[teppo2]

The Help

For my fourth time and first since it was in theaters. So it should come as no surprise when I say that I will be extremely sad if Davis doesn't win for this. Hot damn does she get me. The way she nods "yes" when Skeeter asks her if she ever dreamed about being something else in life...wow. And then to follow it up with when she cracks herself up telling Skeeter about being dark because she drank too much coffee...her giggling just comes off so natural. She really is Aibileen. Also, Chastain impressed me more this time, and I'm not sure who I'd pick between her and Spencer. I kind of want Spencer to win though, since this is probably her only shot at this thing while Chastain will likely have plenty of opportunities.

[Lennox723]

Tinker, Tailor, Soldier, Spy

I love spy movies--the gadgets, the fight scenes, the stunts, the narrow escapes--but the fact that these elements were missing from "Tinker, Tailor, Soldier, Spy" did not deter me from liking it. In fact, I loved the movie. It's a somber, moody film with no car chases nor superhuman acts of self-defense. Instead we see the work of spying as it most likely is performed by bureaucrats reading documents in a dreary office and arguing to no end.

"Tinker, Tailor, Soldier, Spy" is ultimately not about spying. It's a portrait of the workers, a special breed of (mostly) men more similar to monks than fraternity brothers that perform this task. The film shows them as lonely, tormented people who must suppress their own desires for the sake of loyalty and service. While all this sounds grim and cold, the film has flashes of humor and we come to care about these troubled men so much that the stakes and the dread of finding out the mole are raised. I can't say I understood how everything was resolved, but I really cared more about the characters and absorbing Tomas Alfredson's stylish depiction of melancholy than the payoff at the end. It invites repeated viewing not only to understand the unraveling but to let the film's atmospherics wash over you. I also loved the film's anachronistic use of music, especially the lovely coda at the end set to Julio Iglesia's version of "Beyond the Sea."

Oscar-wise it's not surprising why Gary Oldman isn't receiving nominations. It's a quiet and not at all showy performance, but I hope he does manage to get in. Benedict Cumberbatch, who I'm quickly becoming a fan of from watching "Sherlock," is a standout. He has a devastating scene that underscores the sacrifices made by men like him.

Grade: A

[dws1982]

I loved Tinker Tailor Soldier Spy as well. Unless there's something I'm forgetting, this should easily be my pick for Best Ensemble of 2011--there wasn't a single less than excellent performance in the entire film. Probably my pick for Adapted Screenplay as well--it's very well constructed and pares down the novel remarkably well. It changes some stuff, but it's really faithful to the spirit of the book, and gets at all of the major themes and plot points. I'd totally be happy with this production team taking on The Honourable Schoolboy and Smiley's People.

[Above the Title]

Just came back from "Beauty and the Beast" in 3D. It's already in my top ten faves of all-time so to heap praise on it seems hyperbolic but damn if the village opening scene and the ballroom were not glorious in the new technology.

[njknight]

Right? It was beautiful. Like watching a pop-up book brought to life.
_________________
twitter | tumblr | facebook

[Sanny]

Caught up on a bunch of 2011 movies this weekend!

We Need To Talk About Kevin
Tilda Swinton gives a masterfully tense and controlled performance that's wasted by Lynne Ramsay's ham-fisted and obvious direction and choices. Extremely disappointing.

Tinker Tailor Soldier Spy
Gosh, I loved this. As Lennox pointed out, this is a real spy movie that's ultimately more fulfilling than anything the countless cool action-y gadget flicks have offered me. The entire ensemble was brilliant but Gary Oldman still managed to standout. At least he has a BAFTA nod to show for his work.

Submarine
I was wary at first. It's a quirky and offbeat (two words I know folks around here hate) coming of age teenage story. However, there's an honesty at its core that distinguishes the film from the others in its field. It doesn't rely on the usual tropes that plague films like these and has a keen understanding of the difficulties in growing up, maturing, and the compromises that must occur in order for relationships to work.

Putty Hill
At first, I liked the concept and execution of the film but didn't think it would stick but it isn't until the very end that it got to me. It treats death in the most natural, unsentimental way that I've seen lately. Worth a look.

Take Shelter
Where the hell has Michael Shannon been this awards season? His performance here is one of the best of the year and my favorite that I've seen. What could have been an insane or delusional character instead becomes a confused, scared, tormented, and determined one in Shannon's hands. Jessica Chastain also does lovely work here and breathes life into her loyal housewife character but its Shannon's show.

Tyrannosaur
I'll give Paddy Considine the benefit of the doubt. While his portrait of a violent, lonely, grief stricken individual has palpable moments of tension, joy, and tenderness it falls short of the meaningful goals it aspired to. Despite the actors, particularly Peter Mullan and Olivia Colman, giving it all they've got, they never really break free of the cliches Considine boxes them in. Eddie Marsan's character in particular was the biggest cartoon villain this side of Shelley Winters in A Patch of Blue and Jeremy Sisto in Waitress.

A Dangerous Method
I would have liked this film a lot more if it wasn't so damn schizophrenic. It spread itself too thin in trying to be a love affair story, character study, and intellectual contest all at once. There were too many moments where I had to fill in the blanks on my own because there was no other way to explain how the characters got from point A to B. Once Keira Knightley calmed down, she was much more tolerable.

The Descendants
One of Shailene Woodley's lines towards the end of film crystallizes it for me: "You know my father has been doing a really amazing job under these circumstances." The line wasn't delivered or written in a treacly manner, but was the knot that finally tied together George Clooney's fractured character to this family. It's not a great film by any means (and it would be a crushingly disappointing Best Picture winner) and is mostly carried by the earnestness of its performances. I thought Clooney was brilliant as the haggard, exasperated father trying to hold himself and his family together. While he's not my pick for Best Actor I can't say I would be unhappy with him winning. Woodley, Amara Miller, Matthew Lillard, Judy Greer, and Robert Forster (I can see him getting a WTF-style supporting nod) round out the strong supporting cast.

The Ides of March
I think I like George Clooney, Director more than George Clooney, Actor. His films aren't great or complicated but I like how the characters are grounded and tested by how far their moral limits will stretch. The political cat and mouse games felt a bit overdone but the web of loyalty and trust Clooney weaves made it work for me.

[Smithie]

You pulled a Beachnau!
_________________

[Sanny]

A rare achievement I am honored to accept!

[Culturegeek]

What Lennox, dws and Sanny said about Tinker Tailor Soldier Spy. I want to see it again. Between this and The Skin I Lived In, Iglacious getting snubbed by the music branch will rankle.
_________________

[blanchardwasrobbed]

[dug11]

The Descendants

Honestly, I went in expecting to not like this. Given the reaction here and the fact that I am not a huge fan of Alexander Payne, it just never felt like something that would work for me. But..... I was wrong.

It's certainly not a perfect film, but I did end up enjoying it. I think that is mostly due to the cast, all of whom give excellent performances. I would be completely fine with George Clooney winning (especially since he won for a lesser performance with Syriana). I wasn't thrilled with how they handled the wife, though. Were we supposed to be sympathetic to Clooney and Shailene Woodley's character when they're yelling at a dying woman in a coma? If so, that didn't happen with me. Yes, she had an affair but..... she's, uh, dying. That didn't work for me.

But, overall, I did like it quite a bit.

B+

[Ditty]

Yeah, I've been trumpeting TTSS's horn since I saw it back in September. It's a great film. For me the standout besides Oldman is Mark Strong. I think he's stellar.

SHAME

As for Shame, I was a huge lover of Hunger. I think it's along with There Will Be Blood and 4 Months, 3 Weeks And 2 Days part of the Holy Trinity of films of the last decade, however, there is something distinctly lacking in Shame to give it the punch its story probably deserved. I think it lies in the story arc of Brandon and Sissy. Their relationship borders cliche and the destructive nature of their very beings rings slightly false.

I think the performances are uniformly stellar with Fassbender again really great in a hugely complex turn and Mulligan better than she's been anywhere besides Doctor Who, for me. However, I've got to echo Deet's mention of Nicole Beharie. It's such a terrifically lived-in performance that is in considerable danger of going unnoticed by Hollywood and filmmakers in general. It actually reminds me of the type of turn we saw from Viola Davis when she had that run of really small roles about the time of Far From Heaven. She kind of disappeared for a while after that but we all know what happened once Doubt came along. One can only hope that Beharie gets a similar dose of career luck. She actually made me really excited to be watching someone new when she was on screen and I've not felt that from an actress since maybe Frederique Bel in Change Of Address or perhaps Rosamund Pike in Pride & Prejudice.

I was greatly affected by Shame at points but there were significant moments where I felt like I was being told that I should feel affected, which significantly undermined those real moments of honesty. It's a good film without being a great one and unfortunately a slight step backwards for McQueen as director.

****

[Loosi]

My Week With Marilyn

Michelle Williams is rather incredible as Marilyn, in that I quickly forgot she was Michelle Williams, and never felt she was making easy or obvious choices with her characterization.

I was also impressed with the ensemble overall, and Branagh as the fiery yet equally insecure Olivier.

The movie itself falls trap to the neither-here-nor-there-main-character-who-just-acts-as-a-witness-to-all-the-drama cliche, but it also proves that the most interested biopics are the ones that are at a specific time and place and not a catch-all, childhood-to-death look at the famous subject.

So, I enjoyed much of this, though beyond the performances it's perfectly standard.
_________________
ReallyBigHugeDeal.blogspot.com

[eurocheese_is_class]

Extremely Loud & Incredibly Close

I'll say this for Daldry - he knows how to work an emotional scene for all its worth. No wonder all four of his films have made Picture, Director or both. The problem is his two most recent films don't make any sense when you actually think them through. He taps into the spirit of 9/11 with surprising tact in many places, and I must admit I teared up in a few spots. Unfortunately, when we find out the kid's mother allowed him to wander the streets because he needed to find himself... huh? She held her breath every time because he might not return? Is she aware he has clear damaging psychological problems like picking his skin until it bleeds? I guess having a conversation with him was just too much. Then there's the key story that you never quite believe, and the kid's reactions which are often not what the scene requires. It's all so wildly uneven. My favorites were actually Davis and Wright (he is always complete hit or complete miss wth me), but even their limited lines make no sense. Just... huh?

Von Sydow is a great actor but I don't get it. Maybe it was just a career thank you long overdue. Bullock and Hanks were mostly good, but eh. The kid was truly terrible. The performance required a lot of nuance and he didn't have any. I could see how a book on these characters might work better than a movie, and I'm glad it missed Screenplay.

So I suppose in the future we can expect more Daldry weepies that the Academy loves. Maybe he'll go back to making good movies (I really loved Billy Elliot and The Hours) instead of reaching for emotion at the expense of a plot that makes sense.

C+
_________________

[Sanny]

50/50
I loved this movie. Waaaay more than I thought I would. It's an earnest snapshot of ordinary people trying to do what they feel is best in a rough situation. Even Bryce Dallas Howard's underwritten and unnecessary character tries but ultimately fails. It's also funny too. I never thought I would be saying this but the movie would be a wash without Seth Rogen. Even if she is playing a version of himself, his give and take with Joseph Gordon-Levitt (so happy he got a Globe nod for this) was natural and hysterical. I'm really happy this movie for a WGA nod too.

[blanchardwasrobbed]

I hate that it missed out at Oscar.

Hugo
Fuck. I bow to Scorsese. A

The Artist
Very good. If Clooney wins over him...criminal. Bejo = lead. Supporting? BULL SHIT. A-

I am so ready for a film that I absolutely LOVE to win BP again. It hasn't happened since M$B won.

[Jeff Beachnau]

Extremely Loud & Incredibly Close *** 1/2 / *****
Since it had just gotten nominated for Best Picture, I figured I should give in and check it out. Well, it's really not as awful as everyone thinks. Yes, it has its flaws, but I felt when it was good it was actually pretty good. Thomas Horn the lead is sort of all over the place, there are times when he does a really nice job, but there are quite a few times where his delivery is really off and he over enunciates so often, it becomes quite annoying (but I got used to it about halfway through the movie). I felt the movie picked up when Max von Sydow came along. In fact, enjoyed the movie a lot more when more of the supporting characters. A big problem is that the narration is too much like a novel and not what a kid would say (even a kid like that). Anyway, despite the flaws I've mentioned, I was interested pretty much the whole time, I especially loved the scenes with Viola Davis, Jeffrey Wright, and I liked the final scene with Horn and Bullock, even if it was incredibly sappy. Certainly not Best Picture material, but not an awful movie.

Stalker **** 1/2 / *****
I've only seen a few Andrei Tarkovsky films but I sort of knew what to expect, as far as style goes, going into the film. I actually didn't really know anything about the plot before I saw it, so it's an extremely interesting and intriguing storyline, sort of like a mysterious and demented form of Oz (the film even starts in black and white then goes to color when they enter the Zone, even though the color is as dreary looking as the B&W). Some excellent images, I particularly loved the sequence of the water contents, seeing all the dirt and things, it was quite poetic. And for being nearly three hours and a Tarkovsky film, this actually went by rather quickly.

Rampart *** / *****
I don't really know how I feel about this one. Woody Harrelson gives an amazing performance as a troubled cop who's personal and professional life is falling about because of a recent attack on a pedestrian as well as a violent incident from his past resurfacing. Unfortunately the film is extremely slow paced and there are a lot of extremely distracting directorial choices that don't need to be in the film (there's a scene with Woody, Sigourney Weaver, and Steve Buscemi that looks like we're on a roller coaster). While all the acting is very good, it needs a better script.

Perfect Blue **** / *****
Interesting anime film from 1997 about a former pop star who wants to be an actress but soon discovers that she's being stalked by an insane fan, and of course, people around her start getting killed. For the most part it's a bizarre and mysterious film, but toward the end it gets a little too trippy for me and the resolution comes too quickly and abruptly. Regardless, the rest of the film is very good, including some pretty suspenseful moments. The animation is also quite impressive.

The Inkeepers **** / *****
Slow paced but fun ghost story about two hotel workers who are the final employees before the place shuts down. There are only a couple people staying at the place in its final weekend, and of course, the place is haunted. The two leads want to discover the truth behind the stories before the place is shut down, so they start searching for the ghosts. There's a lot of more humor in this than I was expecting, picture a feature length film of the two sidekicks to Lin Shaye in Insidious, make one a girl, and that's basically the film you've got here. Some pretty cool scares near the end, I think it's best to see this with a big audience, I think it will lose a lot of the thrills if you're at home by yourself. Kelly McGillis is good, even though she's got the cliched role of the spiritual character who knows everything about the supernatural, with this and Stake Land she's picked some pretty good indie horror movies to be in.

Heavy Metal **** / *****
Very crazy and trippy animated Candian film from the 80s about a bunch of naked big breasted women in space listening to heavy metal music (or something like that). The animation is cool, it's a bunch of short stories involving this weird glowing green orb and the characters it comes in contact with. The best story is probably the final one involving a hot bounty hunter who has to kill these monsters on some strange world. The one with John Candy as a geek who turns into a giant muscular hero who has sex with a bunch of hot women is also a great one. The movie's all over the place but it's always entertaining. I've wanted to watch this one for a while because a couple years ago I met the creator of the Heavy Metal comic books and he was a really cool guy, I'm glad I finally saw it.

Big Trouble in Little China ***** / *****
I've seen this movie countless times, mainly when I was really little, so I wanted to check it out again. In fact, the version I watched was the VHS version I had recorded from the late 80s on NBC, so it brough back a ton of memories. This movie is so hilarious and awesome, everything about it rules. Kurt Russell is the man as Jack Burton and he gets involved with crazy stuff involving ghosts and monsters and wizards and fat floating heads, it's all great stuff. It's hard to describe how awesome this movie if you haven't seen it, but if you have seen it you know exactly why it's awesome.

The Jungle Book **** / *****
It's been years since I saw this Disney movie, so my roommates and I got high and watched it, and man, it was a great time. We were laughing the whole way through at all the hilarious moments, such as when Baloo disguises himself as a monkey simply by putting a coconut on his face and some leaves on his head and the monkeys buy it instantly. And of course, there was the hysterical moment later in the movie when Kaa the snake tries to hypnotize Shere Khan like he did so easily with the others, and Khan says "Oh, I can't be bothered by that right now" and just smacks Kaa. George Sanders was perfect in this, in fact all the actors were cast perfectly (even Clint Howard as the little elephant was good). There's basically not plot to the movie at all but it's still very entertaining with some great songs.
_________________
Conan on TBS
Actual Items

[Stag]

Moneyball

Always enjoy when a film catches me so off guard. I observed the acclaim that met the film upon release with more than a little skepticism. After all, Aaron Sorkin was involved. But I think this is the best work he has ever done (maybe he shouldn't write scripts by himself). Up and down (Miller, Pitt, Hoffman, Hill), the same can be said of mostly everyone involved (well, some of their best). Wonderfully humane, touching, patient moviemaking. Miller's direction is so effortless and deceptively reticent (the scene with Robin Wright* is one of the best directed scenes of last year).

And according to the credits, apparently Tammy Blanchard was in this.

*It's become a cliche but, shit, why is she so freakin' underused? Is this by choice?
_________________

[Jeff Beachnau]

While all the movies may not be amazing, she had a pretty good year with The Conspirator, Rampart, Moneyball, and The Girl with a Dragon Tattoo.
_________________
Conan on TBS
Actual Items

[Stag]

I've only seen one of those. But as I understand it, none of the other ones serve as showcases for her (well, The Conspirator but it's also supposed to be terrible) and that seems to be the story of her career. I think the gap between what she is capable of and what she has been given is this wide: ___________________________________________________________________________________.
_________________

[mark83]

Definitely check out Rampart. It's Harrelson's show, but Wright is very good in it, and it's a bigger role than her Moneyball cameo.

[Ditty]

[Stag]

[Above the Title]

[Misplaced Validity]