Monday, February 28, 2011

Black Sheep on The Oscars

The 83rd annual Academy Awards began with a riveting montage of the fantastic batch of films that make up this year's Best Picture nominees. As Trent Reznor and Atticus Ross's now Academy Award winning score from THE SOCIAL NETWORK triumphantly backed up the incredible imagery from these films, it felt like it was truly going to be the movies' biggest night. What followed was three hours of missed opportunities and lame ideas that amounted to an evening that didn't even seem the least bit concerned with the films it was meant to honour.

I was hopeful for Anne Hathaway and James Franco as hosts. Yes, it was obvious from the start that the Oscar producers, Bruce Cohen and Don Mischer, wanted to draw in a younger demographic. I'm surprised they didn't just enlist Justin Bieber to get the job done. At least he would have been awake for the whole thing, which is more than I can say for Franco. This is a man who clearly prides himself on walking his own line at all times. Why anyone ever thought he would be ideal to host one of the most mainstream events on the planet is beyond me? A number of people I spoke with wondered just how stoned he was, but all i could see was the look on his face that suggested he would rather be anywhere other than there. Maybe he was nervous being nominated but he had no chance of winning. A smart guy like Franco should have known that.

I do think that Hathaway has a very winning and inviting personality. When she sings, she is enchanting and when she jokes, she is adorable. But when she had to work double time to make up for the lack of personality in her co-host, it seemed to turn her into this combustible energy ball that could potentially implode at any moment, taking all of Hollywood with her. She did still come across as an appreciative person, humbled by the position she held for the night. It was endearing and I just really felt bad for her, having to endure through this clearly misguided adventure.

As awkward as they were, the transitions and pace of the rest of the show was infinitely more clunky. I thought they got the awards out fast enough but they kept singling out past Oscar winners to exemplify the categories that were about to be announced. The virtual screens that I read so much about before the big night ended up being a completely unnecessary distraction. A background is just that; you are not supposed to draw attention to it but yet we did over and over again and for what? To focus on films of yesteryear instead of actually allowing the films of 2010 to adorn the screens, perhaps allowing them to shine on their own night.

There were other choices too that were just too obvious to be ignored. No actor was ever played off by the orchestra, no matter how long they rambled on about self-important nonsense or pretended to be surprised by the win. Apparently actors could swear, quite obviously on purpose, and that would be fine too. Anyone else was fair game. The winners didn't really listen to the orchestra though and just kept going but maybe they wouldn't have had to if we didn't spend so much time listening to lengthy trips down memory lane from random, iconic actors - some were more enjoyable (Kirk Douglas) than others (Billy Crystal).

The producers cut the montages that apparently everyone hates but somehow found time to highlight previous Oscar telecasts and other random moments in Oscar history. This leads me to another major Oscar confusion this year. The show was constantly referred to as the young and hip Oscars. There was no continuity to this theme though. Tom Hanks would be presenting one moment and then Mila Kunis and Justin Timberlake, the next. And if they were clearly trying to be so modern, why did they feel the need to spend so much time looking back instead of looking at all the fantastic movie magic that is happening right now? After all, wasn't that the reason we were there?

In the end, the tug of war between old and new also spilled over to the awards themselves, with THE KING'S SPEECH, a period piece about overcoming adversity in a historical context, triumphing over THE SOCIAL NETWORK, that rare film that taps directly into the pulse of of our current experience. By the time the announcement was made though, everyone knew what was coming and everyone just seemed to want it to come.

My suggestion for next year, fire Cohen and Mischer, and hire me to produce.

Here is the full list of Academy Award winners ...

BEST PICTURE


BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE

Colin Firth in THE KING'S SPEECH

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

Natalie Portman in BLACK SWAN

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

Christian Bale in THE FIGHTER

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Melissa Leo in THE FIGHTER

BEST ACHIEVEMENT IN DIRECTING

Tom Hooper for THE KING'S SPEECH

BEST ORIGINAL SCREENPLAY


BEST ADAPTED SCREENPLAY


BEST ANIMATED FEATURE


BEST FOREIGN LANGUAGE FILM

IN A BETTER WORLD

CINEMATOGRAPHY


EDITING


ART DIRECTION

ALICE IN WONDERLAND

COSTUME DESIGN

ALICE IN WONDERLAND

MAKEUP


ORIGINAL SCORE


ORIGINAL SONG

"We Belong Together" from TOY STORY 3

SOUND MIXING


SOUND EDITING


VISUAL EFFECTS


DOCUMENTARY FEATURE

INSIDE JOB


DOCUMENTARY SHORT SUBJECT

STRANGERS NO MORE

ANIMATED SHORT FILM

THE LOST THING

LIVE ACTION SHORT FILM

GOD WE LOVE

Sunday, February 27, 2011

For Your Consideration 2011

Happy Oscar Day!! For all of you having guests over to watch the Academy Awards this evening, I offer you the following musical selections for your consideration. Throughout 2010, I took note of all the songs in the movies that stood out for me and have compiled this tracklisting to represent the year in film. There are a few songs from movies I love and a few from films I can hardly stand but this isn't about the movies for a change. It is about the music. And so I give you:

FOR YOUR CONSIDERATION
2011

Trent Reznor & Atticus Ross ... THE SOCIAL NETWORK ... In the Hall of the Mountain King
The Langley Schools Music Project ... CATFISH ... Good Vibrations
James Murphy ... GREENBERG ... Please Don't Follow Me
Radiohead ... INCENDIES ... You and Whose Army?
Florence + The Machine ... TWILIGHT: ECLIPSE ... Heavy in your Arms
Beachwood Sparks ... SCOTT PILGRIM VS THE WORLD ... By Your Side
MGMT ... THE KIDS ARE ALL RIGHT ... The Youth
The Beatles ... DINNER FOR SCHMUCKS ... Fool on the Hill
Eddie Vedder ... EAT PRAY LOVE ... Better Days
DeVotchKa ... JACK GOES BOATING ... Dearly Departed
Dinah Washington ... SHUTTER ISLAND ... This Bitter Earth
John Legend & The Roots ... WAITING FOR "SUPERMAN" ... Shine
Penny & The Quarters ... BLUE VALENTINE ... You and Me
Alicia Keys ... SEX & THE CITY 2 ... Empire State of Mind Part II
Christina Aguilera ... BURLESQUE ... Bound to You
The Knife ... LES AMOURS IMAGINAIRES ... Pass This On
Daft Punk ... TRON: LEGACY ... Derezzed
Underworld ... BIUTIFUL ... Shudder / King of Snake
Hans Zimmer ... INCEPTION ... Time

That should all fit nicely on one CD. For those of you operating digitally, you can also add Hans Zimmer's "Half-Remebered Dream", also from INCEPTION, as the first track. It pulls it together nicely. Also, I had to cut one song because of space restraints but, again digitally speaking, you could also add the Oscar-nominated "Coming Home", as sung by Gwyneth Paltrow, from the film COUNTRY STRONG, right after the BURLESQUE track.

I hope you like the tunes. They make for great welcome music for your party. Then when the music fades, you can let the festivities begin. I will be at the Drake Hotel for dinner and the show tonight. Here's hoping for an exciting evening with some surprises and memorable moments. One last time for good luck .. Go SOCIAL NETWORK!!

Saturday, February 26, 2011

Black Sheep predicts The Academy Awards

Oscar weekend has finally arrived. I began my weekend's festivities last night with a panel discussion on the Oscars, on Montreal's CJAD show, Delmar at Night. (Click here for the audio.) I got to make my predictions in many of the major categories and chat up one of my favorite subjects on air, which is always just an incredible treat for me. And now the fun continues with my official Oscar predictions in all the categories. You can use them if you like in your Oscar poll but be forewarned, I do not always win the prize. This means you cannot come back crying to me if you lose using my suggestions. That said, I will want a 10% cut if you win.

And so, once again, here are the nominations for the 83rd annual Academy Awards ...

BEST PICTURE


Should Win: THE SOCIAL NETWORK

THE KING'S SPEECH is a beautiful film but it is simply easier to digest than THE SOCIAL NETWORK. One makes you feel good while the other makes you weary of where were headed. This should not be discounted when the king is inevitably crowned.

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE

Javier Bardem in BIUTIFUL
Jeff Bridges in TRUE GRIT
Jesse Eisenberg in THE SOCIAL NETWORK
Colin Firth in THE KING'S SPEECH
James Franco in 127 HOURS

Will Win: Colin Firth
Should Win: Javier Bardem

I will applaud Firth's win because he is a fine actor who delivers a royal performance in THE KING'S SPEECH but he deserved to win last year for A SINGLE MAN. Bardem is simply heartbreaking in BIUTIFUL but the unexpected nod will have to be enough for him.

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

Annette Bening in THE KIDS ARE ALL RIGHT
Nicole Kidman in RABBIT HOLE
Jennifer Lawrence in WINTER'S BONE
Natalie Portman in BLACK SWAN
Michelle Williams in BLUE VALENTINE

Will Win: Natalie Portman
Should Win: Natalie Portman

Although, my heart goes out to Annette Bening. She keeps bringing out these incredible performances in years when one other lady just happens to be getting a little more attention than she is.

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

Christian Bale in THE FIGHTER
John Hawkes in WINTER'S BONE
Jeremy Renner in THE TOWN
Mark Ruffalo in THE KIDS ARE ALL RIGHT
Geoffrey Rush in THE KING'S SPEECH

Will Win: Christian Bale
Should Win: Christian Bale

Geoffrey Rush could very seriously pull an upset here. He is invigorating in THE KING'S SPEECH and the film clearly has a great deal of support. Bale is transformed in THE FIGHTER though. He is also long overdue.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Amy Adams in THE FIGHTER
Helena Bonham Carter in THE KING'S SPEECH
Melissa Leo in THE FIGHTER
Hailee Steinfeld in TRUE GRIT
Jacki Weaver in ANIMAL KINGDOM

Will Win: Melissa Leo
Should Win: Melissa Leo

There is serious talk that Leo and Amy Adams will split the vote for roles in the same film, leaving Hailee Steinfeld to come through. This will be my biggest Oscar upset if this happens. Hopefully, common sense will prevail. They were just ads, people!

BEST ACHIEVEMENT IN DIRECTING

Darren Aronofsky for BLACK SWAN
Ethan Coen, Joel Coen for TRUE GRIT
David Fincher for THE SOCIAL NETWORK
Tom Hooper for THE KING'S SPEECH
David O. Russell for THE FIGHTER

Will Win: David Fincher
Should Win: David Fincher

Tom Hooper won the Director's Guild Award and has that great KING'S SPEECH momentum behind him so he could upset but this is only his first nomination. Fincher has been making great films in Hollywood for years. I would have said that Christopher Nolan had the best chances but somehow, he failed to get a nomination. Bizarre.

BEST ORIGINAL SCREENPLAY


Should Win: THE KING'S SPEECH

INCEPTION and THE KIDS ARE ALL RIGHT are serious contenders here. The Academy might want to reward Nolan here for their director gaffe and he did also win the Writer's Guild Award. Still, David Seidler's script for THE KING'S SPEECH is fresh and unexpected and my guess is will be swept up with the support for the film.

BEST ADAPTED SCREENPLAY


Should Win: THE SOCIAL NETWORK

This one is a lock. Check it off right now. Don't even think about it. Done. Move on already.

BEST ANIMATED FEATURE

HOW TO TRAIN YOUR DRAGON

Will Win: TOY STORY 3
Should Win: TOY STORY 3

Another lock. We're done here.

BEST FOREIGN LANGUAGE FILM

DOGTOOTH
IN A BETTER WORLD
INCENDIES
OUTSIDE THE LAW

Will Win: BIUTIFUL

I can't really say what should win here as I have not seen all five nominees. I can say that BIUTIFUL obviously has strong support as it has a Best Actor nod as well and is an incredible movie. I did not love INCENDIES but I would still be thrilled to see Montreal's Denis Villeneuve take the Oscar!

CINEMATOGRAPHY


Will Win: TRUE GRIT
Should Win: THE SOCIAL NETWORK

All five nominees are visually stunning and THE KING'S SPEECH could always sweep here too but TRUE GRIT cinematographer, Roger Deakins, has been nominated nine times now and has never won. This would be a good year for him to do so.

EDITING


Should Win: THE SOCIAL NETWORK

All that going back and forth in space and time between the past and two simultaneous lawsuits should do the trick here.

ART DIRECTION

ALICE IN WONDERLAND

Will Win: ALICE IN WONDERLAND

I just keep thinking those Harry Potter movies keep getting better looking each year. I would love to see THE KING'S SPEECH take it though considering the recent accusations that they used the same set as a gay porn film.

COSTUME DESIGN

ALICE IN WONDERLAND
I AM LOVE
THE TEMPEST

Will Win: ALICE IN WONDERLAND
Should Win: ALICE IN WONDERLAND

If Tim Burton's mess has one thing going for it, it's outlandish costume work.

MAKEUP

THE WAY BACK

Will Win: THE WOLFMAN
Should Win: BARNEY'S VERSION

If only because BARNEY'S VERSION makeup artist, Adrien Morot is from Montreal. It was a great job too. Also, THE WOLFMAN should not win an Oscar.

ORIGINAL SCORE

HOW TO TRAIN YOUR DRAGON

Should Win: THE SOCIAL NETWORK

I'm thrown with this category. Apparently THE SOCIAL NETWORK score is too modern for the Academy. Why then am I reading that Alexandre Desplat will take it for THE KING'S SPEECH when the obvious second choice is Hans Zimmer for INCEPTION?

ORIGINAL SONG

"If I Rise" from 127 HOURS
"Coming Home" from COUNTRY STRONG
"I See the Light" from TANGLED
"We Belong Together" from TOY STORY 3

Will Win: 127 HOURS

The Academy has clearly shown its love for A.R. Rahman and I don't see it stopping anytime soon.

SOUND MIXING


Will Win: INCEPTION
Should Win: INCEPTION

No contest. Maybe THE SOCIAL NETWORK. Big maybe though.

SOUND EDITING

UNSTOPPABLE

Will Win: INCEPTION
Should Win: INCEPTION

This time, no contest at all.

VISUAL EFFECTS

ALICE IN WONDERLAND

Will Win: INCEPTION
Should Win: INCEPTION

Please. They folded a city in half.

DOCUMENTARY FEATURE

EXIT THROUGH THE GIFT SHOP
GASLAND
INSIDE JOB
RETREPO
WASTE LAND

Will Win: INSIDE JOB

The insider trading documentary about the financial meltdown has the relevant edge but I sure am hoping Banksy takes it for EXIT THROUGH THE GIFT SHOP. I want to see art happen on stage or people in monkey masks circling Anne Hathaway and James Franco.

DOCUMENTARY SHORT SUBJECT

KILLING IN THE NAME
POSTER GIRL
STRANGERS NO MORE
SUN COME UP
THE WARRIORS OF QUIGANG

What might win: KILLING IN THE NAME

I have seen none of these so I am fully going on what I am reading online here.

ANIMATED SHORT FILM

DAY & NIGHT
THE GRUFFALO
LET'S POLLUTE
THE LOST THING
MADAGASCAR, A JOURNEY DIARY

Will Win: DAY & NIGHT

I am reading a potential upset by THE GRUFFALO or LET'S POLLUTE sounds interesting but my fingers are crossed for this simple and original Pixar short.

LIVE ACTION SHORT FILM

THE CONFESSION
THE CRUSH
GOD WE LOVE
NA WEWE
WISH 143

Will Win: NA WEWE

My gut is telling me this way but I hear THE CONFESSION has a shot too.

There you have it. My official predications for this year's Oscars. Well, they are official for now. I might change my mind at the last second. As long as the ballots are in before the first award is announced, it is fair game.

I am to spend the rest of the day watching some Oscar nominated classics and relaxing. Check back tomorrow for my annual Oscar mix CD tracklisting. Let Black Sheep set the mood for your pre-show party ...

Good luck with those polls!

Wednesday, February 23, 2011

Best of Black Sheep: Black Sheep interviews Xavier Dolan

Different than I Imagined
An interview with Xavier Dolan


I want to know which one of you is responsible for this. You’ve clearly hurt Quebec filmmaker, Xavier Dolan’s feelings and I for one am not going to stand for it. He is only 21 years old and already he knows what it is to be tossed aside by critics who once purported to be his biggest fans. You built him up and just because he didn’t do exactly what you wanted him to do, you declared him a disappointment and your earlier proclamations of genius to be premature. While I applaud your ability to admit your faults (even though the point was to highlight another’s), I’m not sure you realize just how much damage you’ve done. You should be fostering genius, not trying to kill its spirit.

When I met Dolan at the 2010 Toronto International Film Festival, I expected him to sit with me and speak fondly of his second feature, LES AMOURS IMAGINAIRES (HEARTBEATS), which he wrote while attending the festival the year before. I had just seen the film, a cynically optimistic exploration of the ridiculousness we all put ourselves through when we think we’re in love. Cynical because we look like idiots; optimistic because we still put ourselves through it regardless. And even though I gushed about how much I admire him as a filmmaker right at the top of our chat, I was not met with fondness; I was met with skepticism. Friendly and polite but skeptical nonetheless.

“I never pretended HEARTBEATS would be as moving or as stirring as I KILLED MY MOTHER,” Dolan confides when I finally veer off the course of my planned questions and ask if he is having a hard time with the press for his second film. “I never said this is going to be a better film. I said it is going to be a different film.”

And different, it is. I KILLED MY MOTHER is a semi-autobiographical piece about a gay teenager who lives with his mother and cannot seem to get along with her no matter what he does. It is raw, emotional and oddly cathartic. There is also a lot of yelling. The film was praised for its gritty, honest look at a relationship that many can identify with. On the other hand, HEARTBEATS is being chastised for being too cold and disaffected. And while it might seem natural to compare a second and first feature, Dolan doesn’t see any need for this at all.

“For me, it’s a lack of judgment to compare,” he continues when we discuss the criticism he has endured just a year after he was lauded as Canada’s next big director. “You cannot compare these two films; they’re so fucking different. How can we compare and say that this one is inferior to that one?” The conversation had certainly gotten somewhat heated at this time but it was pretty obvious from where I was sitting that none of this rant was directed at me, but more so at the sky, as if he has been cursed undeservedly. I half expected him to raise his fists in the air in anger.

“I believe it can be inferior in the sense that the emotions it provokes are not as intense as in I KILLED MY MOTHER but it was not my mandate, nor my mission, nor my intention to provoke a torrent of emotions in you for this film.”

Intentions aside, HEARTBEATS did stir plenty of things in me. Dolan plays Francis and one night, both he and his friend Marie (Monia Chokri) fall for the same young man, Nicolas (Niels Schneider). Francis and Marie, two pseudo intellectual, neo-hipsters in Montreal, proceed to lose their senses while they pursue a boy who has done nothing to suggest he feels the same way as they do. While their motivations are calculated and controlled, the fury they are both experiencing internally is something anyone who has ever been in love can identify with. Cold on the surface does not mean empty on the inside.

“It is a movie about the various steps of the love downfall,” Dolan proclaims, without necessarily seeing what a downer his statement truly is. “It is literally a condensed journey through typical, impossible love.” The kind of love Dolan is talking about, the same kind of love that comes across on screen, isn’t real but rather imagined (which is more evident in the film’s original French title, which directly translates to “Imagined Loves”). “The movie ought to be as shallow and as empty as the encounter they have.” HEARTBEATS does just this but it does so with sumptuous imagery and romantic grandness. It is a farce after all.

As private as it could be, I can’t help but ask at this point if, when it comes to love in his own life, Dolan is still hopeful. “Unfortunately, I would say I’m an optimist,” he begins. I wasn’t sure whether he had said “fortunately” or “unfortunately” so he clarifies that he said the latter and explains, “This implies a certain amount of pain, but I’m always up for the challenge.”

I admire Dolan. Both of his films, regardless of how they compare with each other, are devoid of ego, an incredible accomplishment considering he wrote them both, directed them both and stars in both of them as well. His choices in all three of his roles on each film could easily serve his own self-interests but instead serve only the story and the overall success of the film itself.This requires skill and dedication that I would never imagine a 21-year-old to have but yet here we are. And at 21, he has also learned a couple of other hard lessons he didn’t need to know right away. He now knows how it feels to be criticized on an international level and he clearly knows a thing or two about love.

HEARTBEATS is the perfect second film for me to have made. It’s a different film, different vibe, different emotions. Some people will say there are no emotions in HEARTBEATS. I am not one of them.”

And neither am I.


For further HEARTBEATS reading, be sure to check Black Sheep's 4-star review. Click here.

And be sure to check out this clip from HEARTBEATS, which opens in select American cities on Friday, February 25.

Sunday, February 20, 2011

The 2010 Mouton d'Or Awards

Welcome to the 2010 Mouton d'Or Awards, brought to you by Black Sheep Reviews for the sixth and, as it turns out, final time. This is not the end of the Mouton d'Or Awards, but rather just the last time they will be presented on this website. Sometime in the weeks to come, Black Sheep Reviews will go dark. When I first started this blog, I had no intention of doing anything with it other than pass the time. As Black Sheep grew though, I started to see where it could go and that was further than I had ever really anticipated. And so, Black Sheep Reviews will be reborn as a new site, one that is more professional and focused and that should (technically) make my job easier and your reading experience even better. And don't worry! Sheldon will not be left behind. Details to follow ...

And now, on with the awards! This year's five Best Picture nominees all find their way to shine in some way amongst the Mouton d'Or winners, but only one gets to claim the honour of a big, gold, digital sheep to print out and stick on their fridge. Will it be the one about the ballerina who ties her shoes too tight, loses her mind and sprouts wings? Or the one with that boxer who has like 18 sisters with huge hair and even bigger mouths? Maybe it will be the one with the annoying little computer geek who taught us all that we don't need friends in real life if we have lots of virtual ones. Perhaps Woody and Buzz will finally go to infinity and beyond! Or maybe, just maybe, it will be the one you all expected to be crowned king. You'll just have to read on to find out.

And now, ladies and gentlemen, here are the winners of the 2010 Mouton d'Or Awards ... (Scroll over any film title for the full Black Sheep review.)

NOMINEES


Although it might be hard to see at times, films are inherently designed to entertain you. Of all the films I saw this year, these were the five that provided me with the best times and there was certainly no better time to be had at the movies this year than at TOY STORY 3. What was originally expected to be an unnecessary sequel ended up capping the series so perfectly and inspiring big laughs, incredible tension and a ton of tears as we all said goodbye to our toys of yesteryear.

NOMINEES

I AM LOVE

As a film critic, I see a lot of movies and some of the smaller ones inevitably get missed from time to time. There is no better experience for me than when I sit down to a movie, knowing very little about it, expecting just as little, and then being floored. All five of these films had varying degrees of this effect on me but none more than I AM LOVE. This Italian film by Luca Guadagnino is breathaking and unabashedly romantic, in both imagery and content. It is a grand experience and one that I want to get lost in again and again.

NOMINEES

CLASH OF THE TITANS
JACK GOES BOATING

Obviously, I do not see everything that is released each year. I try to avoid whatever I think will be dreadful but some crap always manages to get past my filter, either because I have to see it to review it or because I make a horrible judgment call. Though it may be considered rude to spit on a home team player, Michael McGowan's SCORE: A HOCKEY MUSICAL is as insipid as the title suggests it will be. If you're going to make such a ludicrous movie than do it right, man. Instead, what we have here is a bunch of forgettable, meandering songs, and a lot of crude, fumbling dancing on ice. There isn't even any great hockey playing in it! I left before the last number. I couldn't have cared less to see who won the big game if it meant having to watch them sing again.

NOMINEES

I AM LOVE

After a four-week voting session, the Black Sheep readers have chosen wisely. Although I did not love INCEPTION when it was first released, I have since seen it two more times and I am now a firm believer. And I am happy to get in line with my readers on this one as each year they choose a great winner amongst a stellar list of nominees. Thank you to all who participated in the survey and I'd like to extend that thanks further to all who read Black Sheep regularly. This one's for you!

NOMINEES

HOW TO TRAIN YOUR DRAGON

As it already picked up Best Big Movie, it is not a big surprise to see TOY STORY 3 take the Animated Feature category. I do truly love and admire the other two nominees for their passionate artistry but I consider TOY STORY 3 to be a near perfect film.

NOMINEES

I AM LOVE

There are always a few categories I get stuck on each year and this was certainly one of them. I love getting lost in the style of a film, from the cinematography to the editing to the art direction and costume design. Simply put, I like pretty things. And all of these elements come together to make THE SOCIAL NETWORK very, very pretty.

NOMINEES

I AM LOVE

If there is anything I like more than movies, it is music and all of these nominees have beautiful scores that incorporate a lot of innovation into their bold works. As much as I would really like to reward Hans Zimmer for his incredibly stirring INCEPTION score, I must give the prize to Trent Reznor and Atticus Ross for their trippy electronic score to THE SOCIAL NETWORK. It works so symbiotically with the visuals that it often turns the film into a digital symphony.

NOMINEES

CHRISTIAN BALE in THE FIGHTER
ARMIE HAMMER in THE SOCIAL NETWORK
JOHN HAWKES in WINTER'S BONE
MARK RUFFALO in THE KIDS ARE ALL RIGHT
GEOFFREY RUSH in THE KING'S SPEECH

I have not found Christian Bale's work to be very impressive in the last little while. It felt like he was distracted, not really pushing himself. From the moment he first appears on screen though in THE FIGHTER, it is clear that Bale is about to give a revelatory performance. He looks thin, sickly and cracked out of his head. His grip on his past, and reality for that matter, is strained, but his devotion to his brother is always there underneath all of his own junk. It is very good to see him fight for something again.

NOMINEES

AMY ADAMS in THE FIGHTER
HELENA BONHAM CARTER in THE KING'S SPEECH
MELISSA LEO in THE FIGHTER
LESLEY MANVILLE in ANOTHER YEAR
DIANNE WEIST in RABBIT HOLE

Melissa Leo, a veteran character actor, seemed to come out of nowhere two years ago when she earned great acclaim for her lead performance in FROZEN RIVER. That recognition led to her being cast in THE FIGHTER, allowing her to solidify herself as one of the most talented actresses working in Hollywood today. As a mother torn between her sons and taken in by the allure of fame and fortune, her struggle to convince herself that she is still a good mother is being fought on her face in every frame. Judging from how much she actually says with her face, it could not have been an easy fight.

NOMINEES


I like to be surprised by the movies and David Seidler's screenplay for THE KING'S SPEECH is certainly an original one. Sure it is based on real events but it is a period piece that is devoid of stuffiness and pretense. In fact, it is often shockingly droll. The relationship between a king and his subordinate speech therapist is certainly a unique one and it is fascinating to watch as it goes from purely professional to personal, a gap that should be bridged way more often than it probably is. A screenwriter for many years now, Seidler has written about a man who finds his voice and thus finds his own in the process.

NOMINEES


My apologies to the rest of the nominees in this category. You are all excellent writers and have given us great works but there is truly no contest here. Aaron Sorkin's screenplay for THE SOCIAL NETWORK is a revelation. It is fast paced and runs around in so many circles, it is amazing we are able to keep up with it. Not only is the dialogue beautiful but it also stretches to such unexpected depths that it turns a movie about the creation of a website into a biting commentary on obsession, class, our dwindling privacy, our increased distance from each other and the ever evolving definition of what it now means to be someone's friend.

NOMINEES

JAVIER BARDEM in BIUTIFUL
JEFF BRIDGES in TRUE GRIT
JESSE EISENBERG in THE SOCIAL NETWORK
JAMES FRANCO in 127 HOURS
COLIN FIRTH in THE KING'S SPEECH

This was the other category I struggled the most with this year. I thought it was a no-brainer. Colin Firth is performing at a new level as of late but I recognized that last year when I rewarded him for his heartbreaking work in A SINGLE MAN. I wanted to give it to him again for THE KING'S SPEECH (and seriously considered Jesse Eisenberg as I suspect he will never be this good again in his career) but Javier Bardem is just too good to ignore in Alejandro Gonzales Inarritu's BIUTIFUL. As a dying man trying to put his affairs in order for his children before he goes, Bardem gives a heavy performance that is stretched in so many directions but never feels thin. With a ton of weight on his back, he always walks tall.

NOMINEES

ANNETTE BENING in THE KIDS ARE ALL RIGHT
NICOLE KIDMAN in RABBIT HOLE
JENNIFER LAWRENCE in WINTER'S BONE
NATALIE PORTMAN in BLACK SWAN
MICHELLE WILLIAMS in BLUE VALENTINE

This is, in my opinion, the most competitive category this year. These five performances are all worthy of winning and the combined talent of these five women is overwhelming. To some extent, it puts the boys to shame. And so, as hard as it was to make a decision, I am throwing my bouquet of roses at Natalie Portman in BLACK SWAN. Her descent into madness is so palpable that you cannot help but feel like you're falling down that hole right alongside her. The weakness in her voice, the resolve in her face when she dances, the passion she exudes as she transforms on stage, all of it is completely transfixing - as beautiful and majestic as say, a swan.

NOMINEES

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

David Fincher has been making great movies for years now. He is an innovator and he likes to push people with his films. His command in THE SOCIAL NETWORK is evident from that very first scene in the bar, the moment that unknowingly catapulted the world into a new era. Fincher knows where he wants to go, where he wants to take us and what he wants us to see at all times. The journey he takes us on is so smooth that we hardly realize we're being taken on any kind of ride. Fincher's direction is confidant, bold and just plain triumphant.

And finally, the moment you've all been waiting for ... or reading quickly in hopes of getting to anyway, I am pleased to announce the winner of the 2010 Mouton d'Or Award for Best Picture of the year ...

NOMINEES


I watched THE SOCIAL NETWORK for the third time the other day and I am still floored by how outstanding it is. It is such a self-assured piece of filmmaking, where all of the elements come together so seamlessly and with such masterful execution, that they make the film a modern masterpiece. Who knew a movie about Facebook could be so profound? The truth is no one really expected Fincher and friends to pull this off to begin with. I commend the entire SOCIAL NETWORK team for not only proving everyone wrong but for unexpectedly going one further and blowing everyone away as well.

Thank you all for joining me for the celebration of the best films of 2010. There were clearly a great deal of reasons to do so. As always, I appreciate your continued support and look forward to another great year of film and discussion in the year ahead. Bon cinema!

Friday, February 18, 2011

Best of Black Sheep: WINTER'S BONE

Written by Debra Granik and Anne Rosellini
Directed by Debra Granik
Starring Jennifer Lawrence and John Hawkes

Ree Dolly: Never ask for what ought be offered.
WINTER’S BONE tells you immediately what tone to expect for the duration of your journey. Two young children bounce up and down on a trampoline that sits outside a dilapidated wood cottage that is surrounded by discarded playthings and car parts. A folk waltz about Missouri plays over the soundtrack and, as a teenage girl takes down the laundry and plays with the kids she so clearly looks after, it seems to me that Missouri might as well be misery. These are the Ozark Mountains. This is an America that is not often seen in film – an America that has nothing, trusts no one and doesn’t stand a chance. This is the America that America would rather forget.


The girl is Ree Dolly (relative unknown and inevitable awards season breakout, Jennifer Lawrence). She is sixteen years old and she cannot join the army like she wants because she must take care of her two younger siblings and her mentally unstable mother. At an age when the concept of responsibility is only freshly coming into existence for most, Ree must embody it so that her family doesn’t fall apart. And as if chopping the firewood, preparing dinner and making sure the children know both their math lessons and firearm safety weren’t enough for her to shoulder, she must now also find her estranged father. His latest battle with the law over his career as a meth manufacturer has put her home in jeopardy. Her father owns the home and he needed something to put up for bail so if he misses his court date, her family loses everything they have. Their only hope is this young girl.


Lawrence fought hard for this role. It was thought that she was too pretty for the part and, while she is definitely a pretty girl, her performance is about as raw and ugly as they come. Each character she meets greets her with trepidation and aggression and yet each of these people is somehow related to her in some distant fashion. They know her plight and you can see that most yearn to help but that it always stops there because no one dares get involved out of fear for their own person. Lawrence is fearless in the face of these challenges. She relentlessly hunts down her father to secure her family’s basic need for shelter. This is strife; this is suffering. This is survival in the truest sense of the word.


An American flag still hangs outside the Dolly home. It does not fly proudly but rather it just droops, defeated and tired. WINTER’S BONE, directed with grace and respect by Debra Granik, and based on a brilliantly bare screenplay by Granik and Anne Rosellini, is a visceral experience that makes its points frankly and strongly. It speaks sharply to the dated gender roles, commonplace drug usage and extreme poverty that flood these parts without anyone knowing or caring and it does so in a soft voice that allows the audience to see how dire it is with their own eyes. Even this America will not go down without a fight.