This Tuesday the Sundance Film Festival announced its 2011 Dramatic Competition lineup. It's ironic that a festival devoted to independence and originality has me looking over the list of films like the crassest studio boss ever to chomp down on a cigar behind a giant desk. You can't help but gravitate towards big stars and familiar concepts. "You've got fifty words, kid. Wow me!"
One can't help but run over the list trying to spot the future of filmmaking somewhere in there. Last Winter's festival had Blue Valentine, which is still a big part of the conversation, and Winter's Bone, which gains momentum by the day. In fact, the roots of the current awards season goes all the way back to the 1998 festival where Darren Aronofsky was awarded for directing Pi and Lisa Cholodenko won the Waldo Salt Screenwriting Prize for High Art.
History has shown that festival hits come out of nowhere and can't be predicted. The flick that was supposed to be the hot ticket ends up barely limping into release, while the film no one had their eye on ends up with lines that resemble the run on the bank scene from It's a Wonderful Life.
That said, if I were filling out my dance card now here are three films that I would make a point of catching based on nothing but their capsule summary and my gut instinct. We can check back in a few months to see how sharp my intuition is.
Terri: (Director Azazel Jacobs; Written by Jacobs and Patrick Dewitt) Described as a story about an orphan "mercilessly teased by his peers and roundly ignored by his teachers" Terri has echoes of previous festival winner Welcome to the Dollhouse. The fact that it goes on to describe an unlikely friendship between Terri and a vice-principal played by John C. Reilly suggests it doesn't follow too closely in that films emotionally bruising footsteps. Still, films that can accurately capture the hell of high school life are few and far between, and for all his familiarity I am still not immune to Reilly's goofy charms. Mark me down as curious.
Higher Ground: (Director Vera Farmiga; Written by Carolyn S Briggs and Tim Metcalfe) Vera Farmiga has been one of the most welcome presences in movies in the past few years. I was one of those who thought she deserved a nomination for The Departed for the way she made a somewhat thin role three-dimensional and plausible. The fact that she is transferring that powerful perception to the director's chair is reason enough to pique my interest. That the story of a mother trying to break free from a religious fundamentalist community sounds topical and rich with potential seals the deal. The presence of current Oscar dark horse John Hawkes (go John Hawkes!) doesn't hurt either.
On the Ice: (Directed and Written by Andrew Okpeaha MacLean) The film with the briefest description of any in competition: "On the snow-covered Arctic tundra, two teenagers try to get away with murder." It features unknowns in front of and behind the camera, but then the first Sundance Film Festival was won by two unknown brothers from Minnesota and their efficient little murder story Blood Simple. I'm always a sucker for lean and mean thrillers that strip suspense down to its essential elements and this one looks like it has a unique setting to boot. On the Ice has my attention.
Though I had a won-der-ful time on vacation, I do love the movie conversations. Some recent comments I wanted to respond to (for the patient and/or longwinded-like-me among you).
Clint totally approves of the Jodie Foster casting of God of Carnage(I agree that it's interesting and I hope she pulls it off) but I'm sure he'll be relieved to hear that Matt Dillon is no longer with the film. Not me.
Er... okay, I don't know which husband is which.
I was actually just discussing this with friends recently who had all seen the play and were kind of annoyed that John C Reilly will be playing Kate Winslet Jodie Foster's husband. He's not... handsome. Hollywood loves to pair anything from average to ugly men with ridiculously beautiful women, but it's clearly audience pandering to feed male ego fantasies: i.e. I can have / deserve to have a supermodel in my bed, no matter what I look like. It's okay once in awhile of course but all the time? Not realistic. Reilly is a very good actor but it's kind of silly when you stop to think of his screen conquests; he's already had (implied) movie sex with Julianne Moore, Renée Zellweger, Marisa Tomei, Jenna Fischer, Melora Walters, and Jennifer Aniston! Has he ever been paired with a homely woman? He's like a less cocky/noisy version of the Philip Seymour Hoffman phenomenon.
Scott Feinberg points out that Sony Pictures Classics is the first studio out of the gate with Academy screeners. This is a good strategy as I've noted previously. I am anxious to watch Please Give again (very funny movie with delightful actressing throughout... in other words: my kind of movie). I haven't yet screened You Will Meet a Tall Dark Stranger but shall very soon now that it's here. I am feeling the fan guilt as it's one of only two Woody Allen movies I missed in theaters since I saw my very first one back in *gulp* 1984. No, Woody has not always deserved my slavish devotion... but he came very very close twice in the last decade to giving me what I needed from him (Match Point & Vicky Cristina Barcelona, duh!) so there's still a sliver of hope each year.
In related news: Animal Kingdom! I know I've been mentioning that one a lot but I keep hearing from disgruntled moviegoers who missed in when it hit their town. Don't let this happen to you.
LinksPopWrap Julianne Moore "the hundred year old model"
Film Biz Asia It's hard to keep track of all the Asian film awards but the APSA nominations are out. Three Oscar submissions were nominated for their Best Picture prize: Aftershock (China), Monga (Taiwan) and Bal / Honey (Turkey). Poetry, which should-have-been Korea's Oscar submission (it's so good), was also nominated. Awards Daily State of the Race and the Winter's Bone boost. People were bitching at me for believing in this movie as a Best Picture contender and the Gotham Awards have gone and illuminated my foresight. That loud smacking you hear is me kissing my own ass. Someone's got to do it! Journalistic Skepticism compares 70s stars to arguable modern counterparts. Interesting comparison though I had to take issue with the idea that DiCaprio needed Scorsese... DiCaprio was a big deal long before Scorsese adopted him. I've never seen the media fawn over a teenage (male) actor the way they fawned over him in the early to mid 90s. It was like he was the media's only begotten son, they had already set up a trust fund and they had big dreams for him. He could be a doctor, an astronaut or the President!
Leonardo & Hilary in the 1990s.
Antagony & Ecstasy I know I link to this blog a lot but it's because Timothy Brayton is such a damn fine critic. Here in the Conviction review, he provides the most plausible theory yet as to who is responsible for Hilary Swank. OMG Blog Admit it. You've always wanted to photoshop James Franco to look more like a drag queen. Empire John C Reilly has replaced Matt Dillon in Roman Polanski's God of Carnage. That's too bad. I thought that was a good get for Dillon. Isn't it weird that he never got that career uptick that usually follows a first Oscar nomination (Crash). Wonder why that was?
Off Topic
Here are a bunch of young'ish Broadway actors, banded together for a benefit song to help the very worthwhile Trevor Project that fight for LGBT youth.
All the suicides and bullying stories on the news lately are so sad. There has definitely been a resurgence in racism and homophobia and all the other uncomfortable isms and phobias and realities of life in the past couple of years -- and depressingly egged on by people in positions of power, too (shame on them) -- but the way I like to look at it is that it's the death rattle of very backwards ways of thinking. When people see their way of life dwindling -- even if its a hateful way of life/thinking that everyone (including themselves) would be happier if they let go of -- they get very scared and get loud. Change is difficult for people as is progress. But I'm drifting off of the off topic (!) The point is: I can take one moment in this post in case anyone reading is having it rough and say this: Hang on. Life has peaks and valleys but you do not wanna miss the peaks. God the peaks are good.
It's like when you see a terrible movie and you think "god, movies have gotten so bad!" and you think you're done with them and them, ta-da, some actress starts shimmering onscreen, some setpiece makes you wanna devour your entire popcorn bucket while cheering, or some director sums up his whole theme with one perfect shot, or you see a masterpiece and it's all magical again. You don't wanna miss the masterpiece movie on account of the crappy soulless ones. See, now we're...
...Back on Topic!
Here's the new trailer for The Fighter which suddenly renewed everyone's Oscar faith in the movie on Sunday night when it aired during Mad Men. I like the trailer and it does look like Melissa Leo & Amy Adams may hog 40% of the supporting actress category together... but what is with the total D-R-A-M-A of that painfully elongated ridiculously familiar phrase "Based on a True Story"? I can't recall ever seeing a trailer trying to make that as gargantuan a SELLING POINT as this one does.
I mean is there anyone out there who is watching going "yeah, yeah, I like Amy Adams and Mark Wahlberg and boxing movies well enough. but OMG. it's based on a true story?!? Are you serious? Get me my credit card. I'm buying my ticket now!"
In which all celluloid begins to bleed together, sickness wins out, and Nathaniel loses his mind (from now on, shorter festival trips!). But, just when all hope for sanity is lost as Sundance winds down, Nathaniel dances with Parker Posey at a party! Nathaniel is elated. And no, I don't know why Nathaniel is speaking in the third person either.
Awesome Parker. As friendly as she is talented. And fun to dance with, too. She was on the competition jury
Cyrus The Duplass brothers (Mark and Jay), have been steadily rising stars in the indie scene with contributions to films like Humpday, Baghead and The Puffy Chair among many others. Their latest, which they wrote and directed, looks like a breakthrough... at least where mainstream attention is concerned. This is why people cast "name" actors. It wins attention and quite often name actors are names for a reason: talent. There's not a dud performance in the film. John C Reilly plays a sad sack divorcee, Catherine Keener is his ex-wife who worries about him, and Marisa Tomei is the angel he falls for. Because this is a movie, she falls right back. It's all quite funny and just off kilter enough to be surprising. All this despite being the umpteenth billion flick to reinforce that venerable straight male fantasy: yes, any type of guy no matter his appearance, serotonin levels, aspirations, past history or employment status, can and will win incredibly hot chicks. One wonders where homely girls are supposed to go for love?
A few notes on the performances: Catherine Keener is playing warm Catherine Keener [there's two primary modes: smart-bitchy and smart-warm. Both are wonderful... though the most exciting are the performances that veer off into complicating Keenerisms like in Capote and Please Give]; Marisa Tomei continues to be one of the most enduring and endearing actresses of her generation. She's wonderful here as a fun-loving woman who loves too fiercely and impulsively not be blinded by it; Jonah Hill plays her needy manipulative son (he's very funny) and John C Reilly her needy and only slightly manipulative boyfriend. The film is smart enough to see the parallel even if it finds that more amusing than worrisome. B/B+
Finally, I ask you this: Parker Posey was the queen of '90s indies and Catherine Keener the queen of '00s indies. When exactly is Keener going to be dethroned? It seems like she's still pretty comfy on that throne. Or am I forgetting someone...
Nowhere Boy Director Sam Taylor Wood, who previously made the great short Love You More (see previous post) and her star Aaron Johnson (soon to be seen in Kick-Ass), pictured right, were much talked about at Sundance. Both of their stars are rising (this is her first feature but she's already a famous artist, this is his first high profile role with a probable blockbuster to follow) and they're also engaged and pregnant... not just with possibility. She's 42 and he's 19 which helps with the 'much talked about' bit.
Nowhere Boy, which has already been up for film prizes in Britain, will make it to the States in 2010 hopefully and it's well worth seeing. It's a biopic on John Lennon. The Young John Lennon as it were. Like Capote, it gains a lot of impact by tightly focusing on one specific time period and arc in its subject's life. Taylor Wood definitely has a gift with visuals and the film is always pleasing to look at. Johnson holds his own in the central role as the cocky but emotionally confused Lennon but the true stars of the picture are Kristin Scott Thomas as "Mimi" (interviewed here a year ago) and Anne-Marie Duff (James McAvoy's wife) as "Julia" who play estranged sisters -- Lennon's aunt and mother respectively -- and the most formative women in the musician's life. Pre Yoko that is. Both actresses are wonderful, refusing any standard biopic reduction into "mother figure" and becoming as compelling and three-dimensional as John Lennon himself, without the aid of the audience's pre-identification or projection. The Beatle's teenage anger at his mother figures gets a little wearying before the movie is over (grow up already!) and it ends rather abruptly but, all in all, it's a fine first film. I can't wait to see what Taylor Wood does next.
Which celebrity would you most like to dance with? Do tell in the comments.
Previously Day 1: Travel Nightmare Day 2: Late Arrival for Asian Day: Last Train Home, Vegetarian Day 3: Marathon Day: Waiting for Superman, Splice, Bran Nue Dae, Boy,Please Give Day 4: I Am Love, Buried Day 5,6: Holy Rollers, The Runaways, Mother and Child, Catfish Day 7: Gay Day: The Kids Are All Right and Contracorriente
next: a few more movies and my personal awards for the fest.
This has been making the web rounds for the past couple of days. I don't care if I'm late to the party. Fashionably late. A few of you probably haven't seen it. I don't want to miss a party that manages to get Margaret Cho, Kathy Najimy (where ya been?), Alison Janney, John C Reilly, Jack Black, Neil Patrick Harris (yum yum) and Maya Rudolph singing and dancing for civil rights.
One can't help but run over the list trying to spot the future of filmmaking somewhere in there. Last Winter's festival had Blue Valentine, which is still a big part of the conversation, and Winter's Bone, which gains momentum by the day. In fact, the roots of the current awards season goes all the way back to the 1998 festival where Darren Aronofsky was awarded for directing Pi and Lisa Cholodenko won the Waldo Salt Screenwriting Prize for High Art.
Terri: (Director Azazel Jacobs; Written by Jacobs and Patrick Dewitt) Described as a story about an orphan "mercilessly teased by his peers and roundly ignored by his teachers" Terri has echoes of previous festival winner Welcome to the Dollhouse. The fact that it goes on to describe an unlikely friendship between Terri and a vice-principal played by John C. Reilly suggests it doesn't follow too closely in that films emotionally bruising footsteps. Still, films that can accurately capture the hell of high school life are few and far between, and for all his familiarity I am still not immune to Reilly's goofy charms. Mark me down as curious.
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