Best Supporting Actress
Friday, February 20, 2015
As we approach the final weekend of Awards Season, I want to say a few things about the nominees. It was an exceptional year for film and many nominees deserve all the praise that has been showered upon them. Michael Keaton, Eddie Redmayne, JK Simmons and Julianne Moore, to name a few... However - I feel that many nominations this year are more about hype than substance – and it begins with Boyhood.
I admire Richard Linklater as a filmmaker and am in awe of the process and ground breaking nature of Boyhood, but I do not like the finished product. To me, the movie Boyhood is not engaging in any way. That is really the point of a great film, isn’t it? Boyhood is long & tedious, nothing much actually happens and the acting (especially by Ellar Coltrane & Patricia Arquette) is quite lackluster. So, why all the acclaim? And - is Patricia Arquette winning every award as part of the groundswell for Boyhood or because she has been around for close to 30 years and it is a nice acknowledgment of her tenure?
In this current climate, awards are too much about campaigning. Some actors go to everything because they are truly proud of the work they have done and truly honored to be acknowledged. A good example this year is Benedict Cumberbatch. He must know that his chances to win anything are slim, but he has said over & over how proud he is of The Imitation Game and how important the story of Alan Turing is to history. Conversely, some actors (who shall remain nameless) go because they are required to by their contracts.
Nominations and awards really should be about the work and not about politics or campaigning. Katharine Hepburn won 4 Best Actress Oscars and did not attend one ceremony! A story broke yesterday about Mo’Nique winning the Best Supporting Actress Oscar for Precious without campaigning and then not landing future roles because she didn’t campaign. This is ludicrous! Often an actor’s performance is so head and shoulders above everyone else, there is no real competition. When I saw Mo’Nique’s performance I said, “There will be riots in the streets if she doesn’t win.” It is the kind of visceral, raw, daring performance that you never forget. And that’s what awards should reward.
In my not so humble opinion - these are some great performances that were entirely overlooked this year...
Shailene Woodley - The Fault in Our Stars
Jenny Slate - Obvious Child
Ansel Elgort - The Fault in Our Stars
Colin Firth - Magic in the Moonlight
Ralph Fiennes - The Grand Budapest Hotel
Best Supporting Actor
Miles Teller - Whiplash
Mark Strong - The Imitation Game
Ben Schnetzer - Pride
Bill Hader - The Skeleton Twins
Best Supporting Actress
Best Supporting Actress
Imelda Staunton - Pride
Best Original Screenplay
Woody Allen - Magic in the Moonlight
Zach Braff - Wish I Was Here
Best Adapted Screenplay
Scott Neustadter & Michael H. Weber -
The Fault in Our Stars
And - why is Steve Carell in the Best Actor category? Foxcatcher had an ensemble cast shared among 3 actors. BAFTA nominated Carell as Best Supporting Actor and that is where his performance belongs.
Friday, January 16, 2015
For months I have been saying that Julianne Moore will win the Oscar for Best Actress for the movie Still Alice, opening today. I finally saw the film this week at an advanced screening and I am indeed correct. I have never been so certain of a win by an actor for a relatively unknown film.
Still Alice is a beautiful, heartbreaking and incredibly compassionate portrait of a 50 year old woman who gets a diagnosis of early onset Alzheimer’s. It’s not just a film about Alzheimer’s – it’s a very well made film about Alzheimer’s.
It is a tiny little indie made in a month and it is amazing that it got made at all. The universe aligned for it to happen in a short time. It was financed by a small group of mostly women investors, including Maria Shriver & Trudie Styler; and the studio gave Julianne a month off from Mockingjay, which is usually unheard of in big budget land. The other remarkable fact is that one of the directors has ALS and now has very limited mobility from the waist up and no access to speech. So, the director couple (Richard Glatzer & Wash Westmoreland) were experiencing a similar degeneration while making a film about a woman losing her memory. It is no wonder that the film feels so empathetic.
In addition to Still Alice being a wonderful film – here are all the other reasons why Julianne Moore is going to win the Academy Award this year:
1 – She is due. She has done consistently great work for 20 years and has been nominated four times already for both Best Actress & Best Supporting Actress.
2 – There is not a lot of female competition this year. As I said previously, it’s all about the boys. Moore's closest contender is Felicity Jones in The Theory of Everything but I don’t think Jones is popular enough yet to be a real threat.
3 – The film is about early onset Alzheimer’s, a devastating subject and as usual, Moore does a great job in the title role.
4 – She’s an actor’s actor. Everyone in the business loves her and that’s who votes for Oscars.
For many years, I took Julianne Moore for granted. I loved everything about Boogie Nights and then simply assumed she’d be excellent whenever I saw her show up in a movie. She was so dependable that I didn’t really take notice of her. But in the last few years she has grown on me and absolutely knocked me out in A Single Man. I finally woke up to her talent and the world will next month as well when they say, “And the Oscar goes to… Julianne Moore.”
Sunday, January 11, 2015
The Fault in Our Stars
The Theory of Everything
The Imitation Game
Magic in the Moonlight
The Skeleton Twins
Wish I Was Here
and this is why...
The Fault in Our Stars is my favorite movie of the year because it was the most satisfying film going experience I had all year. Fault is wonderful all around - one of the best written films EVER and the performances are simply stunning. Shailene Woodley is rapidly becoming a seriously great actress and Ansel Elgort seemed to come out of nowhere this year to be both radiantly charismatic & heartbreakingly vulnerable in this film. It is a beautiful story of first love which was made for 12 million dollars and has already grossed ten times that. It is proof that real stories about real people, when done well, can perform at the box office.
Birdman is definitely the best picture of the year because there is nothing else like it. It is a technical marvel. It deserves Best Picture and Best Director and every technical award it can get. All the performances are great as well – especially Michael Keaton and Edward Norton. I love Michael Keaton and would love to see him win an Oscar, but this year Redmayne edges Keaton out.
I wrote a whole blogpost about how remarkable Eddie Redmayne is in The Theory of Everything and how he SHOULD win Best Actor. He simply is THE best actor this year.
Whiplash is the most aptly named film of the year. It is one of the most distinctive, exciting and unpredictable films I have ever seen. Everything about it is electrifying, including JK Simmons, who deserves every award for Best Supporting Actor.
Obvious Child is bold, honest & hilarious and I want Jenny Slate to win Best Actress at the Independent Spirit Awards because she is wonderfully dimensional and this is the epitome of a great, low budget, female helmed indie.
The Imitation Game is a gorgeous, very British, tragic period piece and Benedict Cumberbatch does an impressive job in the lead. Keira Knightley also matured as an actress in her role. Amazing to me is the fact that Mark Strong is not getting any acknowledgment for his supporting performance.
Pride is the little indie that could. It’s great. A true story of the unlikely alliance of an LGBT club and a group of miners. Wonderful ensemble led by breakout Ben Schnetzer and including Paddy Considine, Bill Nighy, Dominic West and the always superb and underrated Imelda Staunton. Just see it.
I wrote a blogpost about how special Magic in the Moonlight is. The best part is the extraordinary script and how Colin Firth commands attention every moment he is on screen.
The Skeleton Twins is another great indie – a dramedy about survival and the resilient connection between siblings. It was great to see Bill Hader take on more serious material and the whole film, whether it makes you laugh or cry, is emotionally impactful.
And – after all the hoopla about Zach Braff raising money on Kickstarter, Wish I Was Here is an exceptionally funny and sweet movie about the definition of family and finally growing up in your 30s.
2014 was another great year for films big and small – but mostly small.
Friday, November 7, 2014
I’m not going to say a lot about The Theory of Everything and how amazing Eddie Redmayne & Felicity Jones are in it because we are going to hear A LOT about that in the coming months. Suffice to say, it’s a gorgeous movie (maybe even perfect) and they both deliver exceptional performances. I would be very surprised if Mr. Redmayne doesn’t nab the Oscar for this role. Simply attempting the physicality of Stephen Hawking was daunting enough, and Theory was shot out of sequence so Redmayne had to capture any given period in Hawking’s physical deterioration on any given shooting day. He reportedly kept a chart and the result is nothing short of astounding. If, by some cosmic blunder Redmayne doesn't win this year, he's 32 and looks about 16, which is a huge asset for an actor, so he'll be fine.
This film is not a typical biopic. It’s less about Hawking’s scientific achievements on their own and more about how the love of a devoted woman fueled those achievements. I love films about a triumph of the human spirit over devastating circumstances, but usually in those stories the person finds an inner strength on their own. In this story, Stephen is given a brilliant mind and then a body that doesn’t cooperate, so he needs a champion in order to go on.
I expected Theory to be wonderful because it was distributed by Focus Features, who has produced and distributed many of the greatest independent films of all time. Here’s a short list: Dallas Buyers Club, Brokeback Mountain, Away We Go, Beginners, Lost in Translation, Talk to Me, Atonement, Milk. In the past 2 years, Focus has changed its focus and here’s a great article about that. I am all for expanding their reach to films like Fifty Shades of Grey if that adds money to their the coffers to continue distributing extraordinary indies like The Theory of Everything.
Friday, October 17, 2014
I am more excited about this current season of films than I have been in a very long time. It’s a wonderfully unusual year because it is chock full of indies with no big studio period saga in sight. My how times have changed since the ‘80s…
It is also most definitely the year of the actor.
Most of the buzz that has already come from festivals like Toronto & Venice is about films that feature a strong male lead – and there are many. The one that I am most looking most forward to is Birdman – opening today. I have always felt that Michael Keaton was incredibly underrated as an actor and Riggan in Birdman could be the role that changes this forever.
I’ve already seen St. Vincent, which is wonderful and I would be shocked if Bill Murray is not recognized for his multi-layered performance.
I can’t say that I am actually looking forward to seeing Foxcatcher (although I will most definitely see it!) because I know it will be dark & disturbing, but I am looking forward to hearing Steve Carell’s name A LOT during awards season.
On more than one viewing, I couldn't make it through the trailer for The Theory of Everything without sobbing and I am a sucker for a love story. It looks like a gorgeous, heartbreaking tribute to a genius and Eddie Redmayne is a shoo-in just for the physicality of the performance.
It’s always good to play “gay for pay” and that’s what Benedict Cumberbatch does in The Imitation Game – yes a period piece, but still an indie.
And Whiplash could very well change the career & Hollywood status of already deeply respected character actor JK Simmons.
There may also be a few roles in very small films that get recognized. Bill Hader is subtly great doing drama for the first time in The Skeleton Twins and Jenny Slate is one of my favorite performances of the year in Obvious Child. Please don’t let me down, Independent Spirit Awards!
And it’s not technically an indie (or a small film) but I hope no one forgets about The Fault in Our Stars, one of the best written films I have EVER seen and a breakout performance by Ansel Elgort.
The one & only film that has acclaim for an actress so far is Wild and Reese Witherspoon is already an Oscar winner so it’s tough to get too excited about that. One film that may change this is Into the Woods.
But it’s all about the boys this year, which is fitting since the season kicked off with a little film called Boyhood.
Friday, August 15, 2014
What can I say about Robin Williams that hasn’t already been said this week? Probably nothing unique... So I’ll just say what’s true. I adored Robin, he was one of the most uniquely talented people ever and he is irreplaceable. Best known as a comedian, however Dead Poets Society, Good Will Hunting, The Fisher King and The Birdcage are all on my Top 100 Favorite Films list – and only one is a comedy.
For years I felt that Robin Williams was an angel walking among us or somehow just too good for this earth. Maybe I was right. I wish I wasn’t because my heart is now broken. This has been one of the worst weeks of my life. A friend and I were comparing Robin’s death to what it must have been like when JFK died. It feels unthinkable that such a beloved person is all of a sudden gone and the world is in mourning.
I have spent a lot of this week re-posting and re-tweeting both tributes and discussions about mental illness. Although so incredibly sad, it has been fascinating through the lens of image. It seems that people learning that Robin suffered from depression shatters our idea of the American dream. The dream for many is to become rich and famous (or at least wealthy and well-known) and the belief is that all will be wonderful forever. Money and success do not make people superhuman. We are all susceptible to the same human foibles. What is abundantly clear is that we need to get rid of the stigma surrounding addiction, mental illness, and depression in our culture.
But I still have questions. What is wrong with the mental health system that Hollywood actors, with every resource at their disposal, go to rehab and then die soon after? There is a very sad trend – Cory Monteith, Philip Seymour Hoffman – and now Robin Williams. What is going on in these rehab facilities? Is the rehab actually doing more harm than good? We will never know exactly what happened to Robin but we definitely need to be more vocal & candid about the insidiousness of depression. I have spent a lot of time being depressed in my life and I know what despair feels like. It is quite unbearable and feels like it can never change. And suicide seems like a great solution. Today I feel better, but it takes a lot of effort and going forward, I am definitely more interested in quality versus quantity in term of how long I live.
A classmate of mine chose to end her life after a long battle with cancer at the age of 40 through legal euthanasia. She had also traveled the world, knew what it was like to be deeply loved and had great artistic fulfillment in her career. I am a firm believer that if someone doesn’t want to be here anymore, that is their right. But I am a hypocrite because selfishly – I would much rather have Robin Williams back for another 20 or 30 years.
Friday, July 25, 2014
As a self-proclaimed Woody-phile, I look forward to a new Woody Allen film every summer. (And since he’s 78 ½ who knows how many more he will make? Although he is shooting the next one right now)... Naysayers like to lament about the golden age of Woody, completely discounting anything he’s had to offer since the ‘80s. I strongly disagree. In fact, I assert that Magic in the Moonlight, opening today, is one of the most intelligent and articulate scripts the Wood-man has ever written.
The main character is the typical Woody-esque curmudgeon but the dialogue is so infused with British aristocratic jargon that it sounds much more elegant than usual AND it is still funny as hell. The film is also a beautiful period piece, with more color and elaborate costumes than Woody used to use in his early Upper East Side stories. The thing that I love the most is that Woody is still asking questions about faith and magic in the universe versus knowledge and science.
The entire movie is led brilliantly by Colin Firth. His performance is pitch-perfect and he must be acknowledged for being Woody’s leading man without doing a Woody Allen impersonation. Bravo Mr. Firth! It’s the most engaging work I have seen him do in an always fantastic career.
It will be interesting to see if this film gets the acclaim that Blue Jasmine did. It seems like a good formula: Woody plus seasoned lead actor from another country = greatness and acclaim. We shall see…