10th May2014

The Canyons – Film

by timbaros
images-162Lindsay Lohan is, believe it or not, the one bright spot in the new film The Canyons, a film that is otherwise poorly acted, poorly told, and is just a plan bad film about a bunch of young adults surviving and trying to live the Hollywood dream.
Lohan plays Tara, a young woman who gets by on her good looks and her ability (and luck) to sleep with very good looking guys. She lives with Christian (adult film star James Deen), a sexy but cocky young man who has everything he wants, including a home in the Hollywood Hills, and his own film studio, all thanks to his very rich grandparents. Tara and Christian amuse themselves by inviting young men into their homes and having threesomes, or at other times inviting other couples into their bedroom.
Christian and Tara’s relationship is complicated because Tara’s ex-boyfriend Ryan (Nolan Gerard Funk) still loves her, three years after they broke up. Ryan lives with his current girlfriend Gina (Amanda Brooks), who happens to work at the same film studio that Christian owns. Ryan is a struggling actor, making ends meet by bartending and doing odd jobs, but he is soon cast in a new movie that is being produced by Christian’s studio, but when Christian finds out that Tara and Ryan are sleeping around, he gets revenge.
The plot, and the characters, get sillier as the film goes on, even more so when Christian resorts to murdering an innocent yoga teacher who has ties to both Tara and Ryan.
The Canyons could’ve been a contender. It’s directed by Paul Schrader, who gave us American Gigolo, and it’s written by Bret Easton Ellis, who wrote the book American Psycho. Ellis also wrote the book Less Than Zero, a film about Hollywood kids involved in the drug culture in 1990’s Hollywood. Less Than Zero starred lots of up and coming actors, including Robert Downey Jr. The Canyons cast is less than stellar. While Lohan is the ‘big name’ in the movie, and she does pull off her role, suffering and sexy all at the same time, it’s the rest of the cast that can’t act to save their lives. And as mentioned  before, the plot spirals from worse to worse. Director Gus Van Sant makes an appearance as Christian’s therapist, but not even him can save this film. Schrader should know better than to make a movie this bad, he’s been a Hollywood writer/director for decades, so it’s a wonder what made him do this film. And he’s not directed a good film in decades (well, not since 1980’s American Gigolo). As for The Canyons, the only redeeming features are Lohan’s performance, and seeing James Deen naked.
03rd May2014

Bad Neighbours – Film

by timbaros
images-161What would you do if a fraternity house moved in right next door to you?
This is the dilemna faced by Mac and Kelly Radner (played to perfection like a real couple by Seth Rogen and Rose Byrne). They live on a quiet, tree-lined street with their absolutely adorable daughter Stella, who is perhaps the cutest baby ever to appear on screen. One day, they look outside the window and see a moving truck at the house next door. They go outside to see who is moving in, in the hopes that it is a couple, with children, hopefully playmates for their baby girl. Instead what they encounter is a bunch of young men moving into the house, not just young men who are sharing the house but an actual college fraternity. The men belong to a fraternity with a reputation for being the rowdiest at the nearby university. They are led by the handsome and hot Teddy Sanders (Zac Effron – playing himself). He’s intent, in his year as Fraternity president, on getting his term as president on fhe fraternity’s  wall of fame. Helping him to break party records is his second in command Pete (Dave Franco – younger brother and lookalike of James Franco).
Mac and Kelly and attempt to make piece with their new next door neighbours by greeting them when they move in. They also casually and cautiously tell them to keep the noise down. The boys agree, on the condition that if they are making too much noise, that Mac and Kelly should call them first instead of calling the police. So for a short time they are very friendly neighbours, where Mac and Kelly go over and hang out and get stoned, reliving their college days, oh not too long ago. Then one night the frat house hosts a massive party, very loud music, lots of lights, fireworks, and with many college kids spilling out of the house. Mac and Kelly call the cops anonymously, but when the cops arrive, they tell the boys that it was their next door neighbours (Mac and Kelly) who called to complain. Caller ID!
This leads to a campaign by the boys to retaliate against the Radners. And retaliate they do. They don’t stop having parties, in fact their parties get wilder, including pool parties in a newly-built pool in their backyard, complete with scantily clad young men and women. Another of their retaliation techniques is to remove the airbags from Kelly’s car into cushions in their house and in chairs at Mac’s place of business. How they got into the car, into the house, and into Mac’s place of business  is not explained. What are the Radner’s going to do? They can’t raise cutey Stella living next door to these crazy bunch of college kids? Should they move or continue to complain to the police? They do neither and decide to play along with them and their game.
Bad neighbours is a comedy, in case you couldn’t figure it out. But the jokes are not really that funny. Sure, there are lots of college jokes about girls, penises, sex, penises, etc…but the jokes get pretty lame quickly. And when you think the film is actually over, another plot point is introduced and you have to endure another 20 minutes for the plot point to play itself out….so Bad Behavior feels longer than it’s 97 minutes. The boys, especially Effron and Franco, don’t have much to do except stand around, most of the time with their shirts off, and tell the other boys what to do. But Rogen and Byrne save the movie. They have great onscreen chemistry, and if there was another movie with just them and their baby it would be much much better….but as it is stands now Bad Neighbors is just another Zac Effron teen comedy. It’s about time he grows up into adult roles.
27th Apr2014

Sundance Film Festival London – Film

by timbaros

images-157The famous film festival that is Sundance is back again this weekend, in London.

Held at the 02, Sundance again promises films that have not yet been seen in the UK, plus loads of events, including some that are open to the general public.
Kicking off the festival is the UK premiere of Fruitvale Station, a devastating re-creation of the death of San Francisco Bay area resident Oscar Grant, who was accidentally shot and killed by the police on New Year’s Day, 2009. The performances by both Michael B. Jordan as Grant and especially Octavia as his mother are said to be the best of the year. This one is not to miss.
Steve Coogan and Rob Brydon with Director Michael Winterbottom bring to the festival a film called The Trip to Italy. Edited from the six episodes which were show on the BBC, the film is a stand alone sequel that will include a heavy dose of humor from both Coogan and Brydon.
In one of the most unusual films of the festival and of Michael Fassbender’s career, he plays Frank in a movie of the same name. Fassbender unfortunately wears a large fake head in this film as he plays a musical genius who leads a rock band.
Famous American actors Paul Rudd and Amy Poehler come together to star in a film called They Came Together. They find themselves in a romance after Rudd’s corporate executive character tries to shut down Poehler’s small candy store. Are they meant to be together or will their business dealings tear them apart?
Sundance London is hosting the international premiere of the documentary The Case Against 8, with 8 being the law that California passed in 2008 that was Proposition 8, which repealed the right of same-sex couples to marry. Though it may seem outdated now that quite a few states in the U.S. have approved gay marriage, it is nonetheless the telling of how one of the most liberal states in the U.S. tried to prevent gay marriage from being legally accepted.
Sundance London will also be showing films that they call ‘From the Collection.’ These films include Reservoir Dogs, Memento, and Winter’s Bone, which starred a then unknown Jennifer Lawrence. There is also two Short film programmes and a Shorts workshop, which is designed to empower the next generation of filmmakers.
The best part of the festival could be the free events. There will be a pop-up stage right in the new Brooklyn Bowl in the 02, with shows to be performed by over a dozen artists, including The Soho Hobo, Goldheart Assembly, 18-year old singer Luke Fincher, Lesley Pike, 15-year old Natalie Shay, and Mo Evans. A free comedy show will be performed by David Cross, an Emmy-winning comedian, and David Wain, a comedy writer. This will be held in the Brooklyn Bowl venue and is a free event subject to venue capacity.
For information on more events and the entire film/shorts programme, please visit Sundance London at:
18th Apr2014

Locke – Film

by timbaros

images-151Locke is about a man driving his car down a motorway while fielding phone calls on his hands free mobile phone. That may sound dull but actually Locke is one of the most gripping films you will see this year.

Tom Hardy enters a new acting stratosphere here (think Tom Hanks category) in his role as Ivan Locke. Locke is a man with lots of problems. He is under intense pressure, both in his professional life but especially in his personal life.
Locke is driving down the motorway when he starts to receive one phone call after another. Where is he off to? You sees, Locke got a woman pregnant 7 1/2 months ago, her name is Bethan (voiced by Olivia Colman). She is about to give birth to his child, and she is two hours away in London. Locke is also in charge of a massive concrete pour at the construction sight he manages – the largest construction sight in Europe. Meanwhile, Locke’s family is waiting for him to come home. So instead of going to the building sight in Birmingham or to his family home in Stratford-Upon-Avon, he feels he needs to do the right thing; to be at Bethan’s side for the delivery of his child.
The plot appears quite thin but believe me it’s not. It’s an exhilarating thrill of a ride with Tom Hardy at the wheel, spending the entire tension-fueled 90 minutes driving his car with the camera either in his face or from behind his head.
Locke calls his boss and tells him that he’s not going to be at the building sight the next day to oversee the project. So Locke has to rely on his not very sober colleague Donal (the voice of Andrew Scott) and advises him over the phone what he need exactly needs to do. In between conversations with his boss and Donal, Lock is calling and receiving calls from his his wife and two young sons asking what time he’s going to be home because he’s late and will miss the big game on television. In the midst of these calls, he’s also fielding calls from Bethan who’s scared and alone at the hospital about to give birth and she wants him to be there. It gets more urgent when the nurse assigned to Bethan tells him that she’s close to giving birth, and more so when Locke’s wife Katrina (voiced by Ruth Wilson) slowly comes to the realization why Locke is not coming home and why. We see Locke’s face during this stream of phone calls, stressed, confused, hurried, and frustrated.

Locke is a unique piece of filmmaking, anything unlike I’ve seen in a long time. Writer/Director Steven Knight had Hardy for only two weeks to shoot this film, as Hardy  was in between films. After shooting Hardy, Knight shot scenes from the back of a head and various other shots using a Hardy stand-in. And Locke is told in real time which allows the viewer to feel the clock ticking, just like Locke does. The backdrop and look of this film – a hypnotic vista of motorway lights illuminating Locke’s face – adds to the intensity. When you leave this film you will feel like you just ran a marathon. It’s a must see.
10th Apr2014

Tom at the Farm/Xavier Dolan – Film

by timbaros

images-148At only 24 years old, French Canadian Xavier Dolan already has four films under his belt, all of which have been well received and critically acclaimed. In 2009, Dolan directed, produced, starred and wrote J’ai tué ma mére (I Killed My Mother), a semi-autobiographical story about Dolan as a young gay man at odds with his mother, writing the script when he was the tender age of 17. It won 3 awards at the Cannes Film Festival. The next year he wrote, directed, produced and starred (again) in Les Amours Imaginaires (Heartbeats), a story about three close friends who are involved in a love triangle. It was in 2012 that Javier continued his string of emotional and heartfelt films by writing and directing Laurence Anyways. At 168 minutes, it was a bold choice for the young director to make a film as ambitious as this, one about the struggles of a straight man who, over the course of ten years, transitions from male to female and how it affects the relationship with his lover (with amazing performances by Melvil Poupajd and Suzanne Clément). Laurence Anyways won many awards, including two Cannes Film Festival Awards (the Queer Palm Award and Best Actress for Clément). Lawrence Anyways was also nominated for ten Canadian Screen Awards (winning two), and more importantly, at the Toronto International Film Festival it won Best Canadian Feature film. Not bad for a local boy.

 
2014 sees Dolan’s most bold work yet. It is a film called Tom á la Ferme (Tom at the Farm), and the Tom in the title of the film is Dolan. For his fourth feature film, Dolan puts himself in the lead in a film that he also wrote, produced and directed. Looking so unlike his usual self, with long blond shaggy hair, Dolan again revisits the themes of homosexuality and the lack of acceptance. Tom, who works in an advertising agency, travels to the Canadian countryside for a funeral. It is not just anybody’s funeral, it is the funeral of his 25 year old boyfriend (Guillaume). The problem is that his grieving mother did not know that he was gay, so she accepts Tom as his friend in the hopes that he can tell her all about his life, as he had not been in contact with her for a long time. This is not the only problem Tom faces. Guillaume’s brother, 30 year old Francis (an amazing Pierre-Yves Cardinal), knew that he was gay and never really could accept it. In fact, nine years prior he had beaten up a man who had been dancing with his brother, and his violent nature and temper has him banned from most places in town. He still lives with their mother, on a farm, that he hopes to one day inherit after his mother passes away (he tells Tom in a highly charged scene that shows them dancing with each other in the barn) as there is no one else left in the family. Francis plays psychological games with Tom, at times beating him up and then at other times charming him. He has some kind of hold on Tom. With mesmerizing good looks and an athletic body, Cardinal commands the screen in every scene he is in. So it’s no surprise that Tom has a crush on him. The mother, Agathe (Lise Roy), is a bit crazy, maternal madness, having lost her husband years ago and now her youngest son that she barely knew. She is introduced to a woman who she is led to believe her dead son was dating, a woman who is a friend of Tom’s where he asks her to visit the grieving mother and pretend that she was his girlfriend. And Francis sets his lecherous ways on her. Dolan has set the soundtrack of Tom at the Farm to Hitchcockian music (by Gabriel Yared), with stunning visual images in the film (as he did in Laurence Anyways) of long shots of a highway, the middle of cornfields, and facial images that will last long after you see the film. 
 
After creating a trilogy of the subject of impossible love (Dolan’s words), he has now changed direction to create a suspenseful film that, while still stays on the subject of homosexuality, is very dramatic and is another amazing creation by a young man who has yet to turn 25. 
 
Dolan got the idea of Tom at The Farm after seeing a play in Montreal with the same name by Michel Marc Bouchard. He had a six month window of time between his next project, and the play and its theme really interested him, so he decided to shoot it as a film. Tom at the Farm screened in the main competition section of the 70th Venice International Film Festival, winning the FIPRESCI Prize (Fédération Internationale de la Presse Cinématographique), and was also shown at the 2013 Toronto International Film Festival. 
 
What’s next for Dolan, besides conquering the world? He has mentioned that he wants to make a film in the United States, to be titled The Death and Life of John F. Donovan, which will be about an American celebrity who maintained a correspondence before his success with an 11-year old boy in Britain, causing a scandal once it became known. If his previous films are anything to go by, the new film (and his future films) will be eagerly anticipated and will be must sees. 

 

30th Mar2014

20 Feet from Stardom – Film

by timbaros

images-141Who are the backup singers behind some of the most famous faces in the music business? The new documentary 20 Feet From Stardom introduces them to us, and what a very talented group they are.

Winner of the Academy Award for Best Documentary, 20 Feet From Stardom is a film that puts the backup singers into the spotlight, and deservedly so.
We meet perhaps one of the most famous backup singers of all time – Darlene Love. Love had  a chance to break out from the background to step out as a lead singer but was thwarted by the controlling producer who kept her tied to a long-term contract that she could not get out of. Love, a very happy, full of life woman, has sung behind heavy hitters such as Frank Sinatra, Dionne Warwick, and Sam Cooke and is most famous for being part of record producer Phil Ramone’s ‘Wall of Sound,’ providing lead vocals for many top hits, yet receiving very little or no credit for them. Love wound up being a housekeeper at one point in her life to make ends meet.
Lisa Fischer, also featured, is new to the backup world. With a voice as powerful as Mariah Carey, Fischer, who has toured with the Rolling Stones, is praised in the film by Sting as a backup singer with the potential to break into the the big time. Fischer does have a Grammy for one of her solo albums, yet she is still an unknown outside the music industry.
Puerta Rican Tata Vega was signed by Motown in the 1970’s as a solo artist and released several albums which didn’t sell well, so she never really made it big as a solo artist. She was relegated to the world of backup, where she has remained throughout her career.
Other featured backup singers include Judith Hill, who was booked to backup Michael Jackson on his “This is it” concert, but instead found herself singing at Jackson’s funeral; The Waters family, who have recorded background vocals for Paul Simon, Patti Labelle and Donna Summer; and Merry Clayton, whose voice graces the Rolling Stone’s “Just a Shot Away.”
20 Feet from Stardom is a fascinating and well-done documentary, and no doubt once it’s you will turn to Google to learn more about this talented group of singers.
22nd Mar2014

Starred Up – Film

by timbaros

images-139Starred Up is a brutal look into the life of Eric (played by an excellent Jack O’Connell from television’s Skins), a 19 year-old who has been transferred from a juvenile detention centre to prison.

Based on ex-prison therapist Jonathan Asser’s 12-year stint of working in an actual prison (he also wrote the script), Starred Up shows how hard it is for an inmate who is young, to be in an adult prison, even having been in and out of trouble (and in and out of detention centers) for most of his life.
From the initial scene, where Eric is marched into the prison which will become his home, where he is taken to the induction room, strip searched and asked to squat down so that the prison guards can check up his rear end, to him being marched through the prison to his cell, would be quite intimidating for anyone. But not for Eric, he seems to take it all in stride, just another day of being locked up. It does help, a bit that his father is also locked up in the same prison, though they never actually saw eye to eye on the account of his father never being there for him when he was growing up. Even though at 19 years old, Eric has no trouble adapting to his new environment, as any career criminal would. He won’t, and doesn’t, take any shit from no one, and he is the first to resort to violence when threatened by other inmates. Meanwhile, it is suggested by prison officials for Eric to join a support group with fellow inmates. At first he resists, violently, even biting one of the guard’s lower regions. Then over time goes to the therapy sessions on his own, and soon opens up to his fellow prisoners, and to the therapist (played Rupert Friend), who takes an interest in Eric and wants to help rehabilitate him. But the prison Warden has other plans and dismisses the therapist, leaving Eric to miss the meetings he started to look forward to, and which was helping him to open up about his troubled life. Soon enough Eric cascades back into a dark place, which includes violence towards anyone who even gives him a dirty look.
At 105 minutes long, Starred Up is not an easy film to sit through, the stabbings and cuttings that Eric, as well as the other inmates, inflict on each other is extremely realistic and very bloody (the use of razor blades is common). And one attempted hanging in the film is all too real. But it is O’Connell’s performance in this film that will make you sit up and take notice. In a role that required lots of violence (and full frontal nudity), O’Connell uses his youthful looks and muscular physique to portray a young inmate who can intimidate the fellow prisoners. His is a very edgy, emotional and at times an unpredictable performance. Also there are quite a few good scenes in the film between Eric and his father Neville (Ben Mendelsohn), and one in particular when Eric realizes that his father is in a homosexual relationship with his cell mate.
Eric is all grown up, now a man, who can take care of himself, he has been Starred Up (a term which means that a juvenile inmate is moved to an adult jail). And O’Connell is one actor to look out for.
12th Mar2014

300: Rise of an Empire – Film

by timbaros

images-127If you liked the film 300, than you will most definitely like it’s sequel 300: Rise of an Empire even more. The highly successful 2007 original film (which starred Gerald Butler) grossed half a billion dollars worldwide at the box office, so you can imagine why another film was due. It took seven years to make it to the big screen, at a cost estimated to be in the area of $100 million, but every penny of this money is on the screen.

300: Rise of an Empire is not a sequel nor is it a prequel. It is, according to the filmmakers, a story that is told within the architecture of the first film. In Rise of an Empire, the story pits the Greek General Themistokles’ (Sullivan Stapleton, last seen in Gangster Squad, and stepping in for Butler who was slain in the first film) army made up of Greeks from various other city states pitted against the massive invading Persian army, ruled by the mortal-turned-God Xerxes (Rodrigo Santoro, who was in the first movie, again wearing nothing else but gold medal on his body, which in the same amazing shape), which is in turn led by Artemesia (an evil Eva Green), the commander of the Persian forces. Lena Headey returns as Spartan queen Gorgo, ready to avenge the death of her husband. She is one tough cookie.
Rise of an Empire takes place during the same 3 days in Thermopylae (a location in Greece with a narrow coastal passage), where Leonidas (King of Sparta) faced the Persians at the Hot Gates of Hades. So Rise of an Empire basically creates a second story within the first film – 300 – so you won’t need to have seen the first film to follow this new one.
And if you have actually seen the first film, then you will remember the amazing special effects. Rise of an Empire has even better special effects, and with the aid of 3D, these effects literally triple the viewing experience. The action shifts from land (300) to the sea where the Greeks face the massive and prepared Persian army. The sea battles are amazing to watch; boats as far as the eye can see, hundreds if not thousands of soldiers on the Greek and Persian sea vessels. When they start fighting and collide with each other the scenes are very dramatic and very tense, and dare I say it, very realistic. This is how good the special effect are in this film. Thunderstorms, dark clouds, a volatile and rough ocean, muscular men ready to fight at all costs with the fighting taking place in slow motion, with Themistokles leading the way, enhances the action in this film. Artemisia leads the Persians, standing on the bow of her vessel, ordering her men to attack the Greeks. Wow! What scenes. Just amazing.
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Themistokles standing on a perch, overlooking his kingdom and speaking to his people is another amazing scene that utilizes 3D to its most effect. And while I’m not a fan (and can’t really understand or follow Greek mythology), one does not need to know it to enjoy the film.
There are a couple special effects that go wrong (including a scene where Themistokles is on a horse that gallops across a burning ship, into the rough ocean waters, and then jumps onto a Persian Vessel), doesn’t look authentic at all. But the rest of the special effects all look very real. Credit goes to Director Noam Murro and writers Zack Snyder and Kurt Johnstad who stay very close to the storyline of the original yet successfully achieve a new movie that stands on its own. The acting is fine, if a bit wooden (this film is NOT about the acting), and if seeing hundreds of half naked muscular men, all wearing very little, is your thing, then you will enjoy 300: Rise of an Empire even more. I actually plan to see it again.

 

06th Mar2014

Ride Along – Film

by timbaros

images-123Kevin Hart is now the new Eddie Murphy! He was last seen in Grudge Match, practically stealing the film from both Robert DeNiro and Sylvester Stallone, and now he is starring in a new movie tailor-made for his comedic skill – it is called Ride Along.

 The diminutive Hart (at 5 feet, 4 inches tall) is a powerhouse comedian who made his name doing stand up. He’s been seen in quite a few films over the past ten years, including 2003’s Scary Movie 3 and 2010’s Little Fockers. But it was his role as boxing promoter Dante Slate Jr. in Grudge Match where he really proved his own (against heavy hitters Robert DeNiro and Sylvester Stallone). In Ride Along, Hart’s comedic skills are put to good use as a security guard who wants to become a police officer, to prove that he is worthy of marrying the beautiful Angela (Tika Sumpter) but is thwarted at every turn by her over-protective brother James Payton (Ice Cube), who is an actual police officer.
In order to prove to Angela, and to Payton, that he can make it as a police office, Ben Barber (Hart) applies for and gets accepted to the police acamedy. He then ‘rides along’ for a day with his potential brother-in-law to see and feel what it is like to be a cop. Ben is a video-game junkie, but he wants to experience first-hand what being a cop is like, and in addition prove to James that he has what it takes to care of Angela.
But little does Ben know that James has set him up with many dangerous (and funny) situations.
Think of Ride Along as Training Day with lots of laughs. As this is what Hart provides, laughs at every turn. His first ‘assignment’ is to tell some of the rough Hell’s Angels motorcyclists to move their bikes as they are parked in a handicapped area. They stand their ground, trying to intimidate Ben, and they do, but Ben stands his ground. Of course, these Hell’s Angels were there as a setup that James arranged! In another scene, Ben has to restrain a large man who appears to be going crazy in a grocery store, having poured honey all over his body. It is up to Ben to restrain him, and literally getting stuck to him. You won’t see any other comedian doing this type of stuff in any movie, I guarantee you. But the main plot of the film is where James is investigating, and trying to capture, one of the city’s most dangerous criminals, Omar. Of course, Ben gets jist of the investigation and you can image how the film is going to end.
While Ride Along may not be intended for serious audiences, it does, fortunately, know this and creates situations for Hart to show his very funny side. And while the script may be a bit predictable, it is the jokes that are not, and it is Hart’s delivery of the jokes and the situations that he is in that makes him ready to take the crown of King of Comedy that Eddie Murphy once held many years ago. Ride Along features cameos by Laurence Fishburne (as Omar) and John Leguizamo.
28th Feb2014

Predictions for the 86th Annual Academy Awards – Film

by timbaros

This has got to be the toughest Oscar race in years. While in one or two categories there are clear cut winners, the rest of the categories are neck and neck between two clear cut potential winners. Here are my predictions on the 86th annual Academy Awards on Sunday night, predictions for those who should win and for those who will win.

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Best Picture:
For some strange reason the Academy nominated 9 films in this category, and not ten as it has in years past.
12 Years a Slave is the sentimental and dramatic favorite because of its storyline, a topic no other film has tackled. Gravity could slip in and win because of it special effects wizardry, telling the amazing story of a woman adrift in space. But it looks like 12 Years a Slave will squeak by.
Nominees:The Wolf of Wall Street, Nebraska, Captain Phillips, Gravity, American Hustle, Philomena, Dallas Buyers Club, Her, and 12 Years a Slave.
Should Win: 12 Years a Slave. The film has opened up an international conversation on slavery. And the Academy would love to see producers Brad Pitt and Steve Mcqueen on the podium.
Will Win: 12 Years a Slave. As McQueen may be shut out as Best Director, this category will be where he wins an Oscar.
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Best Actor:
This race is either a shoo-in for Matthew McConaughey for Dallas Buyers Club or a shoo-in for Chiwotel Ejiofor for 12 Years a Slave. While McConaughey has won 17 Best Actor awards from various critics groups, Ejiofor just recently won the BAFTA for Best Actor (Dallas Buyers Club was not eligible for the BAFTA’s due to its 2014 release). If either man wins it won’t be a surprise as this is the closest Best Actor race in years. In any other year, Bruce Dern would win for Nebraska, but the quality of performances in this category this year are high caliber. So high caliber that two beloved actors who gave perhaps the best performances of their careers were overlooked: Tom Hanks for Captain Phillips and Robert Redford for All is Lost.
Nominees: Christian Bale for American Hustle, Dern, Leonardo DiCaprio for The Wolf of Wall Street, Ejiofor, and McConaughey
Should win: McConaughey. He lost 45 pounds to play AIDS patient Ron Woodruff.
Will win: McConaughey. Ejiofor may be gaining momentum, but its McConaughey’s year (and he was also memorable in The Wolf of Wall Street)
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Best Actress:
Cate Blanchett for Blue Jasmine will win and should win. Her performance of a woman who has lost everything and has to her life over again start from scratch is excellent. The other woman in this category don’t stand a chance, though if Gravity sweeps everything it is nominated for, then expect Sandra Bullock to take it. Though Blanchett is a sure lock.
Nominees: Blanchett, Bullock, Amy Adams for American Hustle, Judi Dench for Philomena, and Meryl Street for August: Osage County
Should and will win: Blanchett
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Best Supporting Actor:
At this point it appears that Jared Leto is the frontrunner for his role as Rayon the drag queen in Dallas Buyers Club. Leto has won an incredible 38 awards for this performance, his first performance in a film since 2009’s Mr. Nobody. Michael Fassbender could sneak in take the prize if the Academy feels that it needs to hand 12 Years a Slave lots of awards.
Nominees: Barkhad Abdi for Captain Phillips, Bradley Cooper for American Hustle, Fassbender, Leto, and Jonah Hill for The Wolf of Wall Street
Should win: Leto, who has walked off with the Golden Globe and Screen Actors Guild Awards
Will win: Leto, for losing a lot of weight to play a drag queen with AIDS.
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Best Supporting Actress:
A month ago I would’ve predicted that Lupita N’yongo was a shoo-in for her performance of a repressed slave in 12 Years a Slave. But tJennifer Lawrence has been winning the majority of awards for her role in American Hustle. And while Lawrence won the Best Actress statuette last year for Silver Linings Playbook, she could possibly win back-to-back Oscars. However, N’yongo and Lawrence may cancel each other out, as this how close this race is, and any of the other nominees sneak in and win.
Nominees: Sally Hawkins for Blue Jasmin, Lawrence, N’yongo, Julia Roberts for August: Osage County, and June Squibb for Nebraska
Should win: N’yongo. Even though she was in very little of 12 Years a Slave, she was in it’s most memorable scene where she gets lashed by Fassbender’s character – one of the most brutal screen moments of last year.
Will win: Lawrence. This is her third nomination, and she is absolutely loved in Hollywood, so there is no doubt they will award her again.
Best Director:
Alfonso Cuaron should and will win for Gravity. Cuaron waited for new technology to be built in order to make the movie that he wanted to make. Gravity has received worldwide excellent reviews and is still making loads of money. Plus, he’s won the DGA, BAFTA and the Golden Globe Awards for Best Director. It is highly unlikely that Steve McQueen will win this, but if he does he will be the first African to win Best Director.
Nominees: Cuaron, McQueen, Alexander Payne for Nebraska, David O. Russell for American Hustle, and Martin Scorsese for The Wolf of Wall Street
Should and will win: Cuaron, for making an incredible and beautiful film, so unlike anything that has ever been shown in cinemas.
Best Animated film: Frozen
Best Adapted Screenplay: 12 Years a Slave
Best Original Screenplay: Her
Best Foreign Language Film: The Great Beauty (Italy)
16th Feb2014

BAFTA Winners – Film

by timbaros

 

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Steve McQueen’s slavery drama 12 Years a Slave took best film and best actor for Chiwetel Ejiofor at this year’s British Academy Film Awards. With a total of six prizes, Gravity was the night’s most-awarded film, sweeping up four technical categories as well as the gongs for outstanding British film and best director for Alfonso Cuarón.

American Hustle claimed three awards: best original screenplay, best makeup/hair and an award for Jennifer Lawrence as best supporting actress. Cate Blanchett won best actress for the title role in Blue Jasmine, while newcomer Barkhad Adbi was named best supporting actor for his part as a Somali pirate in Captain Phillips.

Gravity’s six awards were rounded out with recognition for best visual effects, best cinematography, best music and best sound. The Great Gatsby was another multiple winner in the technical categories, winning best production design and best costume design.

The awards were announced at a ceremony hosted by Stephen Fry at the Royal Opera House.

http://awards.bafta.org/award/2014/film

15th Feb2014

The Monuments Men – Film

by timbaros
images-102The Monuments Men was originally scheduled for release in December, 2013 in order to qualify for the awards season, but due to problems in the post-production (editing) process, the release was pushed back to February in both the UK and the U.S.
What were the problems? Trying to balance the dramatic element of the film with the comedic element. Did it work? In my opinion (and in the opinions of other film critics), it did not.
The Monuments Men, with the tag line of ‘based on a true story,’ is about a group of men during World War 2 who set about saving valuable works of art form the hands of the nazis towards the end of WW2.
George Clooney, star, director, co-screenwriter and co-producer, plays the head savoir of the art team, and got together his posse of friends to be in HIS movie. These friends include Matt Damon, Bill Murray, Cate Blanchett and John Goodman. Other actors drafted to be in this film include Jean Dujardin, Bob Balaban and English actor Hugh Bonneville. The men play the team enlisted to find the works of art – some of older men were drafted because they were historians and architects and thus were drafted for their expertise.
The dramatic element of the film works fine: Men in the middle of a very dangerous war in occupied countries are tasked to retrieve stolen art. Deaths happen, scenes of fighting all around them, and the realistic looking art and set direction would’ve made for a good movie. It’s the comedic element that just does not work.
What you have onscreen is a mish mash of actors of different ages who are playing characters, but its the older ones who are the brunt of many jokes. Goodman has a hard time in basic training and just generally getting around due to his weight. Dujardin has a thick French accent this is made fun of, but is it funny? No. And Balaban is completely blind when he doesn’t have his spectacles. There is one strange scene where Balaban’s character has a standoff with a German soldier – nothing really happens in that scene but we are supposed to find it funny that both Balaban and the soldier don’t know what the other is thinking or going to do, until the soldier goes away, happy with the cigarette that was given to him. Huh?
Also, there seems to be a separate movie going on between Damon’s character, who is tasked with actually delivering the art to the rightful owners, and Blanchett’s character – lonely and vulnerable Claire Simone – a curator who is forced to allow the Nazi’s to steal valuable art. Simone pines for Damon, but he’s a married man, and his duty is to deliver art, and nothing more. Damon’s character pops back to the team from time to time to remind us that he is in that part of the film as well, in a way to connect his and Simone’s storyline to the rest of the men’s storyline.
The problem with The Monuments Men is that the film just does not work. Even at the end, when a very valuable and sentimental piece of art work that was stolen is found hidden away in a cave, there really is no emotional impact for the viewer. And in the final final scene, Clooney employs his father to play him as an older man to try to tweak some kind of final wrung of emotion, but it fails.
The Monuments Men was made for a whopping $75,000,000. It has so far grossed a paltry $30,000,000 in the U.S. It has just opened up in the UK. Clooney, in acting as the film’s driver, needs a wakeup call in that everything he does does not turn into gold. In this case, The Monuments Men turns to dust. No team will ever be able to save this piece of art.

 

15th Feb2014

Her – Film

by timbaros
images-101It is common nowadays to see people literally connected to their phones. It’s like a third hand for some, and for most it’s the one thing thing that they could not live without. Her, now in cinemas, takes the relationships with our phones even further in that it’s main character actually falls in love with his phone’s Operating System.
Theodore Twombly (played by an excellent and almost unrecognizable Joaquin Phoenix)  is the man who is in love with his phone. Well, he’s not actually in love with his phone but in love with the women’s voice who is the Operating System.
Twombly, recently divorced, fortyish, and obviously very lonely, is an expert letter writer (number 612 in his company) – people hire him to write personal handwritten letters to their loved ones. Set in a futuristic Los Angeles, Twombly’s life revolves around work, and his fascination with technology, which has him purchasing the latest gadgets with the most up-to-date systems. This includes his purchase of a new Operating System that is connected to both his computer and to his phone. However, this Operating System is not just a monotone voice with no personality (similar to Siri on Apple’s Iphone), it is a voice that appears to be specially made for him, a voice that he chose to be a woman. It is a very sexy female voice, whose name happens to be Samantha (the voice of Scarlett Johansson). In a world of futuristic looking buildings and lack of personal interaction, Her takes our relationship with technology (and specifically phones) to a whole different level (scary but perhaps realistic). Twombly is longing, perhaps hopelessly, to connect with that voice and hopefully with the person behind that voice. He is slowly falling in love with that voice, a voice that deep down he knows is just a voice. He tells Samantha his innermost thoughts, and starts telling people that he is in a relationship with Samantha. He even tells Samantha that “you helped me discover the ability to want.” But all Samantha is is the voice of a portable gadget and his computer.
Her messes with the idea (perhaps correctly) that we are all getting too dependent on our phones or laptops/tablets/desktop computers, that we are now living our lives talking, texting, socializing, falling in love – all done on our phones or on our computers. Twombly is not the only one who is in love with a voice, his upstairs neighbor Amy (Amy Adams) is also getting caught up in a relationship with the Operating System left behind by her estranged husband. And it seems that Twombly and Amy would make a perfect couple, but they both are so hooked on their device that they seem devoid of actually connecting to anyone real, anyone physical. Is this how our society will be in 20 years time? This proves just how strangely connected they are (and perhaps so are we) to technology.
Her is director Spike Jonze’s first film that he has written on his own. He wrote it three years ago over a long New York winter. Some of Her was shot in Shanghai which has shiny new skyscrapers and raised walkways, perfect for Her to show how people are in such a crowded city but yet strangely disconnected to each other. And as an added backdrop to the making of Her, Samantha Morton originally recorded the voice of Samantha, but in post production Jonze felt that Morton’s voice didn’t resonate the way he wanted it to. So he went with Johannson, who has perhaps one of the sexiest female voices in Hollywood.
Phoenix, who offscreen has a very strange and somewhat interesting reputation, originally felt that he was wrong for the part of Twombly, but his physical appearance in the film – glasses and mustache – make him look very unrecognizable. Phoenix takes his acting to whole different level in this film as most of the time it is just him (and ‘Her’) talking to each other, making us feel like we are watching a romance blossoming. Phoenix was very good in his last film – The Master – but in Her he is excellent.
Was Jonze trying to send a message with this film that technology is taking over our lives? That we are getting too dependent on technology and specifically our mobile phones? And that our mobile phones are never out of our sight for the reason being that we can’t live without them? Have a look around on your way home tonight. You’ll notice that most (if not all) of the people around you are on their phones, either listening to music, checking messages, playing a game, etc….or just simply holding it in their hands.
It takes a movie like Her to remind us that even phones can let us down, and that there is nothing quite like human interaction. Try it some time, you’ll like it.

07th Feb2014

Dallas Buyers Club – Film

by timbaros

images-87In the 1980’s there was no hope for people infected with the HIV virus. Immediately upon diagnosis, the infected were told that they had a short period of time left, perhaps a few months, or less. Dallas Buyers Club is a new film inspired by true events about the life of a man fighting for survival when given a death sentence upon his AIDS diagnosis.

Ron Woodruff, a drug-taking macho womanizing Texas cowboy and electrician, (Matthew McConaughey), is at the hospital after an electrical accident at his work. It is there, in March 1985, that he is told that he has the HIV Virus. Even worse, he is so thin and sickly that the doctor (Dennis O’Hare) at the hospital tells him that he has 30 days left and that he should get his affairs in order. Woodruff, a straight man, doesn’t believe it. He is not gay, so he doesn’t understand how he could have gotten the HIV virus. He refuses to accept this diagnosis until he reads more about it at the local library. He discovers that it is not just gay men who are getting the virus, but IV drug users as well. Upon reading this, he now knows that he’s in trouble…that he’s got the virus. He then finds himself shunned and ostracized by his friends and co-workers.

Back at the hospital, he is told by one of the doctors, Dr. Eve Sacks (Jennifer Garner), that the only drug available was a drug called AZT. She also explains to Woodruff that it is only available in a drug trial, and that half of the participants will receive the drug, and the other half will receive a placebo. Woodruff, who continues taking illegal drugs (including lots of cocaine), and who continues to lose more and more weight, does not accept this and finds a way to get the real drug (he eventually gets it, illegally, from a hospital cleaner who steals it from the drug cabinets at the hospital). However, taking AZT doesn’t seem to help him as he is getting sicker and sicker, and one day he collapses and ends up back in the hospital. He gets put in the same room as Rayon (Jared Leto), a mid 20-something drag queen who is in the hospital for the same reason as Woodruff (AIDS). Rayon is an old friend of Dr. Sacks, he even asks her her opinion on his choice of outfits. At first Woodruff wants nothing to do with Rayon; Woodruff is anti-gay and doesn’t want to be put in the same category as ‘people like Rayon’. He slowly warms up to Rayon, who has a very simple and charming disposition, with a warm touch which he uses to help Woodruff with a cramp in his leg. The hospital explains to Woodruff that they can’t give him AZT (or any other drugs), and he soon realizes that AZT is making people sicker, even at its sticker price of $10,000 for a year’s supply, and people were still dying on a daily basis. So Ron decides to take his health into his own hands.

Woodruff turns to the black market and finds out about a clinic just over the border in Mexico where he meets expatriate physician Dr. Vass (Griffin Dunne). Vass treats him with drugs that are not approved by America’s FDA (Federal Drug Administration). In the clinic there are very young men, all with AIDS, in bed or who can barely walk, some close to death, all clinging to hope that being at this clinic could save them. It is hard to believe that this was a time when this was reality. Woodruff finds renewed health and hope, and he also sees that he could start a business by smuggling the medications into the U.S. to sell to fellow AIDS patients, so that is what he does. And this operation becomes the Dallas Buyers Club. So Ron enlists Rayon to solicit from her community those gay men who have no hope left, and soon enough, Ron and Rayon have customers lining up at their Dallas business, which they operate out of two motel rooms. In Rayon, Ron finds another person who is sort of an outcast, but they are polar opposites. But it then becomes them against the world – the cowboy and the queen. And Dr. Saks eventually goes against the grain of what she has been taught in school and gets on Ron and Rayon’s side. Unfortunately, Woodruff’s business brings the unwanted attention from the FDA as he is selling drugs that are not permitted to be sold in the U.S., but this does not stop him. He is a walking encyclopedia of anti-viral medications, pharmaceutical trials and patents and appears to know more than the FDA and the doctors treating HIV patients. He would re-stock any supply that was confiscated, he would travel to other countries, including Japan, to get other alternative drugs. Ron was crusader, a man who gave hope to many who didn’t have any. He organised and led an operation whose customer base was 99% homosexuals, and Texas in the 1980’s was undoubtedly one of the worst places to be homosexual or transexual, must less one with AIDS. Woodruff would succumb to complications from AIDS in September 1992, 2557 days after his diagnosis.

It took 20 years for Dallas Buyers Club to make it to the big screen. A month before Woodruff passed away, screenwriter Craig Borten drove from Los Angeles to Dallas, Texas to meet him and to begin work on telling his story. Borten felt that the story of a homophobic cowboy who suddenly found himself on the front lines of the AIDS pendemic was profound and unique. The film went into development in 1997, with producer Robbie Brenner attached to it, but it didn’t get made. In 2000, Borten teamed up with screenwriter Melissa Wallack to rework the script. The movie then went into active development at a studio for nearly a decade. However, in 2009, the rights went back to Borten and Wallack, and Brenner got back on board. And their first choice to play Woodruff was McConaughey. And McConaughey was up to the challenge. “Ron was an American original. He shook the tree. He made noise. I said I want to get this made, get Ron’s story told,” McConaughey has said. Once a director was chosen (Jean-Marc Vallée, the award-winning director of Café de Flor and C.R.A.Z.Y.), it was a go. Production began in mid-2012, with Jared Leto on board as their first choice for Rayon, and Jennifer Garner as Dr. Eve Sacks, after having initially been told about the project by McConaughey. Principal photography began in New Orleans in mid-2012, with a 25-day shooting schedule.

What makes this movie stand out from all other films that have dealt with AIDS is the performance of McConaughey. His performance is better and more realistic than Tom Hanks in the 1993 film Philadelphia. And while Hanks was given lots of makeup to look sick, McConaughey went through an amazing physical transformation to play the frail, emaciated and dying man. It is McConaughey’s best performance in his career, and perhaps the best performance of the year. McConaughey shed nearly 50 pounds to play Ron to drop down to a weight of 140 pounds. However, in one pivotal hospital scene, McConaughey dropped to 135 pounds in order to play the frail, emaciated dying Woodruff, lying on his hospital bed in his underwear, extremely thin. McConaughey also did a lot of research for playing the role, including reading Woodruff’s journals. ““After listening to audiotapes and doing my research, I didn’t feel I needed any more information. Interviews with Ron were so helpful. In listening to Ron talk after seven years with H.I.V., I realised that a man speaks differently about himself and his legacy in retrospect than he does when he’s living it in progress,” McConaughey has said. He eventually went to meet Ron’s family. “But then I did decide to meet with Ron’s family, and that made a difference. It was very informative. They are wonderful people who opened up the library of their house to me, lent me scrapbooks, other tapes, a couple of his diaries, and more.” Viewers of this film will forget they are watching the goodlooking and hunky actor Matthew McConaughey as he amazingly disappears into being Woodruff.

Like McConaughey, Leto also went through a physical transformation to play Rayon. By the time filming began, Leto got down to dangerous 116 pounds. And Leto plays Rayon with charm, emotion, a touch of femininity, honest, vulnerable – he completely nails the character.  “I did get in touch with my feminine side, because it’s a strong attribute of the character. In terms of emotions it was important for me to study as much as I could about what it meant to be a transsexual woman, to get at how you see things and what you want out of life,” Leto has said. “Rayon is a ray of light, no pun intended. She is someone who wants to be loved and wants to love others, someone who wants to take care of people with humour and kindness. She looks to be electrified. I think she’s a spirit of hope, joy and optimism,” Leto continues.

Dallas Buyers Club feels like it is a documentary, with a countdown on the screen showing how many days it has been since Ron’s diagnosis. And we see him surviving much longer than the 30 days his doctor initially gave him.

“The way I approached playing him is to never forget that he was a businessman first, a man doing what was necessary to survive. Later on, he became a crusader for the cause, but almost without even knowing it. He helped save so many people, and whether he was doing it for all of us or doing it for selfish reasons, he did it,” McConaughey says. 

Dallas Buyers Club is an important movie that excellently captures the era when AIDS was considered a death sentence, the feel, the clothing, the hostility, the fear, the desperation, and the smell of death. It deserves every award it is going to get. 

By the mid-1990s, “the AIDS cocktail” combination therapies became accepted (and FDA approved) treatment protocol for HIV/AIDS patients. In reduced doses, AZT was an early ingredient in these lifesaving treatments. These drug combinations have saved and prolonged millions of lives; in a “cocktail combination,” three drugs each attack different elements of viral replication, thereby greatly reducing the effects of HIV. If it wasn’t for people like Woodruff in those early days, many more people with HIV would’ve succumbed to the virus.

In 1992, screenwriter Craig Borten asked Woodruff how he would feel about his story becoming a movie one day. Borten reports, “Ron said, ‘Man, I’d really like to have a film. I’d like people to have this information and I’d like people to be educated on what I had to learn by the seat of my pants about government, pharmaceutical agencies, AIDS. I’d like to think it all meant something in the end.’”