(95) Days of Spirit

The Spirit Awards are coming! In 95 days. The nominees have a long time to decide which pair of jeans or casual designer wear would best suit the event. Though the Spirits have traditionally passed out their ever-so-slightly off mainstream prizes the day before the Oscars this year they’re moving to a Friday night situation on March 5th. All the better for partying? Still time to use those hangover cures before the Oscars on Sunday.

Sin Nombre, a 3 time nominee

Here are the nominees

Best Feature

(500) Days Of Summer | Amreeka |Precious | Sin Nombre | The Last Station

• I warned y'all that The Last Station would have more awards strength than many pundits are indicating. I must get around to Sin Nombre before the end of this year. I suspect Precious is your winner since the Spirits generally award the actual Oscar hopefuls.

Best Director
The Coen Bros A Serious Man | Lee Daniels Precious | Cary Joji Fukunaga Sin Nombre | James Gray Two Lovers | Michael Hoffman The Last Station

Best First Feature
Crazy Heart | Easier With Practice | The Messenger | Paranormal Activity | A Single Man

John Cassavettes Award (this is for the really low budget efforts)
Big Fan | Humpday | The New Year Parade |Treeless Mountain | Zero Bridge

Documentary
Anvil! The Story of Anvil | Food, Inc. | More Than a Game |October Country |Which Way Home

• If the Spirits want to make an anti-Oscar statement, you might see some rallying for Anvil!

Foreign Film
A Prophet (France) | An Education (UK/France) | Everlasting Moments (Sweden) | Mother (South Korea) | The Maid (Chile)

• I find this category quite curious in that 3 of its 5 competitors are most often lauded for the lead actress at the heart of the film and yet none of the three actresses are nominated in the Best Actress category. But apparently is a rule. It's a very dumb rule if you ask me... Since when should acting prizes not apply to foreign languages... or even the English language? (see Carey Mulligan) I guess this means Bright Star was also a foreign film since its director Jane Campion not American.
  

Best Screenplay
(500) Days of Summer | Adventureland | The Messenger | The Last Station | The Vicious Kind

First Screenplay
Amreeka | Cold Souls | Crazy Heart | Precious | A Single Man

Cinematography
Roger Deakins A Serious Man | Adriano Goldman Sin Nombre | Anne Misawa Treeless Mountain | Andrij Parekh Cold Souls | Peter Zeitlinger Bad Lieutenant: Port of Call New Orleans

And now the acting categories...

Female Lead
Maria Bello Downloading Nancy | Helen Mirren The Last Station | Gwyneth Paltrow Two Lovers | Gabourey Sidibe Precious | Nisreen Faour Amreeka

• No Mulligan, huh? Hmmm. Sidibe has this locked up. Though if you're dubbed a "foreign film" apparently you're not eligible. And An Education was... even though The Last Station (also British) was not. People are Awards groups are strange.

Male Lead
Jeff Bridges Crazy Heart | Colin Firth A Single Man |Joseph Gordon-Levitt (500) Days Of Summer |Souléymane Sy Savané Goodbye Solo | Adam Scott The Vicious Kind

• The curious omission here is Hal Holbrook since his vehicle, That Evening Sun received two acting nominations. It's worth noting here that the Spirits reversed the (500) Days Satellite nominees and left out Zooey Deschanel's fantasy girl for Joseph Gordon-Levitt's wounded boy. I suspect this contest between Bridges and Firth will be tighter at the Spirit Awards than at the Oscars.

Supporting Female
Dina Korzun Cold Souls | Mo’Nique Precious | Samantha Morton The Messenger | Natalie Press Fifty Dead Men Walking | Mia Wasikowska That Evening Sun

• I can totally get behind Mo'Nique and Morton nods. I liked Wasikowska (Tim Burton's Alice) in ...Sun but I think her screen mother Carrie Preston gives a more impressive and more complicated performance. So... I don't get it.

Supporting Male
Jemain Clement Gentleman Broncos | Woody Harrelson The Messenger | Christian McKay Me and Orson Welles | Raymond McKinnon That Evening Sun | Christopher Plummer The Last Station

• Even if McKay don't gain any Oscar traction, that Orson Welles performance sure is turning into a resume builder.

Then there’s a few categories that don’t get a lot of attention. The Robert Altman prize, which goes to one films director, casting director and ensemble is going to A Serious Man, The “Piaget Producers Award” will go to either Karin Chien (The Exploding Girl, Santa Mesa), Larry Fessenden (I Sell the Dead, The House of the Devil) or Dia Sokol (Beeswax, Nights & Weekends). The “Someone to Watch” Award will go to either Kyle Patrick Alvarez (Easier With Practice), Asiel Norton (Redland) or Tariq Tapa (Zero Bridge) and the “Truer Than Fiction” prize to either Natalia Alamda (El General), Jessica Orek (Beetle Queen Conquers Tokyo) or Bill and Turner Ross (45365)

The Take Away
Should be a fun night for (500) Days of Summer and a trophy gathering night for Precious. The Spirit's nominating team wants you to see Amreeka and Sin Nombre. Will you?
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The Oscar Race Begins on November 6th

That's just 5 days away. That's the (un)official start date. I'm declaring it. It used to be the NBR's announcement of their top ten list but with more and more awards groups clamoring to yell "first!", "first!" has lost virtually all its meaning. Or rather, it's meaning has changed. It now means "We're desperate for attention!" ...though maybe it always did. So, Nov. 6th is the day...


...since that's when a lot of folks will get their first look at Precious ["for you consideration..." in virtually every category save Best Actor and Supporting Actor. No, Lenny Kravitz's male nurse doesn't count]. That's when that particularly buzzy contenduh goes from being a movie with deafening hype and buzz (huzz? bype? hypzz?) to being a real thing, a movie audiences can react to in a less abstract, more honest and less controllable-by-campaign-and-hype way. As it should be.

[tangent] I always find it strange when people call me an elitist (I assume because I generally prefer unravelling female protagonists to superpowered men in costumes?) because I'm actually populist at heart. I demand that cinema of all types readily available to the masses! The Oscars are frustrating in this way because the type of films that matter to the Academy -- and to drama nuts like you (I assume if you're reading TFE) -- are ever more skittish about being seen, hiding in tiny little theaters in only the biggest cities, as if too many curious eyeballs would ruin their strenuous beauty.

If it were up to me you'd have to open by Christmas at the absolute latest in the top six to eight markets (something like that -- thus making you an actual release in the year in which you're asking for statues and top ten lists) instead of just Los Angeles by the 31st for a one week run on one screen. (I fail to see how such tiny in-name-only "releases" within a calendar year are any different in practice than festival showings which do not make you eligible). [/tangent]

On a smaller scale November 6th is when Best Actor contender Hal Holbrook emerges with the senior-wants-his-farm-back drama That Evening Sun. This promising debut feature from writer/director Scott Teems has other fine performances (particularly Ray McKinnon as Holbrook's nemesis) but none of the other actors have anything in the way of an Oscar-ready profile. But after the year Carrie Preston has had -- dropping some humanity into the arch Duplicity, reliably entertaining us as Arlene on True Blood and this affecting portrait of a wife who loves her husband but isn't blind to his flaws -- we should all be new fans.

Yes, from November 6th onward each and every weekend brings us new Oscar contenders of one type or another.

• Nov 6th: Precious, That Evening Sun, A Christmas Carol
• Nov 13th: Fantastic Mr. Fox, The Messenger
• Nov 20th: Broken Embraces, The Blind Side (?), The Twilight Sa (oh, I'm kidding)
• Nov 27th: The Road (wide. Holiday appropriate! er....) and a bunch of limited releases: Me and Orson Welles, The Private Lives of Pippa Lee, The Princess and the Frog. I have to say I think it was a H-U-G-E mistake for Nine to leave November... even more enormous than I had originally thought. You see, not one major Oscar contender is going to be wide for the entire Thanksgiving period. Unless you count The Road. Not even Precious (which will be expanding in November but not wide until sometime in December). It's like the Weinstein Company is just setting fire to money. They'd have had zero competition. Plus, November is actually from the latin word "novem" which means NINE. Hello... can't the Weinsteins respect the Gregorian calendar!?

• Dec 4th: Brothers, Up in the Air, Everybody's Fine (?)
• Dec 11th: A Single Man, Invictus and The Lovely Bones which is only in limited release till January. Like Nine, it's another Oscar hopeful with mainstream appeal. Plus it's from a hugely successful director (Peter Jackson). It seems like they're just putting money in the trash compactor. Why don't they want those holiday dollars? Are they worried about the movie's bankability?
  
• Dec 18th: Avatar (wide), Nine, The Young Victoria
• Christmas: Sherlock Holmes, It's Complicated (wide releases... Globe contenders?), Police Adjective (Romania's foreign film contender). Nine and Up in the Air, two presumed Oscar giants, also quit hiding and open wide.
  
• Dec 30th: The White Ribbon (More than most filmmakers, Michael Haneke pieces require time to shift and settle and unsettle again in the mind of the viewer. So why they keep sticking him with these maddeningly busy release dates -- Christmas or New Years -- is beyond me. Seems like such a missed opportunity for what his films always need: discussions with room to breathe. Caché in particular was gaining steam -- his films build the further you get away from them -- so had it been released even just a few weeks earlier (sigh) maybe it would have won a Screenplay or Director nod? Or at least more precursor honors. Instead it t'was crushed in the glut. We'll see the same thing happen again this time.
  

So longwinded today.

My point is simply this: Here we go! (Are you excited yet?)
This was all a lengthy awkward way of saying that Oscar Predictions in All Categories are all up to date and I'm more than ready for these movies. Discuss.
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Tues Top Ten: Best of Year (Thus Far)

We're not technically halfway through the year (oops. missed that opportunity) but let's say January releases don't really count. That's not a stretch to say. If the year ended today here's what my top ten would like like (alpha order) with the Best Picture nominees in red. This isn't really the warm up to TFE's awards (unless the remainder of the year is hugely disappointing) it's more like lacing up your gym shoes before heading out to the warm-up. We hope.


Top Ten as of July 14th
larval stage

• (500) Days of Summer
• Coraline
• Duplicity
• Hunger
  
• The Hurt Locker
• Moon
  
• Julia
• Prodigal Sons
• Star Trek
  
• Up

I bent my usual roles (no documentaries -- since the goals are so different than regular feature films. How does one compare?) because I love Prodigal Sons so very much and want to keep reminding you about it before it premieres. This is the last "best of year (thus far)" post you'll get before the awards in January. Here's everything I've seen thus far. The three films I most regret missing and shall try to catch up with are Sin Nombre, Drag Me to Hell and Summer Hours.

And now the acting categories... my preferences NOT how Oscar might view them. That's an important distinction (Hunger for instance is not eligible at the Oscars this year due to a one week run in LA last year). Obviously the heavyweight Oscar hopefuls have not yet entered the room. Hollywood saves them for the holidays.

Best Actress

• Amy Adams, Sunshine Cleaning
• Emily Blunt, Sunshine Cleaning
• Zooey Deschanel, (500) Days of Summer
• Michelle Pfeiffer, Chéri
• Tilda Swinton, Julia

Only one of these women (Pfeiffer) can be expected to see awards season traction. But unless Chéri gets a significant Golden Globe or DVD boost, we might not have seen any of the eventual nominees yet.

Best Supporting Actress

• Patricia Clarkson, Whatever Works
• Marion Cotillard, Public Enemies
• Alicia Delmore, Humpday
  
• Carrie Preston, That Evening Sun / Duplicity
  
• Kristin Scott Thomas, Confessions of a Shopaholic

This category is a wasteland thus far. That's not to knock these performances but they're mostly minor pleasures: Clarkson is typically strong but the character is a caricature. Cotillard handles the big emotional scenes very well but can't make sense of the nonsensical screenplay (in regards to her character Billie) and the voice is wrong. Etcetera. Silver lining: I will be watching Carrie Preston's career closely. Those are two very different performances and both detours from her Arlene character in True Blood. Well done.

Best Actor

• Michael Fassbender, Hunger
• Hal Holbrook, That Evening Sun
• Joseph Gordon Levitt, (500) Days of Summer
• Jeremy Renner, The Hurt Locker
  
• Sam Rockwell, Moon

In case you're wondering, the only 2009 man with an actual shot at Oscar's shortlist so far (Johnny Depp, Public Enemies) would be my runner up here (give or take Ciarán Hands in The Eclipse). I liked what Depp was doing as John Dillinger but I needed him to do more of it. If someone decides to release Holbrook's vehicle, That Evening Sun, there's a chance he could be in the Oscar race, too, playing a defiant old codger who knows his time is winding down. It's not a grossly sentimental work (thank you!) but it definitely has an emotional current that the Academy could get pulled along with given the proper campaign and release.

Best Supporting Actor

• Jim Broadbent, Harry Potter and the Half Blood Prince
  
• Paul Giamatti, Duplicity
• Anthony Mackie, The Hurt Locker
• Ray McKinnon, That Evening Sun
• Tom Wilkinson, Duplicity

And just for fun a few craft categories...

Best Art Direction

• Laura Fox, (500) Days of Summer
• Alan McDonald, Chéri
• Henry Selick, Coraline
• new Stuart Craig, Harry Potter and the Half Blood Prince (eek. I forgot this the first time through. sorry)
  
• Alex McDowell, Watchmen
• Ricky Nierva, Up
  

Best Cinematography

• Dairus Khondji, Chéri
• Barry Ackroyd, The Hurt Locker
• Sean Bobbitt, Hunger
• Yorick Le Saux, Julia
• Dante Spinotti, Public Enemies

Best Costume Design

• Colleen Atwood, Public Enemies
• Consolata Boyle, Chéri
• Hope Hanafin, (500) Days of Summer
• April Napier, Julia
• Michael Kaplan, Star Trek

Best Original Score

• Bruno Coulais, Coraline
• Alexandre Desplat, Chéri
• Jordan Lehning, Make-Out With Violence
• Clint Mansell, Moon
• Michael Giacchino, Up
  

What are your favorite filmthings of the year thus far ?
Talk me into loving something else or something more. Do you expect your favorites will be washed away by the greatness of the fall / winter movies?

Vodcast: Best of 2009 So Far

I hadn't seen the same movies as Katey this week so instead of reviewing a movie, we're both listing our top five of January through May. The requirement was that the films already had opened. Otherwise my list would have included Prodigal Sons (discussed here) and maybe (500) Days of Summer (discussed here).



The 2009 film I'm most worried about having missed at this point is the well reviewed Sin Nombre (trailer) so I'll be seeking that out. Obviously our rankings are subject to change, given the "sticky" factor (you never know which films will refuse to leave your mind until a month or three later) and the comparative factor (does upcoming film B suddenly reveal cracks in similar earlier film A?). It's been a good year thus far but I still doubt we've seen many of our Oscar competitors even if we have most definitely seen two or three future film experience nominees.

P.S. If you're looking for a Tuesday Top Ten the series will relaunch properly soon. My favs (disregarding release schedules) thus far in descending order go like so: Prodigal Sons, Hunger, Coraline, Up, Julia, (500) Days of Summer, Duplicity, Star Trek, Anvil: The Story of Anvil and... uh... three way tie for 10th -- it's early don't make me decide -- between Moon, Chéri and That Evening Sun.
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Best of the Fest ~ Goodbye Nashville

As you read this I am quite possibly thousands of miles above you in a huge aluminum alloy vessel, travelling back to NYC. Nashville was a treat and I hope I get invited back to NaFF in some capacity. Here's a quick run down of the cinematic highlights for me. I was on the short film jury and didn't have a chance to see some of the narrative features so this is from a limited pool.

Best Overall Prodigal Sons Filmmaker Kimberly Reed tells me she'll be ineligible for the Oscar for Best Documentary because of something to do with BBC screening or funding (?) which is a real shame because I could see it getting nominated. Other goodies: (500) Days of Summer and That Evening Sun, pictured left. [more on Prodigal / more on Summer]
Best Actress Zooey Deschanel in (500) Days of Summer
Best Actor Hal Holbrook as "Abner Meecham" in That Evening Sun. It's based on the short story by William Gay about a farmer who escapes the old folks home and returns to his beloved farm only to find it occupied by new tenants. The film is well directed by Scott Teems, graduating from short films to his first feature, and an Oscar campaign could materialize for Holbrook if this movie gets a solid enough release. Holbrook plays a stubborn old ornery codger... one could say it's an Eastwood'ish role with less of Clint's squinty menace and more of Hal's weary sensitivity. Honorable mention: Joseph Gordon-Levitt in (500) Days of Summer

Best Supporting Actress Three standouts for me. Don't make me choose. It's actresses.

Kaitlin Olsen in Weather Girl pictured right. At first I thought she was doing just an amusing but generic perky blonde sendup. Then she took a late film monologue much farther than I believed it could go. Laugh out loud funny. 4realz. I actually LOLed. Shellie Marie Shartzer in Make-Out with Violence. She has no lines to speak of as dead girl "Wendy" but man does she sell the conceit and work her physicality [more on Make-Out]. Remember that woman that Clive Owen comically seduced over martinis in Duplicity? That's Carrie Preston who is moving in That Evening Sun as a woman who is trying to stand by her man. Mia Wasikowska is also good as her restless friendly daughter. [You'll be seeing the In Treatment regular a lot onscreen soon. She's in Amelia later this year and then Tim Burton's Alice in Wonderland]. She wants to get away from Daddy as soon as possible.

...speak of the devil.

Best Supporting Actor Ray McKinnon as Lonzo Choat in That Evening Sun. He plays the tenant of Meecham's old farm. They both want each other off the land. They both intend to stay. McKinnon never once lets his white trash role teeter towards dimensionless bad guy, even though he does despicable things and is pitted against the ultra sympathetic Holbrook. That's quite a feat and this treatment of the character really girds up the central conflict. You might remember McKinnon as Revered HW Smith on Deadwood.

I didn't see the performance that won a special prize for acting from the main jury here (Vincent D'Onofrio in The Narrows) but since the character is disabled I don't know how much to trust that prize. You know how disabled equals kudos as acting goes.

I don't know if I'll have time to talk about the dozens upon dozens of short films I screened but Nick has done a frankly awesome job of relating what our jury decisions were about and reviewing many of the best shorts along his way.

Here's his take on the animated shorts (my favorite was Western Spaghetti) documentary shorts (The Witness was tops and I wanted Steel Homes for our honorable mention but I couldn't convince my fellow jurors to go with it for the prize. grrrr) and several posts on the plethora of live action shorts. We watched for hours upon hours.

Oh, look here's Western Spaghetti. It fills me with delight.

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