84th Annual Academy Awards Recap

Last night's Oscar telecast went (pretty much) as expected. "The Artist" walked away with the top awards, but not before "Hugo" picked up a slew of awards earlier in the evening. Both films act as a reverie to the golden age of Hollywood, so it was fitting they went home with five awards each considering the theme of this year's ceremony.

The entire telecast revolved around feelings of appreciation and nostalgia for the art of filmmaking with interludes of actors revealing favorite movie moments of their past. The stage was even set up to replicate an old fashioned movie theater. So, it was as if the show was purposely modeled after the films the producers knew would take the most awards -- and with the show's renewed sense for a love of cinema, it felt fitting.

Not to mention the return of veteran host Billy Crystal who, while definitely nothing too exciting to tweet about with no real jokes to remember, he was congenial enough and kept the night moving along. He opened with a medley introducing the nine Best Picture nominees, and while it was rushed and awkward it worked fine. Not only as a moderate distraction but as a reminder to the Academy to just cut it back down to the usual five nominees already. Besides, his old shtick fit right in with the evening's theme of film throwback. Hey look, it's the Oscar host from the early 90s!

"The Artist" took home the awards for Best Picture, Director for Michel Hazanavicius, Score, Costume Design and Best Actor for Jean Dujardin who during his acceptance speech proclaimed, "I love your country!" and then ended it with an explosion of French. He was the first ever Frenchman to win in the category, and "The Artist" winning marked the first time a black and white silent movie has taken the top prize since 1928.

"Hugo" garnered awards early in the night nabbing plenty of technical awards including both Sound Editing and Mixing along with Art Direction as expected, but then it surprised by taking Cinematography out from under "The Tree of Life" leaving Malick's prestigious film with nothing. It then swooped in and snagged Best Visual Effects from the frontrunner of "Rise of the Planet of the Apes."

The biggest technical surprise, however, went to "The Girl with the Dragon Tattoo" winning Best Editing over the likes of both "Hugo" and "The Artist." My question: if "Dragon Tattoo" was good enough to not only get nominated for Editing but win in that category, then why wasn't it good enough to at least get nominated for Best Picture? I mean, "Extremely Loud & Incredibly Close" got nominated, and the majority of the evening was spent trying not to remind the audience that it did.

The supporting acting awards went without a hitch. Christopher Plummer, 82, became the oldest actor to ever receive an Oscar getting his predicted Best Supporting Actor award for "Beginners." He received a well-deserved standing ovation along with Best Supporting Actress winner Octavia Spencer for "The Help." They both had the most heart-warming speeches of the night, especially Spencer who burst into tears.

The third standing ovation went to Meryl Streep. Yes, for her Best Actress win for "The Iron Lady" over frontrunner Viola Davis for "The Help." They thankfully didn't cut to Davis who most likely was wearing a crushed expression upon her loss. I was rather irate at Streep's win realizing to myself I had forgotten the rule of the biopic; that is, if a renowned actor/actress plays a real life person, they most likely win.

My anger subsided, however, when Streep provided us an instance of comedic brilliance. Upon reaching the mic (which had annoying digital feedback for most of the night), she joked how half of America was probably grumbling to themselves thinking, "Aw c'mon, her again?!" She then paused briefly and concluded with a non-chalant, "But whatever!" It was a perfect moment that made up for poor Davis' snub.

Critics are already calling last night's telecast a dud. Let me be the one to remind everyone that this is an award show. It's hard to pump it with pizzazz, especially considering they scrapped all shreds of musical performances. Save, however, for the Cirque du Soleil performance which turned out to be quite thrilling and extravagant. And, for me at least, the night was full of memorable moments.

Can we talk for a second about, say, Angelina's right leg? Not ten minutes after Angelina Jolie was on stage to present the award for whatever she was presenting an award for (sorry, I was distracted by her right leg the whole time), a Twitter page was created in honor of her protruding ligament.

The ladies of "Bridesmaids" were certainly a treat sprucing up the presentation for the short films which are otherwise dreaded categories to sit through. Kristen Wiig and Maya Rudolph managed to sneak in penis jokes while Melissa McCarthy and Rose Byrne created a Martin Scorsese drinking game right on stage.

When Emma Stone presented next to Ben Stiller and when Zach Galifianakis and Will Ferrell appeared with their silly cymbal crashing, they were all making strong cases as to why they should perhaps host in future years. Producers, take note.

While last night certainly didn't reclaim the spirit of Oscar we've lost over the years, it was at least a step in the right direction reminding audiences why films like "The Artist" and "Hugo" might have been such a big deal. Last year certainly was about reclaiming the magic of going to the movies, and last night's telecast captured that feeling. And before you complain about Billy Crystal, just think back to how the hosting went last year.

As for my predictions, I came out with a rather solid 19/24 categories predicted right. Go me.

Check out the full list of winners from the 84th Annual Academy Awards, and revel in the fact that we don't have to talk about this for at least a few more months!

Archive: "A Mighty Heart" (2007)

This is the story of Daniel Pearl, a reporter for the Wall Street Journal who, in 2002, was researching a story on a man named Richard Reid. The investigation drew him and his wife, Mariane Pearl, to the crowded city of Karachi, Pakistan. One night, Daniel went for an interview from an elusive source and told his wife he may be home late for dinner. He never returns. Amongst the bustling streets of this city, terrorists surfaced and took Daniel hostage. They held him prisoner until one day a horrifying video was released showing footage of Daniel's beheading. This is the story of the desperate struggle to find Mariane's husband before the awful truth is revealed. This film, "A Mighty Heart," is based on the memoir written by Mariane Pearl entitled "A Mighty Heart: The Brave Life and Death of My Husband Danny Pearl."

Angelina Jolie plays the role of Mariane Pearl and proves once and for all that she is a brilliant actress. She convincingly portrays the real-life woman not only with her physical appearance (she is nearly unrecognizable with her curly hair and dark skin), but also with her emotions and reactions. It's unfair to call her performance simply Oscar bait; yes, depicting a real-life person always helps, but it's not her fault that the Academy tends to look towards that. It's a tough role because she has to play a real person and not a movie star interpretation of a real person, and with that, she does Mariane Pearl proud. She plunges into the role and makes it who she is; her unique look and French accent of course helps with this. Whether she's demonstrating heroic self-conviction or wailing in the dark corner of a room, she is damn good.

The movie is faithful and committed to the facts but also doesn't rely too heavily on them. The search for Danny Pearl is a convoluted mess with countless investigators, friends, family, and suspects getting involved. There's the friend whose apartment is where most of the investigation roots from; the Pakistan security official who knows his way around the city; and the American agent who wishes he could be helping out more. With plenty of other people abound, the movie's fast-paced, choppy fashion makes it quite difficult to follow at times. I see this as a good thing, though. There's no need to understand exactly everything because it should not ever reach the point where the faces, places, and names actually matter. They are like a setting within all of the emotional turmoil. We know about as much (or in this case, as little) as Mariane and can comprehend about as much as she can. We feel flustered just like her, and that's exactly the point.

It's a sign of great talent when the audience can be kept enthralled even when the ending is already known. There's still plenty of snags along the way that keep it interesting including lies, gossip, and rumors about Danny Pearl's motivations and his work. Here is a thriller that depends on this type of frustration and confusion. We get lost in the story, sometimes even literally, and we feel the sense of urgency throughout. The movie is also somewhat of a political piece, but luckily, it doesn't elevate anything to that of exploitation to ensure it's rightfully placed emotional impact. We don't hear too much about the kidnapping terrorists and we don't ever witness the beheading video because they are like a separate entity never to be truly revealed.

Through it all, Mariane Pearl is the heartbeat and core of the film. She is the voice of dignity, hope, and strength, holding the fabric of everything together. When we witness her speak to CNN interviewers, we understand how her mind works. When asked how she is coping with her husband's death, she goes on to explain that in the same period of time, countless other journalists under the same circumstances were killed and that her situation is just one of many. Like that single response, she is reserved and calculates her every action. She is a courageous woman in the face of this tragedy in her life, and she stays strong and firm. Most endearing are the words she states once the search for her husband subsides; they are beautifully spoken.

"A Mighty Heart" is directed by British director Michael Winterbottom, who films the movie in a docudrama style with zero Hollywood frills attached. It's effectively made, is as jolting as it is heart-wrenching, and is held together almost entirely by, yes, I'll say it, Angelina Jolie's Oscar-caliber performance. It's an important film that brings attention to this most devastating of tragedies; it's a worthy movie on this very tragic and sensitive subject and is approached with great sincerity and respect.

Archive: 'Beowulf'

Movie Review
Beowulf (2007)


I just love this melding of school literature and a major motion picture. Upon first hearing about "Beowulf," I figured it would be a pile of crap, but I would see it anyway just to poke fun at the thrilling memories of trudging through the Old English epic poem in English class a year back. Ah, yes. Well, I couldn't have been any more wrong, and it just so happens that this is actually one of the most exciting times you'll have in a theater right now. It's hilarious how this centuries-old poem has been kicked into high-gear and transformed into one awesomely kickass action movie. I think even Mrs. Ladd would be proud. Good ol' Beo!

Director Robet Zemeckis uses the same motion-capture here that he used in "The Polar Express," except back then it looked pretty surreal. Although still slightly eerie, things have definitely changed because this time around, the style of animation looks more realistic and absolutely stunning. And the movie looks like it was specifically made for 3-D with plenty of things flying out at the screen towards you. I saw it in IMAX 3-D, and it was loud, exciting, eye-popping, and insanely entertaining. If you plan on seeing it, do yourself the favor of seeing it in 3-D; most theaters are offering it that way, and it's really the best way to experience it.

Plot summary is like reviewing for a test on Beowulf because it's actually quite faithful to the original poem with familiar names and places. It takes us to a land long ago where Danish king Hrothgar (Anthony Hopkins) is holding a celebration in the mead hall, a place where there are lots of women to fondle and mead to guzzle. Out in the distance, however, there is the monster named Grendel (Crispin Glover), who is known for hating joyous celebrations and therefore has a nasty habit of destroying mead halls. Grendel is conceived rather well, I thought, considering how the original poem would've intended for him to look. He's partially man, which is correct, but horrendously slimy and gross looking, also correct. King Hrothgar offers a reward to any man that can slay Grendel, even offering his younger queen wife (Robin Wright Penn).

And so arrives Beowulf (Ray Winstone) with his faithful friend Wiglaf (Brendan Gleeson) and other thanes to slaughter the beast, all boasting in manly robust talk. A man named Unferth (John Malkovich) questions Beowulf's abilities and mentions a swimming race Beowulf had with another man named Breka. This is humorous to me only because I distinctly remember Breka being briefly mentioned in the poem, and now in the movie, it's blown-up into an extended flashback showing that the reason Beowulf lost the race was because he was too busy splitting open and gouging the eyes out of sea monsters, all shown in gruesome detail with blood raining down on your 3-D glasses. Later on, Unferth even turns around and offers Beowulf a sword called Hrunting, also mentioned in the poem. So, it's faithfulness is definitely there; however, it's when Grendel's mother comes into the picture that some liberties are taken with the plot.

Yes, Angelina Jolie plays Grendel's mother, and she would not at all work in the context of the poem as she's supposed to be an ugly hag. In the way the movie wants to use Grendel's mother, though, Jolie couldn't be a more perfect match. When she first emerges from the pool in that single iconic scene, Grendel's mother is sexy, seductive, and tempting, covered in patches of gold to cover up her personals and even donning spike-heeled feet. And no, that's not actually Angelina Jolie's naked body you're looking at. Grendel's mom tempts Beowulf, adding needed intrigue to the story, and it really works out quite nicely. An innovative new layer is added to Beowulf's character, as well, which allows him to be not only a hero, but also a normally flawed man.

There are some unintentional laughs and occasional outbursts of snickering along the way, especially during a scene where Beowulf strips down completely naked to take on Grendel. Throughout the brutal manslaughter, Beowulf leaps around the mead hall with conveniently placed objects to cover himself. For the most part, though, people just sat and watched in silent awe. This was particularly noticeable during a final fight sequence against a giant fire-breathing dragon. Dare I say, FBD? This final fight's purpose, especially, strays far from the original epic, but this too ends up working out quite well with the rest of the movie's story.

Ray Winstone is fitting to Beowulf with his random outcries of triumphant phrases, reminiscent of "300," as this movie will probably appeal to the same audience. I actually liked this better than that for whatever reason; perhaps it's my English class connection. The movie is also bordering between its PG-13 rating and an R-rating, and it likely would've obtained the latter had it not been animated.

If you're looking for something fun to see in theaters right now, this is by far your best bet; just slap on those 3-D glasses and enjoy the rush. However weird I feel saying it, "Beowulf" is a really great movie.

Archive: 'Wanted'

Movie Review
Wanted (2008)


"Wanted" is hyper kinetic, ultra violent, super sleek, and ferociously sexy. It's total trash. And a damned brilliant guilty pleasure. I could not for one minute wipe the stupid grin off my face once the credits began to roll. It takes a good while after the movie ends for your heart rate to return to normal, for your senses to stop being heightened, and for you to realize that perhaps what you just got done watching was completely nonsensical. But, by the time all of this happens you've probably already babbled to everyone how awesome the movie just was. Or how ridiculous. Either way, it's got you talking about it.

The movie is based on comics by Mark Millar and J.G. Jones, and it tells the story of a nobody named Wesley Gibson (James McAvoy). He's an office drone who hates his job, has a fat bitch of a boss, and has a girlfriend who is cheating on him with his best friend. Wesley is tired of his miserable existence but doesn't know how to escape it. And that's when Angelina Jolie shows up. She plays a secret assassin named Fox, a gun-slinging babe who saves Wesley in a convenient store. She then takes him to a man named Sloan (Morgan Freeman). Now, once Morgan Freeman comes into the picture, you know he's the all-knowing, mighty figure who explains everything. And so he does. He's the leader of a thousand-year-old team of assassins called the Fraternity, and Wesley is the newest recruited member. Wesley discovers that his father was also an assassin and just got murdered. He must now exact revenge on the man who killed his father, a man named Cross (Thomas Kretschmann).

And so, Wesley leaves his old life behind and embraces his new secret identity where he masters the skills of fighting and killing. Sloan explains to him that he has sensory powers, a rushing sense of adrenaline that allows him to concentrate better, a sensation which Wesley was mistaking before for mere panic attacks. He meets other members of the team who beat him to a bloody pulp for his training and then let him heal in some sort of tub of wax. And then he discovers he even has the ability to curve bullets. We're right on Wesley's side as he enters this world where the laws of physics are suspended; he's the everyday guy who finds out he's extraordinary, and his transformation from dweeb to badass is believable.

The assassins within the Fraternity receive their orders on who to kill from the Loom of Fate. Yes, that's right. Any movie that includes a Loom of Fate isn't asking to be taken seriously; you must whole-heartedly understand what you're getting yourself into. This magical loom weaves a binary code of names of people who must be eliminated. The source of the information is unknown, but they trust it and stick with their motto: "Kill one and maybe save a thousand." And then come the fantastically choreographed action sequences that are mind-numbingly fast-paced, swirling about in a whirlwind of bullets and blood. The opening chase in a hot red Viper with Angelina at the wheel really sets the mood.

It's amazing that James McAvoy has gone from "Atonement" to this, and he acts his ass off here sporting a superb American accent. This is a big summer movie, and it will probably give him star credibility. And then there's the full-bodied tattooed Jolie who doesn't mind showing a little skin and simply steals the show even though she is only in a supporting role. Her presence in the movie is pleasingly subdued not because I wouldn't want more of her but simply because her smirking, sexy self is never overused. She's pure sizzle as she fires away at the bad guys with her cat-eye squint. Her range, as well, is impressive with this movie being smack in between two much heavier roles for her in "A Mighty Heart" and "Changeling." Now, the movie's trailers lead viewers astray as to the relationship between Fox and Wesley, but I will tell you that they share a steamy lip-locking moment.

Russian director Timur Bekmambetov (of "Nightwatch" and "Daywatch") puts the petal the metal and never ever lets up for the entire duration of the movie. He's a certified action stylist and even directs the scenes containing no action with the same amount of manic energy. This is a movie that relentlessly nails you to your chair and delivers the goods. With a sneering sense of humor, it sustains an intoxicating visual style with tasteful use of slow motion and heart pounding in your ears. There's even a twist, and it's a good one, too. "Wanted" is an audacious adrenaline rush, the reason we go to the movies in the summertime. This is a movie that is never boring, oftentimes absurd, and all out a whole lot of fucking fun. My advice? Throw logic to the wind, and immerse yourself.

Archive: 'Changeling'

Movie Review
Changeling (2008)


On March 9, 1928 in Los Angeles, the son of Christine Collins (Angelina Jolie) went missing. The worried mother contacted the police, and a fruitless search ensued for her son, Walter. Months later, the LAPD announced they had found her son alive in DeKalb, Illinois. When reunited with her son, she claimed the boy brought to her was not him. The police force, who was under fire for corruption, insisted that Collins must be mistaken. Standing before the press, Capt. J.J. Jones (Jeffrey Donovan) assured Collins that the boy was her son and stated the case as a superior example of the LAPD's hard work. The LAPD was in dire need of such positive coverage and continued to ignore Collins' assertions that her real son was still missing and the boy she was forced to take care of wasn't Walter. Collins was then claimed as mentally insane and locked up in a psychiatric ward.

Clint Eastwood's "Changeling" focuses on the factual retelling of this true story. It all begins as a simple case of a missing boy and explodes into an entire critique of the structure of Los Angeles in the 1920s including the LAPD, status and rights of women, and treatment of the mentally unstable. After "Mystic River," "Million Dollar Baby," and then the duo of "Flags of Our Fathers" and "Letters from Iwo Jima," it appears Eastwood is only gaining steam and at the peak of his creative abilities. Because this real life event happened so long ago and because it's simply something sad that happened to somebody, it's amazing how Eastwood was able to craft such a powerful and disturbing drama out of it. It's not the history that makes the movie important, but rather, the stylistic abilities behind the storytelling that makes the history so important. Eastwood is a strong force, and watching this movie is watching a master at work doing what he does best. Walking out of it, there's the immense satisfaction of just having watched something so well-made.

There's a certain look to the entire movie as a period piece, and the scenery is glossed over in beauty with certain colors popping out. An entire world is created, and it's like viewing this time period as we've never seen it before; the movie initially starts in black and white and fades back into it at the end. It's a sly stylistic approach, and it works wonders. It's visually appealing, and there are so many details relating to the time period to notice throughout. And not to mention Eastwood's subtle but deeply resonant musical score. The entire film acts as an observation within this vividly realized world, an observation that makes us angry, very angry. The story is the unraveling and unwinding of such anger that leads to somber resolve.

Christine Collins receives aid from a radio preacher named Rev. Gustav Briegleb (John Malkovich) who seeks out to uncover the unlawfulness of the LAPD. Meanwhile, a detective is put on a seemingly insignificant case that leads to the discovery of the murder of 20 young boys on an isolated ranch in Winesville, California. This discovery takes the fight in a whole new direction. The film has a sense of very traditional storytelling while at the same time remaining complex and morally challenging, focusing on the essential and fragile hope of having any sort of decency in the world we know. The structure is fascinating as the movie starts off intimately personal and then zooms out to a nearly epic sweep and tightens right back in again to the individual. The story should really be left for viewers to discover on their own, and so I must refrain from giving too much away. For such a heart-wrenchingly sad saga, the movie is equally exhilarating.

Angelina Jolie is inspired casting. Donning bright red lipstick, she sustains an assured presence building in terror and anger and ending in silent resolution, all which brings the LAPD crumbling to the ground. She, however, never takes center stage and simply delivers what she is good at, right alongside John Malkovich who perfectly fits his role as the crusading minister. Geoff Pierson as the lawyer who takes Collins' case to court is a demanding presence, as well. And not to be overlooked is Jason Butler Harner's haunting role as the frightened remnants of a man turned murderer, Gordon Northcott. Amy Ryan absolutely nails her brief number of scenes as Collins' fellow psycho-ward inmate. Surprisingly impressive, as well, is Eddie Alderson who plays the 15-year-old nephew of the killer; his account of the grisly murders is harrowing. "Changeling" is another triumph from a very accomplished filmmaker. It's a film to discuss, remember, and admire, and it's among the best of the year.