And yet another massive victory for the independent wonder “Winter’s Bone.”
This morning, the film received 7 nominations from the Independent Spirit Awards, more than any other film. That includes nominations for Best Picture, Director, Actress (Jennifer Lawrence), Supporting Actor (John Hawkes) and Best Supporting Actress (Dale Dickey).
Complete list of nominees:
The Kids Are All Right
Read the rest after the jump…
Last night, the ceremony for the 2oth Annual Gotham Awards was held. Debra Granik’s “Winter’s Bone” took home the festival’s highest honors, winning both Best Feature and Best Ensemble Cast. The film beat out bigger Oscar hopefuls, “Black Swan” and “The Kids Are All Right,” as well as “Blue Valentine” and “Let Me In.”
I am a big fan of this news. “Winter’s Bone” is a fantastic little independent film that is currently one of my favorites on the year and needs all the help it can get to make it to Oscar’s shortlist (as I am currently predicting that it will). I love the fact that the film is maintaining its summer buzz, for both the film and it’s performers. Newcomer Jennifer Lawrence is absolutely astounding and John Hawkes gives the best performance of a much underrated career. Hopefully this will boost them both.
Winter’s bone joins a list of previous winners such as:
2009: “The Hurt Locker”
2008: “Frozen River”
2007: “Into the Wild”
2006: “Half Nelson”
Not bad company. Good luck to the film. Stay tuned later today. The nominations for the Independent Spirit Awards, the most prestigious independent film awards in the country, will be announced soon.
So, as many of you might already know, James Franco and Anne Hathaway are hosting the Oscars. Not too sure how I feel about that. They seem more like the type of presenters who screw up their 5 minutes when they read the teleprompter wrong.
Plus, whose idea was it to have the host be someone who could be in very high contention for winning one of the biggest awards of the night.
Poor decision, Academy.
Shortly before the 15 finalists for Best Documentary were announced, I screened one of the frontrunners, Charles Ferguson’s “Inside Job.” As of right now, if there was one film that deserves to break into the top 5 and eventually take home the gold, it would be this one.
The film is a no-holds-barred exposé on the Wall Street banking industry and how it literally brought America, and really the world as well, to its knees. Through loads of investigative journalism and on-point interviews, Ferguson uncovers how greed, irresponsibility and deregulation (or in other words “‘Reagan’-ization”) of corporate banks caused the worst recession of nearly any generation alive today.
There are a number of respectable, some even phenomenal, documentarians working in film today: Michael Moore, Davis Guggenheim, Heidi Ewing, Errol Morris, and, of course, Alex Gibney. However, in absolute truth, I don’t think any of them impress me as much as Charles Ferguson, and by God, this is only his second feature film. His debut movie, “No End in Sight,” was easily the single best documentary about the Iraq war, outlining the faults and atrocities committed by the individuals in power. Here, he brings that same demanding insight to the the most recent act of white collar crime to cripple our country.
Now, even though the film does its best to put its information into Layman’s terms, it still deals with some dense material. It outlines the events and actions that lead up to the bankruptcy of both Lehman Brothers and AIG. Wall Street CEOs were endorsing predatory lending, as well as financially betting against properties and stocks after pressuring others to invest into them. They blew millions of dollars on bonuses and salaries, not to mention cocaine and prostitutes, and didn’t create a net for themselves while they drove their businesses, backed with the money of millions of innocent people, straight into the ground.
One of the most laudable aspects of Ferguson’s films is that, unlike some real-life filmmakers, he never lets a good story interfere with the truth, so to speak. This film is not a work of entertainment. It is certainly entertaining at times, but it does overemphasize in its theatrics. Instead, it works the viewer with an onslaught of hard facts. Ferguson lets the information speak for itself, and it speaks quite loudly.
What’s more is that, unlike Michael Moore, another documentarian who goes for the throat, Ferguson never makes himself the main attraction in the film. He is always the faceless man behind the camera. And while Ferguson is never seen, his voice is always present, hammering into his interview subjects. He never gives them time to breathe, let alone attempt to obfuscate their way to a vague, insufficient response. With every word he utters, you feel the passion and resolve in his voice, and you know that every bit of this film is on his shoulders.
The look of the film is fantastic. Every interview is lit perfectly, and the surrounding environments are always used to the best that they can be in framing up each subject. Also, the film contains some of the most gorgeous aerial cinematography that you will see this year. The soaring plates of downtown Manhattan are so breathtaking, I felt that I should have been watching in IMAX. And while the final message of the film may be a bit cliched and vague, the ending shot of the Statue of Liberty speaks volumes more than words ever could.
In the end, there is one characteristic that “Inside Job” and all of Charles Ferguson’s films have that elevate them above the rest is the element of rage. This director has a greater ability to absolutely infuriate his audience than any of his peers. If a viewer goes into this movie without a true knowledge or interest in the subject at hand, they will for sure leave with one, and leave pissed off, as well. And if that is not the true goal of any documentarian with a passion, than I don’t know what is.
GRADES: A- * * * * 1/2 / * * * * * 8.8 / 10.0
Those who know me are aware that I am an unabashed Spielberg fanatic (a quality considered sinful among most film students). Therefore, I don’t think there is any project that I’ve followed with such veracity as his Lincoln biopic, which has been shelved in Hollywood limbo for nearly a decade.
For a long time all there was to this film was a script by “Munich” scribe Tony Kushner and a lead actor, Liam Neeson. However, shooting dates just kept getting pushed further and further back until Spielberg began to move on to other things. I began to worry that this extraordinary film concept would never come to be.
However, hours ago, Variety Magazine announced that new and quite promising news has surfaced about the epic biography. Two-time Academy Award-winning actor, and perhaps the greatest performer of his generation, Daniel Day Lewis will be taking on the role. Variety also listed that production is confirmed to begin in a year. The film is expected to cover the life of Lincoln throughout the Civil War, throughout his presidency, the freedom of the slaves and up to the man’s assassination.
While this might be a role that Daniel Day Lewis was made to play, as is anything, really, since there’s nothing that man cannot weave into gold, I really can’t help feeling regret that it won’t be Neeson playing the role. DDL probably better matches Lincoln in stature, especially when imagining his gangly form in “Gangs of New York.” However, Liam definitely has a more similar face. Also, it probably would have been an assured Oscar nomination for Neeson, his first in 20 years, possibly a win, not to mention another chance to work with Spielberg since creating their masterpiece together.
Yet, according to the article, Neeson “no longer expressed any interest in the part,” so I guess we roll with the punches and accept the wildly amazing performance that is to come from such a master craftsman like Day Lewis. Perhaps the funnest part about the waiting for this film will be learning of the other casting choices, including Lincoln’s cabinet, all the Civil War generals, and of course, John Wilkes Booth.
The film is slated to be released sometime in the fourth quarter of 2012, roughly 2 years from now. This means that there will be three Spielberg films released before this one even wraps shooting. There’s that ridiculous “Tin Tin” nonsense which I would have begged Steven not to take on….had I known him. That and the WWI drama “War Horse” will both be released in December of next year. Meanwhile, “Robopocalypse” (please God let them change that name) will be shot practically back to back with the Lincoln film. Hopefully, out of all that work, “Lincoln” will not be the one shelved again.
Read the whole Variety article HERE