M o v i e M a n i a

H A L L O W E E N

2011-10-31T09:45:00.000-07:00

The series movie profiles are coming up soon, and I'm sorry for the delay!

Can you guess who/what I'm going as tonight?

I Wish It Were True....

2011-10-15T18:13:00.000-07:00

My own dream, seasonal movie poster!

Oh, and soon I'll be coming back with my reviews/rankings of the amazing Halloween series that's way over due for an official in-depth look!

Dollhouse's Rule

2011-09-23T13:42:00.000-07:00

Life can be so sad sometimes that it's hilarious.

Totally Random

2011-09-20T20:09:00.000-07:00

This fat girl pisses me off.

Why am I still bringing up this movie??

College...

2011-09-10T23:08:00.000-07:00

Hey guys! It hasn't been too long but it feels like it. It's been the first week here of freshmen year of college, and so far it's been okay. Meeting new people (most of whom talk about consuming alcohol just as much as they actually consume it; I don't drink/smoke, so...), getting used to my new living environment (including finding privacy with two roommates who like to bring others in a lot), and classes (which aren't bad really at all). I'll keep it short and brief and save you guys of the inner workings of my would be journal! If you have any questions/comments about whatever, let me know. I'll post more about this later, but wanted to give you a mini update on me. As for everything else, I hope to find time to post frequently and to get back in the loop with you all.

Name Dat Movie: #1

2011-09-10T22:20:00.000-07:00

Clue: May induce nausea.

Performance Profile: Mira Sorvino in Mighty Aphrodite (1995)

2011-09-01T15:12:00.000-07:00

Woody Allen's got a way with the ladies. As Oscar has shown time and time again, the (mostly) supporting girls in his films have attracted Academy attention with nominations and a few wins -- all distinctive in their own quirked out way, in films that took a different route of getting to a human core. Some of these nominees are generally known in a broad sense to be inexplicable, theatrically quotable, incredibly beloved, or even a little unbalanced. This next entry has had it kind of rough in years since, as being "illegibly" awarded the golden boy for a comedic performance that stands out in an otherwise "dramatic" bunch -- Marisa Tomei has withstood it, and to a lesser degree, so has the elevating appeal of 1995's winner...

...Mira Sorvino in Mighty Aphrodite (1995)

Mira Sorvino plays Linda Ash, the air-headed hooker who is discovered by Woody Allen's Lenny as the mother of his adopted son after a lengthy search to find the maternal intelligence that his prodigal son has supposedly inherited.

Much to his surprise, Sorvino's Linda is the farthest thing from what he would have ever imagined. Name after name, person after person he locates her and sets up an appointment ("Are you my 3 o'clock?") at her Manhattan apartment for what she believes is simply another client looking for a good time.

Linda welcomes the light-headed Lenny in with a kind of warm hospitality as she shows him around and tells him a little about herself; especially making it aware that she has a sense of raunchy humor (the clock and pocketwatch!) and can totally take a joke. In Lenny's eyes, Linda is the joke, but one that is more sad than funny as she continues to giddily prattle on about her line of work, nonchalantly sharing her weak aspirartion to become a Broadway performer ("I sing..,") despite still appearing in cheap porno's under one of the funniest stage names.

Lenny goes along with it for the most part, trying to get as much backgroud as possible despite being disgusted at the lines she feeds him, and it's here that Sorvino lays a simple foundation for Linda; she's a woman who acts and behaves like an adult but is just as simply oblivious to how innocent she is. Speaking in a high-pitched register, Sovino's Linda's potty mouth is offset by her charming, uncalculating demeanor and thows Lenny offtrack as to why this woman does what she does in favor of conservative domesticality.

Linda then tries to ease Lenny into the mood by playing around and lossen him up with a little (ineffective) silly, nookie ("Pull, pull, pull the string!"). That is until Lenny takes a personal interest in Linda, asking if she has as a husband or a child...

...and in a flash Linda's exuberance falls and her face becomes still as this questioning of a child is perhaps the first time Linda has been confronted about a bold choice she made. It's this distinctive moment and Lenny's overall character that strikes a chord in Linda -- as he is most likely the first client she's "been with" who's interest is something beyond desires of the flesh -- but a chord that she chooses to shake off and bury for the sake of herself and professionalism.

Then when Lenny starts up about his strong dissaproval of Linda's lifestyle, Sorvino's Linda puts her foot down and offers him one last chance; do it or not. Lenny tells her he wants to talk, Linda gives him a refund, and kicks him out in a hurry.

Still compelled to figure her out, Lenny pursues Sorvino's Linda for information about herself and her family past, (which basically entails a wide array of dirty deeds and more than petty crimes) which she speaks of with little hesitation, reminding him, that despite the way she lives now, she has ambition and self-respect.

Sorvino handles the broad, brash, unsubtle dialouge with savvy nonchalance and sharp timing; in on the light joking, but never to the point that the levity falls to the weak intentions of the writing which "shapes" her character.

Through these sequence of scenes, the narrative places the two in an assortment of meetings/"dates" which follows the simple, unexpected growing friendship between two strangers who, nevertheless, have an odd palpable disconnect. With Sorvino's Linda slowly becoming more eager to build on a bond she's never had, and Allen's Lenny becoming more tentative entering personal, intimate territory. As such, these scenes also convey a similar form of asymmetry: displaying Sorvino and Allen as a hilarious, serviceable contrasting pair, yet at the same time revealing Allen's shallow construction of a person who's more of a device than a character.

In his writing, playing, and direction Allen sees Linda through a mildly misogynistic lens; using the character as a pathetic joke for which surprises and humor sprout from -- a wacky hooker who shoots out outrageous one-liners -- and at the character's very expense. Instead of having Linda "in" on the joke (as Sorvino's playing does), Allen has the joke on her; wanting us to laugh at Linda, not kindly along with her. His limiting, insensitivity as scripted might have the actress playing her fall into these easy pitfalls -- and this is precisely where Sorvino's performance elevates the role out of the gutter.

Through Sorvino's characterization, Linda doesn't operate under the repressive "dumb-as-a-post" cartoonish intentions of the piece, but instead crafts Linda as a woman who's life has been opened up, revealing her pained desperation she honestly wants to escape. The film scripts the character in bold, unsubtle strokes, but Sorvino's performance is surprisingly characterized with quiet, nuanced shadings, which serves the character in many ways.

Linda's revelatory moment where she explains the depths of her despair is both illuminating and heartbreaking, a moment that in the script is intended to be probably Linda's single moment of lucidity, but in Sorvino's performance, it is yet another beat of consistent clarity. (*Something annoying I kept on noticing on my viewing this time around was how Allen's camera is restrained at a tangible, physical distance from Sorvino throughout the film -- allowing nearly no singular close-ups or independent reality -- further attempting to make her an accessory who's simply there without any individual purpose. Even during her revelation in the kitchen Allen's camera stays static and dramatically/emotionally uninterested in Linda's dilemma.)

Though her chosen vocality does little to convey the nuance of Linda's desperation, when "allowed", Sorvino's face quietly flickers with moments of genuine humanity and understanding. Thereby, letting such flashes stitch effectively to craft an interesting, plausible character arc for a very appealing and delightful character.

And yet, while not allowing Linda to become the one-note caricature Allen intended, Sorvino makes the wise choice of not providing some sort of underlying intelligence as a source of change or revelation. Instead, Sorvino simply textures each moment with a sense of nuanced integrity which anchors her performance and provides a new dimensional life to Mighty Aphrodite's banal and muddy narrative.

Sorvino's work far surpasses the material and lends this glib movie a glowing heart and soul; a beacon of sweet hope among a hopeless surround.

Turning a sketch into a vividly human(e) character who could live beyond the confines of the narrative and be just as compelling is always something of a treat to experience. That I could encounter them and become even more fascinated with their existence, is even cooler. With Linda Ash, Mira Sorvino's simple yet elegant performance conveys the human life emerging from a Betty Boop-ish cartoon with sweetness, sympathy, integrity, energy, and hearty humor. But that I would love to be friends or even an acquaintance (in a Woody Allen movie, no less) with a quietly complex, yet hugely appealing person like Linda is, in its way, extraordinary.

---

(*As yet another side-thought/last word, I cannot simply ignore the blatant meanness and near cruelty revealed in the last scene wherein Linda meets her son with a formal handshake yet neither know the haunting truth that Allen's Lenny prepares to hide for some time. As if it wants to shatter any complexity for Linda to discover this truth and draw upon it. Like the rest of the movie, the scene is played for shallow irony of a "witty" Greek tragedy, but doesn't actually play as anything remotely sad or moving just a "ha ha" kick in the nuts for us wanting Linda to get everything she deserved back. Only Sorvino quickly conveys, in a flash, the underlying emotional depth -- the picture above when Lenny's admiring her (there) daughter and Sorvino's face focuses on Lenny and a feeling passes across. I don't know. Do you think that this ending just wasn't fit or just plain, blatant meanness to the character and to you? When the chorus breaks out singing the lame-ass, "When You're Smiling" -- I was doing anything but.

Best Supporting Actress 1995

2011-09-01T10:31:00.000-07:00

Da' Nominees Are...

* Joan Allen in Nixon

* Mira Sorvino in Mighty Aphrodite

* Mare Winningham in Georgia

* Kathleen Quinlan in Apollo 13

* Kate Winslet in Sense and Sensibility

The five ladies that make up the distinctive, solid category in this vaguely dull year (Braveheart? Mel Gibson??) are sharp standouts and five performances that have been in high honor among those in the blogosphere -- each garnering varying amounts of respect and love, where four dramatic roles are in company with a comedic portrayal that ends up striking gold. In a time when comedy and Oscar had formed a lovable affair (the '90s, seemed loaded) and the latter had accepted the fact that comedy is no less of a challenge or accomplishment as straight drama. Profiling some of the nominees for this year are a few doublings, as not every nominee had a individual profile. However, if you want to contribute something, even a few words, in honor of these nominees I will be posting throughout the week. Because even those who didn't get the pleasure of being personally reviewed still deserve our attention and respect.

I'll be updating this page as more entries come in along with my own, coming today! Click on name link to see their contribution.

* Amir of Amiresque concisely takes us through the journey of Kate Winslet's Marianne in Sense and Sensibility.

* My profiling of Mira Sorvino's lovely, yet under-appreciated work in a movie that doesn't deserve it, is right here.

* Fritz ranks Mira the 19th Best Supporting Actress winner in his amazing, thought-out complete ranking of all the winners.

The '95 Ladies Are On Their Way...

2011-08-30T14:50:00.000-07:00

...but until then watch the category being presented and the eloquent Mira taking the gold.

Oh, and take the poll to the right!

JUDITH: A Halloween Tribute Film -- a brief review

2011-08-27T22:14:00.000-07:00

* Click on picture to watch the full movie *
~~~~~

A while back I did a post about a Halloween fan film that caught my attention, and even despite it's flaws, oddly interested me with a subtle charm and genuine (though not always precise) nostalgic dedication. Not too too long ago I had heard about a tribute/fan film with an interesting title and twist: Judith, a "prequel" to the original film which gives us a little more than a glimpse into the older sister of Michael Myers who's infamously murdered in the opening sequence. Directed by Josh Hasty and written by Kenny Caperton (the man who lives in the replicated Myers House, which he built himself, that's becoming just as famous as the original), the film is only about an half an hour long, and is basically set up to let us witness a somewhat alternative opening to this series (as opposed to jumping right into the murder). It's the few brief hours and minutes before the climax finds its way into Judith's room, that shows a little bit of the town we will explore in scope in the later films, but mostly of the Judith character and her friend who plan a camp out with some people in the back yard.

I went into this very excited, that someone had come up with an original idea that would be interesting to explore. The trailer looked gorgeous -- professional, clear, well staged, and ruggedly retro -- and it had been shot at the Myers House NC with sharp cinematography and lighting. But I'm sad to say that the actual piece is a work of style over substance, even as a short film within a wide cannon of dense plotting throughout the franchise. This is a clearly a labor of love, as most tributes are, but the love doesn't really extend to actually crafting an essential/thought provoking entry to deepen Carpenter's intricately subtle masterpiece. Not that this film needs "more" (it's simplicity follows the same lane as the original), or that it needs to be as brilliant, but working as more of a character study, it falters in its clarity. Judith stays on its polished surface when it should be trying to sculpt something a bit deeper; such as an illumination or an expansion on the enigmatic mythology of the many themes of darkness embodied by Michael Myers and the surrounding characters. And the title character herself, played by an appealing Sarah Stephenson, is nevertheless a cipher (as Michael should be) that doesn't contribute to opening up interpretation on the Boogeyman or her place in his story.

I appreciate the vivid technicalities Hasty imbues his film with, but I only wish that the subtext was as clarifying and engaging -- as a few stringed, substantial glimpses can resonate in surprising, memorable ways.

Cinema Snapshot: Death Proof (2007)

2011-08-15T15:48:00.000-07:00

"You saw my car, I saw your legs"

-- Stuntman Mike from Death Proof.

The Supporting Ladies of 1995

2011-08-14T20:57:00.000-07:00

I have been in talks some people about a continuation of the Supporting Actress feature on MovieMania, but with a little twist to open things up for others to contribute. It's been a dry summer for me (literally and figuratively) but not really a bad. The blog has been sitting for a bit due to mainly my mild writer's block and the preparation for college in a few weeks. It's exciting yet a bit nerve-racking as it's a big step for me, but one that I will hopefully benefit from in different ways. But, I hope to post whenever I have free time starting in the fall (I have no classes on Tuesday's or Thursday's!) and I'm not sure how much the workload will be -- does anyone know from experience of freshmen year? -- but I'm dedicated to the blogging world and hope to stay so.

Anyways...Robert of His Eyes Were Watching Movies and I are getting together the SA 1995 crew, with five of us each doing a profile on one of the nominees of this popular year. Then when all is complete the profiles will be combined and posted on our individual blogs. If you have any overall thoughts on this year or want to contribute any kind of your own profiling on a performance, let me know and I can post the link!

Oh, and can you guess which nominee I'm focusing on??

Breakfast Club of America

2011-07-29T15:44:00.000-07:00

A cool combo I made of the BC and Birdbrain's Youth of America.

You've been wasted.

Halloween 2: Alternate Ending (Tv Cut)

2011-07-24T14:25:00.000-07:00

The ending to the rarely broadcasted TV cut that switches the movie around quite a bit and especially turns a darker, eerie conculsion into one that ends on a happier note.

Just as the ambulance is about to pull away, a white sheet pops up behind Laurie...

...to reveal the warm-hearted acquaintance she made the night before named Jimmy.

Laurie's face of fear crumbles into a wave of thankful, stunned relief as she realizes that she won't be the only one who came out alive from the long, traumatizing night of terror.

Many fans critize this scene particularly for the acting and the cheesiness it brings to the end of a great movie, but I think Jamie Lee's work here feels as genuine as it always does, as in this alternate ending, Laurie may have lost old friends but now she might just gain a new one. The fear and happiness for the future washes over her face, because she knows that it may be over but it will never be over.

"What's the matter?"

"WE MADE IT!"

Though I wonder why this ending even needed to be shot; everything else was altered/cut because of violence and such, but the original ending could have stayed fine where it was. The original, with Laurie just gazing out past us as Mr. Sandman tunes in and Michael's mask burns is haunting and dark. With Laurie Strode as the (supposedly) only survivor of the massacre. I wonder if this was shot as an alternative end to the actual movie and not just the TV version, because that might make more sense.

Just one of the many fascinating things about these movies.

Halloweeen 2 : The 30th Anniversary Edition

2011-07-15T16:42:00.000-07:00

Only a few days ago did I hear of the news that the fan-favorite sequel Halloween 2 is going to be released for a anniversary special edition in September of this year, but the main problem is...it is only being released in Blu-Ray! I don't understand why, especially after fans have been dying for the extra material, they wouldn't simply extend the much awaited release to the DVD format for even more people to enjoy, and for their profits to increase. It really just bothers me because I don't have a Blu-Ray player and I'm dying to see the extra goodies and visual enhancements that this edition brings. On top of that, I don't believe that the Blu-Ray even has many extras -- what I've heard about is a documentary and an alternative ending. By "alternative ending", is Universal referring to the TV cut ending in the ambulance ("We made it!") or something never before seen to anyone? And why aren't there more scenes? or even include the whole TV cut? I don't get why they simply cannot release everything at once and make wheelbarrows of money of it. Maybe something will come along in the form of an "official" release (the TV cut isn't even played on AMC anymore) that won't be too far down the line. I don't know...

Star Wars: Episode I : The Phantom Menace (1999)

2011-07-09T00:43:00.000-07:00

George Lucas' enormous return to the screen, gave the end of a great decade the Movie Event, which sent even non Star Wars disciples into a frenzy of excitement, hype, and hope. It was to the '90s what Batman and Avatar were to the '80s and '00s; mounting a spectacle for film lovers to gather around and cheer with one another. The turn out was something a bit different, with the public split, eliciting cries of joy and anger from different sides of the spectrum. Did Lucas flat out ruin Star Wars? Or was he just warming up before the big game? Many will tell you reasons supporting each, and provide evidence based off of if they have lost faith in the Force or if they are still loyal believers. The public wanted so much and what Lucas gave them was hardly a bad catch by any means, even if it falls, frankly, very short of what it should have really been.

The movie, obviously, has to achieve the opposite of the last chapter Return of the Jedi which closes the story by opening it up to us with new eyes and serving up new state-of-the-art images and action sequences served on a golden tray, with a brand spanking new storyline to tie in with the original we all fell in deep love with. The opening, giving us mostly a foundation of the two Jedi's as well as the intricate plot, jumps directly into the action, without really so much as a "hello" and expects us to pick up the pieces as the action moves ahead. It worked with the chapters that came before it, and rarely will you hear any complaints about where the narrative launches from (i.e. in the midst of a battle), though here the introduction with Obi-Wan and Qui Gon starts off the trilogy on a kind of unframilar path that feeds us too much at once, and it rarely lets up throughout the journey.

Over the last 12 or so years since its famous release, The Phantom Menace has been considered the worst out of not only the new trilogy but of all six movies. The old excuse of Lucas' "rusty-ness", of not being a director for over twenty years, has been spread but rarely is it actually supported as a reason for the film's total lack of popularity. And it shouldn't. What Lucas does here is admirably daunting, as he expands his fantasy universe and gives its roots a hefty dose of political backbone and introducing us to a complicated trade embargo with a mysterious, slightly creepy Queen and two Jedi in the mix as they intend to protect and serve as well as uncover the mystery of the newly emerged presence of the supposedly extinct Sith, while making a discovery in the force through a young slave boy. Sounds simple enough, but there lies the problem. Simplicity is no longer a word to be used for this kind of movie whose ambitious ideas and interests fall to overly convoluted trappings and cloying atmosphere.

What can be attributed to George Lucas' near total lack of ability to write genuinely engaging stories (the original notwithstanding), The Phantom Menace falters to tell a tale that holds the imagination and expands it. The film has grand scope, and Lucas visually expands his world due to his impressively detailed computer generated images; but the story and direction keep the film from expanding in any kind of intellectual, emotional, or spiritual ways. Too overly infatuated by its visual triumphs, the energy of the action and situations draws inward to a stale, hollow core. The direction aside, Lucas' other issue is that of a script crammed with drab, stupid dialouge ("YIPEEEE!"), flat and uninteresting characterizations, and narrative structure and threads that clunk along until a thankfully redeeming final act where we can have a bit of fun. Even then, the movie never once discovers the life, humanity, spirit, fun or spontaneity that the first two embraced so deeply and spread through to millions. It's all so sterile, mannered, joyless and well, boring. The bland trade dispute, a cool villain who's reduced to about eight minutes of screen time, the forgettable, unquotable dialogue, and the cringe worthy acting (none of them even worth discussing, as none of the actors are able escape Lucas' repressive energy).

But what is George Lucas actually trying to say about his mythological philosophies? He's clearly got his heart and dedication into it all, but they feel continuously misplaced and misused to forward the story rather than explore it. Maybe its the doing of the editing, but many individual scenes feel unfocused and left open; as if they have some kind of idea but don't know how to finish them or make them transcend to connect. Even back in 1999 the movie didn't hold up well, and over ten years later it hasn't improved much in terms of structure or clarity by any means.

Outside of some inspired action oriented scenes and a kick ass lightsaber finale, the movie is just unsatisfying for any moviegoer, and I can imagine the hits fans took from over anticipation. Not horrible, but the Force has been drained considerably.

"No Capes!"

2011-06-30T20:12:00.000-07:00

Linda Hunt meets Leslie Chow. Awesome.

Star Wars: The Breakdown Ranking

2011-06-27T17:58:00.000-07:00

It's been a while since I've gone back and revisited the whole Star Wars franchise all at once, and with a real critical eye besides a simple thumbs up or down. They are movies that even die hard fans are divided over, though generally consensus' have been formed as to which ones are truly great films and which are slumming in crucial and essential elements. I tend to agree with them for the most part, with one or two exceptions, but overall they provide fun, exhilarating entertainment that easily be enjoyed over and over again. So to begin the journey, I will start reviewing from the very beginning of the saga and work my way through a galaxy far, far away and at last rank them from best to worst.

* I will still be continuing with everything else, including my much delayed Halloween project!

Thinking.

2011-06-18T11:34:00.001-07:00

CineBites: Baby Doll (1956)

2011-06-11T00:42:00.000-07:00

Baby Doll (1956)

_____________________

"Strange, sad, and sexy, but only occasionally thoughtful in its organic absurdity....Baker's performance, however, is a quiet triumph."

____________________
--

The combination of playwright Tennessee Williams and director Elia Kazan gave 1950's Hollywood something that had rarely been felt or experienced by any kind of public, movie-going or not. A public that had been accustomed to straight-laced conformity and tight moral codes of conduct, one that had been repressed from seeing the world they live in on screen and all of its unpolished ugliness. Baby Doll isn't the first of its kind, for sure, but it carries on a carefully constructed kind of world where eccentricity melds with the hurting humanity of those which make it up. Williams' trademark story elements are all set in place, but where this story takes its twist is rooted in its essential weirdness; though now opened up beyond the confinements of a stage (the film was written directly for the screen) and into a wider cinematic realm of bizzare-ness.

When it's summertime, and hot and sweaty in Tennesse Williams' glorious paradise, you know you're in for a treat, and here we find a child-woman stuck with an old repressed grump of a husband while he rants and raves about it. Simple enough? He wants her, she doesn't want him -- in fact, she's not sure what she wants. And I believe it is this compelling mystery that, for the most part, anchors Baby Doll from the get-go, and holds a stark point of interest throughout. Though there's still this strange sense that floats along with the sexy, erotic air which Williams and his director so charismatically infuse into the film, like a kind of overblown absurdity including adult sized cribs, rocking horses, a game of hide and seek, direct innuendos, and the vivid eccentricities of dialouge and characterization.

On first viewing, the movie seemed too shallow for its own good, all of this "show" and style (which many have shared the same feeling), but seeing it again, I've noticed that it's those trademarks of vibrant huamnity I've mentioned before that ground the absurdity into something plausible and organic. Rarely have I seen such complexities and narrative threads woven directly into a single character, as I have with Baby Doll Meighan. She is the story arc -- it is her growth that turns the narrative, and Carroll Baker does one helluva job handling this complex character with as much simplicity as she does. She tracks Baby Doll's change with a sense of ease, spontaneity, and discovery of intellect, sexual maturity, and integrity. It's one of the most underrated performances given by actress of the time or any time, and it's what makes the character resonate with vast emotional depth.

However, I'm not fully convinced that the movie itself pulls the same kind of emotional weight/narrative hooks in its plot development or surrounding characters. Maybe it's just hitting a blind spot for me, but what Kazan gets right is unbalanced occasionally with everything else because his imagination and ideas are not as fully rounded or satisfying as he maybe thought they were. His use of clarity in his expansivness of visual space is refreshing in context of the world outside, but inside its what's going on inside that feels eventually limited and repressed. For example the one-note roles of Archie Lee, Vacarro, and Aunt Rose only act as mere devices, than humane contributions to the narrative (as Baker's Baby Doll is). It's a big reason why A Streetcar Named Desire is such a gem, with imaginative and completley human characters that are not confined by any poorly shaped notions of writing or direction.

It's sad to see that while, Elia Kazan respects and nurtures the character of Baby Doll and to have her transcend, he leaves the rest of the project eventually flat and muddled with confusion, but the mystery of what Baby Doll desires still hangs, and thanks to Carroll Baker, it feels so much more rich and emotionally satisfying to leave it that way.

Baby Doll: B- / Carroll Baker: A

C i n e B i t e s

2011-06-10T21:10:00.000-07:00

These are the following film reviews/analsysis' that I have completed or will complete and will be updated regularly. Will be organized when more start coming in. Click on link for full/partial review.

* Baby Doll (1956)
* Psycho (1998)
* The Fighter (2010)
* American Graffiti (1973) -- a newly endorsed, polished review is upcoming!

Halloween: Journey Through Haddonfield: Scene 2

2011-06-09T13:48:00.000-07:00

Sorry it's been years (i.e. a week) since I've posted, I've been getting out of school and everything and two days ago was actually my graduation! So it's been a bit hectic but exciting currently. But anyways...This is one of the scenes that was filmed for the TV broadcasting of the movie in 1981 when the sequel was being released, and that was added to a limited DVD release about ten years ago. In total, all the new footage adds about tweleve minutes to the movie, and though fans usually don't like them, I think that they add depth to the story, rather than padding.

This new scene takes place a few months after the murder of Judith with Loomis aginst the staff of Smith's Grove, as he begs them to put Michael under maximum secrity. I think this scene helps to flesh out Loomis' personal/emotional involvement in finding and destroying Michael and the twisted psychological connection he has with him.

But the scene also conveys the "dedication" Loomis has to his patient and how he will keep him locked away as tight as possible. It's interesting to see Loomis in a different kind of wardrobe,too -- the jacket and turtleneck and hat -- but they don't use makeup or any wig too make him look any younger even though he is from when we next see him. Maybe to show that he hasn't changed much, as Michael hasn't.

These doctors piss me off -- LISTEN TO THE MAN! Dr. Sam Loomis blooms as tragic a character as any heroine of the series, because rarely does anyone want to actually listen to his "madness" (aka truth) and hell breaks loose because of it.

After he leaves the conferece room, Loomis goes to Michael's cell and finds him siting and waiting. The illusion to "staring at a wall, looking past the wall" and his inhumane patience comes into visual play here and its eerie.

"You fooled them haven't you, Michael? But not me."

This scene also sets up two things; a following additional scene after he makes his escape, and the fact that Loomis knows the game long before Michael really begins to play it. Which makes there pairing as hero/villian more sturdy and interesting.

And the kid knows it too. He only needs to wait now.

Halloween: Journey Through Haddonfield: Scene 1

2011-05-30T00:56:00.000-07:00

Here we are; the very first scene. The opening title credits that introduced the world to the greatest horror movie score of all time, and jumpstarted something epic within pop culture.

It's interesting that the movie is introduced as "John Carpenter's Halloween" as if he wanted full ownership of a movie that he was very proud of, and I have actually read that he was adamant about having his name there, and after all these years the man still deserves it.

Yay! I still love seeing this title card as it is really introducing Jamie Lee to the world in a huge way, and as such an iconic character as Laurie Strode.

I think this is cool; Nancy LOOMIS' name in a Halloween movie! It's funny because I never really hear about people talk about this, or maybe because it's too obvious...I don't know. But she later changed her surname to Keyes, though I'm not sure why.

I had to include this. As fan favorite Lynda introduced us to our new favorite word said throughout the movie (what's the tally exactly?) and isn't it by far one of the coolest trademarks by any character in this horror series? Totally.

Here's the real opening shot as we're taken from across the dead street and over to the Myers House in three iconic shots, well four really, but I'll get to that soon. I love how real the stedicam moves and flows -- today, we would never see anything of this sort, in favor of more stylish glossly production values, which sucks.

Oh look, there's Judith fooling around with the fella she'll never hook up with again. I just noticed actually that she wears the same kind of knee socks and attire that her little sister Laurie will wear fifteen years later, though this obviously wasn't the original intention.

This is the jumpstart to the suspense and terror the film delves into, that stinging "DUHNNNA!" as Judith's bedroom lights go off, like it triggers Michael somehow. And then he acts...

...by pulling out his favorite butcher knife and gliding it across his face (the camera) for some odd reason that I fould noticable nonetheless.

Despite the fact that they have a quick-quickie and that the boyfriend doesn't seem to see Michael standing right there, I always notice his face and the way he gazes up at the stairs, and the fact that he looks just like Austin Butler. Butler was on the Nick show Zoey 101 (not like I ever watched it...) and I don't why, but he somehow looks just like him.

Right before the jump to the first cut, as Michael's creppy little arm extends like a puppet to pick up the mask.

Slow and steady, Michael enters and finds some major side-boob -- no ,but seriously though, it's an interesting choice to have Judith die naked. I mean going by the horror movie rules (Sex=Death) it sets up the rules that Scream would solidify (and keep in mind that Michael is played out as a semi-sexual deviant that provides him with another link to three main ladies in the movie).

Now I can see why she was in Playboy...

Michael: "Ummm, hi?" This is scary because the kid actually looks cute and sweet (unlike Rob Zombie's creepy kid) and we would never think he'd be holding a bloody knife in his little mitts. I love his face.

Still, I love the mom's total lack of reaction even more; she stands there with her hands shoved in her pockets and gives her son this pouty look of an annoyed teenager, instead of freaking out.

But you know, whatever.

HALLOWEEN: Journey Through Haddonfield

2011-05-28T19:42:00.000-07:00

In case you couldn't tell yet, I am a huge fan of the Halloween franchise (my new header is a hint) and of horror in general. Though I've made mentions/posts about the movies here and there, I have never really posted about why they are so special and essential to me, so I thought now would be a good time to try somethin' new. See, recently, I have revived my passion for the Scream franchise thanks to the new movie (and it's really the only thanks it gets), and Glenn Dunks over at Stale Popcorn gave me a fun idea that's identical to what he's doing for the Scream films; going through each scene of the movies and pick apart/commentate on them in any way. Sounds tough, yeah, but it's a labor of love; like the original Halloween itself. I'm not sure yet if I'm going through ALL of the movies or just the Laurie Strode trilogy -- H1, H2, H20 -- which I think wraps up the main story in a very satisfying way. But, we shall see. I'll post the first entry soon, so STAY TUNED!!

If you have any questions or comments, please let me know, 'cause I want to hear what you guys think. Oh, and tell your friends/Halloween devotees who might be interested.

That scary lady from Airport...

2011-05-07T19:40:00.000-07:00

...passed away on May 5th at the age of 79.

If you can remember back I commented on how creepy Dana Wynter looked in Airport, with her Sweeney Todd hair streak, and the pale white Mommie Dearest face powder. But, despite all that scary-hilarity, I don't want to be mean to Ms. Wynter, because out of that film I would never have known about her; it's the only film where I have recognized her by name.

But her and Sweeney though....I don't know.

Performance Review: Carroll Baker in Baby Doll (1956)

2011-05-03T20:53:00.000-07:00

Coming back after awhile, I'm on to talking about a memorable, yet underrated performance in a bizzare, compelling, and often sexy film. One who's central title character caught the eyes of many (on screen and off) and created a sizzle, as well as a new kind of nightwear for women. It's the stunning, subtle, sleek work all done by...

...Carroll Baker in Baby Doll (1956)
--

Carroll Baker plays Baby Doll Meighan, the child-bride of Archie Lee (Karl Malden) a cotton gin owner who are located in the Deep South in the hot, sweaty summer heat (ala Tennessee Williams paradise).

The strange tale has a whole past history that we don't get to actually see, but when we jump into everything there is quite a bit of "baggage" in terms of characterization and plot detail. Baby Doll is the nineteen-year-old blonde bombshell who is "stuck" as the wife of Archie Lee -- a fat, old grump of a man who she was given away to by her father before he passed away.

But the complicated twist is what drives the film and the actions of the characters; Baby Doll is to remain a virgin until the day of her 20th birthday, which just so happens to be around the corner. Archie Lee is getting awfully impatient with the deal, and Baby Doll is getting impatient and frustrated with Archie Lee's attempts to get his hands on her, even more so when the day is approaching. Williams' skillfull layout of visual detail has Baby Doll physically shown as infantile by placing her in a large crib to sleep, away from the grown ups, and the responsibilities of a grown up.

Though Baby Doll is a child mentally, she is clearly a woman physically; with gorgeous looks and a subtle but appealing charisma that attracts frequent masculine attention that bugs Archie like nothing else. But Baby Doll is equipped with a sharp edge of wit and sass which she uses as a defense of her lack of moral and social importance in this male dominated world. Baker's dexterity with the words conveys the humor and depth of the character and how she must manuever her way to get what she wants. But what exactly does Baby Doll want, and why does she do what she does? Sure, she can stand up for herself by emasculating her hubby while scoring points for it, and being a ditzy, luscious tease around younger men but the core of the character is still a mystery.

Baby Doll has an interesting history and has a presence of being active in the current action while at the same time somehow slipping under the radar. In the case of Malden's Archie Lee, his inner self is palpable in nearly every scene with his rage spouting out in nearly every scene. But Baker does something a little bit different; she conceals the essential enigma of Baby Doll and her interiority without hardening her characterization of a character we don't quite know too much about.

The arc of the story starts after Archie Lee commits arson by burning down the plantation of a rival cotton gin run by a younger, stronger, better looking man named Sila Vaccaro (Eli Wallach in a sleazy, but human and charismatic performance) who has Archie Lee pegged for the crime. Though instead of going directly at him, he sets his sights on Baby Doll and having a bit of fun and games with her to get some proof and truth out of the situation at hand.

Baby Doll is left for the day to "entertain" Vacarro at Tiger Tail, and to play hostess while the suspecting Archie Lee works from afar, without his eye on his precious bride. Meanwhile, Baby Doll is perused by Vaccaro as he tries to coax whatever useful information this piece of eye-candy might have in store for him.

What first begins as playful banter slides into some pretty heavy territory; as Baby Doll plays dumb, bobs and weaves through the accusations being not-so-subtly tossed at her every which way. These sequences where the peak of her characterization lies are easily the most essential, and Baker handles them with skillful detail. Between the lines and actions the script offers her, Baker quietly conveys the intelligence and awareness of a character who's, by design, a child (baby) trapped in a woman's body. She's distilled, but never vacant, and without Malden's Archie Lee in the way, Baby Doll has discovered something she had never known before: that she too has the ability to play the kinds of "games" that the other grown ups around her do.

Beside her intellectual "discovery", Baby Doll experiences what is possibly her first sexual awakening during the standout swing scene. Uncomfortable and fidgety, Baby Doll weakly defends her self against Vacarro's intimate advances and tells him that she does not like to be touched in this kind of framiliar and odd way. A way she has never truly known outside of a little flirting on the side with boys. But alas, she slips into the magnetic erotic sensation that alas feels genuine and creates a turning point for the story and the character.

This focused, yet vague scene is set-up by Kazan as a sex scene; but one that is accomplished through words and seduction and ends with a wobbly exit of an "orgasm" as it fades. Her first brush with real sexual intimacy, derived from Silva instigates a kind of fascination within herself and this unusual man who's gotten too close. Baker (as well as Kazan's tight yet free-wheeling direction) makes the scene entirely effective in nearly every way. What the actress does with her eyes, face, and dialogue carves the interiority of the character that we were unsure even existed; something that Williams' text hints at but never express'. In the case with his Blanche DuBois. the character has a full, complicated history and turmoil that is written and acted with clarity. But Baker succeeds in assembling a compelling, richly shaded interior life almost without the help of the script which only hints at one.

All of this leads up to the erotically charged game of hide and seek that they play throughout the crumbling mansion, as an adult might do with a juvenile.

But after the playful game and a rough scrape, wherein Vacarro physically empowers Baby Doll, forcing her to sign the affidavit to the arson committed, Baby Doll has a strange change of heart as Vacarro decides to take off. For the first time all day she wants him to stay, as she insists that he wanted something else out of this odd day spent with her. It seems to be a moment of clarity from within herself that she fully desires to embrace, which includes keeping the company of Vaccaro.

It's a life-altering moment of transcendence for her in some way that she does not want to let go of, for she now somehow feels a sense of satisfaction and guidance as she enters the complicated but fascinating world of adulthood. Baker draws us in on this internally, and does so with delicate shadings. On my first initial viewing of Baby Doll, I hadn't really seen much into the character, but going back into it I witnessed the infrastructure Baker crafted into this strange creation called Baby Doll.

Baker provides the film with it's emotional compass, and certainly held my emotional interest well beyond what I was actually seeing and into the layers beneath. Providing such, allows Baby Doll to be the single person in the narrative who grows and changes with a totally credible character arc.

Her internal transformation from docile, immature child-bride to a willful, sharp, and independent young woman of integrity and clarity, free from the constraints of repression is a mighty powerful one. Through Baker's meticulous work, we see that Baby Doll now has the power to access everything from her maturity, morality, sexuality, etc. -- all from herself.

Baker has shown us a complete human being, one possessed of a full, rich interiority that matches her ever-complex (and ever-changing) exterior. (But it's interesting to read that Williams had pressed for Marilyn Monroe to step into the title role (as she had recently "sharpened" her acting abilities), but Kazan just knew that Carroll Baker was right and fit the mold. And thankfully the choice was made. Maybe she wouldn't have been terrible (how can someone be under Kazan's helm?), but I just can't see Monroe finding the nuances of character that Baker did with clarity. Her possible muddying/misreading of the character could have resulted in something not too good.)

Once the shit hits the fan, and a whole mess has gone down with the two men, Silva says he'll be back the next day for Baby Doll and her Aunt Rose...

...leaving Baby Doll to fend for herself in a world she just started living. The sadness, confusion, and longing that comes through in these truths flicker across Baker's face with some of the most genuine (and subtle) kind of emotional depth that I have ever seen in film acting.

Carroll Baker's work maintains awesome spontaneity and natural ease even when it's being meticulous and actorly. Her intuitive understanding of the text results in a complete characterization of a highly fascinating and multi-dimensional creation. From the combined galvanizing force of Tennessee Williams, Elia Kazan and Carroll Baker it is proven that even after the Streetcar quartet, perfection is still possible.

"HI HO SILAAA!"

2011-04-13T18:19:00.000-07:00

Look out for my upcoming review of Carroll Baker's Oscar nominated performance in Baby Doll. An interesting way to come back after a little while.

"I Scream, You Scream..."

2011-04-08T21:42:00.000-07:00

Yes, Scream 4 has nearly arrived to us and it's only a week away! It's been eleven (!) years since we have seen a new chapter in the assumed three-movie franchise, and for awhile another installment was rumored but mostly hushed away by Wes Craven to keep Scream a trilogy. But he thankfully changed his mind and opened up the series to new twists and turns which many people are eternally grateful for, especially after the latest film was considered a overall let down to many fans. I am ecstatic to go to the midnight showing, which is always the most fun with all of the enthusiastic people around me making the experience a true crowd pleaser.

Other horror franchises have come along and only stay along because of the money people pay to see something they know will be forgotten trash (i.e Saw), but ones such as Scream have resonated and endured for fans and regular moviegoers because of the indelible mark it has left on history, and featuring genuine thrills, laughs, action and dimensional characters who grow and change and who we grow to love and care for. The opening of Scream 4 -- the hype, the anticipation, the excitement, the loyal fans of the series -- all make the film something of a true cinematic event for horror fans.

All of this started, of course, in 1996 when the original film became a phenomenon and groundbreaking piece of pop culture. I'll go into more detail about the three films soon in separate posts.

But are you excited for Scream 4? Are you a fan of the series?

Marlon Moments and Memories

2011-04-03T16:55:00.000-07:00

In honor of Marlon Brando's birthday today (as my header will inform you), I thought it would be a good idea for us to all share something about the iconic, groundbreaking actor. The man, who would have been 87 today, left a whole, rich history of thought provoking, intriguing memories -- both as a professional actor and as a scarred and sad human being -- that resonate because of the passion and humanity that consume them. It actually wasn't until after Streetcar that I realized how amazing he was; it was when I first finished On The Waterfront that I was blown away. Blown away by how he could play someone as raw and brutal as Stanley Kowalski and then as humble and sensitive as Terry Malloy with making every beat as genuine as the next and making them both so human, dimensional, and imaginative. People who lived lives outside of their vivid, fascinating on-screen worlds that not only hold up today, but deepen after each viewing.

For my screen moment, I may have to settle for a semi-obvious choice (not a bad choice at all though), but a choice that I can't ignore.

In A Streetcar Named Desire when Stanley blows his top, things have hit an almost new low.

After snapping out of his fiercely charged bit of explosive domination towards his pregnant wife, Stanley dripping wet from the shower and his tears, comes to the realization of what he has done.

He calls out for his babygurl, but nobody answers.

Ashamed and more visibly vulnerable than ever, Stanley sobs in a way we would never think a man like himself would do. But he knows he must win her back.

Beckoning to Euince above to have Stella come down does no good, so in one of the greatest/most famous lines of all time, Stanley with all of his lung power bellows for his baby to come back to him...

"HEY STELLLLLAHHHH!!"

Through lust and steamy heat, Stella makes her way down the iron wrought stairs where Stanley stands below desperate, hurt, and looking like a lost puppy.

Once Stella reaches him, the two embrace with sexy, raw, animalistic passion; brought together by the powerful effect of pure lust.

Brando (with of course the help of Kim Hunter) is the reason why this scene is so damn emotionally effective as it should be. He doesn't just provide us with another deep facet of this dynamic character, but also shows us a new side to the real Marlon Brando -- someone confused, complex, vulnerable, and completely human. Brando and Hunter charge the scene with electric clarity, and more than that, make it transcend celluloid and soar into pure cinematic heaven and into the human soul. Brando was something else on screen; a performer flowing with magnetic charisma and compelling, undeniable screen presence -- perhaps the most influential and greatest breakthrough performance by an American actor ever.

So today, if you will, share your favorite on screen Brando moment(s) and/or memories that have stuck with you.

Renee Zellweger's Silly Face

2011-04-01T16:40:00.000-07:00

I don't know why. But you have to love her scrunch face routine.

"How's ya Chinese food?!"

2011-04-01T11:28:00.000-07:00

Andrew takes a look back on the courageous women of cinema, and wraps up with Marisa Tomei's golden work as Mona Lisa Vito, and it's something I couldn't agree more with. I think it's great too, that he recognizes that Lisa is a courageous woman who just happens to be sexy, sassy, and hilarious. It's that personal confidence and intelligence that Tomei conveys that gives Lisa more interesting layers than just some amusing side show attraction. Click on over and see what I mean!

Hit Me With Ya Best Shot: Streetcar

2011-03-23T19:44:00.000-07:00

Looking over at Andrew's site I discovered Nathaniel's rather new meme that I found pretty cool: pick your favorite shot and why it is, in a specifically chosen film, whether you are a fan or not. Fortunately, this week it's one of my Top 5 favorite films of all time, and like Andrew, I am having a hard time picking one shot, so instead I have a few separate ones. Maybe you can help me pick which one should be the one.

Blanche is in the midst of a reality-fantasy moment late at night when nobody's home. She's adorned herself with an old white gown and the rhinestone tiara,with the polka music playing quietly in her mind. Then Stanley's voice is heard almost out of nowhere, and says "Hi, Blanche". She pauses and gazes around the room until he can be seen entering the house. It isn't a big moment, but it doesn't need to be. Kazan's film is filled to the brim with small nuances of subtlety and complexity, that provides layers and layers of fresh, imaginative interpretation. Here, we hear the voice which shatters that moment for Blanche and causes a weirdly distilled silence in the darkness before switching back to harsh reality. Stanley's voice almost seems to be in her mind and intruding her false notions; dominating her even when he isn't even in the shot. It's the kind of technique that couldn't really be done on stage with the same kind of surreal, unsettling impact.

After Blanche tries to set Stella straight and begs her not to "hang back with the brutes!", they two embrace in a sisterly, loving kind of bond before we hear Stanley casually entering in the other room. The camera catches each of their frightened reactions, before they both quietly gaze at each other in a heated moment of silent tension.

Stanley's shadow appears in the background, as the sister's embrace slowly crumbles when Stan calls for his wife. Again, the mere presence of Stanley throws them both back into a scared and uncertain state with each possibly thinking about the reality of the intellectual and emotionally charged love-hate triangle they are desperately caught in. Maybe we catch Stella acting "out of character" in the sense where she's contemplating the horrifying truth, or maybe not. It's a testament to the actors and director that such conundrums, while lucid and sharp, aren't spelled out for us. That's what makes the film so richly satisfying.

In the last scene, Blanche is in a corner, literally and mentally. She is told she has to leave, and it seems to her that she's trapped, but then Stanley suggests that she take the Chinese lamp shade and he holds it out for her to take. This one moment that hits the peak of Blanche's breakdown and shatters it all, always gives me goosebumps. It's a combo of the acting and staging of the scene, that gets under my skin. In that one moment, I feel Blanche more than I have ever before in the movie, and I suppose that set up is the point of it. Alone, scared, trembling and mumbling, with everyone else "against" her and Stanley's simple but somehow vicious and dominating gesture makes this moment resonate with a haunting edge. But it's strange how I also feel for Stanley throughout the film, even though this devastating last blow turns it all to Blanche.

What do you think of these different picks? Agree? Disagree?

Rest In Peace, Elizabeth Taylor....

2011-03-23T14:35:00.000-07:00

Just a few days ago I was thinking to myself how amazing it was that Elizabeth had made it so far, especially with so much sickness and tragedy that she had to endure. She was beautiful and elegant, but had something that many female stars in Hollywood didn't have; a refined innocence and integrity as a person that was reflected in her memorable screen work as an actress. She'll always be known for velvet eyes, multiple marriages, giving one of the greatest performances of all time, and being a glamour and larger-than-life icon of Hollywood, but she will be remembered too for the lovely human being she was, and the great spirit that she is now...residing with her many soul-mates of friends and husbands she's loved and lost. I bet they're happy to see her.

R.I.P

- Elizabeth Taylor -

1932-2011

Performance Review: Melissa Leo in The Fighter (2010)

2011-03-19T17:14:00.000-07:00

It's been awhile for sure, but I'm back with this past year's Supporting Actress winner in spotlight (just how she LOOOOVVVESSS it!); one who stirred up a little bit of weird (i.e. desperate) PR in the form of an ad which kind of backfired and presenting herself to the media and the world as more than a bit shallow and a lot less than humble. But, nonetheless, it didn't stop her from swiping this year's prize, and it's actually a bit surprising that Oscar (and most every other critics group) had such an adoring affection for...

...Melissa Leo in The Fighter (2010)

Melissa Leo plays Alice Ward, the loud and crazy, but loving manager mother of "Irish" Micky Ward (the immaculate Mark Wahlberg), a boxer who has yet to soar partially due to Alice's ways.

Alice is a woman who has led a crew of nine children in the tough, gritty city of Lowell, Mass, and who's used to getting what she wants without making it seem like she's even trying.

She has her loyal daughters on her sleeve, following her every move, a devoted husband, and two sons which whom are wiggling out of her grip as all of their lives are becoming shifted every which way; something she isn't used to, and something she refuses to get used to. She may be Micky's manager, but it's no secret that she favors her elder son Dicky, especially when she thinks that a camera crew following them around is for his big comeback, when it's really about his crack addiction.

And it's with Dicky she sides with when Micky begins to seriously consider heading in another direction, a direction where the domineering Alice will no longer be in control. The real life story isn't particularly known for the maternal setbacks Micky faced during this strive for the top, but the film explores these relationships with depth and makes clear one of the most important themes: family. It's family that ties mostly everyone in the film together, and anyone outside the family is considered risky and untrustable, and it's something Alice openly believes.

Though inside the family haunting truths begin to arise when Alice (who's been in some serious denial for years) is beginning to realize that her pride and joy Dicky is a loser, crack-head that has gone completely off the tracks partially due to Alice's loose and unsuspecting hold she tries to have on him. This revelation comes when Alice (in her furry slippers) makes her way to the crack house to find Dicky desperately jumping out of a high window. They both make their way to the car where a heartbroken Alice at first silently refuses to accept it before she quickly falls under Dicky's weirdly charismatic spell. It's Leo's best scene in the film and it grips us to see a complex character at her peak.

And yes, like the other characters, Alice is by design a simple yet complex character who's caught in a tangled web of moral and emotional complexities, but much of this doesn't actually derive from Leo's actual portrayal in the role. It's written as truth, and the actual Alice Ward gives Leo a lot of actorly bits to chew on both physically and verbally; big hair, gaudy wardrobe, chain smoking, lots of words to shout, and a heavy Bohston accent. And that's the problem, when Leo's performance is a flashy, showy externalized walking caricature.

That might be an easy way out, to call it "over the top" and "showy", but it's true and Leo does what I least like in supporting performances; trying so hard to own the film, blow everyone else off-screen, and to have no interest in elevating the proceedings and the other actors. It's a problem that critics, voters, and film loves have embraced as a positive quality that puzzles me, to be honest.

With such a complex part, Leo copps out with having fun with the expressions and accents rather than constructing a human character who's just as lost as the others around her. Leo doesn't illuminate much about Alice; her internal integrity, her motivation, her reasoning, her inner turmoil for herself and her family. It cheapens the character that we don't really get a glimpse behind her facade, and it prevents any character development. The rest of the main cast and their characters grow and change in their own ways from all of this, but Leo's Alice is the only person who doesn't seem to budge or grow, and it's because of the actress playing her. In every scene, she's always present and engaged (even in the ensemble action), but never that focused, and always much more "in the moment" than "in the character" -- and it's clearly felt.

Though this category has seen bigger disappointments with its winners, I remain stumped as to why this occasionally funny ("that Salanada-banana-fuckin'-thing!") but nearly completely unsatisfying performance amazed so many and swiped all of the attention away from her much more deserving co-stars (aka the unnominated Wahlberg, and the defeated Adams). I mean, I get why she won (loud, brash, unsubtle, pure fun with little substance, and scene-stealing) but c'mon, it gave a vain actress and character the attention she simply didn't deserve. But The Fighter is a great enough film that her cotton-candy, lightweight work doesn't bring anything down. And Thank God for it.

"I Like My Life..."

2011-03-16T19:26:00.000-07:00

Amy Adams in The Fighter

Click here to see a snippet of one of the best performances of 2010.

Also, look out for my Melissa Leo review followed by Adams.

Coming Back

2011-03-13T15:38:00.000-07:00

I've been off for a little over a week now, and I've been thinking of new ideas to explore in depth because the well here and in my mind had been kind of dry (if you hadn't noticed). It's been a semi-crazy time getting college things done and squared away, having a little writer's block, but enjoying reading what you guys post daily. It's inspirational for me at this time of my writing career to learn and grow off of others with my own thoughts and ideas mixed in.

But, I will be coming back with a review of this year's Supporting Actress winner's performance; Melissa Leo in The Fighter. I'll be able to do one more re-watch, before I collect the screen caps and do my write up. Oh and don't forget, The Fighter comes out on DVD this Tuesday, so run out and get a copy!

Oscar Reaction

2011-03-01T18:17:00.000-08:00

Disappointing. Flat jokes, half the charm/charisma (thanks Anne for trying!), and lousy timing. The structure of the show felt messy and clunky, with getting across that the Oscar's are - "HIP and AWESOME!" With iPhones, Twilight, and other modern gadgets and pop icons, while at the same time trying to unintentionally reminding us that the Oscar's were funny at one point where it felt natural and not stiff. James Franco stood at the center giving nothing but smirks and stoner looks -- the guy had to be on something -- and we got another weird look at his ambiguous sexuality when she donned a drag queen get-up, which went nowhere. It was a strange night that seems universally un-liked -- an especially by FilmFreaks and Oscar Obsessors.

Leo's speech was just as plastic and transparent as anyone would have thought, and I was really hoping Hailee would be walking up there and having Leo slump back in her seat. "Mine...For ME!?" -- she loved every second of chewing her way to the core of her inflated ego. And she didn't even deserve it. Why the hell wasn't Amy given those prizes? Leo wasn't bad, a nomination's good, but her performance does not qualify for a win. And then she infamously swore for even more attention, and my heart sank.

The only big shock came from Fincher not taking Best Director, and now Hooper will be hated from now on. But is The King's Speech that great? I haven't seen it, but does it really stand out and represent the Best Film of 2010? It seems to glide more on its performances, but I really fairly cannot say. I mean, I may love it but over The Fighter, Black Swan, Toy Story 3, and The Social Network, it seems like a default (i.e. safe) Oscar choice, for a large group of people who are scared to embrace advancement and change in cinema (the syrupy, goodie-goodie Forrest Gump beating the sharp, exhilarating cinema spectacle of Pulp Fiction is one of the worst cases), and it's a shame. But as along as we can still love, cherish, and appreciate those kinds of films that the Academy won't, life will be awesome and cinematically satisfying.

Well, Melissa....

2011-02-27T18:12:00.000-08:00

Congrats.

But why???!!

Though I did love that she swore!

The Big Night Has Come

2011-02-27T16:18:00.000-08:00

See You There!!

I'll be blogging-live as much as I can so keep a look out!

FINAL FINAL OSCAR PREDICTIONS!

2011-02-26T19:48:00.000-08:00

Here's my straight foreward, simple list of who I think's going to win tomorrow night:

- BEST PICTURE -

The King's Speech

- BEST DIRECTOR -

David Fincher for The Social Network

- BEST ACTOR -

Colin Firth in The King's Speech

- BEST ACTRESS -

Natalie Portman in Black Swan

- BEST SUPPORTING ACTOR -

Christian Bale in The Fighter

- BEST SUPPORTING ACTRESS -

Hailee Steinfeld in True Grit

(I just see it happening, but Leo could still win -- but I hope it isn't so)

Thoughts??

Oscar Party!

2011-02-25T18:31:00.000-08:00

During this time of year I'm always in the mood to pop in a special movie related to the closing of the season, and Leslie Nielsen's Frank Drebin always puts a smile on my face, especially during the very fun last third of...

Naked Gun 33 1/3: The Final Insult

It's the 66th annual Academy Awards in Hollywood, and Lt. Frank Drebin of Police Squad needs to stop a mad man from blowing up the Oscar's in a terrorist bombing attempt.

The bomber, Rocco Dillon, is going to plant the bomb in the Best Picture envelope, but only with the help of his girl Tanya -- a sober(!), sexy Anna Nicole Smith, and his trigger happy Ma.

All Tanya has to do is try to distract the man guarding the envelopes, which she does attempt well...

...but no dice.

Meanwhile, the first award -- Supporting Actress -- is presented by Elliot Gould and Mariel Hemingway, and the nominees are...

.... an ecstatic Mary Lou Retton...

...a hopeful Morgan Fairchild...

....Shannon Dohrety...

...and the favorite, Florence Henderson -- as Frank says, "Florence Henderson's going to win it, and it's about time!" I love how they put random TV actress' and freakin' gymnast's in the mix! Makes for an interesting crop of ladies.

We take an outside break to see a couple coming in, who's gown is made entirely out of Cool Whip -- this is great because sometimes when I see outfits at the ceremony and something different about them catches my eye. And some do look like desserts or toppings.

Inside, Frank takes Phil Donahue's place as a presenter with Raquel Welch, but just misses the moving stairs and hangs off the edge. Only to tumble down them...

...to accidently push Raquel into the mic...

...and have her nearly choke on it! The shot above of Frank giving her the heimlich always cracks me up!

Then Phil...I mean Frank, goes on by reading the whole TelePrompTer himself without Raquel's help.

Things go hilariously wrong when Frank thinks the bomb is in the envelope and tries to stall by swiping it from Raquel's hand and making ridiculous social statements to the world.

But Raquel's had enough of it and demands that envelope and runs off with it before Frank, in a desperate attempt to stop her, tackles his co-presenter to the ground in a scuffle.

Luckily it's just a false alarm and Frank runs offstage.

But he's back on stage in time for the big musical number with Pia Zadora, where he, of course, is doomed to wreck havoc...

...not catch Pia...

...and have her slide gracelessly off stage.

Though makes up for it in the exciting finale!

Before dropping poor Pia into the tuba below.

The fun-filled night is finished off with the Best Picture, and it's important to note that all of the nominees were a box office hit, except for one.

And the award goes to the bomb!

I love this movie, and especially this whole big sequence which gets Oscar night started for me! How about you?

Some Final Oscar Predix

2011-02-25T13:55:00.000-08:00

Oscar night is coming up very shortly so I thought it would be a good time to dish out what I think is gonna go down on Sunday:

Best Picture:
At this stage it seems that The King's Speech has got it all wrapped up...which is weird. Just three weeks ago-ish The Social Network was the one it seemed no one could defeat, but since the SAG and other awards, King has generated a late game surgence which surprised a lot of people. Especially the one's who don't believe that it is actually 2010's best picture. I haven't seen it yet, so I'm passing judgement by saying that this will probably become one of those "what were they thinking?" wins, when The Social Network still remains fresh and popular. I don't know, I could be completely wrong.

Who Will Win: The King's Speech
Who Could Win: The Social Network
Who Should Win: I have only seen half of the nominees, but even out of that The Fighter deserves this prize for excelling to the genuine heights and exploring them with humor, humanity, energy and passion.

Best Director:
The only two nominees that have chance at the prize are obviously Tom Hooper and David Fincher, and it seems that while Hooper's film will take the best picture, Fincher's work will be rewarded here (in recent ways like '98, '00, '02, '05 when the best pic went for lighter and director went to heavier) because every thinks this is great work and that he deserves it for a great body of work as well.

Who Will Win: David Fincher
Who Could Win: Tom Hopper
Who Should Win: What David O. Russell does with the simple Fighter story and transcends it with energy, dynamism, clarity, is something possessed of a kind of fresh, breathing life without stifling it, that some of the other directorial works in the category fail to accomplish (i.e. Aronofksy and the Coen's in particular).

Best Actor:
If there is a single solid lock, place your bets on Colin Firth for almost everyone knows he is winning and even more so after all of those awards that were handed to him. It seems that not a single other nominee has been on anyone's tongue as a possible dark horse throughout the season so check his name on her prediction list now.

Who Will Win: Colin Firth
Who Could Win: Virtually no one
Who Should Win: Eisenberg for now -- I have only seen half of S.N. and really appreciated his work thus far, and have seen True Grit and hated Bridges' performance. And now I know that he isn't on the "official" ballot, but Mark Wahlberg easily walks off with my vote.

Best Actress:
Early on the race was a head-to-head competition with Portman and Bening; each trying to get their first award, but one who's still ripe and one people feel need this consolation now. I remember (as I'm sure everyone does) earlier around September/November how strong Bening's chances were, but then the enthusiam for her shallow work in a shallow film seem to have been noticed by some, she slowly lost almost all of that early hype which gives Portman the edge to this current day. Add the SAG win over Annette and Portman is a near lock, though people still say Bening has a fighting chance. She did, but I just don't think so anymore. And I'm glad for it.

Who Will Win: Natalie Portman
Who Could Win: Very slight chance that Annette wriggles in, but she is the second runner up.
Who Should Win: As of now, Portman (who's work improved the second time) or Williams as two of the three I have seen. So I'll be happy to see Natalie winning.

Best Supporting Actress:
The favorite category is at last unpredictable again! Nice to see after the super lock of Mo'Nique last year, and here we have four ladies with a possibility of a win, with only one left out in the cold -- Jacki Weaver is the one who's not moving anywhere near the finish line and hasn't really seemed to budge an inch since the season begun. That leaves the other four ladies scurrying past each other with different possibilities opening up each day it seems. Melissa Leo's notorious (i.e. incredibly stupid) "campaign" has back fired a great deal and her front-runner status has become incredibly loose and it people seem to like her work less and less now that they hype's (kind of) wearing down. Plus, she's plastic, so yeah. Some speculate that Bonham Carter has a good shot because her film has been incredibly popular with the Oscar peeps and that everybody loves her. It could happen, but at the same time I just don't see it. Amy Adams' spectacular work seems to be becoming more appreciated as much as Leo's is becoming less so, and I'm happy for it. Her work has been underrated by awards/critics groups, though many see that it is superior work to her costars and more real. I could see this happening out of nowhere, but her lack of buzz will hurt her. This leaves the final nominee threat against Leo: Hailee Steinfeld. The 14 year old who came out to give one of best performances of the year, but in a leading role. This bit might advance her chances because leading gals in supporting always seems to go well with voters. Oscar loved her movie and critics and audiences loved her work, and her age would make her the third youngest winner of all time. And who wouldn't want to see an upset on Sunday to liven things up a bit? Steinfeld peaked at just the right time, and Leo made those silly ads at the wrong time, so this is one upset that really could happen, and probably will.

Who Will Win: Between Leo and Steinfeld -- but giving Steinfeld the edge. I can't really see Leo winning this or maybe I just don't want to see it...
Who Could Win: Leo or Adams for sure, and I hope Adams.
Who Should Win: Amy Adams, followed by Steinfeld (check out my review of The Fighter to see why)

Best Supporting Actor:
What was once a two man race seems to be clear for Christian Bale to run down the finish line. He's won a mantle full of awards and critics went ga-ga over his performance and declaring that he stole the show. If there's anyone that can beat him it's Geoffrey Rush, but the man has an Oscar, and Bale doesn't, and the other three men haven't been talked about at all.

Who Will Win: Christian Bale
Who Could Win: Geoffrey Rush, but very slightly
Who Should Win: Bale, who surprised me with this performance and I'm glad for it.

I might do the smaller categories in a little bit, but what do you think of my predictions?

CineBites: The Fighter (2010)

2011-02-24T09:53:00.000-08:00

"A genuine triumph of a film told through the clarity and conviction of its direction, writing, and spectacular performances -- making this one of the year's very best films."

Sport film cliches and sport-themed films in general these days have become so common place and lethally generic that the formula has run itself into the ground. The triumphant redemption of the lower class underdog is something that, in it's own personal way, feels good to experience even when we know it the outcome with be nothing worth remembering. Much to my surprise, shock, and delight, The Fighter transcends banal cliches and you can literally feel it in your bones. And it's thrilling.

The story follows "Irish" Mickey Ward's breakthrough to a mainstream boxing career from his working class, Lowell, Mass roots which are tied down by a loving, but short sighted clan of family and friends. He has the focus, drive, and ambition to achieve a success like nothing before, but without the true support he should be receiving from his manger-mother and his loud mouthed crack head brother, the collective aim always just seems to miss the target for something bigger and better. Soon Mickey is torn between his family ties and loyalty to the people who help make him who is today, and steering clear of a path of destruction (which his half-brother fell into) and finding a stronger, more fulfilling existence both for his career and his life.

With such a simple tale of simple people, it wouldn't be hard to loose focus or consistency while balancing true-to-life complexities with a sharp, brisk narrative, and going in, one might be a bit unsure about what to expect from this almost done to death genre. But coming out of the theater, it's become a treat to prove yourself wrong and to carry a satisfying feeling of elation. The Fighter is nothing short of perfectly calibrated human drama and overall captivating storytelling that is matched by a textured, engrossing pace that feels brand new. The film, is at every moment, able to hold and structure the ideas, emotions, and actions of its characters without making them feel obtuse or flat-footed in any way. Instead, each facet or building block of the narrative feels equally illuminated with its own sense of place -- wether it be involving a head-to-head battle of the insider vs. the outsider, a blossoming romance, a deterioration of one's self, or a consistent inner struggle -- the film maintains a freewheeling, yet taut grasp on its subjects at all times.

But The Fighter possesses something that most Oscar-y/real life stories don't usually have; a sense of giddy popcorn entertainment value that never compromises or tips its genuine dramatic action into a haywire mess. This all of course roots back to the fascinating direction accomplished by David O. Russell, who truly makes this baby soar. His construction of narrative action and characterization is grounded, dynamic, and genuine from first frame to last. While other directors swamping through the genre tend to drag their feet through the ring and out, Russell beautifully charges his work with clarity and brisk, electric energy which keeps even the smallest of action moving. He does all of this while still allowing individual moments to resonate and tethers the action of each scene to a core while balancing a new kind of naturalistic feel. When I say this, and say it again, Russell keeps a refreshing and bouncy freewheeling grip that combines humor and heart. And this film is very funny. It's not satirical or slapstick comedy, but real, natural, Boston-esque humor that he evokes out of characters and their situations.

Living outside that area, the audience (myself included) had a wild time with the sharp authenticity of the proceedings, and I suppose it's why The Fighter works so well. There's a distinctive light touch that Russell infuses which holds an air of levity and quiet sophistication -- the trashy "southie" characters, their accents, their mannerisms all feel real and are captured but always present is the dynamic, human tension that becomes illuminated at every turn. This said "touch" also helps to avoid cheap melodramatic pitfalls and maudlin sentiment, which is one factor which elevates The Fighter into a special kind of cinematic realm.

The film knows how to be realistic without coming off as self-involved, and much of the it is also due in part by the array of some of the finest acting I have seen in years. As the title character, Mark Wahlberg's performance is something of a quiet revelation; as the internally pained and confused Mickey Ward, Wahlberg conveys the struggle, the pain, and the strength of a true fighter whose complicated exterior matches his equally complex inner self. He charts the triumphant, redemptive arc with clarity and layered subtleties that sparkle. It's astonishing how much subtlety and pure humanity Wahlberg infuses into the role, and to think of how genuine and modest it feels provides The Fighter with two essential assets; a steady (but never heavy-handed) anchor, and a sweetly beating heart. I simply cannot understand how this superb piece of acting is being ignored by the public and the Academy (who couldn't even give him a nom?!). As his crack-head brother Dickey, Christian Bale is grabbing all of the attention for a much more showy/actorly performance. It's the kind of work that I might have hated for being a big slice of showboating, but Bale adds some surprising touches to such a broad archetype, especially in his way of grounding a character in interesting, psychological dimensions that feel focused and in tune with his characterization. In the same "actorly" corner with Bale is the scene-stealing/loud mouthed Melissa Leo as the one and only white trash mother who's work has reaped tons of prizes. Let me just say this first; Leo's is a worthy nomination in a great year, and her very showy role and portrayal have caught voters' eye ('cause we all know they just love scene-stealers) -- which isn't necessarily a bad thing. She's loud, tacky, but somehow relatable even when she isn't likable, and Leo does humanizes this caricature by conveying a woman's torn love between her sons and the underlying sadness it brings. But I still can't help but think that Leo (despite humanizing individual moments) doesn't keep up a consistency of texturing Alice's inner layers of depth. We get that she has her fair share of complicated issues and what not, but instead of texturing those hidden complexities into a consistent characterization, she plays each moment to a hilt and when she has a big scene she doesn't always feel "in the character" but more "in the moment". It's a defiantly exterior performance which doesn't help much, and in a way cheapens any character development or growth which makes the overall performance feel more cartoon than human. Going back to Wahlberg's corner, we find the true BEST supporting actress performance in the film from Amy Adams as the tough as nails gal pal Charlene. Her performance is a blast of humor, strength, vulnerability and shattering authenticity. She accomplishes the kind of gritty realism that Leo thinks she has a handle on, and shakes the foundation at every moment. Adams underplays the part with just enough restraint, and is always elevating both the film and her character in essential ways. Her Charlene is a force to be reckoned with, and the energy, emotional clarity, humanity and rich integrity Adams invests into the part makes her Wahlberg's equal in crafting the two most authentic characters in the film i.e. the two most modest people who grow and change. Charlene has a past of failed hopes and dreams, and Adams' performance conveys the same kind of inner feelings so well that her character arc feels like the kind of triumphant redemptive parallel it should be -- from lonely, dead-end bar girl to someone who uses all she's got to champion the growth of the man by her side, but in the process making a kind of inner/self transformation herself. But she's more than that though, because if Wahlberg is The Fighter's heart, than Amy Adams provides it with its resonating soul.

The Fighter is gripping, compelling, and exhilarating for its sheer simplicity of storytelling and for once an actual story is being told with deeply human drama and modesty. It's a roller-coaster ride of a sort; your strapped in and it gets you involved and familiar with the experience that you wouldn't want to leave, then leaves you feeling charged, thrilled, and elated. It's a kind of experience that makes you think, believe, and cherish -- not only the ways of your own life, but the growing possibilities and growth of cinema.

Melissa Leo: Oscar or Not?

2011-02-14T15:02:00.000-08:00

I'm sure most of you have heard tell about Melissa Leo's flashy, "CONSIDER..." ads that she herself bought for the Hollywood trade papers just recently that have begun some talk from many people. But what's funny about them is how they don't capitalize on her performance in The Fighter, but rather a classic, glamour look that's just confusing in a way. Not many "campaign ads" have been presented in a un-humble way to score the golden boy like this. I think there kind of stupid, really. For one, I just can't see how this will win people over -- ("ooh, look at that sexy fifty year old in sequins!") -- and some voters have expressed their feelings over this and she has lost some supporters, as in one saying, "she lost my vote". It may not be her actual acting work, but it's Leo who would win and it is kind of tasteless in a showy way. I mean, she's considered the front runner and the studio has her back, so why this little stunt? She claims its to express her anger over ageism/sexism in Hollywood, but it now it just feels like a back fire, that could result in the Oscar going to someone else. I hear that Steinfeld could upset, which I would enjoy seeing despite category fraud -- but I hope this gives Amy Adams the boost to the finish line because she deserves it most.

Thoughts??

Favorite Movie Scenes: Easy A (2010): Bedroom Shenanigans

2011-02-05T00:31:00.000-08:00

Easy A: Bedroom Shenanigans

(click above to watch the scene)

When Olive (Emma Stone) agrees to help out her gay friend Brandon (Dan Byrd) in tricking fellow students into thinking he's as straight as can be, the two head for a booming teen party and into an empty bedroom where things get "hot 'n heavy". Instead of actually doing the deed, the two broadly simulate the pleasurable experience in this hilarious scene as both just go with instinct and turn out comic gold. From the moans and grunts to the off the mark phrases, both Stone and Byrd keep it genuine and funny, without going raunchy.

"Oh yeahhh!"

"I'm drunk, wazzup BITCHES!"

Fantasy Oscar Ballots

2011-01-31T15:12:00.000-08:00

The people and films I would choose to be on my ballot, in my world...and whatta world it is!

My Nominees Are...

* The Fighter

* Black Swan

* Toy Story 3

* Let Me In

* Easy A

* The Social Network

* Get Him To The Greek

* Date Night

* Inception

My Nominees Are....

* Julianne Moore in The Kids Are All Right

* Emma Stone in Easy A

* Natalie Portman in Black Swan

* Hailee Steinfeld in True Grit

* Tina Fey in Date Night

*pending Michelle Williams in Blue Valentine, etc.
*Winner Undecided*

My Nominees Are...

* Russell Brand in Get Him To The Greek

* Kodi Smit-McPhee in Let Me In

* Mark Wahlberg in The Fighter

* Steve Carell in Date Night

* Ryan Gosling in Blue Valentine

My Nominees Are...

* Amy Adams in The Fighter

* Melissa Leo in The Fighter

* Mila Kunis in Black Swan

* Chloe Moretz in Let Me In

** ???

**pending the last nomination for one of the following; Yaya DeCosta in The Kids Are All Right; Jacki Weaver in Animal Kingdom; Winona Ryder in Black Swan; Patricia Clarkson in Easy A; Mila Kunis in Date Night; Amanda Bynes in Easy A**

My Nominees Are...

* Christian Bale in The Fighter

* Mark Ruffalo in The Kids Are All Right

* Andrew Garfield in The Social Network

* Dan Byrd in Easy A

My Nominees Are...
* David O. Russell for The Fighter
*Darren Aronofsky for Black Swan
* David Fincher for The Social Network
* Will Gluck for Easy A
* Matt Reeves for Let Me In

Others categories will be posted soon, with my review of The Fighter.

Time to Bitch....

2011-01-25T14:19:00.000-08:00

So, this morning I was in home room and was ecstatic that it was the day, and had quickly begun checking my phone for the Oscar's nominations this year. And yeah....I was shocked, to say the least. Not just for the obvious reasons, but because the Academy's choices and placements just didn't seem to make sense. My enthusiastic high plummeted today, and it seems that everyone's scratching their heads a bit today.

I haven't seen many nominees yet so for some I can't give any real personal insight on what I think:

Best Picture: Have seen only half of the nominees and out of them the only nomination that shouldn't be there is True Grit (which I just saw recently), and I'll explain in a little bit. Toy Story 3, The Social Network, and Black Swan are deserving, solid nominees, but for the time being The Fighter is my pick. A rare piece of triumphant cinema that's nearly perfect in every way. But I'll do a write up on it soon.

Best Actor: It's cool too see host James Franco scored a nomination, and many were apprehensive about whether it would happen. I haven't seen Colin Firth, but I'm hearing mixed views about his film (which got tons of noms) and his performance -- either it's brilliance or mannered actorly pretension; I'll have to see. Eisenberg is very good but I need a look back, but then there's Jeff Bridges. Maybe he scored the nom based off his film's success or his recent victory last year, because this performance is nothing short of terrible, really. His interpretation of Cogburn is banal and boring, and his vocal choices are so off pitched and annoying that he's consistently inaudible. Even more sad to see that the Academy will did a grave injustice by pushing Mark Wahlberg's severely underrated performance outta the ring in favor for Bridges' stupid shenanigans. But seriously -- why is their no love or endorsement for Wahlberg's work? And how can the Academy toss noms to the film everywhere else but neglect the central player? He is the rock solid anchor of The Fighter, and the film (as well as the other great performances) wouldn't have worked without him in center ring ready to score a k.o.

Best Actress: I hear tell that the category is unusually strong this year with Portman-Bening at each others necks. Have only seen Portman and she is stunning, but not all that fufilling or resonant in the super baity role -- then again I need to go back and see if she holds up. At this point I really need to see Bening, and she will have no competition from Moore (who's snub isn't so shocking).

Best Supporting Actress: Okay, this is it. So first we have the three highly expected nominees (Adams, Leo, and Carter) and Jacki Weaver snuck in and surprised many, and then there was Mil- oh wait, she wasn't on the list...really?! Yes, the Academy gave a big-time snub to Ms. Mila Kunis that was out of nowhere. And it's not as if she didn't have any buzz; the woman has received nominations from GG, SAG, and other critics groups, and yet Oscar shoves her out? How many times has this happened, exactly? Maybe the Academy latched onto the hate wave that has washed over many of the online film community (which is ridiculous), or maybe it was the misplacement of another nominee; young Hailee Steinfeld. First let me say that I loved Steinfeld's performance -- it was a sharp blast of clarity in a movie that was ever so muddy -- but it's simply a lead performance/role. She suffers from Tatum O'Neal-itis; being too young for the big girls, despite being in nearly every scene/frame. I get why she was campaigned for and placed here, but at the cost of a legit supporting performance like Kunis' is just unfair and pure fraud. Still, she is a deserving nominee (acting wise) and is a welcome, deserving entry (for the lead category). But here's to Mila for providing one of the most exciting, nuanced, and freshest performances of 2010....Sage and I are together on this!

Best Supporting Actor: The most shocking thing here is the absence of Andrew Garfield (heavily endorsed by Sage), who seemed like a lock for a nomination. The film is bound to be the Best Picture, so Garfield's snub seems odd. But then comes Ruffalo (a great, reliable actor) with a nom many weren't too sure about. While I didn't "love" Bale's work, it's very memorable and he does interesting things with the character even when his character isn't the most interesting.

I'll continue in other categories soon, and with my own Fantasy Ballots.

But do you agree/disagree with me?

Oscar Predix

2011-01-24T19:09:00.000-08:00

Some last minute words before tomorrow morning:

- I'm hoping for a nomination for Mark Wahlberg, and if he gets snubbed I'm gonna be pissed.
- I think toy story 3 will make the top ten
- If for some reason Mila isn't there I will be shocked.

Those Golden Globes

2011-01-16T14:58:00.000-08:00

Tonight's the first night of the three big award shows of the year, and although it's a bit more loosy-goosy than the higher honor of Oscar, it's still a fun event. This year we have some strict front-runners (as always) and some open races in the more important, i.e. "serious" categories that will keep us in suspense until the name is read. Among past surprises were my favorite Chloe Sevigny scoring a surprise win last year for her work on Big Love -- and I couldn't really care less about the TV categories. But it's shockers like that which jazz up everything, and make it all the more engaging; in contrast to the usual predicted winner/ "favorite" (especially when they are not deserving of the prize).

But here's my brief take on what will possibly go down tonight....

Best Picture: Drama
Black Swan/The Fighter/Inception/The King's Speech/The Social Network
Though I have only seen two of the five, this seems like a pretty strong year for this category, and the three other look exciting and very promising. But for the winner, I say the choice is between The Fighter and The Social Network -- both have been loved by critics and the public and seem to be holding up very well with different demographics. Black Swan, while ADORED critically, seems to have approached a mini backlash (as far as I can tell) and it's not a film that will appeal to everyone, but a win is absolutely not impossible.

My Pick: The Fighter

Best Actress: Drama
Halle Berry in Frankie and Alice/Nicole Kidman in Rabbit Hole/Jennifer Lawrence in Winter's Bone /Natalie Portman in Black Swan/Michelle Williams in Blue Valentine
--
Really, the only talk of anything in this category comes from Natalie Portman who is most definitely a solid lock, and I can't think of any other recent time when I read or heard of anyone else even in the category. It's all sewn up, baby.

My Pick: Have only seen Portman, and I wasn't disappointed, though a second viewing is needed.

Best Actor: Drama
Jesse Eisenberg in The Social Network/Colin Firth in The Kings Speech/James Franco in 127 Hours/Ryan Gosling in Blue Valentine/Mark Wahlberg in The Fighter

There was tons of buzz surrounding Eisenburg a little while ago, but now it seems that Colin Firth is on everyone's tongue for his role in a film the awards shows gobble up; again i.e. very serious and straight-laced. Though I have heard of strong support of Franco who is runner up for sure. But where's the buzz about Wahlberg? He was skipped over at SAG, and everyone seems to be pushing this excellent (and very subtle) performance aside. An upset from him would be thrilling to see.

My Pick: Mark Wahlberg

Best Picture: Comedy or Musical
Alice in Wonderland/Burlesque/The Kids are All Right/Red/The Tourist
--
First, I hated Alice in Wonderland and it's accolades and box office receipts astound me months later, but I it's not going to win thankfully. Burlesque is trashy camp with Cher, so it's not going to win. It seems that the only logical pick is The Kids Are All Right, which is the only nominee that will find its way onto Oscar's ballot. I haven't seen it yet (DAMMIT!), but I hear its fantastic and it will totally walk away with the Globe.

My Pick: Most likely those Kids will be alright, I'm sure.

Best Actress: Comedy or Musical
Annette Bening in The Kids Are All Right/Anne Hathaway in Love and Other Drugs/Angelina Jolie in The Tourist/Julianne Moore in The Kids Are All Right/Emma Stone in Easy A
--
Another lock comes in the form of Annette Bening's lauded work as well as her overdue ticket leading up to the Big One on Oscar night, does in fact place her in squarely in front without much competition. Have only just recently seen Stone in her star-making performance, and she is simply luminous, hilarious, and charismatic and deserves to be called a "star"; in another year she might've swiped it. Also, when's Julianne going to be the front-runner?!

My Pick: Haven't seen Bening, so Stone makes for a delightful comic treat in a role tailor made for her.

Best Actor: Comedy or Musical
Johnny Depp in Alice in Wonderland/Johnny Depp in The Tourist/Paul Giamatti in Barney's Version/Jake Gyllenhaal in Love and Other Drugs/Kevin Spacey in Casino Jack

Well, well Mr. Depp gets two nominations in the same category, and where one of the biggest surprise remains relatively open. But so what? This lightweight category with its lightweight nominees won't really matter much come Oscar time, but I would say that the win will probably go to Johnny Depp for Alice. Great actor in general, but the movie's blandness just doesn't support him and well, and even his performance can't elevate the material. But he'll probably win because a) he's Johnny Depp b)The movie was a hit (WTF) and c) he's Johnny Depp.

My Pick: No one at this point

Best Supporting Actress
Amy Adams in The Fighter/Helena Bonham Carter in The King's Speech/Mila Kunis in Black Swan/Melissa Leo in The Fighter/Jacki Weaver in Animal Kingdom

Always the favorite for me, this year looks quite strong for the supporting ladies with a nice range of roles and overall acting technique. I can only speak for The Fighter girls and of course Ms. Kunis in terms of actual performances which are all more than worthy, but for the win I see it as a tug between Leo and Adams. Leo has been recently deemed the "better" of the two with her work winning prizes and love all over the online film community, but Amy seems to be getting the same amount of positive critical attention and love...and she's been award-less after two previous losses. I somehow see Leo winning it just slightly over Amy for some reason but the two co-stars are near equals for votes. Mila, I'm sad to say probably has a much lesser chance of winning but it's a great nomination to be proud of.

My Pick: Stuck between the trifecta of Adams, Leo, and Kunis -- all of whom deliver fresh, layered characterizations that represents some of the best acting of the year.

Best Supporting Actor
Christian Bale in The Fighter/Michael Douglas in Wall Street 2/Andrew Garfield in The Social Network/Jeremy Renner in The Town/Geoffrey Rush in The King's Speech

Douglas and Rush are out, leaving Bale, Garfield, and Renner against each other. I say that Garfield's nom will stay how it is, with Bale triumphing over Renner for a performance critics loved that required much physical and emotional preparation. One of The Fighter's sure wins for tonight, I believe.

My Pick: Bale, who grounds and expands a character with sympathy who is designed as a despicably trashy.

Best Director
Darren Aronofsky for Black Swan/David Fincher for The Social Network/Tom Hooper for The King's Speech/Christopher Nolan for Inception/David O. Russell for The Fighter

Considering S. Network's lead in Picture, I could see Fincher taking it, and he probably will. Aronofsky could be awarded, but there's been talk of how much his direction helps or derails his film, so he's wobbly here.

My Pick: David O. Russell, for keeping the pace tight, fresh, and lively and for giving his action and actors space and dimension as well as texture that his audience gets absorbed in.

Thoughts??

Another Forgotten Gem of 2010

2011-01-10T19:05:00.000-08:00

After praising her critically acclaimed work in Black Swan, I had realized I completely forgot to mention Mila Kunis' other memorable screen work in the outrageously hilarious comedy Date Night.

Her character, Whippit, is a real one-scene wonder that comes along when Phil (Carrell) and Claire (Fey) track down her and her boyfriend Thomas "Taste" Felton, who are the real "Tripplehorn" couple in the tangled, messy, underground operation.

And Mila is nothing short of downright hilarious in this brief, thin role as the trashy, horny, and wise-cracking -- delivering her lines with crackling timing, sharp sarcasm, and scummy wit. Some great ones are; "Wow, Taste, your just a goddamn criminal mastermind aren't ya?!/ Yeah, he said 'zip your face'!/What are you, the reservation police or something?!"...and my favorite -- "What kind of people are you!?"

Whippit and Taste are two of those rare minor characters that you would just love to see in a spin-off movie just based around their two wacky personalities and predicaments But Kunis and Franco are comic dynamite in this single scene and both actually convey a funny yet sad backstory that surprisingly layers their rather sketchy, shallow roles which makes everything all the more satisfying.

Just don't forget the right nipple clamps.

Blogathon: Performance Review -- Chloe Moretz in Let Me In (2010)

2011-01-08T23:25:00.000-08:00

In the little time I had to squeeze out my analysis of Mila Kunis in Black Swan, I didn't have enough to fully gather and develop everything I wanted to say about another first-class though forgotten Supporting Actress performance of 2010...

...Chloe Moretz in Let Me In (2010)

Chloe Moretz plays Abby, a young girl who moves with her "father" into an apartment building that also occupies a mother and her son Owen, a boy who's lost, lonely, and confused in a scary world around him. Owen, who spends much of his time alone, seems to notice Abby more and more as the two exchange looks from afar but haven't yet communicated past that. Though he wonders about who she is and what she's come her for, especially when he begins to hear odd voices and noises from the apartment. The two make their first real encounter outside on the jungle gym where a barefooted Abby makes her way over to Owen in the snow as he works on his Rubrick's cube. Abby stays quiet and the two make a somewhat awkward and childlike introduction and even before jumping into small talk Abby states that she and Owen cannot be friends. This leaves Owen feeling low and confused, though on a second meeting the still shy and reserved Abby opens up to actually have a conversation with Owen and an innocent friendship between the two children begins. The two talk of the usual child-like topics of school, grown-ups and the world around them, but in these unusually mature and smart kids something different arises in their meetings together, and for Abby its something of a treat as she finds someone who she seems to understand and who understands her even when they don't really know her all that well.

Moretz plays the blooming relationship and the discovery of friendship and loyalty with a quiet joyousness and glee, and the happiness she finds in Owen is palpable on every shot she's in. But nevertheless, no matter how much Abby has opened up as a friend to the lonely Owen, she still hides behind a slight mask of darkness and uncertainty even when she truly wishes not to. She wants and needs a companion as she is just as lonely and lost in a harsh world, especially when she harbors her deepest, darkest secret that she is in fact a 300 year old vampire in this child's body who still thirsts on human blood to live. It's something that she has been forced to live with for far too long, but its something that which she simply cannot escape. Each beat in the growing bond between the two outsiders is anchored and nuanced by Moretz, who's Abby not just finds a friend but a deep soulmate with whom she can utilize her especial qualities to help support. It's a role that requires a kid actress of something other than cutesy tricks and adorable sentiment -- and Moretz's performance is possessed of neither of them. Instead, she generates complexities that go past the script page and pierces the heart in astute actorly intention, rare for a young actor. She's at once heartbreaking vulnerable and solidly courageous, as Moretz conveys a whole lifetime of confusion, loneliness, and desperation within Abby. She doesn't just show flashes of vast, palpable emotional depth, but textures that depth throughout her characterization completely to portray a very tragic, yet thoroughly human monster.

Going into Let Me In, I never would have expected to be so engaged by the compelling narrative structure and deep emotional resonance that I got from it, and it's nearly all because of Chloe Moretz's superb performance. Not only is this gem some of the best work from a child actress in years, it's some of the best acting I have ever seen in general from an actor of any age. It's so sad though the critics and awards groups didn't agree as well, because this performance is a more than worthy winner, and perhaps maybe even my winner for Best Supporting Actress of 2010.

Check out the rest of StinkyLulu's Blogathon right here!!

Blogathon: Performance Review -- Mila Kunis in Black Swan (2010)

2011-01-08T20:22:00.000-08:00

For Stinky's annual Blogathon, I give you one of 2010's most stunning, enigmatic, and eye-poppingly exquisite Supporting Actress turns -- one of the top breakout performances of the year provided by...

...Mila Kunis in Black Swan (2010)

Mila Kunis plays Lily, the mysterious new girl from San Francisco who transfers to a NYC ballet company just in time for the companies big production of Swan Lake, starring the film's protagonist Nina Sayers (Natalie Portman) who's been cast in the dual role of both sides of the Swan Queen in which preparation for her performance has turned into something beyond a mere daunting task; as it is beginning to lead her into a spinning vortex of psychological and emotional doom and dark devastation.

Kunis' Lily enters the film as a seemingly well tuned exterior of grace, beauty, charm, and dedication to her art, to her life, and to the world around her. With her charismatic and easy going disposition she quietly and effectively skirts and glides over her surroundings -- always being active in the moment yet keeping a palpable detachment from those when she needs to be.

We don't know hardly anything about Lily, but her entrancing, mysterious interior converges with Nina's desperate and crumbling exterior, and seeing something different in her, Lily offers a generous and warm helping hand in Nina's time of need. Showing a friendly interest in Nina, Lily assures her fellow dancer that everything will go fine and that her performance will be "amazing", though in Kunis' enigmatic playing

things may or may not be as they seem, as each word and glance seems to spin on a sharp edge.

As Nina's self-psychological ware fare continues to rapidly progress, her point of logic and reasoning becomes fuzzy, to say the least, and she begins to become weary of Lily's intentions even when Lily continues to almost sugar-coat their erratic relationship with a genuine camaraderie. Such as when Lily blatantly assumes that Nina is "hot for teacher", then spills to the teacher about her bout of crying to have him ease up on her. It's in these early foundation scenes for the character that Kunis is able to subtly detail and illuminate her characterization of Lily, as opposed to playing the part on a flat, cliched, super bitch note. Whether it be from a glance or a small movement, Kunis ably conveys a certain unforeseen depth below the sweet surface before she peels it all away.

The general concept of the Lily character is that she is almost written and designed as such a mystery woman that there is a hollow emptiness to the role that requires filling from the actress. With Kunis in the role, she's at every moment revealing something new about Lily while restraining just enough so that we want more. Such as when Lily innocently takes Nina out for drinks, but then goes on to reveal a wild, sexually adventurous and unrestrained side of herself ("you just gotta' let him lick your pussy") that she feels will help Nina loosen up. But is this reality? Is Nina's POV (our POV) playing tricks, or is Kunis' Lily a real world embodiment of both sides of Nina's Swan Queen? So much complexity surrounds both the character and her placement in the film, yet Kunis' portrayal is remarkable for it's simplicity and clarity.

Such complexities arise, when at the club, the relationship between the two women begin to heighten/tighten and Lily gives Nina a little piece of advice in saying (that happens to be becoming her Internet catchphrase): "you really need to relax..." before offering her a loosener that will help both to enjoy a crazy free-for-all night together. This all of course leads up to the climax (pun intended) of the evening when the two head back to Nina's room and share an intense, passionate, and sexy scene where Lily guides Nina to her sexual awakening.

While it may seem that her role is just a plot device or a mere foil to Portman's Nina, that may be so, but Kunis' performance elevates the role and is absolutely essential to the effectiveness of Black Swan's narrative. In terms of acting choices and characterization, Kunis provides the character dark, textured, and humanized shades of feral, morality, deception and desire -- giving the film it's compass to channel it's themes through. And to her credit she plays Lily in a completely naturalistic and subtle tone that a) remains a refreshing and stark contrast to the mannered, calculated theatrics of Portman, Hershey, and Ryder and b) anchors and grounds a film that would have spun around and collapsed under its own silly, pretentious weight. Also, what's so appealing and engaging about the role and the performance is that both the script and the actress don't confine the character within limited dimensions (like the other actors are), but instead Kunis' Lily might be the single character in the film to have a life outside the often cloying narrative which is just thrilling to witness and comprehend.

It's very subtle and very detailed work that I found to be easily be the best thing about this film (and yes, I did see Natalie Portman in the movie) and it's the kind of true supportive supporting performance that I just love. I also love that Mila Kunis was able to generate so much buzz and attention when Portman and the film itself seemed to overshadow her early on. But with the Globe and SAG nominations as well as some critics noms and a win, I can safely and happily say that she most likely be included in Oscar's final five Supporting Actress performances of the year. And for those of you questioning both the performance and nominations it is receiving, I offer this analysis as some reason to look back and take a fresh look with new eyes to one of the most astonishing performances of 2010.

Oscar's Gettin' Closer!

2011-01-03T16:55:00.000-08:00

I've been able to get out recently and see some hot, Oscar/awards buzzed movies that are sizzling up as the Globes and SAG get closer, as well as, of course, Oscar's picks for the year. I'm focusing (as usual) on the upcoming Supporting Actress slots, and so far my personal nominees read as...

* Mila Kunis as Lily in Black Swan

* Amy Adams as Chah-lene Fleming in The Fighter

* Melissa Leo as Alice Ward in The Fighter

* Chloe Moretz as Abby in Let Me In

...this all leaves one open spot for another nominee who I can't wait to discover and add to the list. But, who are your nominees?

Also, make sure to check out StinkyLulu's return and his hosting of the annual Blogathon on Sunday, where I will be "endorsing" two performances for everyone to see!

Open(ish) Thread

2010-12-26T17:51:00.000-08:00

First up....

Forrest Gump or Pulp Fiction

Let's have a fair debate over these two popular Oscar-winners and discuss our similar and opposing views. Thought it would interesting just to see where things could lead to! Please just openly jump in and contribute anything you have to say whether it be positive or negative so we can seriously talk about things. Also, if you have anymore ideas for "this or that" please let me know.

MERRY CHRISTMAS!!!

2010-12-25T11:12:00.000-08:00

Hoping you all have a very merry Christmas today!

Performance Profile: Madeline Kahn in Blazing Saddles (1974)

2010-12-18T19:23:00.000-08:00

I'm beginning a bit early here than I expected, but I begin now with the interesting, intriguing and almost seminal work of...

...Madeline Kahn in Blazing Saddles (1974)

Madeline Kahn plays Lily von Shtupp, the seductive, floozy blonde dancer/entertainer in Mel Brooks' parody of the rootin' tootin' old west in America.

Kahn's Lily walks into the film nearly half-way, and is introduced to act as a briefly central feminine standpoint when she is asked to snare the town's (black) sheriff into a trap of lusty passion and to generally play a caricatured ditz.

Her introduction also includes her musical number, "I'm Tired" which she performs in a saloon to many horny cowboys-- a hilarious bit where she tells of the whole game, and does a little interacting with an audience member ("Is that a ten gallon hat or are you just enjoying the show?"). The scene displays Kahn's impressive comic physicality and dexterity for words/dialogue, especially when speaking in her catchy German accent.

After her show-stopping number, the film lazily uses Kahn's Lily as a shallow plot device when having her seduce the sheriff and then to keep him in her adoring trap of erotic love.

Now there's something unusual happening here; Kahn's performance -- which is widely considered among cinephiles as both equally memorable and hilarious -- just seems to bubble for a bit then fizz down flat. It's much more the film's fault than the actress', but the character and the performance simply end up becoming banal and stale pretty quickly. My enthusiasm upon seeing Kahn's work fell flat when the movie hardly uses a character with potential but doesn't even seize the time that we have to watch her do her thing. Kahn's tries her damn hardest to inject some comic energy and zest, but she's handed a caricature, not a character.

Madeline Kahn's real memorable turn came a year earlier with her shaded, nuanced, and humane work in Paper Moon that actually seems to be less admired than her forgettable cartoon of Lily von Shtupp. The actress is a trouper, but when she's stuck in a dead end from the get-go, she's doomed.

The Next Profiling Year Will Be....

2010-12-16T09:22:00.000-08:00

The nominees are...

* Madeline Kahn in Blazing Saddles

* Talia Shire in The Godfather, Part 2

* Ingrid Bergman in Murder on the Orient Express

* Valentina Cortese in Day for Night

* Diane Ladd in Alice Dosen't Live Here Anymore

Any early guesses/predictions?

Hey Guys

2010-12-15T16:01:00.000-08:00

Hey 'yall, sorry its been kind of dead here for a little while, with not even the all of the Christmas Quotables being posted. It's been pretty hectic for me recently; college stuff, school, family stuff, and getting everything from shopping to all things festive things done in time for Christmas.

I really want to get some more holiday things done on here (and soon!), but I want to let you guys know that I have I am doing a new Supporting Actress Profile year -- which should be coming a little bit after the holidays.

I have decided to put off 1995 for now but come back to it later. So can you guess the year? It's one that's not very popular (though it's interesting), and features a winner that is infamously known as one of the worst ever...

Christmas Quotables: Days 11 & 12

2010-12-12T18:01:00.000-08:00

"Stewie, go to sleep!"

"This doesn't involve you, Lois!"

"I don't want to have to come in there."

"I don't want to have to come in there!"

from A Very Special Family Guy Freakin' Christmas (2001)

Christmas Quotables: Day 10

2010-12-11T16:36:00.000-08:00

"At least I'm tryin' to help you, you ain't never helped nobody."

~~~

"Yeah, well I'd like to help you get the hell out of here!"

from Huh-Huh Humbug (Beavis and Butt-Head)

Performance Review: Lauren Bacall in The Mirror Has Two Faces (1996)

2010-12-11T16:23:00.000-08:00

Among the most famous Oscar "upsets" of the past twenty years some have caught more of a sense of some kind of "infamy" I guess you could say. While Oscar has certainly has a solid track record for picking the sweet bird of youth (which has extended for some time now), it seemed absolutely no one expected so big of a shock on Oscar night in 1997. It's an odd case of the actual winner not receiving the backlash, but the favored losing nominee actually getting the "Haha" when she did not win. Whether or not that's fair game, the world was stunned that Oscar didn't choose the heavily predicted nomination of...

...Lauren Bacall in The Mirror Has Two Faces (1996)

Lauren Bacall plays Hannah Morgan, the old wisecracking Jewish mama of Rose (Babs, basically playing out her vain life story) with whom she lives with in a cozy, well furnished New York apartment.

Hannah's life has been still and vacant for some time now, after the death of a husband and the prospect of raising two daughters who each share a different place with their narcissistic, over-bearing mother.

Because Hannah was a once gorgeous beauty in her youth, she feels as if she's beginning to fade away from the spotlight -- a spotlight she tries her hardest to reclaim, like attempting to upstage her daughter at her own wedding by appearing in bright purple glitter gown. Though she may be "stuck" living with her, Rose's many neuroses seem to be no match for Hannah's self-absorbed, pain in the ass, wicked, antagonizing ego, as this Monster Mother's job has been reduced to criticizing Rose and having a ball playing Devil's Advocate.

As Rose begins to experience life and love in a whole new way, Hannah (as usual) attacks such notions with daggers and doesn't trust that this could be any good for her ugly duckling daughter.

This includes interrogating Rose's new lover and being shocked to discover that his non-lusty intentions are not at all what she expected and that the guy just might be suited for her daughter -- though never actually letting such thoughts exposed at the expense of her nail tough persona.

Bacall is used mainly as device within the narrative to pop in every now and then as a breath of air. Her wit, comedic timing, and charisma are deployed by Bacall herself and by Streisand to have Hannah stand as a kind of moral compass for the film, while also serving as some pretty funny comic relief to spice everything up. Now, although these elements might combine to craft a pretty solid performance the actress, the outcome is sadly more rickety than anything.

With Babs at the helm of the movie, Bacall's performance seems to crumble at the lack of her bland, directorial talent. Instead of allowing the actress to play a character who breathes in some sort of independent reality, Streisand only sees the opportunity to use Bacall's signature hard-edged charisma and personality. It's too bad that, in playing Hannah, Bacall channels her charisma over her characterization (flattening it) instead of through it.

But I do fault Bacall again for staying on her one single note of stiff deviance, instead of developing the character to discover some kind of depth or emotional integrity beyond her thin, ballsy persona. She almost totally neglects the human behind the mask and her would-be complex interiority; by doing so Bacall simply doesn't isn't capable of conveying Hannah's desperation of being abandoned and left in the dark forever.

Though despite all of that there is one moment which changes my view on Bacall's Hannah, and gives us a hint of something deeper beneath the surface. When a down-on-her-luck Rose goes to her mother looking for some answers to her messy situation, she asks, "How did it feel being beautiful?". Hannah takes a moment to take it all in, until she let's down her guard and quietly responds, "It was wonderful". It's a tender scene where Bacall lets us see a resonant glimmer of the human soul under the broad, showy persona, and makes her nomination a worthy one.

Her other scene in he kitchen where she talks with Rose about the past and the present further surprisingly supports the nomination, as Bacall again successfully expels the humanity of the character in service to the story.

But then for her brief closing scenes, where Hannah has to grow as a character, Bacall (as well as the movie) oddly jump back to the persona facet and never gives her characterization a rounded, contoured arc. The loose ends dangle for the character and it's frustrating for her to just hang on the edge with no sense of closure. Although the performance, I think, is worthy of the nomination, it's somewhat shockingly inconsistent; with Bacall oscillating between persona and person with little fluidity or reasoning. It's a nice, pleasant career capper for one of Hollywood's most beloved icons.

Christmas Quotables: Day 9

2010-12-09T20:01:00.000-08:00

"Yeah, me too, I wanna go home and see my family."

"You don't have a family, bumhug!"

"Uhhh, oh yeah."

from The Beavis and Butt-Head X-Mas Special

CineBites: American Graffiti (1973)

2010-12-09T18:06:00.000-08:00

"★ ★ ★ ★ ★"

Just a little while before Star Wars swept into into everyone's imagination and became a massive pop culture phenomenon, director George Lucas had an idea of capturing a "moment" in America that centered on the lives of youths as they prepared for the next chapter in their young lives. His idea of this snapshot of nostalgia would take us back into a past-time where we could observe an ensemble of characters interact and live out their last bits of innocence before entering the zone of complex, adulthood.

We have one single night -- packed to the brim with cars, rock 'n roll, booze, and babes -- basically an adolescents dream come true. At the center of the film, Steve (Ron Howard) and Curt (Richard Dreyfuss) are graduated high school seniors who have their sights set on college and a life outside of this 'ol town where nothing new ever seems happen. The two best friends, though, have their own personal issues to sort out before they move further into deeper territory; Steve is having trouble letting go of his girlfriend Laurie (Cindy Williams) as they are being geographically ripped apart. He suggests that "seeing other people" will help them grow as a couple, while she remains hesitant about such an idea. At the same time Curt is having serious reservations about leaving and going off to a whole new world, and leaving everything innocent behind. Filling up the remainder of the film are other youths including the stereotypical geek, the ditz, and the rebel -- each bearing there own individual threads within American Graffiti's multi-thread ensemble narrative. All having their own story which ties in with the main themes.

The film is one of the first that constructed the "teen" and "coming-of-age" genre that's still very actively popular even today; the kind of film that usually explores and observes the "realism" of what there characters are experiencing and how the how's and why's of it all. Going into American Graffiti, I held my optimism close and had high expectations, mostly based off of the film's popularity, rave reviews, and it's status as one of the greatest and most respected films of all time. My reaction; well, let's just say that all of the expectations had been dropped with a thud long before the finale. Instead of viewing the masterpiece everyone else had obviously seen (and enjoyed), I saw a misguided, disappointing, and almost nearly artificial mess in nearly every respect.

My problems with the movie come in spades, but are mostly linked back to Mr. George Lucas and for a couple of big reasons. A director largely known for his technical achievements, Lucas never truly had a way with humans -- as in actors/characters within his films. His lack of skill for writing and sketching characters (not epic battle sequences) and the dialogue they speak is on full display here, and it very nearly murders this movie. In a movie that is almost character-driven, the main goal is to give the people some sort of engaging or layered characterization for a sturdy foundation (on the page) from them to build from, but here (as usual) Lucas seems more interested his work with the camera and not what's happening in front of it. It's something that diminished his three prequel films in the Star Wars series, and a reason why the "force" left him years ago.

It's not so much a show of incompetence by any real means, but rather a seriously shaky handle on material which had some real potential from the get-go. This misfiring finds its way into the direction of the central narrative which plays it too safe, too low-key, and too boring. I personally love films that confine it's narrative to a single night/day, where everything seems more gripping and engaging, but Lucas' direction and script feel incredibly dull and flat-footed that there's little excitement or freshness resonating from it. Whether the characters are at a dance, riding in their cars, getting into fights, or being a bit naughty, I never felt any true genuine depth or reasoning for these events to happen. They just happen. And they go along to a pace that drags and misses any air of wit, briskness, and verve to keep things bouncing steadily. The narrative's first half has something akin to all of which it lacks (in flashes mind you), but when the second half trudges around it takes a nasty nose-dive into pure stupidity. Instead of rescuing the plot and the characters to give them a feel of some kind of revelation or depth, everything becomes all the more muddy and doesn't even have an arc. Not or the individual characters, nor for the narrative, and everything just stops with little insight on how or why. When the characters should have been experiencing something profound/life-changing or some sort of an emotional journey (which would have provided them with a character arc), they never grow or change a bit.

Yet, I do put half the blame on the actors in their respective roles, as it is also there job to create believable and plausible characterizations even when the script they have to work with lets them down. The biggest "let down" in the acting department is all thanks to Ron(nny) Howard's horrible performance as Steve. There's a reason why Howard left the screen to pursue a spotty directing career behind the camera, and this performance is valid evidence for anyone who's left wondering. His portrayal of Steve is disjointed, bland, and emotionally vacuous in scene after scene. He literally walks through the movie along with Richard Dreyfuss, and Cindy Williams giving a strained and tiring performance as Laurie. Dreyfuss fairs the best out of that lead-trio, but he seems just as lost in the (not-so-complex) role as the others do. I must now unfortunately acknowledge the film's sole Oscar-nominated performance given by Candy Clark -- as Debbie, the blonde ditz with a head full of bubbles, Clark is given a simple character -- but her performance actually degrades the simplicity into the ground. When she should be sexy, hilarious, fun, and bursting with energy, Clark is as uninspired as her surroundings. I was hoping (because of the nomination) that Clark might elevate the role beyond stock cliches; to build some kind of emotional architecture into the character to convey her desperation and her growth out of it over the course of the night -- well, none of that happened. She could have gave depth and dimension to the thin role, but I didn't spot any true humanity or shading in her work. Click here for my full review of her performance.

But -- the one element that truly transcends American Graffiti is the unexpected performance given by Mackenzie Philips. As the precocious Carol, Philips spins gold from coal the minute she jumps into John Milner's hot ride and joins him for a night of fun on the town. Her every moment on screen feels fresh and unpredictable, and she infuses the role uncommon with gusto, poignancy, and humor that the rest of the film simply extended to. Her narrative thread is by far the most interesting and fun, and she actually crafts a simple yet enduring character arc of a person who feels lonely and neglected, to one who finds friendship and acceptance by someone she grows to truly appreciate and enjoy. Her characterization is both luminously sweet and humane, provides American Graffiti with its only nuanced, emotional depth and genuine character portrayal by far. Hard to believe Oscar overlooked her in favor of silly fluff.

It's truly disappointing that the film eventually swallows itself into nothing (its status as a "classic" continues to baffle me) and it remains peculiar that George Lucas was able to pull off magic with Star Wars when considering his obvious limitations as a director on display. Though the seams here are exposed without any real care tended to them, and its sad to say that American Graffiti could have been a deserving classic, but its inconsistency and fatal flaws keep it from becoming one of the greats.

Christmas Quotables: Day 8

2010-12-08T18:51:00.000-08:00

"I look hot!"

from Deck The Halls (2006)

Christmas Quotables: Day 7

2010-12-07T14:22:00.000-08:00

"Make sure you shut the curtains!"

~~~

"Whattya' doin'?"

from Christmas With The Kranks (2004)

Christmas Quotables: Day 6

2010-12-07T10:44:00.000-08:00

"Ahh! Looks like we got a little visitor!

Don't put the little guy away on my account!"

from Deck The Halls (2006)

Christmas Quotables: Day 5

2010-12-05T09:24:00.001-08:00

"Put that cookie down, NOW!"

from Jingle All The Way (1996)

Christmas Quotables: Day 4

2010-12-04T14:19:00.000-08:00

"Would you like a Christmas cookie?

You're my cookie and I could gobble you up!"

from Black Christmas (2006)

Surprises Coming Up....

2010-12-04T10:46:00.000-08:00

I gotta upcoming surprise for Malcolm that I hope he likes. It's taking a bit longer than usual because Blogger's acting up again and pissing me off.

Does anyone know how to upload pictures without it saying "server rejected"?

Oscar Season Stuff

2010-12-03T21:17:00.001-08:00

Though I really need to catch up on recent Oscar upcomings, I have two performances I would like to fully endorse, that sadly the Academy will probably overlook when it comes nomination time, which is a shame.

First for Best Actor; the perfectly-pitched comic madness of...

...Russell Brand in Get Him To The Greek

Brand is one helluva inspired comedian, but he is also seems to have a genuine talent for real acting as well, as his Aldous Snow is a comedic tour-de-force which transcends the usual funny performances in other comedies these days to become something larger and more important. He actually subtly crafts a truly remarkably character (even more than what's written) who's growth and change are conveyed in both hilarious and poignant ways. Aldous' character arc is brought to life by the humanity Brand infuses into this wacky role, which makes his performance all the more emotionally satisfying.

And for Best Supporting Actress; the shocking, genuine work of....

...Chloë Moretz in Let Me In

I'm hoping that she could become a new Abigail Breslin, and this performance is valid proof that she very well could. I was going to see this movie thinking it was just some other horror film (my friend doesn't like to see any other kind....sigh) in a lame-ass assembly line...but I was so wrong. Let Me In is so much more a human drama than a straight up horror film and I was surprised to be completely won over, and especially by young Moretz. She plays a 300 year old vampire still living in a child's body, and feels so out of place in a world where she must kill to survive. It's when she meets Owen, a boy her age, that things begin to change and a innocent emotional bond is made between these two outsiders. Moretz generates real complexities that go deeper than the role requires; conveying a whole lifetime of confusion, loneliness, and desperation that pierced my heart. She isn't so much playing a "kid" and this is by no means a "kid performance", but rather it's completely mature, richly shaded, and deeply moving work of a very humanized monster.

I haven't heard much buzz for either performance, especially Brand, and they seem like types that the Golden Globes would pick up, but Oscar would pass over. It's really sad too, because these are worthy of winning the award -- not just being nominated.

Why do you think?

Christmas Quotables: Day 3

2010-12-02T17:49:00.000-08:00

"Buzz, your girlfriend, WOOF!"

~~~

From Home Alone (1990)

Christmas Quotables: Day 2

2010-12-02T02:16:00.000-08:00

"I heard a woman screaming, 'yeah, oh yeah!'. And then I heard his voice say, 'that's right you ain't going to....s-h-i-t right for, a month."

~~~

"Well sure, Santa fuckin' someone in the ass."

- John Ritter and Bernie Mac from Bad Santa (2003)

Christmas Quotables: Day 1

2010-12-01T13:18:00.000-08:00

"And why is the carpet all wet, Todd?!"

"I don't know, Margo!"

from Christmas Vacation (1989)

Click here to see the scene.

Hilarious Video!

2010-11-30T12:49:00.000-08:00

http://www.youtube.com/watch?v=osYZPx2A8v4&feature=related

Judy and Liza at their best. I think Joe'll like this!

Sorry I can't get the video/picture up...blogger's havin' problems.

Performance Review: Michael Jackson in The Wiz (1978)

2010-11-25T23:44:00.000-08:00

As I move on to another, no quite so random Performance Review, I take a peculiar look at a performer not well associated with the medium of film. He's a somewhat recently deceased legend who has been one of largest icons of American music and overall culture with a near universal fan base. His contributions to pop culture and music were enormous, yet within the last twenty years he had been the butt of every perverted joke and had pretty much become a joke himself. But there was a different time once. A time when he made his only solid film appearance and was seen as a accomplished mature performer with some seriously unique talent -- both can be found in the imaginative, captivating performance given by...

...Michael Jackson in The Wiz (1978)

----

Michael Jackson plays The Scarecrow, one of the first discoveries made by Dorothy (Diana Ross, sometimes surprisingly great in the role) once a blizzard sends her into the imaginary, bizarre world of Oz.

Dorothy finds Scarecrow in a big junk yard being harassed by a flock of creepy human-ish crows who surround the frightened man made out of garbage.

The crows tease and mock Scarecrow and ruin any shred of confidence he has left, as he wishes only to walk and experience an existence beyond being propped up on an old pole. And yet despite his dead-end situation, he quotes philosophers such as Socrates and Confucius (from his straw stuffing) looking for meaning and hope in his confusing, odd reality. He sings of his desperation in the catchy ballad, You Can't Win, before Dorothy offers him a helping hand.

She gives him a little confidence boost, suggesting that he can do anything he wants to with time and knowledge; but Scarecrow sadly admits that he doesn't have a brain. Dorothy asks for his company on her way to find The Wiz, as he can just maybe get Scarecrow the brain he always thought he never had.

So the two set off down the famous Yellow Brick Road, and get things pumpin' with the incredibly catchy Ease on Down the Road, singing and dancing all along the way. Jackson -- in his first and really only acting role -- seemed to be a interesting casting job. Only known for his hugely popular musical performances, Jackson was never really thought of as ever becoming an "actor", but rather a song and dance type of guy.

But this unusual, yet legendary role seems almost nearly tailor made for him. Jackson's once greatest gifts as a performer are used in full service to this childhood tale; superb musical talent, his unique child-like voice, his uncommonly vibrant charisma, and his limber physicality. When a big performer hits the screen, they usually have a bad habit of upstaging/or "scene-stealing" from both the other actors and the material -- none of this is ever even close to touching Jackson's performance. He is a prime example of the refreshing term known as a "scene-lifter"; when the actor prefers to elevate everything rather than take it all down with him. But still, Jackson actually acts in the film without coasting or wallowing in his charm, and the outcome is something simply extraordinary.

The novice actor puts so much feeling and texture into such a simple character that Scarecrow resonates in a surprising way. He even registers completely in scenes when the focus isn't totally on him; yet he still packs each close up or quick reaction shot in revelatory emotional states and character detail. Jackson's ever-consistent characterization works for his own arc as well as when actively interacting with the others around him. He's both always present "in the moment" and "in the character" and the heart, warmth, and dedication he pours into the role is visible in every frame.

Although nothing will ever best the original Wizard Of Oz, the Scarecrow character here is given more of a emotional journey as well as a intellectual one, and Jackson in every scene crafts his character's arc from this being who sees no hope to a new being who has experienced love and friendship as well as discovering his own gifted intelligence he had all along but just never saw it in himself.

It's all of this which make Scarecrow's last few moments so deeply touching, but there's still something else happening that extends beyond the actual film. The Wiz captures and showcases a time in Michael Jackson's own reality that is reflected in this soulful, emotionally textured performance -- a time that reflected the real Michael Jackson. The sweet, innocent and humble Jackson with the same radiant qualities infused into this character. Long before he became a controversial, creepy, living caricature of himself, who tried ever so hard to change who he was, because he missed or chose to ignore everything already had going for him; like the Scarecrow and his brain. The Wiz snapshots this truly genuine Michael at his most open and true, a time in his life that didn't last, but is forever frozen on celluloid. Something I don't think anyone could trade for. We are not just witnessing the Scarecrow's emotionally pungent transition, but the transitional loss of something beautiful and real.

Scarecrow recites one final line of true wisdom, not from a piece of paper, but from his heart:

"Success, fame, and fortune, they're all illusions.

All there is that is real is the friendship that two can share."

It's a beautiful statement, and one that couldn't have been more relevant to both the character and Jackson himself, as he lived a life filled with such illusions and emptiness until they overcame him to the point of no return. He had to rely on the tight bonds between he and others to keep going, and it only worked for so long. You can even hear such honesty in Jackson's voice -- as if he knows what's happening and just can't stop it.

Leave it to Michael Jackson and his actorly gifts to take an inanimate "object" and make him so poignantly human in nearly every way possible.

This is all why his performance isn't merely "special", but an extraordinary example of art, not simply imitating life, but beautifully reflecting it in cinematic form.

Performance Profile: Jennifer Grey in Ferris Bueller's Day Off (1986)

2010-11-24T13:42:00.000-08:00

Pop Culture was hit big in the 1980's. With music, people, politics, fashions, icons, and especially movies, things began to change for cinematic culture when John Hughes outdid himself again with a certain landmark film with a wide, resonating appeal. It's many pop catchphrases (which are just as popular today) and lead, central character is widely what it is known for today, but a big reason why the film not only works, but holds up, is because of the supporting players. This includes the under-appreciated and often overlooked comedic, elevating delights of....

...Jennifer Grey in Ferris Bueller's Day Off (1986)

approximately 10 minutes and 30 seconds

Jennifer Grey plays Jeanie Bueller, the selfish and jealous sister of the slick, charismatic Ferris Bueller (Matthew Broderick in his legendary cool performance).

When she hears news that Ferris is "sick" and staying home with his parents' full consent and understanding, Jeanie's hatred and disgust for her favored brother increases, and she becomes livid. More than she ever has before, and for her, it's the final straw.

While Ferris, his girl (the bland Mia Sara) and his best bud (the hilariously poignant Alan Ruck) are off trying to enjoy a care-free day without parents, troubles, or work, Jeanie is alone in her stance against her very popular brother. A rumor that he is on his death bed further pushes things, as he gets even more attention and everyone has they're undivided attention and sympathy on him; not Jeanie.

The role is scripted as a side-line scene stealer, the kind John Hughes so memorably features at the edges of almost all of his iconic films, especially during this golden era. She's the sulking, pouty teenager in a world where no one seems to understand her or her problem, the kind we all once kinda were.

With any other director/writer this character would have become a tossed away, flat cliche, but Hughes had a unique way with characters (even the smallest ones) and understanding them and their fascinating facets. His attention towards the character is no different, even giving Jeanie her own centered scenes and uses them for maximum comic effect.

And boy, oh boy does Grey knock it all out of the park. Her narrative thread continues with Jeanie's warpath against Ferris after school hours when she makes her way home to find that he did in fact skip school ("I KNEW IT!") and here is where the real fireworks in Grey's performance show their true vibrant colors.

Jeanie hears something in the kitchen, hoping that she can catch Ferris in the act and get her simple "revenge".

But it turns out it's not Ferris behind the corner, but the high school Dean, Ed Rooney (Jeffery Jones at his absolute funniest) snooping around in the "empty" home also trying to catch Ferris.

In the moment of panic and shock, Jeanie forcefully knocks Rooney out with three swift kicks to the face, and bolts out of there terrified. This set-up "gag" works marvelously, and not it's just because Hughes perfectly calibrates it for suspense and humor, but because of the actress' work in the role.

Grey brings so much energy, personality, and verve to the role that every moment/scene feels fresh and unexpected. Her comedic timing and snappy delivery glows and for such a simple character in a simple premise, Grey plays the character in a memorably transcendent way.

It's the next set of scenes which gives the performance a little twist, when Jeanie is arrested for making a "phony" call to the police for discovering the "intruder" in her house, and her mother has to settle everything. It's here where she makes the aquentince of a young druggie (Charlie Sheen in great cameo) who takes an odd interest in Jeanie's business; from her eye makeup to her reasons for being there.

Jeanie dishes out the beef she has with Ferris and all that ("why should he ditch when everyone else has to go?"), when Sheen turns her story all around and questions her about herself and not her problem with her brother. He tells her that she should stop worrying about what her brother does and focus on who she is.

It's a clarifying moment for Jeanie as she lets the words of this dope-head sink in, and drops her guard for once -- Grey plays the scene quietly distilled with keeping the humor fully intact ("why don't you put you're thumb up your butt!").

And it's here where the dimensional reality of the performance becomes realized. For the first time we see a smiling and bubbly Jeanie who finds something, not someone, but something. Sure, she smooched with Sheen after bantering with him, but she's made some sort of self-discovery.

As Jeanie caught in a daze makes her way out with her mother, she tells Sheen of her nickname --"Shana" -- and her giddiness is exuerberntly palpable.

With her cute giggle and hilarious snort Jeanie slowly makes her way out while stunned and thrilled more than she has ever been. It's a delightful moment of warmth and pure enjoyment for both the character and the audience. But why? Though the script and direction certainly have a solid grip on the character, it's the actress who charts the growth of the character. The script may have nicely sketched Jeanie, but it's Grey who sculpts a perfectly realized and satisfying character arc for her. Had Grey of earlier played her into a overly broad caricature, weighed down by her pouty jealousness and stayed on that note, the performance simply would not have worked; she always kept the character appealing and cute instead of insufferable and glib. Grey balanced the comedy while slowly crafting Jeanie's arc -- from a selfish girl who keeps her mean-spirited focus on others for satisfaction to a beaming, bright young woman who no longer neglects herself and makes a life-changing self-discovery and fulfillment.

This further becomes evident when Jeanie races Ferris home in the car, and provides him with a saving grace when she single-handedly rescues him in front of the bumbling Ed Rooney. We now realize that she doesn't need to be against Ferris to make her happy, and that maybe he really is not such a bad guy after all.

Compare Jennifer Grey's performance, if you can, to the film's other main female performance -- that of Mia Sara's Sloane. While okay, she's just there; not giving her role any kick or life past the flat, scripted page and playing her how she's written. Now just think of the largely memorable, completely realized performance Grey pulls out -- little comparison's are there and it's all thanks to the sweet, hilarious, and wholly satisfying work that's nothing short of a joy to visit again and again -- so how come Oscar didn't catch on? She's more than deserving of his attention.

That Time Of Year Again

2010-11-23T10:56:00.000-08:00

Yes, with the holidays just around the corner and the excitement, fun, and happiness all building up, I thought I should celebrate the seasonal films that make this time feel even better for everyone. Though Hollywood pulls them out each year and either they hit or miss, you just have to find something good in them, right? Well, maybe not always. I celebrate Christmas, and I love them movies, so be looking out for some holiday movie treats!

Chloe!!

2010-11-18T12:49:00.000-08:00

Oh my God, I didn't even realize that Chloe Sevigny's birthday was yesterday!! It's so weird that I did a Performance Profile on her that just happened to fall on that day! I should have remembered because my friends birthday was yesterday too. I just noticed when I was looking at year old posts, and I found the birthday wish I sent her last year.

Well at least I celebrated it with all of you even though I didn't know it yesterday!

Happy Belated Birthday, Chloe!!

Performance Profile: Chloe Sevigny in Gummo (1997)

2010-11-17T16:30:00.000-08:00

As a request, I now turn to another performance that happens to be given by one of my true favorite actress' in 21st century cinema. She changed the way we looked at indie films in the '90s -- giving the world of cinema something so new and fresh to admire and praise while the usual, conventional ways that conventional actors played their parts around her. Another step towards "breaking out" came in the odd, hypnotic work of...

....Chloe Sevigny in Gummo (1997)

Chloe Sevigny plays Dot (yes, that's her name), a young woman living in Harmony Korine's surrealistic wasteland America surrounded by other "creatures" of pure filth.

Dot lives alone with her siblings, her (twin?) sister Helen, and her baby sister Darby in Xenia, Ohio -- a town that's a partly living nightmarish, shitwreck that had never gotten over a tornado that hit more than twenty years earlier.

Like the other character's in this raw wasteland, Sevigny's Dot is a peculiar creature almost from another world; her white, albino-ish hair and eyebrows give her an eerie, unsettling appearance, her wardrobe is awkward and somewhat out of place, and her daily activities are as random and weird as her name.

She and her sisters enjoy sticking tape on their nipples and yanking it off it hope of making them bigger, and then just jumping on their beds to Buddy Holly's Everyday. Does it make sense? No, not really. But Dot is probably the least revolting/disturbing character in Gummo, and Sevigny's vignette is at times the most interesting to follow. We don't really know anything about Dot, but we can vividly see that she, like everyone else is doing whatever to pass time that passed a long time ago.

Sevigny's performance would be difficult to be proved as an actual characterization (in the most basic sense), but is instead a collection of striking glimpses and images of Harmony Korine's "artistic" collage of live on the edge of nothing. Korine is a rare filmmaker who puts to use Sevigny's unique gifts as an actress; her enigmatic, captivating screen presence, her odd physicality, her exotic, strange beauty, her charisma and her overall naturalism with dialogue and expression. For example take the snapshot above, and how Korine uses this slow-mo to stop and hypnotize us.

In other words, Sevigny's Dot is in total sync with the weridness surrounding her, whether she talks about girls being too skinny while walking to nowhere in the middle of the street...

...or getting her nails painted while layzing on the porch out front with the neighbor ladies...

...or washing up a stray cat's "under booty". Sevigny gives these vivid images a feeling of artistic being, like she should be on display with some of the most unusually fascinating works in a museum. The actress is also occasionally very funny too.

Especially when her sister is being "touched" by a pervert who told them he knew where their cat was. The three sisters begin slapping the guy silly, when Dot exclaims, "why are ya tryin' to touch her coochie, pervert!" Sevigny gets the levity of this absurdity and plays it both as a sad, distressing moment as well as a moment of comedy. I love the way she yells, "FUCKIN' ASSHOLE!" when the car's already sped away.

The only problem with Sevigny's work (and I don't so much blame Chloe for this) is that, although Korine captures these individual, startling moments from Sevigny, he never really strings them together to make them cohere in any way. Instead of making Dot somewhat human in a grounded, yet bizarre reality, Korine keeps her character/performance at a distance from the viewer. Wouldn't it have been nice to see some emotional chords strung into Sevigny's work? Each individual section of the performance works on its own, sure, but never actually functions beyond stark mental images -- in either a intellectual or emotional way.

But...what the hell. Chloe works her magic in this strange, freaky (almost completely) out of this world role. Though the character is written as a hazy "device" to add to Korine's realism atmosphere, Chloe's own brand of film acting makes Dot much more striking than she might've been . It's really hypnotic, surreal, and interesting work from an somewhat under-appreciated actress displaying her unique qualities in a role tailor made for her.