson in the race. And yet, when I think about it, it hasn't been a banner year for men in leading roles this year. I guess I'm surprised that Denzel Washington isn't here for American Gangster and that James McAvoy didn't ride the Atonement wave, but that's neither here nor there. What's here and there is that Johnny Depp got a nod for Best Actor for his performance in a Sondheim musical, and that's good enough for me (hi, I'm a big 'mo). I vote Depp.
Performance by an actor in a supporting role
Casey Affleck in "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem in "No Country for Old Men"
Philip Seymour Hoffman in "Charlie Wilson's War"
Hal Holbrook in "Into the Wild"
Tom Wilkinson in "Michael Clayton"
My take: I've not yet seen The Assassination of Jesse James by the Coward Robert Ford, but was so impressed with Affleck in Gone Baby Gone that I'd be tempted to simply throw a vote his way based on another movie entirely. Not that it would matter much -- previous award wins seem to indicate that Javier Bardem is a sure thing for playing the sociopathic killer in No Country for Old Men. And he was really good, but if I could vote for the Oscars, I'd probably never vote for the sure thing, just to be difficult. But even if I wasn't feeling peevish, the performance that I think is most deserving this year is Tom Wilkinson as a lawyer whose conscience catches up with him in Michael Clayton. He was scarily good in a difficult role and still allowed Clooney to carry the movie; in short, he did everything that the Best Supporting Actor should do. I vote Wilkinson.
Performance by an actress in a leading role
Cate Blanchett in "Elizabeth: The Golden Age"
Julie Christie in "Away from Her"
Marion Cotillard in "La Vie en Rose"
Laura Linney in "The Savages"
Ellen Page in "Juno"
My take: I'm honestly suprised that Cate Blanchett is here. Not that she's not brilliant in everything she does, but because the second Elizabeth movie was so disappointing to so many (I haven't seen it, so I'm talking about something I don't know anything about, which I believe only serves to solidify my credibility as a film critic -- meow). Besides, everyone knew she'd be nominated for I'm Not There, and she was. I have seen the other four performances in this category, and will be honestly thrilled for any of them to win. So, were I an Oscar voter, I'd have a difficult choice. Julie Christie was wonderful in Away From Her, but what I loved about her performance was her wise decision to underplay. I love Laura Linney in anything she does; her particular achievement in The Savages was to allow the audience to sympathize with a mostly unlikeable character, and she pulled it off brilliantly. Ellen Page was simply adorable in Juno, both wise-beyond-her-years and an honest-to-goodness in-over-her-head kid, at the same time. But the performance that absolutely blew me away this year for pure guts and glory was Marion Cotillard as Edith Piaf in La Vie en Rose. Taking nothing away from the other nominees in what I think is the most competitive category in the entire slate ... I vote Cotillard.
Performance by an actress in a supporting role
Cate Blanchett in "I'm Not There"
Ruby Dee in "American Gangster"
Saoirse Ronan in "Atonement"
Amy Ryan in "Gone Baby Gone"
Tilda Swinton in "Michael Clayton"
My take: I think Cate's going to win this one, only because performers who are nominated twice in one year usually take something home, and everything I've heard indicates that Cate Blanchett was predictably brilliant in The Golden Age, but absolutely breathtaking and transcendant as Bob Dylan in I'm Not There. Oscar also loves a good gender-bender if it's done right. But as I haven't seen either film (and have a penchant for being difficult), I'd probably go another way were I holding an Oscar ballot. Tilda Swinton was fantastic in Michael Clayton, but I think most folks were most impressed by a beautiful woman's willingness to look so unattractive in the film. "Hello," I'm thinking, "she's British" -- she has more sense than to be as hung up as we silly Americans about that kind of thing; she did what was best for the role and can always be beautiful on her own time -- and is. I loved Gone Baby Gone and am happy to see that a talented actor's career has taken a real boost from its success, but thought that Amy Ryan's character was a little one-note. Of the four performances I've seen, Saorise Ronan as the youngest "Briony" in Atonement is probably the most deserving, but sometimes you gotta just vote for the living legend who's never won an Oscar before just because she's there. Even though her entire performance in American Gangster hinges on one scene, it's a great scene and she acts the hell out of it. And given the entire career that has preceeded that one great scene, I vote Dee.
Best animated feature film of the year
"Persepolis": Marjane Satrapi and Vincent Paronnaud
"Ratatouille": Brad Bird
"Surf's Up": Ash Brannon and Chris Buck
My take: I'm torn. I haven't seen Persepolis yet, but want to -- I've read the graphic novel upon which it is based, and I absolutely love it. I've seen several previews, and think that the traditional (almost crude by today's standards) style of animation will serve the story (plucky young girl lives through Iran's Islamic Revolution) extremely well, and it would be nice to award an Animated Feature that does more than bells and whistles. On the other hand, the bells and whistles on display in Ratatouille are so much incredible fun, and this is the one category in which fun is traditionally allowed to be a critical factor. So, while I reserve the right to change my mind ... for now, I vote Ratatouille.
Achievement in directing
"The Diving Bell and the Butterfly" -- Julian Schnabel, director
"Juno" -- Jason Reitman, director
"Michael Clayton" -- Tony Gilroy, director
"No Country for Old Men" -- Joel Coen and Ethan Coen, directors
"There Will Be Blood" -- Paul Thomas Anderson, director
My take: I'd be tempted to boycott this entire category as punishment for excluding Tim Burton from the process. Stupid Oscar people. Can you write in a non-nominee in protest? If I could, that's what I'd do (again with the being difficult). But if not, I'd probably end up voting for the director who best served the story he/they were trying to tell while also integrating a unique point of view that was totally there but never got in the way. I vote Coen Brothers.
Achievement in music written for motion pictures (Original song)
"Falling Slowly" from "Once" -- Music and Lyric by Glen Hansard and: Marketa Irglova
"Happy Working Song" from "Enchanted" -- Music by Alan Menken; Lyric by Stephen Schwartz
"Raise It Up" from "August Rush" -- Nominees to be determined
"So Close" from "Enchanted" -- Music by Alan Menken; Lyric by Stephen Schwartz
"That's How You Know" from "Enchanted" -- Music by Alan Menken; Lyric by Stephen Schwartz
My take: The music in Enchanted was funny and charming, but nowhere near as affecting on a gut level as the songs written for Once, a little gem of a movie about two struggling musicians who should totally fall in love with each other. I vote Hansard and Irglova.
Adapted screenplay
"Atonement" -- Screenplay by Christopher Hampton
"Away from Her" -- Written by Sarah Polley
"The Diving Bell and the Butterfly" -- Screenplay by Ronald Harwood
"No Country for Old Men" -- Written for the screen by Joel Coen & Ethan Coen
"There Will Be Blood" -- Written for the screen by Paul Thomas Anderson
My take: A movie came out this year about a couple in their sixties. It was brilliantly adapted and directed by a woman who isn't even thirty yet. This is the easiest decision yet. I vote Polley, by a mile.
Original screenplay
"Juno" -- Written by Diablo Cody
"Lars and the Real Girl" -- Written by Nancy Oliver
"Michael Clayton" -- Written by Tony Gilroy
"Ratatouille" -- Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
"The Savages" -- Written by Tamara Jenkins
My take: The first thing I'd like to say about this entire category is that three films written by women are included here, and I think that's freakin' amazing. Seriously. I'm so loving that. Not to take anything away from Tony Gilroy or Brad Bird, who both wrote genius scripts, I get excited when women are nominated in the writing and directing categories, where they are historically so underrepresented. I haven't seen Lars and the Real Girl, so can't really comment -- heard it was great, though. I loved The Savages, particularly because I have one sister and no brothers and think that the brother-sister dynamic is one that should be explored a lot more and hardly ever is. The script for that movie also walked the line between funny and sad and sad and funny and never once went too far in either direction, which is a huge feat. But the script that blew me away this year was Diablo Cody's Juno -- on the one hand, full of quotable quotes ("That's one doodle that can't be undid, home skillet" -- c'mon that $#!t's funny) that are fun to repeat, and on the other hand remarkably human, featuring a dazzling array of vulnerable, sweet, pensive, sad, scared, frustrated, overwhelmed, romantic, practical humans throughout. I vote Diablo.
Best motion picture of the year
"Atonement" (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers
"Juno" (Fox Searchlight) A Dancing Elk Pictures, LLC Production: Lianne Halfon, Mason Novick and Russell Smith, Producers
"Michael Clayton" (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
"No Country for Old Men" (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
"There Will Be Blood" (Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers
My take: Okay, so where the frak is Sweeney Todd? Seriously, people, WTF??!! This would be another case where I'd be forced to take several deep breaths before concentrating on the five stupid lousy undeserving movies that occupy a space on the list where Burton's Sweeney ought to be. Childish? Me? Really? But okay ... I haven't seen There Will Be Blood, but I hear that it's great, if entirely unpleasant. I can see that -- greatness and pleasantness aren't exactly the same thing, but I just wonder if any movie that is already difficult or painful to watch really needs to be three hours long. Just a question. Of the films that I have seen, I'd seriously love to see Juno win, mostly because I like it when a film wins on the basis of a sharp and funny script. But as much as I do love sharp and funny, I'm even a bigger sucker for ideas, questions without clear-cut answers, and the movies that give you lots to mull over in the days after you see it. So, for the biggest award of the night, I vote Atonement.
And there you have it. How much do you want to bet that none of the nominees I've picked actually walk up to the podium to pick up a little Golden Guy? Oh well.
18 Told Me a Secret:
First off lets just hope there is an Oscar show this year....with everyone. I will print your picks and keep track for you. Personally I just enjoy the buzz of the Oscars. The parties that the guys have with great food and drink. The emotions they show when their pick wins or loses.
So if the Oscars do go ahead, I will be at someone's house enjoying their food and drink and hugging them when their pick loses. Good Luck to you...I will air hug you if your pick doesn't win.
Sageweb: You'll be sending lots of air hugs, I think. Your air arms are gonna get air tired.
I rarely see movies in-theater, and when I do cough up for actual tickets, it's usually some teen-drivel for an offspring birthday or something. Also, I bet I don't know the single name of a director, producer, whatever else they all do. I don't usually even watch the Oscars - enough with the endless thank yous, sheesh! So I'll basically go along with whatever you say. Anyway, I did read this through all of it, as it helped me figure out what to order on Netflix, the greatest invention of our time.
I like what you said last night: "Hey, you had your championship games last week, no it's my turn ... it's time for the Oscars." I could totally understand then. (I'll write in Sweeney Todd on everything if you root for the Giants...)
If I were the Oscars, and I'm not, I would take all of the writing awards and toss them away. You picket our show? We give you nothing.
But I'm mean like that.
Cowbell: You're so right; Netflix is the greatest invention of our time. And yeah, they don't call the Oscars the "Gay Super Bowl" for nothin'.
JP: Yes, it's a "writers' strike," but it exists because the studio heads are such @$$#0!es -- so, while I like the way you think, I'd keep the writing awards and ditch the Best Picture award instead.
Gosh, the Oscars never stop shocking me. I mean no Sweeney Todd for Best Picture or at least Burton for Director? I mean, what were they thinking?
And no nods for Zodiac, had that movie been released say in October/November I am sure it would have dominated the nominations.
As far all the acting nominations for Michael Clayton, I called all three nods when I saw the movie. And I really hope one of them wins. But we shall see.
John Z.: Yes, all three are brilliant, but I'm pulling for Wilkinson because he had the most challenging role and in many ways was the most understated -- AND, he's been brilliant SO many times before and also deserves it from a "career" standpoint. As for the Sweeney snubs, I'm guessing that the massive arterial spray turned off a lot of people. Stupid, prudish, wimpy, dumb, sucky people -- but there you are.
Golly I hope we have an actual award show this year, as well. Because I plan to video blog myself wearing a fantastic frock.
That's right. I said frock. Also, sweet merciful crap that was a great post! You are on FY-UH!
A. You have convinced me to see Sweeney Todd.
B. The nominations for best picture are unimaginative, predictable, and disappointing.
C. I am surprised Denzel didn't get a nomination for his excellent job in AG! I do find him a bit of a drama queen who is more than likely to trot out race as a reason he didn't get the nod this time (which may or may not be true, but how can one truly know), so I am curious to see his reaction to the shunning.
D. Javier should win because he lived and breathed that role, was scary as hell, and is hot as hell (I'm gay too, ya know).
E. There Will Be Blood was a fairly good movie, and DDL was great in his role, but I not so secretly now, hope it doesn't win anything.
F. uckers I want to win:
Johnny Depp
Javier Bardem
MARION COTILLARD
Saoirse Ronan
Ratatouille
Julian Schnabel
Hansard/Irglova
Diablo Cody (cause she's good, from Chicago, and is an ex-stripper)
Atonement (only because La Vie en Rose wasn't nominated)
By the way, you are pretty much dead on in your analysis here, and are definitely on fire.
Hat: I love it when you say "sweet merciful crap." And I can't wait to see your frock. Too bad we didn't plan in advance; next year we should live video blog the Oscars as the Red 'n' Hat Show!
Tater: a) I won't lie; it's violent, but also strangely beautiful, and startlingly original. b) Agreed. c) Believe me, I did notice right away that there were only two people of color in the entire acting pool, but I couldn't say for sure that race shut him out. d) Javier is hot, but the Buster Brown haircut did nothing for him. I still go with Wilkinson who also played crazy but (imho) with a bit more finesse. e) Care to elucidate? I haven't seen it ... f) Did you see Diablo on the Letterman show the other night? She's a funny, funny girl.
I not so secretly do not care all that much about a bleak ass film that is three hours long, and tells the tale of a man who is deserving of all the negative crap drawn to him. The subject matter of early oil exploration and the non-ethical exploitation of poor farmers for their land is great documentary fodder, but is fairly boring as a feature film. Yes, Daniel Day Lewis is a great A-A-K-T-O-O-R, yes, he is very believable, but this role is strangely similar to the one he played in Gangs of New York, in a different time and venue. I don't think he needs an Oscar as reward for this role. The film is dark, bleak, slow moving, and well acted, I just don't think it deserves an award (certainly not for editing, anyway).
I missed her on Letterman, but knew her in person, as she worked in our studio building for Torque (graphic design firm). We smoked more than a few cigarettes together out front, but I never got to know her that well. She wasn't a stellar employee, and either quit or was terminated in less than a year (if memory serves me correctly).
How you feel about Sweeney Todd I feel about The Kite Runner. I still need to see ST but LOVED TKR.
Tater: Funny, I got the same feeling about There Will Be Blood from the previews. And yet, I'll see it just because I like to be all knowledgable and $#!t on Oscar night. In fact, I just finished adding Elizabeth: The Golden Age and In the Valley of Elah to the Netflix queue.
Y.O.Y.: My hesitation around The Kite Runner has to do with the controversy around the way the filmmakers worked with their young co-stars and their families. Apparently, one of the young boys featured in the film has been moved to the U.A.E. after his family received death threats; meanwhile, the boy's family were never told that some of the scenes in the film would depict pedophilia. I'm all about the freedom of expression, but I think you also have to be culturally sensitive, and I find it hard to believe that the filmmakers couldn't find a talented American boy of Arab descent to play the role without disrupting his entire life and putting his family at risk. I imagine that's why the film was a total no-show in the list of nominations this year.
i really think into the wild got (all but) shafted. was hoping that hirsch and penn would get nominations.
Eliot: Hey, thanks for stopping by. Y'know, I saw Into the Wilde with my friend Scott on the recommendation of several of our friends. Scott really, really liked it. I say all that so that you know that I know that I hold an absolute minority opinion here and cast no aspersion against those who really, really liked it just because I sorta ... well ... loathed it. (Sorry, please don't stop visiting!!)
Me and Cowbell, going to teen/kid movies, or in our jammies watching Netflix while the grownups talk about grownup movies.... The last two movies I saw in a theater were Enchanted and Juno. Thank God that I didn't have to go see that one with The Rock!
the only one i care about is sicko . . . sicko sicko sicko.
but no country for old men . . . something about that film sticks with me. have to see there will be blood eventually. so much to do. where does the time go?
Elizabeth: But wasn't Juno wonderful??!!
Lynette: I didn't discuss the documentaries because Sicko is the only one of the five I've actually seen. However, three of the five are really lefty in content and tone. I've heard that No End in Sight, about all the lies that got us into the Iraq quagmire, is really really good.
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