If you've a penchant for glorious movie badness, make sure you check out 1966's super campy The Oscar, on TCM March 7 at 8pm (Yes, Oscar night). Considered to be one of the best Bad Movies around (up there with Valley of the Dolls, Can't Stop the Music and Mommie Dearest), it has yet to be released on DVD. So tune in to see Stephen Boyd step over and abuse just about everyone in Hollywood in his quest to get the coveted statue. And if you will be planning on watching the real deal Sunday night, tape it, DVR it, or TiVo it. But don't miss it, you can thank me later.
I am thrilled and amazed that I have actually been able to see all this year’s Best Picture nominees. I have to say other than two films, the nominees this year are a great crop. Here are my grades on all the films, only two films (The Blind Side and Avatar) didn’t deserve a spot in the nominees. I personally would have like to see those spots go to either Where the Wild Things Are, In the Loop or Moon.
Up in the Air
Grade: A+
An amazing performance from George Clooney anchors this soulful and reflective film. The story could have been an over the top melodrama, but thanks to a remarkable cast, solid script and Reitman’s restrained direction we have a remarkably honest film. Out of all the nominated films, this is the one that should take home the prize. But it won’t.
Inglourious Basterds
Grade: A
Tarentiono’s re-imagining of World War II has to be one of the most enjoyable, exciting and well-crafted films this year. Tarantino sheds his penchant for montaging various film styles and comes out with a fun action-caper flick that is clean and focused.
District 9
Grade: A
It’s everything that Avatar isn’t. Science Fiction that relies on a well-crafted plot, rather than flashy special effects and as a result is a wholly more enjoyable film. Time will tell, but I suspect that District 9 will also hold up better than Avatar.
Precious
Grade: A
On the page it sounds like it would be a completely depressing film. A 16 year-old girl sexually abused by her father, emotionally abused by her mother, pregnant with her second child (by her father) and it doesn’t get much better. Taking the idea that life isn’t what’s dealt you, but how you deal with it; Precious achieves the rarity of being uplifting, without being overbearing.
The Hurt Locker
Grade: A-
An honest and neutral look at the lives of American soldiers in war torn Iraq. No statements or declarations, just simple glorious storytelling. I really wish it resonated more for me. I admire everything about it, but it didn’t connect with me on an emotional level the way the top four did.
A Serious Man
Grade: B+
The Coen brothers’ retelling of Job, is hysterical and depressing at the same time. An amazing feat to be sure. Not quite up to their Fargo or No Country for Old Men gold standard, but a great and rewatchable film none-the-less.
Up
Grade: B+
The first ten minutes of this film, certainly justify its place as a nominee. I love the fact that Pixar has not developed a formula for its films. The result has been some of the most original and exciting animated films to come out in a long time. I just wish they had a better developed villain for the film. A little more screen time would have been a plus.
An Education
Grade: B
Based on Lynn Barber’s memoirs, this is a lovely and yet devastating coming of age film. Truly an actor’s movie, as the film’s straight-forward story is elevated by the gorgeous performances of Carey Mulligan and the underappreciated Peter Sarsgaard. We pretty much see where the story is going to go, but Mulligan and Sarsgaard are so captivating we don’t care.
The Blind Side
Grade: D+
Plays more like a Lifetime movie-of-the-week than a Best Picture nominee, with its earnest feel good message and movie cliches. It probably would have earned a C grade if it did not feature the most obnoxious child actor to come round the bend. And I probably would have left it at a D, but the film’s trite dialogue makes it Margarita worthy and garners it a plus.
Avatar
Grade: F+
Though the special effects on this film are off the hook, it can’t overcome its terrible story and stock characters. If this is the future of movie-making, I weep. I probably would have given the film a solid D, if were not for the legions of critics wetting themselves over the amazing special effects.
OK - it's been a blast hanging out here this past year and all - but I can't post the oscar ballot here and the old site refuses to work, so here's a spanky, new site with the ability to post nominees (I've already tested it out!) as well as a blog, so adios blogger - and hello Yola! Please be kind to us next February.
OK, so Oscars nominations will be announced in TWO Days: Tuesday, February 2 at approximately 8:45 am EST. Shortly thereafter, I will update the website with the full list of nominees at: http://www.angelfire.com/film/oscarnazi/noms.htm
Yes, this is the same site we've used in years past. If you are havinng trouble logging picks this year, call or email me and I can send you a simplified form over email.
Remember, picks must be recieved by me by 11:59 pm on the evening of February 3. You must pick one winner for EVERY category. At the end you will be allowed to pick a second winner for one category. A $5 entry fee will be required per entrant, even if they are toddlers (John).
Also remember, if you don't play, you suck.
Questions? Let me know before Tuesday. Know someone who might like to play? Feel free to spread the word!
Unless you’ve been under a rock for the last year, you’ve heard that James Cameron’s fantasy epic Avatar has been hailed as the future of movies. Critics have been touting this movie as amazing and visionary, and I’d like to know what kool-aid they’ve been drinking quite frankly. Is Avatar a bad film? No it’s not. But it is no where near the cinematic masterpiece that we’ve been led to believe. Yes, technically it’s overwhelming. However, that does not make up for the fact that the characters are cardboard, the dialog is awful and its story is boring and has already been told.
The main story concerns itself about the planet Pandora. Evidentially, planet Pandora houses a mineral called ‘unobtainium’ (think un-obtainable) which we never really find out what its purpose or function is; only that it’s expensive and some corporation from Earth wants it badly. However, wouldn’t you know that those pesky indigenous aliens’ village (a giant tree, named Home Tree) is smack dab on the top of one of the largest supplies of unobtainium. Enter Jake Sully (Sam Worthington) and the Avatar program, in which real-life avatars allow us humans to interact with the Na’vi (the aliens on Pandora). Despite the fact that you evidentially have to train for years and years to get in this program, Jake (a paraplegic ex-marine) gets in sans any training. Why? Because Jake’s twin brother (who had trained for years and years) was killed and avatars are so damned expensive, that’s why. To add to the fun, Jake is also part of the military action at Pandora that is concerned with containing, or killing off, the local aliens. As you can guess Jake soon finds himself immersed in the Na’vi culture. Before you know it he is accepted as part of the tribe and finds himself a Na’vi girlfriend ( Zoe Saldana). In the end Jake must decide whether he wants to side with the human world, in which he’s paralyzed and the other soldiers call him ‘meals on wheels’; or with the Na’vi where he’s 9 feet tall, practically indestructible and worshiped by all. Guess which side he joins.
That is the basic story of Avatar, and that is where its problems lie. Yes the visuals are impressive. At 300 million dollars, they should be. The film has been art-directed within an inch of its life; and while the forests of Pandora are beautiful, after a while it starts to remind one of a Kincaid painting. The Na’vi aliens are a step up from the usual CGI humanoids that have been created in the past, but there are still those herky-jerky movement issues. Also the design of the aliens reminded me too much of the character animation from a Canadian film Rock ‘n Rule. When we strip away all the pretty spectacle what we are left with is a film that is essentially a re-tread of Dances With Wolves that is populated by stock characters and bad dialog. What’s infuriating about this movie is not the movie itself, but the fact that so many critics have beenwilling to overlook its mediocrity because the effects are so cool, and elevating what is, at heart, a summer blockbuster to Citizen Kane status.Go read some of the reviews; you’ll find almost every critic admitting that the core of the film (its story) is not very good, but those visuals are just amazing! Well, I’m not buying it. It very well may go on to win a ton of Academy Awards come March 7th. Most Oscar watchers have confirmed that its winning Best Picture is already adone deal. Which is a shame, when you consider that films like Hurt Locker, Up in the Air, Precious, Up, hell even Inglourious Basterds (all far better films) will be steamrolled at Oscars for this bloated over-hyped mess. Avatar shows that if you have a big name and some fancy special effects, you can fool most anyone.
Here is the Worst of the Decade. Please not that I only list the films I actually watched, which is why some of the truly terrible are not on the list. Instead of me giving my opinion, I decided to let the critics do it for me.
The Worst of the Decade
An American Carol (2008, Dir: David Zucker)“about as funny as an exploding toilet seat for hemorrhoid-induced senior citizens”
Battlefield Earth (2000, Dir: Roger Christian)“watching Battlefield earth is to a movie-watching experience what having a yeast infection is to having sex.”
Beyond the Sea (2004, Dir: Kevin Spacey)“one of those labors of love, that reminds you that love is blind.”
Cat in the Hat (2003, Dir: Bo Welch)“The best argument yet for extending artists rights beyond the grave”
Contender (2000, Dir: Rod Lurie) “The most offensive film of the year”
Crash (2004, Dir: Paul Haggis)“How many racists does it take to screw in the point?”
Family Stone (2005, Dir: Thomas Bezucha)“A miserable misfire that might explain why so many people take their lives during the holidays.”
Four Christmases (2008, Dir: Seth Gordon)“The acrid, wince-worthy Four Christmases may well be part of the war on Christmas Bill O’Reilly’s always foghorning about.”
Georgia Rule (2007, Dir: Gary Marshall)“If Hollywood keeps cranking out movies like Georgia Rule, specially tailored for the second Sunday in May, we should probably just cancel Mother’s Day.”
Gigli (2003, Dir: Martin Brest) “It’s a sorry statement when the most subtle performance is the kid with tourettes.”
How the Grinch Stole Christmas (2000, Dir: Ron Howard)“Watching it approaches the disturbing experience of being bedside as a loved one expires from a terminal disease.”
I Am Sam (2001, Dir: Jessie Nelson)“There are few films that imprint a sense of complete and utter violation on the viewer like I Am Sam, easily the worst film of 2001.”
I Know Who Killed Me (2007, Dir: Chris Siverston) “Horror/thriller/pile of excrement.”
Isn’t She Great (2000, Dir: Andrew Bergman) “Here is a movie that needed great trash, great sex and great gossip, and at all the crucial moments Susann is talking to a tree.”
Lake House (2006, Dir: Alejandro Agresti) “I couldn’t spoil the plot if I wanted to, since I have no idea how it all ties together.”
Million Dollar Baby (2004, Dir: Clint Eastwood)“After his wildly over-praised Mystic River, Eastwood delivers another sucker punch, and the critics have fallen for it again.”
New Moon (2009, Dir: Chris Weitz) “Oh God…make it stop.”
New York Minute (2004, Dir: Dennie Gordon)“part of our ongoing national lobotomy.”
Pay it Forward (2000, Dir: Mimi Leder)“No wonder Arlene keeps a bottle of vodka in the chandelier. You would too with this demonic, passive-aggressive, New Age munchkin trying to run your life.”
Sky Captain and the World of Tomorrow (2004, Dir: Kerry Conran)“A 70 million dollar novelty item.”
Star Wars: Attack of the Clones (2002, Dir: George Lucas) “Yes it’s better than Phantom Menace. Think for a minute how little that means.”
Star Wars: Revenge of the Sith (2005, Dir: George Lucas) “The good news is that Lucas promises that this is the last Star Wars movie. Hallelujah.”
Stepford Wives (2004, Dir: Frank Oz) “Would I see it again? I’d rather pass a kidney stone.”
Surviving Christmas (2004, Dir: Mike Mitchell)“Ben Affleck needs to stop making movies.”
Transformers (2007, Dir: Michael Bay) “A sensory attack that drives us into tiny little fetal balls on the ground, whimpering that we must have liked it because the car effects looked cool.”
Transformers: Revenge of the Fallen (2009, Dir: Michael Bay) “Fallen indulges Bay’s excesses well past the point of reason to deliver the male teenage cinematic equivalent of snorting cocaine off a hooker’s ass.”
Twilight (2008, Dir: Catherine Hardwicke) “I’m glad I saw Twilight for one reason: it made the phrase ‘jump the shark’ obsolete, to be potentially replace with ‘the vampires are playing baseball.”
Upside of Anger (2005, Dir: Mike Binder) “Binder’s film is a raging morass of misogyny, a self-congratulatory exercise in mental masturbation.”
The Women (2008, Dir: Dianne English) “Abandon hope all ye who enter here: Strange casting and a lousy script make The Women the sort of film that’s pure torture to sit through.”
Wicker Man (2006, Dir: Neil LaBute)“This is the kind of film for which Golden Raspberries were invented.”
Adaptation (2002, Dir: Spike Jonze)-Brilliant take on writer’s block and a scathing look at the workings of Hollywood. One of the rare films that Nicolas Cage was actually good in.
Amelie (2001, Dir: Jean-Pierre Jeunet)-A frothy, gorgeous confection of a movie whose one of many highlights was the performance of Audrey Tantou.
Assassination of Jesse James by the Coward Robert Ford (2007, Dir: Andrew Dominik)-A breakout performance by Casey Affleck, tops this wonderful, if somewhat overlooked film.
Before Sunset (2004, Dir: Richard Linkletter)-The sequel to Linkletter’s Before Sunrise, catches up with the Julie Delpy and Ethan Hawke now in their 30’s, and there’s still a lot to be said.
Billy Elliot (2000, Dir: Stephan Daldry)-A wonderful joyous film about discovering who you are.
Bowling for Columbine (2002, Dir: Michael Moore)-Love him or hate him, Moore’s examination of our country’s gun culture still raises many questions.
Coraline (2009, Dir: Henry Selick)-Selick’s master work of stop-motion animation was one of the most creative films of 2009.
Dogville (2003, Dir: Lars Von Trier)-The first of Von Trier’s ‘America’ trilogy, a thinly veiled commentary on US foreign policy, strips cinematic devices bare and produces a raw hard-hitting film.
Eastern Promises (2007, Dir: David Cronenberg)-This tightly woven crime mystery fully benefits from Cronenberg’s restrained direction and Viggo Mortensen’s fantastic performance.
Elf (2003, Dir: John Favreau)-An instant classic from the moment it was released. Quite frankly there is nothing more difficult than creating a Christmas film that succeeds and endures.
Eternal Sunshine of the Spotless Mind (2004, Dir: Michael Gondry)-A wonderful examination of a failed relationship, accompanied with haunting visuals. (Jami's note: meh.)
The Fall (2006. Dir: Tarsem Singh)-Singh’s wonderful fairy-tale fable is all the more impressive when you learn that all the visuals were achieved without any CGI whatsoever.
Finding Nemo (2003, Dir: Andrew Stanton)-First of three Pixar films on this list. Finding Nemo was a wonderful tale of letting go. Featuring the hallmarks of Pixar exquisite animation and a fantastic story.
Hard Candy (2005, Dir: David Slade)-What could have been a run-of-the-mill torture porn flick,Hard Candy became a taught psychological thriller. Two fabulous leads and strong direction elevated this film to a classic suspense film.
Hedwig and the Angry Inch (2001, Dir: John Cameron Mitchell)-One of the many great musicals to come out of the decade. Cameron Mitchell’s film adaptation of his one-man show is something special, though not for all tastes.
History of Violence (2005, Dir: David Cronenberg)-An intricate study of who an individual is. Cronenberg at his best.
Hot Fuzz (2007, Dir: Edgar Wright)-This wicked send-up of Hollywood action films has what Hollywood parodies do not: humor.
In America (2002, Dir: Jim Sheridan)-A beautiful and heartbreaking story of one family’s introduction to America. (Jami's note: I think I'm still crying over this one!)
Inside Man (2006, Dir: Spike Lee)-A taught, well-crafted crime caper. Filled with great twists and turns. Wonderful entertainment.
Lord of the Rings Trilogy (2001, 2002, 2003, Dir: Peter Jackson)-A daring gamble of shooting all three books at once paid off in spades. One of the most enjoyable movie-going experiences of the decade, hands down!!
Man on Wire (2008, Dir: James Marsh)-A wonderful tribute to one man’s unique quest. Unnerving, funny and ultimately inspirational.
Memento (2000, Dir: Christopher Nolan)-Nolan’s breakout film of a tale told backwards, was one of the most well-crafted mystery films of the whole decade.
Moulin Rouge (2001, Dir: Baz Lurhman)-The one that kicked off the great revival of movie musicals. Its strengths far out-weigh its weaknesses. (Jami respectfully disagrees with this choice)
No Country for Old Men (2007, Dir: Joel & Ethan Coen)-A true masterpiece from beginning to end.
O Brother Where Art Thou (2000, Dir: Joel Coen)-A great example of when critics simply get it wrong. One of the best and most quotable comedies of the decade.
Ocean’s Eleven (2001, Dir: Steven Soderbergh)-Unfortunately the subsequent sequels have tarnished this film. Still, it stands out and one of the cleverest films in a long time.
Once (2007, Dir: John Carney)-This wonderful love story, hits an emotional core that few films have ever hit.
Pan’s Labyrinth (2006, Dir: Guillermo Del Toro)-Del Toro’s fantastic horror/fairytale. Unique and beautiful.
Shattered Glass (2003, Dir: Billy Ray)-The best film you didn’t see, detailing the Stephen Glass/New Republic plagiarism scandal. If you missed it, rent it.
Slither (2006, Dir: James Gunn)-Yes, sometimes you have to grade within the genre. Slither was the best horror film to come out this decade.
Slumdog Millionaire (2008, Dir: Danny Boyle)-Why I personally love going to the movies. A great story from beginning to end; completely satisfying.
Spirited Away (2001, Dir: Hayao Miyazaki)-The film that brought Miyazaki to the mainstream.
Touching the Void (2003, Dir: Kevin Macdonald)-A taught and thrilling account of a mountain climbing expedition gone horribly wrong. The fact that you know how everything turns out and you’re still on the edge of your seat, speaks volumes.
Tropic Thunder (2008, Dir: Ben Stiller)- From it’s scathing indictment of all things Hollywood to Robert Downey Jr.’s inspired performance, it ended up one of the funniest comedies of the decade.
25th Hour (2002, Dir: Spike Lee)-Another great, and largely forgotten Lee film. One of the first NYC based films to acknowledge its post 9/11 status.
Up in the Air (2009, Dir: Jason Reitman)-A fantastic internal character study of one man’s established life. George Clooney ends the decade with one of the most subtle layered performances.
WALL-E (2008, Dir: Andrew Stanton)-Another crowning achievement in Pixar’s impressive roster of films. Sweet, touching, funny and with an environmental message that doesn’t hit you over the head.
Where the Wild Things Are (2009, Dir: Spike Jonze)-A heartful and insightful exploration of the psyche of the lonely child. Beautifully shot and heartbreaking.
Posts
