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The Beauty of Pixar by Leandro Copperfield
This is a great little compilation made of all the films made by Pixar in its 15 year existence. I use the term “little” lightly, for it is actually quite expansive. If there are any folks out there not convinced of the leaps and bounds that this studio has taken to advance the form of not only animation, but cinema as a whole. Some of these films I like, some of them I’m not to crazy about, and some of them absolutely changed my life. After incredible, game-changing movies like “Finding Nemo” and “Wall-E,” I wasn’t sure what more they could possibly present to the public…and then came “Toy Story 3.” The original has been my favorite animated film for quite a long time, and I’m not convinced that the third installment doesn’t just pass it right by. What a phenomenal experience that will hopefully stand the test of time just as the original did.
Here is a touching tribute to everything Pixar has done for cinema. Credit to Leandro Copperfield for such a great montage.
[NOTE: Well, sorry about the mishap, there. It appears YouTube put an embed restriction on this guy. Just click the “Watch on YouTube” in the box and it will take you directly there. Apologies.]
NEW “Red State” Teaser and Poster
So, I go back and forth a lot with Kevin Smith. He did make two of the funniest and most insightful comedies of the 90s in “Clerks” and “Dogma” and I love him for that. And yet, I really don’t think he’s made a film worth much more than a grain of salt in the decade since, and his endless tirades with airlines and…really anything…are just downright annoying.
With his new film “Red State,” Smith has gone COMPLETELY out of his element to make a straight-up horror film about Christian fundamentalism gone to the extreme, as though evangelical Christianity wasn’t already the scariest thing on the planet. Seriously. If you never want to sleep again, see “Jesus Camp.” When I go to sleep, I don’t see boogeyman, I see little indoctrinated children with red tape over their mouths. Therefore, a true horror film about Christianity is music to my ears, especially with a cast featuring John Goodman, Michael Parks, Melissa Leo and Stephen Root. Stellar.
Anyway, I am stoked for this film. There have obviously been a number of posters released for the film, including ones for the priest, sons and virgin characters. However, the one selected above, I believe carries the most weight. The teaser is fast, nondescript and absolutely brutal. I hope distribution comes to this quick because it may just be the film that puts Kevin Smith back on the map, at least in my book.
Check it out:
Eric Roth on “The Social Network”
In a recent online, slideshow piece, Salon asked some of today’s filmmakers about their favorite films from the last year. A lot of the responses are fascinating and great reads, but this one by four-time Academy Award nominated writer Eric Roth (“Forrest Gump,” “The Curious Case of Benjamin Button,” “The Insider,” “Munich”) really got to me. It’s written with such elegance and prose that it raises the overall impact of David Fincher’s “The Social Network” to an even loftier level. A great little read:
“What’s going on here? They don’t let people make movies anymore that have a wit of thought, with great ideas expressed articulately by artists … these are movies of another time and place when giants roamed the Earth, and not Middle-earth either. That was the time of the Bonnies and the Clydes and the mean streets and the godfathers and the Kubricks and Leones and Godards and the names that are part literature, part poetry, all youth. So what is this movie that has something to say about the culture, about the way we think about each other and the ways we don’t? What is a movie doing today where the hero is unlikable and nasty and greedy and incredibly smart and lonely and part of a generation that has to announce who they are when they open a door to make sure they are noticed? What kind of a movie is that? Where does that happen in this landscape where Clashes and Crashes and Smashes are king. Where does it happen that a movie can make you talk about it all night, where it makes you remember why you went to the movies in the first place? Where does it happen that people with golden tongues and vision get to tell stories anymore? Where does it happen that a movie has near unanimous praise of critics afraid of their own shadows, and the public decides to give it a shot and it makes you want to be an awful lot younger and start all over again? Did I mention David Fincher’s “The Social Network?” We all should be so lucky and so good.”
Check out the full slide show with more comments from Scott Rudin, Alejandro Gonzalez Inarritu, David Koechner, Malin Akerman, Andrew Jarecki and many others…
“Spin Around” with the Go-Pro
A friend of mine at film school who runs a great blog over at Gaffers Unite turned me on to this video and it’s pretty amazing. It was made by taping a GoPro (a small, waterproof, HD helmet camera) to the tip of s sword and pulled some crazy tricks. It’s an example of how to use the simplest ideas and techniques to get absolutely incredible footage.
New Additions: “Duck Soup,” “Harold and Maude,” “The Battle of San Pietro”
Hello, readers. Hope that everyone had a happy holiday. I, myself, finally got a hold my first Blu ray player (yes, I said my first). And I’ll tell you what: if I had known that I’d be able to stream my Netflix instant queue onto my TV in full HD through said player for no additional charge, you can bet I would have gotten one a long time ago.
So, now that the The Mitchell List has gone public, I feel that it’s worth noting to my readers when new films that I’ve never seen before get added to the ranks. Therefore, I’m starting a new series of posts which I will call New Additions. In these, I will offer a brief, paragraph-long review and the usual rankings so that you know my basic thoughts on the film. And you can bet, now that I have an infinite wealth of movies into my living room, there will hopefully be a wealth of these.
“Duck Soup,” (Leo McCarey) – 1933
I must say that I am not as fluent with the works of the Marx Brothers as I am with those of Charlie Chaplin or Buster Keaton. Yet after viewing “Duck Soup,” it’s certainly no joke that they are raucously talented and hilarious. The gags come as fast, witty and very well-planted. The mirror gag and hat-stealing scenes in particular are just a joy to watch, mostly due to their incredible choreography. The film also contains a hint of social commentary, even if it seems weak compared to today’s standards. However, the film runs into trouble when the comedy bits start to get in the way of things like structure, character and all of the other things that make up a film. The movie, then, encompasses more of the traits of a fantastic stand-up routine then a feature.
GRADES: B * * * 1/2 / * * * * * 7.4 / 10.0
“Harold and Maude” (Hal Ashby) – 1971
My understanding is that this film is known for having an insane cult following, in essence, almost inventing the term. I will say that the film takes on some unorthodox and original concepts. The suicide concept is particularly dicy (although I’m still kind of confused as to how he pulled some of them off, and galled that they didn’t explain them). It also contains great performances from Ruth Gordon and Vivian Pickles. However, the film raises too many unanswered questions. One that constantly got on my nerves was, why aren’t any of these people in jail? They really are a lot more horrible and less sympathetic than the plot lets on. And the ending leaves the viewer a lot less satisfied then one would wish from an “inspirational” film.
GRADES: B- * * * / * * * * * 6.4 / 10.0
“The Battle of San Pietro” (John Huston) – 1945
Some of the stories about this movie are just as interesting, if not more so, than the film itself. In a response to to claims from the military that his documentary was anti-war, John Huston said that if he ever made a pro-war film, he should be shot. Another tale tells of a woman standing up in the theater and shrieking that she sees her son during a montage of American corpses. One thing is for sure: this film paved the way for the modern-day documentary. When most of the war time news was only showing the cheerful and inspiring moments of the war, Huston displays the gritty realities of combat. It is a direct influence on films like “Restrepo,” and really, well, every other war film made since. It is also an ode to filmmakers who must overcome huge obstacles to get their films viewed, for what’s a bigger obstacle than the U.S. Military.
GRADES: A- * * * * 1/2 / * * * * * 8.6 / 10.0
My Top Ten Trailers of 2010
So, it’s been a while since I’ve made my last list, aside from the unveiling of the Mitchell List. My last compilation was the Top Ten Movie Monsters of all time, which was a reasonable hit for the site. Now, it’s time for the second edition: The Top Ten Trailers of 2010.
I love movie trailers. I know that some people can’t stand them and even refuse to watch them, but I believe that they can be one of the most enjoyable aspects of going to the movies, as long as their made well. It’s always, actually, been a semi-dream job of mine to edit trailers, because there’s really nothing more fun.
In order to be phenomenal, a trailer must have many of the same qualifications of a great film. It has to have stellar pacing, it must give proper introduction to the film’s character’s and plot. However, unlike a film, it cannot give too much away of the plot and has to leave something exciting for the ticket price. It usually doesn’t hurt to have a decent choice of music, too.
The following are a selection of my favorite trailers that encompass all of these aspects. This includes trailers only for films released during the 2010 year, or else “Battle: Los Angeles” would most certainly be here. Without, further ado, here are the five runners-up:
“Hanna” Trailer
So, I really don’t know what to think of this. “Hanna,” the new film by Joe Wright (director of “Pride and Prejudice” and “Atonement”), I suppose has the ability to either be really bad or really phenomenal. Whatever the outcome might be, it’s pretty difficult not to be intrigued by this new trailer.
The film stars Saoirse Ronan, Eric Bana and Cate Blanchett. Check it out and stay tuned for the my Top Ten Trailers of 2010 to be released, shortly.
Chicago Film Critics Pick “The Social Network”
So, some nice news from the home front. It’s just been announced that my town of Chicago has picked “The Social Network” as its number one film of the year. I can now rest easy.
Aside from that, however, I’m afraid that these awards are really kind of boring. Nice to see “Exit Through the Gift Shop” getting a consistent amount of love. Hopefully, it will gain enough traction to at least make it to a nomination for Best Documentary. Hailee Steinfeld is really starting to rack in the awards, as well, though I don’t think she has much of a chance. The Academy loves to nominate child actors, but only once in a blue moon do they actually hand over the gold to them.
Aside from the possible backlash that might be headed it’s way, I still see absolutely no boredom or regret over this unprecedented domination of the awards season. As I’ve said since the first time I saw it, this is one of the best films I’ve ever seen. It is nearly flawless, down to the last detail. I also don’t think there has ever been a film that better defines my generation. I don’t think that we’re likely to see a film this good come along for some time.
Check out the continuing tally of “The Social Network”‘s critical wins and nominations here.
I have the full list of winners after the jump or you can read the official press release from the CFCA.
Best Picture
“Black Swan”
“Inception”
“The King’s Speech”
“The Social Network”
“Winter’s Bone”
“I Love You Phillip Morris” Review
Out of all the major cinematic questions that have burned in my mind over the last decade or so, one is beginning to boil over. What in the world is it going to take for Jim Carrey to ever get nominated for an Oscar? He did more than enough proving during his stellar work in “The Truman Show,” followed it up with a compelling portrayal in “Man on the Moon,” and topping it off with perhaps one of the most honest and heartfelt performances of the decade with “Eternal Sunshine of the Spotless Mind.”
Now, he kicks off the start of the new decade with perhaps his best, and easily his funniest performance of all time in “I Love You Phillip Morris,” the uproarious new comedy by Glenn Ficarra and John Pequa.
This film has had a truly rocky time getting its distribution nailed down. It first premiered TWO YEARS AGO at the 2009 Sundance Film Festival, and has since been tossed around from studio to studio unable to secure a true release. Due to both distribution finance troubles and the film’s explicit gay themes, which tended to scare investors away, the film was repeatedly passed over for release. However, we can all be thankful that this movie is finally playing in front of a wider audience for it is one not only to be enjoyed, but relished in.
It tells the somehow true, though I’m sure over-exagerrated, account of Steven Russell (Carrey), lawyer, cop, con artist, escape artist and homosexual extraordinaire. He started off as a regular meat-and-potatoes, god-fearing man, but after a severe car accident, he begins living his life way out loud as an openly gay sensationalist. However, his new lifestyle also brought with it a drive to commit massive amounts of theft and fraud, which eventually lands him in prison. This is where he meets the love of his life, Phillip Morris, played with a sensitive flair by Ewan McGregor. After leaving confinement, Russell cannot escape his criminal ways and eventually breaks up his perfect new life with Morris and finds himself being taken back to prison, again, and again….and again.
I can honestly say, with full confidence, that without the magic of Jim Carrey, this film might not be half as phenomenal. I don’t think I’ve ever seen a performance from the actor that carries so much range. The film is a showcase of nearly all his talents, from being an unrivaled force of slapstick physicality to a shining beam of heartfelt humanity. Carrey really does carry (no pun intended) himself unlike any actor, perhaps, who ever lived. He has such levels of confidence and bravado that will someday put him in the ranks of screen comic legend, up with the likes of Gene Wilder, Jack Lemmon, and yes, perhaps even Buster Keaton. I dare not say Charlie Chaplin for fear of an angry mob outside my door.
As far as the film, itself, goes, there are definitely some highlights. One noticeable aspect of the mis en scene is the indefinite use of the sunny day. Never does it snow, rain, or really explore any type of weather aside from the most beautiful and desirable conditions that any vacationer or retiree could ever hope for. This reflects the constant high that Steven gets off of living. Even as his path darkens into a life of crime and evasiveness, there’s never a storm cloud on his horizon.
This film is just a barrel of fun. Jim Carrey is at his comic best. Ewan McGregor is his perfect opposite. The screenplay is crisp, hilarious and never, EVER boring. There’s really something for everyone…well, except (and I’m sorry to put it so bluntly) homophobes. And I guess that’s one of the most intriguing parts of this film is the mirror that it holds up to the present climate of society. I would say, “to each, his own,” but I’m sorry, that just isn’t cutting it anymore.
If it weren’t for the bigots, as well as the general sense of puritanical hatred that somehow still survives in this country, this film would not just be known as “the gay Jim Carrey movie,” but would rather be setting the standard for today’s romantic comedy, a genre that isn’t exactly generating any classics these days. Another way of putting it, in a civilized, intelligent and fair-minded society, a fantastic piece of cinema like this would not have to sit on the shelf to for two years, but rather making audiences laugh, everywhere.
GRADES: B+ * * * * / * * * * * 8.4 / 10.0
Updated Oscar Predictions
What with everything that has happened in the last month in regards to the critics, the Globes and the SAGs, I figure that it’s time to do a full update on my Oscar predictions. Not a lot has shifted in the technical cateogories, except that “The Social Network” is looking more and more like a sure thing for a Best Original Score nomination. I’ve also taken “The King’s Speech” out of Best Editing. If it does miss that nomination, and somehow goes on to win Best Picture, it will be the first film in 30 years to win the big one without the support of the editors. Those two awards somehow go hand in hand.
As far as the acting categories go, Best Actor seems pretty much locked. Jesse Eisenberg has carved his name in stone and is just as solid as the top two contenders. There’s an outside chance that Ryan Gosling might break in and knock out one of the two veterans, but becoming less and less likely. A big question for Best Actress is who will take the place of Hilary Swank, after the odd as hell SAG nomination. I’m still betting on Lesley Manville, and not just because of the NBR stat, but because it’s a truly endearing character. However, much like Gosling, Williams is looming, and I can definitely see her getting a nomination, much like Laura Linney did for “The Savages” in 2007, and she didn’t even have the Golden Globe nod.
I think its safe to say that Justin Timberlake has fallen out of the running, especially since Andrew Garfield is no longer a lock. I refuse to predict Jeremy Renner until there’s no hope left. Never thought I’d find myself rooting against one of my favorite performers. My how the tables turn. I am however, hoping that the Academy will remain as bold as the SAG and nominate John Hawkes, but its a crap shoot. In Best Supporting Actress, it’s pretty solid that both of “The Fighter”‘s ladies will be making it in, though Leo definitely has the edge. Mila Kunis and Jacki Weaver will fight it out for the last slot.
One thing that I think is safe to say is that “The Fighter” is now as solid a contender as it has ever been. We shall see how it fares with the rest of the guilds, but from the SAGs and Globes, alone, it has gained even more ground than “Black Swan.”
Read all of my predictions after the jump:
BEST PICTURE
1. The Social Network
2. The King’s Speech
3. Toy Story 3
4. Inception
5. Black Swan
6. The Fighter
7. The Kids Are All Right
8. 127 Hours
9. True Grit
10. Winter’s Bone
Alt 1: The Town
Alt 2: Another Year
The Edge of the Frame 