I, The Critic

83rd Academy Awards

2011-02-26T17:51:00.001-03:00

I suck at Oscar predictions, but nonetheless here is the list of nominees which I think will win and who I wish would win in most categories.

Performance by an actor in a leading role
Prediction: Colin Firth in “The King's Speech” (The Weinstein Company)
I wish: James Franco in “127 Hours” (Fox Searchlight)

Ok, I know, I know… Colin Firth blah blah blah. I don’t care. James Franco should win this.

Performance by an actor in a supporting role
Prediction: Christian Bale in “The Fighter” (Paramount)
I wish: Geoffrey Rush in “The King's Speech” (The Weinstein Company)

This is actually a tough one to predict. Both deserve to win, but Geoffrey Rush <3 That said, I think Christian Bale might bring the crazy during his speech, which would be entertaining. Somebody has got to tomorrow and we all know the Academy won't risk it on Banksy. They already have the audience just by nominating him, no need to give him an Oscar.

Performance by an actress in a leading role
Prediction: Natalie Portman in “Black Swan” (Fox Searchlight)
I wish: Anyone but Annette Bening

I cannot understand why anyone would ever say Annette Bening is great in The Kids Are All Right. She is the worst thing in that film. And by the way: what is it with the hype about this film anyway? Really? An Oscar nomination? Ok, shoot me.

Performance by an actress in a supporting role
Prediction: Melissa Leo in “The Fighter” (Paramount)
I wish: Hailee Steinfeld in “True Grit” (Paramount)

I don’t care about any of them, but it would be nice to see Hailee win. She is young, she does a great job, she deserves it.

Best animated feature film of the year
Prediction: “Toy Story 3” (Walt Disney) Lee Unkrich
I wish: “Toy Story 3” (Walt Disney) Lee Unkrich

Obviously.

Achievement in art direction
Prediction: “The King's Speech” (The Weinstein Company)
I wish: “Inception” (Warner Bros.)

Iception is tha shit visually. ‘Nough said.

Achievement in cinematography
Prediction:“The King's Speech” (The Weinstein Company) Danny Cohen
I wish: “True Grit” (Paramount) Roger Deakins

The King's Speech cinematograzzzzzzzzzzzzzzzzzz.... But I know the Academy likes that sort of thing. True Grit on the other hand…… We’ll see.

Achievement in costume design
Prediction: “The King's Speech” (The Weinstein Company) Jenny Beavan
I wish: “Alice in Wonderland” (Walt Disney) Colleen Atwood

Alice's costume design is fun, magical, amazing. But English period films tend to win this. Whatever.

Achievement in directing
Prediction: “The Social Network” (Sony Pictures Releasing) David Fincher
I wish: “The Social Network” (Sony Pictures Releasing) David Fincher

Right, the truth is I believe Darren Aronofsky deserves to win, but David Fincher directed one of my favourite films of all times (Fight Club), he is a brilliant director and even though I think The Social Network is a mediocre film, I still believe (and hope) he will win.

Best documentary feature
Prediction: “Inside Job” (Sony Pictures Classics)
I wish: “Exit through the Gift Shop” (Producers Distribution Agency)

How GREAT would it be if Banksy won? How even GREATER would it be if 5 men wearing a monkey mask took the stage to accept it? Now wake up and smell the fear of the Academy just with the possibility of that happening. I still wish though... Exit is tied with Toy Story 3 as my favourite film of 2010.

Achievement in film editing
Prediction: “Black Swan” (Fox Searchlight) Andrew Weisblum
I wish: “127 Hours” (Fox Searchlight) Jon Harris

You make a 93 minute film about a guy stuck in a canyon for 5 days have this much rhythm and pass by that quickly and then talk to me about who should win this, ok?

Achievement in music written for motion pictures (Original score)
Prediction: “The Social Network” (Sony Pictures Releasing) Trent Reznor and Atticus Ross
I wish: “127 Hours” (Fox Searchlight) A.R. Rahman

Again: Trent Reznor blah blah blah. I think 127 Hours’ score is way better (period).

Best motion picture of the year
Prediction: “The King's Speech” (The Weinstein Company)
I wish: “Toy Story 3” (Walt Disney)

Out of all the nominees Toy Story 3 is by far the better film, but The King’s Speech has Oscar all over it (specially behind it, right, Weinstein Company?).

Achievement in sound editing
Prediction: “Tron: Legacy” (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
I wish: “Inception” (Warner Bros.) Richard King

I haven’t watched Tron, just a few clips, from what I’ve seen it deserves to win, but Inception has my heart in every technical category.

Achievement in sound mixing
Prediction: “Inception” (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick
I wish: “Inception” (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick

See comment above.

Achievement in visual effects
Prediction: “Inception” (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
I wish: “Inception” (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb

Inception caused the biggest impact on me visually out of all the films I have watched in 2010 and it deserves to win. That simple.

Adapted screenplay
Prediction: “The Social Network” (Sony Pictures Releasing) Screenplay by Aaron Sorkin
I wish: “Toy Story 3” (Walt Disney) Screenplay by Michael Arndt Story by John Lasseter, Andrew Stanton and Lee Unkrich

I don’t see why all the buzz about Aaron Sorkin’s script. I know he is a great writer, but I didn’t see anything special about his work in The Social Network. I still think Toy Story 3 was better penned.

Original screenplay
Prediction: “The King's Speech” (The Weinstein Company) Screenplay by David Seidler
I wish: “Inception” (Warner Bros.) Written by Christopher Nolan

Really how original or hard is it to write a script about actual historic facts? True, it is a good script, but Inception is way better. I mean waaaaaaaaaaaaay better.

Golden Globes 2011

2011-01-17T02:01:00.000-02:00

Some of my thoughts about the Golden Globes 2011:

Everyone is complaining about his speech, saying it was scripted or whatever, but I really liked Robert De Niro’s acceptance speech. It shows why he is so admired and that he has a good perspective of his own career and celebrity.

The winners were very predictable, which is a shame; because I don’t agree some of the contenders were actually the best choice and I wish voters would just actually vote for who did their work better.

That said, I was very happy to see Chris Colfer win, not only because he is an incredibly gifted young actor, but because Hollywood tends to overlook the young actors because they seem to think “they are young, they’ll be nominated again at some point in their career”.

I still love Ricky Gervais. I love how uncomfortable he makes everyone and how all of those incredible actors can’t fake that they find it funny when he has a dig at them nor stop themselves from laughing when he takes a dig at a colleague.

I know all the award shows are trying to get the attention of young viewers, but Robert Pattinson’s and Justin Bieber’s appearance were absolutely pointless. You already had the Glee cast there.

I’m glad to see David Fincher win, even though this isn’t his best work. However: Christopher Nolan, you were robbed (twice, because that script award should have been yours too).

Best speech: Natalie Portman “he is the best actor; he totally wants to sleep with me!” (talking about her boyfriend).

In case you don’t know, here are the winners:

Best Motion Picture - Drama
The Social Network
Columbia Pictures; Sony Pictures Releasing

Best Performance by an Actress in a Motion Picture - Drama
Natalie Portman – Black Swan

Best Performance by an Actor in a Motion Picture - Drama
Colin Firth – The King's Speech

Best Motion Picture - Comedy Or Musical
The Kids Are All Right
Antidote Films, Mandalay Vision, Gilbert Films; Focus Features

Best Performance by an Actress in a Motion Picture - Comedy Or Musical
Annette Bening – The Kids Are All Right

Best Performance by an Actor in a Motion Picture - Comedy Or Musical
Paul Giamatti – Barney's Version

Best Performance by an Actress In A Supporting Role in a Motion Picture
Melissa Leo – The Fighter

Best Performance by an Actor In A Supporting Role in a Motion Picture
Christian Bale – The Fighter

Best Animated Feature Film
Toy Story 3
Disney * Pixar; Walt Disney Studios Motion Pictures

Best Foreign Language Film
In A Better World (Denmark)
The Country of Denmark
(Hævnen) Zentropa Entertainment; Sony Pictures Classics

Best Director - Motion Picture
David Fincher – The Social Network

Best Screenplay - Motion Picture
Aaron Sorkin - The Social Network

Best Original Score - Motion Picture
Trent Reznor and Atticus Ross - The Social Network

Best Original Song - Motion Picture
"You Haven't Seen The Last Of Me" – Burlesque
Music & Lyrics By: Diane Warren

Best Television Series - Drama
Boardwalk Empire (HBO)
Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions, HBO Entertainment

Best Performance by an Actress In A Television Series - Drama
Katey Sagal – Sons Of Anarchy

Best Performance by an Actor In A Television Series - Drama
Steve Buscemi – Boardwalk Empire (HBO)

Best Television Series - Comedy Or Musical
Glee (FOX)
Ryan Murphy Television, Twentieth Century Fox Television

Best Performance by an Actress In A Television Series - Comedy Or Musical
Laura Linney – The Big C (Showtime)

Best Performance by an Actor In A Television Series - Comedy Or Musical
Jim Parsons – The Big Bang Theory (CBS)

Best Mini-Series Or Motion Picture Made for Television
Carlos (Sundance C)
Film En Stock and Egoli Tossell Film, Sundance Channel

Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Claire Danes – Temple Grandin (HBO)

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Al Pacino – You Don't Know Jack (HBO)

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jane Lynch – Glee (FOX)

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Chris Colfer – Glee (FOX)

The Social Network

2011-01-10T13:16:00.000-02:00

I am just going to put this thought out there and you can all ponder and discuss if you want: the fact that The Social Network (David Fincher, 2010) is winning every single award this season is a sign of two things:

That 2010 wasn’t a very good year for the international film industry.
That politics and lobby has never been so strong in the backstage of the award shows.

Let’s be honest (truly and completely): We all love the story of how Facebook came about. We love that Mark Zuckerberg is an “evil nerd” and that he became the youngest billionaire doing something so trivial. Now is this really enough reason to consider The Social Network an extraordinary FILM?

I really don’t think it is. In fact, looking back to David Fincher’s previous (and early) work you will realise that his latest project is actually just good – not the best.

Seriously: Fincher directed Fight Club, possibly the best film of the 90s (one of my favourite films of all times actually, which was snubbed by pretty much every single award there is) and now he directed this: mediocrity.

But I guess I rather see him win for this than not see him win at all. And there you have it.

Top 10?

2010-07-04T18:35:00.001-03:00

My friend and film critic Pedro Tavares has posted his Top 10 films of 2010 so far. Inspired by him I decided to put together my own list. To my surprise I couldn’t really remember what I have watched this year, which is already a terrible sign – as another friend pointed out -, and then I realised the best films I've watched this year, had their original release date in 2009.

Which leads me to think that either 2010 has been nothing short of underwhelming for cinema or maybe I just having been picking them right. No matter the reason, I’ll wait until January 2011to post a Top 10 list and hope for better films to come.

Dear John

2010-05-06T12:54:00.005-03:00

Short Review: Yes, I’ve watched Dear John. Yes, I kind of like it. Yes, I cried.

Slightly Longer Review:

Dear John is a chick flick. There is no way to deny it. It is brought to us by the same people who were behind The Notebook and it follows the same premise: love found, love lost, love found again and everything that happens in between.

Very much like The Notebook, Dear John is also that kind of film you are not supposed to watch and let alone admit liking it – and by you I mean I.

The similarities don’t stop there. Actually, they are all over the script: the leading man, John (Channing Tatum) is from the poor side of town, while the leading lady, Savannah (Amanda Seyfried), comes from a wealthy family. John and Savannah fall in love instantly, but are forced to be apart by war - which obviously leads to the drama of them having a hard time staying together and an even harder time being away from each other.

So why should you watch Dear John if you have already watched The Notebook? Honestly? I can’t really give any reason that doesn’t involve Channing Tatums abs.

Joking!

Dear John is a much more solid film than its predecessor even if it does lose strength in the end. It delivers what it promises: tears, love and two incredibly beautiful young leads. Besides, if you are a girl (which I am), sometimes you just need a little fairy tale about love.

**

PS: FYI Dear John was the film that finally broke the reign of Avatar at the Box Offices in the USA.

Iron Man 2

2010-05-03T23:49:00.005-03:00

Short review:

Who needs 3D when you have Iron Man 2 kicking some serious ass in 2D?

Some other thoughts:

Iron Man 2 is what good entertainment films should be. It is fun, funny, action packed, with a good script that shows some true issues and emotions without pseudo dwelling on them and becoming dumb.

Not to mention, Robert Downey Jr. is in his best form portraying the beloved bon vivant Tony Stark and accompanied by Scarlett Johasson, Michey Rourke, Sam Rockwell (I looove him), Don Cheadle (filling really well Terrence Howards shoes) and Gwyneth Paltrow, who all do really well in their roles.

That said, however, my heart goes out to the real star of the film: Jon Favreau.

Favreu does brilliantly behind the camera. I mean: serious kudos to him for making this (arguably) the best Marvel film made to date and even more kudos for directing a sequel that is actually better than the first picture (which by its self is quite a feat).

Favreau managed to get the essence of comic books and mix with comedy, romance, drama and, well, action, obviously, putting together a film that will please pretty much everyone from 8 to 80 (except my mother, maybe).

The only shame was that the audience I was watching with didn’t quite get the joke of Captain America’s shield and didn’t know who Thor was (or Nick Fury or any of the Avengers character for that matter). But it doesn't really matter; Iron Man 2 was just a real pleasure to watch and I hope we get a number 3.

***

PS: Love that it is called simply Iron Man 2 and not Batman: Forever, X-Men: Origins or any crap like that.

Alice in Wonderland

2010-04-23T02:28:00.006-03:00

Remember how excited I was about Tim Burton directing Alice in Wonderland? Well... Here is my two cents about the film after actually watching it: something is off, but how do you criticize a man who was behind some of your all time favorites? I mean, Burton is the heart and soul of films like the first Batman, Edward Scissorhands, Big Fish and Corpse Bride.

Sure, he missed the mark a few times like in Planet of the Apes and slightly in Ed Wood, but he is still Tim Freaking Burton and he is an incredible director - especially, one would think, when directing a psychedelic classic!! So, you know… Alice in Wonderland + Tim Burton = match made in heaven. But no, it wasn’t. It really wasn’t.

To be honest, I blame Disney and 3D. Well, maybe I should blame Burton for going Disney and 3D, but I rather not.

I guess I should have know when I saw that they gave a 10 year-old rate to the film that something wasn’t right. I mean, really… it couldn’t be, because Tim Burton’s Alice in Wonderland should be a twisted and creepy tale not fit for children, but no, no no! This version is just as childish as the animation from 1951, but with a lot of visual effects and without the cutsie stuff.

However, I don’t want to badger the film too hard. So I’ll say again: visually it is cool and is still Burton’s surrealistic and gothic vision (just softer and without substance). And maybe (and that is wishful thinking) if I watch it again, in 2D, without all the teenagers who kept laughing inappropriately, it will be a better film. Maybe.

As Melhores Coisas do Mundo (The Best Things in the World)

2010-04-14T15:48:00.002-03:00

I think that I have established throughout the months I have been posting in this blog that I am a fan of teen flicks and pop culture. I blame mostly John Hughes for it, but a tribute to him deserves a bit more thought than I can muster right now.

Anyway, I’m reaffirming my love for this type of film because you gotta love them to appreciate them and besides “Houve Uma Vez Dois Verões” (Two Summers, Jorge Furtado, 2002), I have never seen a Brazilian film targeted at teenagers that has been any good whatsoever (until now that is) and because it gives me (I hope) credibility enough to criticize them (seen I have watched so many of them).

So, believe me when I say: “As Melhores Coisas do Mundo” (The Best Things in The World, 2010) will be released this Friday (April 16, in Brazil) and it is already a classic. It has that quality of putting together a great young cast; good dialogues (with lots of memorable quotes) and catchy soundtrack like the best of the teen flicks have done before it.

“As Melhores Coisas do Mundo” follows a few days in the life of Mano, a 15-year old boy who is struggling with... well… puberty really. From his parents divorce, passing through losing his virginity to dealing with his depressed brother, everything is happening and he has to learn how to deal with it and find out who he is in the process.

With that storyline, it would have been easy to fall into stereotypes (and they are there without seeming to be) and make a stupid film, but Laís Bodazky does her magic and delivers one of the best teen flicks I have seen. Ever (yes, I said it). Not only that, but once again Ms. Bodanzky brings out the best out of underrated actors (in this case Fiuk) and presents new talent (like the super-lovable and talented Francisco Miguez).

What more? Well, I’m sure John Hughes would have loved it.

I'm back

2010-04-14T15:42:00.003-03:00

It’s been a long while since I wrote anything and I don’t have any actual reasonable reason for it. I think that after the Oscars I just needed a little bit of a break. I was on the verge of a cinematographic overdose.

Well, I’m back now. To any readers out there (if there are any), I’m sorry.

Oscars 2010: Predictions

2010-03-07T12:48:00.006-03:00

I usually fail miserably when predicting the winners of the Academy Awards, but never mind.

Actor in a Leading Role
I don’t think we will have another Mickey Rourke this year with Jeff Bridges, I could be wrong, but I'll still go for: • Colin Firth in “A Single Man”

Actor in a Supporting Role
If Christoph Waltz doesn’t win it will be the BIGGEST surprise of the night: • Christoph Waltz in “Inglourious Basterds”

Actress in a Leading Role
Everytime Meryl Streep is one of the contenders is hard to predict, but: • Sandra Bullock in “The Blind Side”

Actress in a Supporting Role
UPDATED at 19:18 -3GMT: After watching Precious this afternoon I'm sure none of the other nominees deserve to win as much as Mo'Nique. Still, I wouldn't be suprised if (and what a big if now) they gave to either to Penélope Cruz or Maggie Gyllenhaal: • Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”

Animated Feature Film
"Up" is nominated for best picture and it has won pretty much every animation award it was nominated for, so I doubt it would go to any of the other contenders: • “Up” Pete Docter

Art Direction
As much as I would love to see The Imaginarium of Doctor Parnassus win, I think it will go to either Avatar or The Young Victoria. Because I have to pick one I’ll go for: • “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair

Cinematography
I have watched 4 of the 5 nominees in this category and I’ll stick with the trends and go for the favourite (the only one I haven't watched): • “The White Ribbon” Christian Berger

Costume Design
Since Avatar will probably snatch Art Direction and sice it wasn't nominated in this category, I think they will give Costume Design to: • “The Young Victoria” Sandy Powell

Directing
This is a very hard one to predict, especially because it is usually tied in with Best Picture… In the slight chance they will decide to split these categories, I think Kathryn will win best direction and Cameron best picture, but I doubt it, so I’ll still go for: • “Avatar” James Cameron

Documentary (Feature)
This is a guess, because I haven’t watched any of the nominees, but from the buzz sorounding it:
• “The Cove” Louie Psihoyos and Fisher Stevens

Film Editing
I have actually watched all of the nominees here and they have very different editing styles. That said I feel that the editing in District 9 sets the tone of the story and it deserves to win and I hope the Academy voters see that: • “District 9” Julian Clarke

Foreign Language Film
Unfortunatelly I haven’t watched any of the films nominated for best Foreign Laguage Film, but I’ll guess from what I’ve been reading: • “A Prophet (Un Prophète)” France

Makeup
• “The Young Victoria” Jon Henry Gordon and Jenny Shircore

Music (Original Score)
• “Up” Michael Giacchino

Music (Original Song)
• “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett

Best Picture
This is a no-brainer for me: • “Avatar” James Cameron and Jon Landau, Producers

Short Film (Animated)
Watched all of them, my favourite is Logorama, but I think it isn't the Academy's style, so:

• “French Roast” Fabrice O. Joubert

Short Film (Live Action)
I’ll guess just for fun, because I don’t have enough information to guess for real: • “Miracle Fish” Luke Doolan and Drew Bailey

Sound Editing
• “The Hurt Locker” Paul N.J. Ottosson

Sound Mixing
• “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett

Visual Effects
I personally think the CGI work in District 9 is far more difficult to do than the one in Avatar. Blending aliens with people in such a realistic fashion must have been an almost impossible job, whereas Pandora and blue Na’vis don’t actually exist: • “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones

Writing (Adapted Screenplay)
Because I have a funny feeling we won’t see Jason Reitman win, I’ll pick: • “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher

Writing (Original Screenplay)
I would so love to see Inglorious Basterds win, because I think is the one that is truly original here, but I think it will be the predictable: • “The Hurt Locker” Written by Mark Boal

The Young Victoria

2010-03-06T16:56:00.000-03:00

Unless you aren’t a fan of “royal” films based on the British monarchy I can’t really think of a reason why one wouldn’t like The Young Victoria.

The art direction is beautifully done and, despite being infinite times better looking than the real Queen Victoria and Prince Albert, Emily Blunt and Rupert Friend portray well and convincingly their roles.

However, even though the film is a visually beautiful portrayal of the early Victorian period, The Young Victoria isn’t much more than that. Maybe the reason for been just a romance is because Queen Victoria herself isn’t as much of an emblematic monarch as Queen Elizabeth still is (especially after being protrayed twice by Cate Blanchett) or maybe it was just the choice of making this a romance rather than a film about what she accomplished during her 63-year reign.

A Serious Man

2010-03-06T13:47:00.001-03:00

It never ceases to amaze me how incredible the Cohen brothers are. Ethan and Joel Cohen are such talented directors no matter what type of film they make and this is obvious after you watch A Serious Man.

Despite being the directors of Raising Arizona (1987), Fargo (1996) and The Big Lebowski (1998), my “relationship” with the Cohens truly started in 2001, when I fell in love with The Man Who Wasn’t There. Since then I tried to watch every single one of their films, but failed to be as overwhelmed. Until now.

I know that a lot of people who might read this will think “but what about No Country for Old Men?” . Well, the thing is: in spite of being a great film No Country for Old Men wasn’t a film that I could really relate to. Moreover, what I truly love about the Cohens is their perspective on regular people, their sarcasm and their ability of telling a story about nothing.

I know that there are a lot of hidden meanings and metaphors in A Serious Man, so stating that it is a film about nothing is somewhat controversial. But what I mean here is that there isn’t a crime to be solved, no one is on the run nor there is a blunt comedy. It is just a chronicle about life and what a regular Jewish guy like Larry Gopnik does when faced with his very mundane problems.

Finally, what is in my opinion truly great is that we aren’t handed over an ending that answers it all. What we understand from Gopnik’s characters or from the story, for that matter, is up to each one of us. The Cohen brother’s, like God, aren’t here - neither have - to explain themselves to us.

The Blind Side

2010-03-05T23:47:00.001-03:00

It is impossible to watch The Blind Side and not compare it to Erin Brockovich. First they are both stories based on real strong women. Second Julia Roberts was invited to play the role of Leigh Anne Tuohy before Sandra Bullock took it. Third and finally there is the whole awards thing.

Bullock, like Roberts, is best known for her romantic comedies and for being a funny woman (more than Julia actually) than for playing dramatic characters. So stepping up to this role and being good at it seemed surprising.

The surprise factor here must be really taken into consideration (especially because I think is the main factor for her winning streak). When I asked on a previous post “how many other times will Sandra Bullock get nominated for an Oscar?” as the reason why I think she will take the little golden man this year, I did in no way mean that she is a bad actress. The question merely pointed out that – let’s face it – she is no Meryl Streep.

Also there is the fact that despite doing a good job in a “serious” film and thinking she could do it again, when we look at some of the trackrecords from other actresses of the same caliber, they aren't that great. Again, just look at Julia Robert’s career post her Oscar win… well, I’ll just say America’s Sweetheart.

Then again, one thing has to be said, if it weren’t for the performances (lead by Bullock) in The Blind Side, this film would be mediocre at best - you know, it would that type of film that plays in the middle of the afternoon at your local network. And yes, I know I’m being very blunt here saying this, especially considering that the film is nominated for the best picture award, though I will stand by it even if (and what a big if) it wins on March 7th.

See, the thing is we are all suckers for biopics, especially when they tell the story of a poor person who managed to succeed - shall I just point out Hurricane, The Pursuit of Happyness and the already mentioned Erin Brokovitch (to list a few)?

Anyway, yes, I liked The Blind Side, it made feel good about the human race after watching it. It reminded me that there are good people in the world (better people than me actually) and, where Sandra Bullock is concerned, it was refreshing/interesting seeing her in something that isn’t a romantic comedy (or romantic drama). She has definitely come a long way since Speed and for all that I think she might actually manage to snatch the Oscars from Meryl Streep this Sunday.

Crazy Heart

2010-03-05T10:23:00.003-03:00

Very much like Sandra Bullock in The Blind Side, Jeff Bridges delivers an effortless performance of the alcoholic faded country musician Bad Blake in Crazy Heart.

In my much failed memory I can’t remember seeing Jeff Bridges act like this since The Big Lebowski 12 years ago. So again it comes as no surprise that he makes the film worthwhile alongside Maggie Gyllenhaall.

Besides Bridges and his supporting actors there isn’t much to say about Crazy Heart. The music is ok, Scott Cooper does a correct job directing his first film and the script isn’t half bad, but none of it really impressed me that much. Actually, I felt tired half way through it.

Maybe if it were all better, I would definitely say that Gyllenhaall and Bridges should get their respective awards Sunday night, but – and I say this even though I know I’m being too critical – I don’t think either actors deliver their best performances in Crazy Heart.

Sherlock Holmes

2010-03-03T09:02:00.002-03:00

It’s a hard job reviewing Sherlock Holmes when you have a father who is a big fan of Doyle’s books and the detective himself. So I’ll attain to the film aspect of it rather than the story.

I preferred when Guy Ritchie was making true British edgy films like Snatch of Lock, Stock and Two Smoking Barrels, but he still does good at this new take of Sherlock Holmes. I like the whole general feel of the film, the sexier, faster, more action pumped detective. Really, if it were a snooze fest no one would really bother watching it, so I don’t understand why all the hate because Ritchie decided to make Holmes fun.

Then there is my extremely bias perspective towards it all: the film is quite obviously set in London and Holmes is played by Robert Downey Jr, so I really don’t care if it is an accurate portrayal of the famous detective of Baker Street or not as long as I get the panoramic shot of the Thames and the close shot of R.D.J. abs. Plus Ritchie’s fight sequences are so similar to certain scenes from Fight Club that, even if I didn’t agree with the portrayal of Holmes as a jiu-jitsu man, I would like them.

Besides who cares if it is faithful to the books or not, really? Can’t we just accept Sherlock Holmes (the film) as entertainment and leave it at that?

Nine

2010-02-28T08:03:00.002-03:00

I’ve said it before and I’ll repeat it now: I know I usually don’t rave about films here, but I always try to find good things to say about all of them. If I really dislike a film, I usually don’t even bother writing about it. However, being Oscar season and all, I want to write about Nine.

Nine is bad. Really bad. So bad that I wanted to leave the theatre (something I never EVER do – and didn’t). Sooo bad that I don’t even know what to write about it.

So I’ll try to begin from what upset me most when I started watching it:

Like everyone else I expected Nine to be grand and great. It was hard to keep expectations low when you put together an incredible and extremely awarded cast in a film based on multiple Tony Award winning musical and directed by Rob Marshall, who was responsible for the revival of the musical genre.

Though, like the Brazilian Football Team discovered in 1998, sometimes having the best players does not a winning team make.

It is hard to point a finger at what went wrong in Nine, because when picked apart everything seemed good enough. Cinematography was beautiful, songs were good (not my taste, but good), actors wonderful (it doesn’t get any better than Daniel Day-Lewis, Judy Dench and Sophia Loren).

One could guess that maybe expectations were too high or that the pressure was too much. But in the end is all a bunch of “maybes”. The fact is that even after watching and not liking it I still don’t know what is wrong with Nine, which doesn’t help the feeling of having wasted almost two hours watching one of the most annoying and underwhelming musicals of the past decade.
**

About Penélope Cruz’ nomination for an Academy Award: It seems the academy has found its new Meryl Streep, because PLEASE this isn’t even one of the top 10 best performances of her career.

Up

2010-02-27T18:56:00.003-03:00

I have finally watched Up. After not being able to watch further after 15 minutes of film, I got passed my own issues and gave it another try. Gladly.

No, this isn’t Pixar best animation ever. No, this isn’t even the best animation of last year, but I get what all the hype is about.

The story is endearing and it isn’t about kids or toys or animals or princesses or ogres (even though there is a sweet/annoying kid and a talking dog). It’s about an older man who has a dream, who works hard and eventually fulfills his dream (and boy doesn’t this seem to be the theme of this award season). There are even a few criticisms towards the way we treat the elderly and capitalism somewhere hidden in the beginning.

So I understand why of all the other animations that came out this year Up was almost everyone’s favourite and why it will win best animation yet again at the Academy Awards next week.

Does that mean I would vote for it if I voted for any award? No.

The Pricess and The Frog

2010-02-24T23:17:00.000-03:00

Like pretty much everyone I know, I grew up watching the Disney Classics. Dumbo, Fantasia, Little Mermaid, Sleeping Beauty, Cinderella, Alice in Wonderland, Snow White and later Beauty and the Beast, Aladdin and The Lion King were some of the films constantly playing on our VCR at home.

I was truly one of those little girls who thought they were a princess and loved all the princesses. In fact, if you read my little bio on the right here on the blog, you know that I used to go to the hairdresser and ask for a “Snow White haircut”.

So I never quite understood what the executives of Disney were thinking when they shut down their animation studios. I mean, don’t they know that all they ever needed was a good story and their everlasting magic? Hence my utter happiness when I heard Disney was going back to classic animation and releasing The Princess and The Frog.

But then…

I watched the film and I was disappointed. I just couldn’t see the magic and I kept thinking The Princess and The Frog was just a rip-off of everything they had done before. To make matters worse, apart from one song – "Dig a Little Deeper" (which wasn’t even nominated for an award) - , I thought the music just didn’t quite meet my expectations.

My disappointment was such that I decided I wasn’t even going to write a review about it. I just didn’t want to say bad things about it…

But then…

I met this seven-year-old girl who absolutely adored The Princess and The Frog and she changed my mind slightly. She saw the magic, she loved the princess and she laughed with the silly jokes. So maybe it is actually a good animation after all. For kids that is.

However, I still feel that they lost something over the years, because what was truly incredible about Disney’s animations was that they reached everyone, no matter how old they were (and that is why they became classics).

I don’t know, maybe this is their first step to finding their magic and maybe (and I’ll admit this only once), I love the Disney’s animations from yore because they take me back to my childhood and not because they were better than The Princess and The Frog.

Fantastic Mr. Fox

2010-02-24T22:28:00.000-03:00

I’m not exactly a Wes Anderson fan. Well, to be honest, I’m not a fan at all. I have watched Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou and The Darjeeling Limited. However, I never really thought they were great or laughed as much as my friends seem to do.

So I don’t think it comes as a surprise that unlike my friend Pedro Tavares from Cinemaorama I don’t think Fantastic Mr. Fox is one of the best films of 2009. It is a good animation because, like Pedro points out, it really builds its characters and it is more concerned with telling the story than showing incredible visual effects. But it just doesn't really do anything for me, because I can never fully get into Anderson's films.

That said, I did like it inspite being a "rough stop motion animation". The roughness is actually great and is my favourite thing about the film. I like old school animation - not that Fantastic Mr. Fox is old school, actually it isn’t like any other animation I have watched (it’s a mix of stop motion and drawings and CG and doesn't have that polished finish like Coraline).

Anyway, cutting to the chase, if you like Wes Anderson and his nonsense humour, you will like his latest feature. I also half think it deserves an Oscar for animation, just for its originality.

Finally, maybe if I had watched it in the theatre with other people around, I would have enjoyed it more than watching it on my own at home, because some films are just not meant to be watched when you are alone.

An Education

2010-02-19T00:01:00.000-02:00

I watched An Education during the Rio de Janeiro International Film Festival in October. At the time I thought the film was quite good, but now I slightly changed my mind.

The thing is: almost four months later, the only truly memorable thing about An Education is Carey Mulligan (who is nominated for an Oscar this year) and Peter Sarsgaard’s (who is kind of creepy) performance and even that… not so much.

Personally, this is extremely disappointing because Nick Hornby is 1) probably my favourite contemporary writer (I have read all his books) and 2) two films based on his books are on my favourite lists (High Fidelity is one of my all time favourite films and About a Boy is one of my favourite English comedies and my favourite Hugh Grant film).

So it saddens me that An Education didn’t quite live up to my – extremely high – expectations, which is not saying in anyway that it is a bad film per se. Is just that it isn’t all that.

Short is the new Feature

2010-02-14T12:58:00.000-02:00

The title above would make more sense in Portuguese, because then it would be “short is the new long” (curta é os novo longa), but I guess you can still understand where I’m heading at with this post anyway.

I’ve been dwelling on this idea for a few years actually – on and off – and since the last Rio Int’l Film Festival the subject has been in my mind constantly. I was planning on writing about it after watching New York, I Love You and Tokyo!, but decided not to because I hadn’t fully matured what I wanted to say.

Honestly, I still haven’t, but I’ll give it a go anyhow:

I’ve become a strong believer that, in terms of story, producing a great short film is harder than a feature length one. Think about it: you have up to 30/40 minutes to present your character, develop the storyline, and have a satisfying ending; it might seem simple, but it’s extremely hard, you just need to watch the many short films around to notice this.

Yes, short films are technically easier to produce in some ways; they are a great way to experiment and a milestone for any new filmmaker. Though, the best short films I have ever watched were mainly produced and directed by very experienced filmmakers.

The other side of my train of thought has been the not-so-sudden release of “collective films” like the Cities of Love series – in which Rio will be featured – and Tokyo! or All the Invisible Children. These compilations of shorts, makes me feel like they have become rather “trendy” amongst the industry as of late.

I could go on, but this post would just become a very long blurb, so I’ll stop here and let these topics linger…

Anyone care to comment on it?

Talking about short films, I just watched all the nominees for Short Film (Animated) of the 82nd Academy Awards and have picked my favourite: Logorama. If you have the chance (and by that I mean to search on Youtube if it is still there), you all should watch it. It’s a great comment on society (pay attention to the lyrics of the soundtrack).

Despite being my favourite I think that Frech Roast will win. The story fits the Academy profile better – that if they don’t decided to go with the always wonderfully animated Wallace and Gromit (which for once I thought was not so great story wise).

Harry Potter and the Half-Blood Prince

2010-02-10T12:50:00.004-02:00

Since 1999 I’ve been an avid reader of the Harry Potter books. I mean REALLY avid: I order them on pre-sales; read them all in one go and read them all again before a new one is released.

I think they are great fun and an easy read; like my mother’s friend once said “they are like chewing gum for the brain” – and by that I think he meant they won’t feed your soul, but will give you some satisfaction.

When the first films of the series came out, I wasn’t exactly keen on them. I felt all the rewrites had left out the most important bits of the story. Thinking back, I suppose I just wasn't detached enough from the books to be able to enjoy the films. But then again, let’s face it: there are very few books adaptations that people who have read the books have said “wow the film is actually better [or as good as]” (I can only think of two: Fight Club and High Fidelity).

Now, two years after having read the final book, I think I can finally appreciate them for what they are (and have forgotten most of the details to not be a picky fan).

Also, I think it’s logical to point out that with each film they have had the chance to get it right (David Yates being one of the right things here) and it is bluntly obvious that Harry Potter and the Half-Blood Prince is a far better cinematographic experience than Harry Potter and the Philosopher’s Stone.

Not only the scripts and directing have gotten better, but all the kids have matured - had other acting experiences - and know their characters better than anyone by now (except for JK Rowling), so their performance have improved a great deal (they are still not exceptional, but aren’t as painful as they once were).

Then there are other obvious things like the technology advances that help tell a fantastic story as the Harry Potter one.

All of this said, however, doesn’t mean that the Happy Potter films are spectacular masterpieces. They are just good, entertaining films. So it puzzled me when I saw that Harry Potter and the Half-Blood Prince nominated for an Oscar (for best cinematography).

Maybe I missed something by watching it on TV. Maybe if I had watched it in HD on a good screen in the cinema, I would understand why they thought the cinematography was worth nominating. But for the time being, I still don’t get it.

Coraline

2010-02-08T08:59:00.002-02:00

I heard in passing about Coraline (2009) a long while ago, but didn’t pay much attention. My attention really turned to it after this year’s award season. After being nominated for basically every single award there is, however, I couldn’t help but finally watch it.

My love for stop motion began quite a while ago because of Aardam Animation (responsible for Wallace and Gromit and Chicken Run and is nominated for an Oscar for best animation short for an episode of W&G), but it wasn’t until Tim Burton decided to dive into it that I fully fell in love with it. There is something truly magical about this animation technique and I think it comes from all the hard work behind it.

Coraline conveys all that, but still doesn’t fully deliver. I can’t quite put my finger in it; maybe it’s because it isn’t as beautiful as the Corpse Bride or maybe it’s because it lacks the laughter that all Aarman films are filled with... I don’t know. What I do know is that overall, to my liking, Coraline is just one creepy animation well done.

**

Coraline is nominated for the 82nd Academy Awards for 'Best Animated Feature Film'

The Hurt Locker

2010-02-07T11:02:00.005-02:00

I usually don’t read other reviews before I write mine. This time, though, I decided to read one that was slamming The Hurt Locker.

I had to really. After months of hearing nothing but good things about Kathryn Bigelow’s film on Iraq, I was surprised to find someone who didn’t like it.

I always find it funny when I read reviews or listen to people saying bad things about something that I really liked. It’s funny because I feel like the person didn’t get what it was about at all, but that is personal taste for you...

In this particular case, Artur Xexeo’s review (today on Revista O Globo) was going on and on about how he doesn’t like war movies because usually there aren’t any good female roles and because they don’t have any script or purpose and that the The Hurt Locker is no exception to this rule.

Well, I beg to differ.

First I would like to say: if you don’t like a certain genre of film, don’t go see one – aka if you don’t like the premise of war films, you shouldn’t go watch a film that has as its background a war. I mean, you wouldn’t watch a musical if you didn’t like the characters breaking into a song every other line, would you?

Then, I have to differ because the lack of “female characters” and the “explosions” are so beside the point here. This is a film about people and it really makes no difference if they are men or women. They happen to be three men, but they might as well have been three women. The important thing isn’t their gender, but how each one of them reacts (differently) to the same situation: the imminence of death.

I’m not saying that there isn’t any political criticism or even sharp digs at the American way of life, but these aren’t the most important issues. The human psyche is the key in The Hurt Locker.

Moreover, the whole “lack of script” comment was just plain stupid. I’m sorry if it’s harsh to put it this way, because I really don’t think Xexeo is stupid at all, quite the opposite in fact, but he didn’t seem to understand that the story wasn’t moved by events but by its characters inner world – not to mention the fact that is such a classical hero narrative.

However, I’ll grant all the The Hurt Locker haters (after reading his review I found out that there are plenty out there) this: the final sequence, when William James is speaking to his son was absolutely unnecessary. It could have jumped from the supermarket to the helicopter landing and it would have made complete sense. Actually it would have been much better and made more sense to the character Bigelow had built throughout the movie.

**

Oh yeah, about the 9 Academy Awards nominations: I’m very doubtful of how it will all go. Nevertheless, I do think that the right (and just) way to go would be Kathryn Bigelow to win best director and James Cameron best film. Yet, somehow, I think it will go the other way around.

FYI, despite saying she should win, my heart still belongs to QuentinTarantino and I wish he would take both awards home.

Whip It

2010-02-03T22:06:00.003-02:00

I was fully planning on reviewing Zombieland (2009) this week, but on my way there was Whip It (2009).

Whip It is Drew Barrymore directorial debut and I was really looking forward to watching it. She has been an actress since she was 5 years old, so one can kind of assume she probably knows something about directing at this point. Plus, I am a fan of hers, not because I think she is a great actress, but because she has charisma and a certain “je ne sais quoi”. Actually, her certain “I don’t know what” could be explained quite simply: You know how Clooney is a “man’s man”? I guess Drew is a “woman’s woman”; she seems like someone everyone would like to be friends with.

Anyway, despite all the praise it has been getting on the foreign press, I didn’t think Whip It was anything exceptional (quite unfortunately). Yes, it does fall into my beloved “indie-dramedy-filled-with-witty-quotes-and-great-soundtrack” category, but as far as her direction goes… Well, it is just an über correct film, but she is no Jason Reitman.

In all fairness to her, I don’t think she had any intention of being an incredible director. I think she just wanted to do her own film and have fun and that she has. It is quite clear from watching all the women on screen how much fun they were all having working together. On top of that, it is also quite obvious that Drew wanted to make a film by women to women (or young girls, actually) and send them a cool message (something as corny as “be yourself and you can do anything you dream of”) and she is successful in that aspect too - she even sends a special thanks to "All the girls who believe they can... You Can!" on the credits.

What else?

Well, to all Brazilians reading this: pay attention to the soundtrack and you will listen to “Domigo no Parque” from Gilberto Gil playing quietly on the background at the end of the first roller derby sequence, when Bliss and Pash are walking to the car (which, FYI, is an influence from all the time Drew Barrymore spent in Brazil with her ex-boyfriend Fabrizio Moretti, drummer of The Strokes and Little Joy - both bands also featured in the soundtrack quite explicitly).

**

Word of advice though: don’t be fooled by my very bias review; if you don’t like teenage-indie-dramedy, you won’t like Whip It.

Nominees for the 82nd Academy Awards (my comments)

2010-02-03T21:18:00.003-02:00

Ok, so here is what I think about the Oscar Nominations from yesterday: same old same old.

Yes, there were a few surprises, but overall it just reflected what all the other awards had been nominating.

That said, I don’t think we should ever expect the Oscars to surprise us that much, because let’s face it: there aren’t ever that many films, actors, songs, etc worth nominating. There are always only a select few of them. As a consequence, this means institutions (Guilds, Associations, Academies or whatever) won't be too original when choosing the nominees for their awards.

Really, the truth is that a great film is a great film for almost everyone and politics will always exist and prevail, so why are people always expecting something different and surprising is beyond me.

Finally, I have to point out how incredibly ironic it is that the Academy has decided to give James Cameron’s Avatar the same amount of nominations (9) of Hurt Locker, which is directed by his ex-wife Kathryn Bigelow.

If you believe in coincidence fine, I believe in marketing.

**

I don’t think I need to say which films and people I wish would take the little golden man statuettes home, but I am looking forward to pre-Oscar season, when most films nominated come out in Brazil.

**

Tomorrow I will finally watch the Hurt Locker (which believe it or not went straight to DVD over this side of the Americas). I have to say I’m worried about my expectations; I haven’t heard or read any bad thing about it.

Nominees for the 82nd Academy Awards (by picture)

2010-02-02T13:01:00.003-02:00

In case you were wondering:

Ajami
Inosan Production (Kino International)

* Best foreign language film (Israel)

Avatar

Lightstorm Entertainment Production (20th Century Fox)

* Art direction
* Cinematography
* Directing
* Film editing
* Original score
* Best picture
* Sound editing
* Sound mixing
* Visual effects

The Blind Side
Alcon Entertainment Production (Warner Bros.)

* Sandra Bullock - Performance by an actress in a leading role
* Best picture

Bright Star
Jan Chapman/Bright Star Films Production (Apparition)

* Costume design

Burma VJ
Magic Hour Films Production (Oscilloscope Laboratories)

* Documentary feature

Coco before Chanel
Haut et Court Production (Sony Pictures Classics)

* Costume design

Coraline
LAIKA Production (Focus Features)

* Best animated feature film

The Cove
Oceanic Preservation Society Production (Roadside Attractions)

* Documentary feature

Crazy Heart
Informant Media/Butcher’s Run Films Production (Fox Searchlight)

* Jeff Bridges - Performance by an actor in a leading role
* Maggie Gyllenhaal - Performance by an actress in a supporting role
* Original song - “The Weary Kind (Theme from Crazy Heart)”

District 9
Block/Hanson Production (Sony Pictures Releasing)

* Film editing
* Best picture2
* Visual effects
* Adapted screenplay

An Education
Finola Dwyer/Wildgaze Films Production (Sony Pictures Classics)

* Carey Mulligan - Performance by an actress in a leading role
* Best picture
* Adapted screenplay

El Secreto de Sus Ojos
Haddock Films Production (Sony Pictures Classics)

* Best foreign language film (Argentina)

Fantastic Mr. Fox
American Empirical Production (20th Century Fox)

* Best animated feature film
* Original score

Food, Inc.,
Robert Kenner Films Production (Magnolia Pictures)

* Documentary feature

Harry Potter and the Half-Blood Prince
Warner Bros. Production (Warner Bros.)

* Cinematography

The Hurt Locker
Voltage Pictures Production (Summit Entertainment)

* Jeremy Renner - Performance by an actor in a leading role
* Cinematography
* Directing
* Film editing
* Original score
* Best picture
* Sound editing
* Sound mixing
* Original screenplay

Il Divo
Indigo Film/Lucky Red/Parco Film/Babe Films Production (MPI Media Group through Music Box)

* Makeup

The Imaginarium of Doctor Parnassus
Poo Poo Pictures Production (Sony Pictures Classics)

* Art direction
* Costume design

In the Loop
Loop Film/BBC Films and UK Film Council in association with Aramid Entertainment Production (IFC Films)

* Adapted screenplay

Inglourious Basterds
Weinstein Company/Universal Pictures/A Band Apart/Zehnte Babelsberg Production (The Weinstein Company)

* Christoph Waltz - Performance by an actor in a supporting role
* Cinematography
* Directing
* Film editing
* Best picture
* Sound editing
* Sound mixing
* Original screenplay

Invictus
Liberty Pictures Production (Warner Bros.)

* Morgan Freeman - Performance by an actor in a leading role
* Matt Damon - Performance by an actor in a supporting role

Julie & Julia
Columbia Pictures Production (Sony Pictures Releasing)

* Meryl Streep - Performance by an actress in a leading role

The Last Station
Egoli Tossell Film/Zephyr Films Production (Sony Pictures Classics)

* Christopher Plummer - Performance by an actor in a supporting role
* Helen Mirren - Performance by an actress in a leading role

The Lovely Bones
Wingnut Films Production (DreamWorks in association with Film4, Distributed by Paramount)

* Stanley Tucci - Performance by an actor in a supporting role

The Messenger
All the King’s Horses Production (Oscilloscope Laboratories)

* Woody Harrelson - Performance by an actor in a supporting role
* Original screenplay

The Milk of Sorrow
Wanda Visión/Oberon Cinematogràfica/Vela Production

* Best foreign language film (Peru)

The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers
Kovno Communications Production

* Documentary feature

Nine
Weinstein Brothers/Marc Platt/Lucamar/Relativity Media Production (The Weinstein Company)

* Penélope Cruz - Performance by an actress in a supporting role
* Art direction
* Costume design
* Original song - “Take It All”

Paris 36
Galatée Films Production (Sony Pictures Classics)

* Original song - “Loin de Paname”

Precious: Based on the Novel ‘Push’ by Sapphire
Lee Daniels Entertainment/ Smokewood Entertainment Production (Lionsgate)

* Gabourey Sidibe - Performance by an actress in a leading role
* Mo’Nique - Performance by an actress in a supporting role
* Directing
* Film editing
* Best picture
* Adapted screenplay

The Princess and the Frog
Walt Disney Pictures Production (Walt Disney)

* Best animated feature film
* Original song - “Almost There”
* Original song - “Down in New Orleans”

The Secret of Kells
Cartoon Saloon/Les Armateurs/Vivi Film Production (GKIDS)

* Best animated feature film

A Serious Man
Working Title Films Production (Focus Features)

* Best picture
* Original screenplay

Sherlock Holmes
Warner Bros. UK Services Production (Warner Bros.)

* Art direction
* Original score

A Single Man
Fade to Black and Depth of Field Production (The Weinstein Company)

* Colin Firth - Performance by an actor in a leading role

Star Trek
Bad Robot Production (Paramount and Spyglass Entertainment)

* Makeup
* Sound editing
* Sound mixing
* Visual effects

Transformers: Revenge of the Fallen
Don Murphy/Tom DeSanto/di Bonaventura Pictures/Ian Bryce Production (DreamWorks and Paramount in association with Hasbro, Distributed by Paramount)

* Sound mixing

Un Prophète
Why Not/Page 114/Chic Films Production (Sony Pictures Classics)

* Best foreign language film (France)

Up
Pixar Production (Walt Disney)

* Best animated feature film
* Original score
* Best picture
* Sound editing
* Original screenplay

Up in the Air
Montecito Picture Company Production (Paramount in association with Cold Spring Pictures and DW Studios)

* George Clooney - Performance by an actor in a leading role
* Vera Farmiga - Performance by an actress in a supporting role
* Anna Kendrick - Performance by an actress in a supporting role
* Directing
* Best picture
* Adapted screenplay

Which Way Home
Mr. Mudd Production

* Documentary feature

The White Ribbon
X Filme Creative Pool/Wega Film/Les Films du Losange/Lucky Red Production (Sony Pictures Classics)

* Cinematography
* Best foreign language film (Germany)

The Young Victoria
GK Films Production (Apparition)

* Art direction
* Costume design
* Makeup

Nominees for the 82nd Academy Awards

2010-02-02T12:52:00.003-02:00

In case you missed it:

Actor in a Leading Role

* Jeff Bridges in “Crazy Heart”
* George Clooney in “Up in the Air”
* Colin Firth in “A Single Man”
* Morgan Freeman in “Invictus”
* Jeremy Renner in “The Hurt Locker”

Actor in a Supporting Role

* Matt Damon in “Invictus”
* Woody Harrelson in “The Messenger”
* Christopher Plummer in “The Last Station”
* Stanley Tucci in “The Lovely Bones”
* Christoph Waltz in “Inglourious Basterds”

Actress in a Leading Role

* Sandra Bullock in “The Blind Side”
* Helen Mirren in “The Last Station”
* Carey Mulligan in “An Education”
* Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
* Meryl Streep in “Julie & Julia”

Actress in a Supporting Role

* Penélope Cruz in “Nine”
* Vera Farmiga in “Up in the Air”
* Maggie Gyllenhaal in “Crazy Heart”
* Anna Kendrick in “Up in the Air”
* Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”

Animated Feature Film

* “Coraline” Henry Selick
* “Fantastic Mr. Fox” Wes Anderson
* “The Princess and the Frog” John Musker and Ron Clements
* “The Secret of Kells” Tomm Moore
* “Up” Pete Docter

Art Direction

* “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair
* “The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith
* “Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim
* “Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
* “The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie Gray

Cinematography

* “Avatar” Mauro Fiore
* “Harry Potter and the Half-Blood Prince” Bruno Delbonnel
* “The Hurt Locker” Barry Ackroyd
* “Inglourious Basterds” Robert Richardson
* “The White Ribbon” Christian Berger

Costume Design

* “Bright Star” Janet Patterson
* “Coco before Chanel” Catherine Leterrier
* “The Imaginarium of Doctor Parnassus” Monique Prudhomme
* “Nine” Colleen Atwood
* “The Young Victoria” Sandy Powell

Directing

* “Avatar” James Cameron
* “The Hurt Locker” Kathryn Bigelow
* “Inglourious Basterds” Quentin Tarantino
* “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels
* “Up in the Air” Jason Reitman

Documentary (Feature)

* “Burma VJ” Anders Østergaard and Lise Lense-Møller
* “The Cove” Nominees to be determined
* “Food, Inc.” Robert Kenner and Elise Pearlstein
* “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith
* “Which Way Home” Rebecca Cammisa

Documentary (Short Subject)

* “China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill
* “The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher
* “The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert
* “Music by Prudence” Roger Ross Williams and Elinor Burkett
* “Rabbit à la Berlin” Bartek Konopka and Anna Wydra

Film Editing

* “Avatar” Stephen Rivkin, John Refoua and James Cameron
* “District 9” Julian Clarke
* “The Hurt Locker” Bob Murawski and Chris Innis
* “Inglourious Basterds” Sally Menke
* “Precious: Based on the Novel ‘Push’ by Sapphire” Joe Klotz

Foreign Language Film

* “Ajami” Israel
* “El Secreto de Sus Ojos” Argentina
* “The Milk of Sorrow” Peru
* “Un Prophète” France
* “The White Ribbon” Germany

Makeup

* “Il Divo” Aldo Signoretti and Vittorio Sodano
* “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
* “The Young Victoria” Jon Henry Gordon and Jenny Shircore

Music (Original Score)

* “Avatar” James Horner
* “Fantastic Mr. Fox” Alexandre Desplat
* “The Hurt Locker” Marco Beltrami and Buck Sanders
* “Sherlock Holmes” Hans Zimmer
* “Up” Michael Giacchino

Music (Original Song)

* “Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman
* “Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman
* “Loin de Paname” from “Paris 36” Music by Reinhardt Wagner Lyric by Frank Thomas
* “Take It All” from “Nine” Music and Lyric by Maury Yeston
* “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett

Best Picture

* “Avatar” James Cameron and Jon Landau, Producers
* “The Blind Side” Nominees to be determined
* “District 9” Peter Jackson and Carolynne Cunningham, Producers
* “An Education” Finola Dwyer and Amanda Posey, Producers
* “The Hurt Locker” Nominees to be determined
* “Inglourious Basterds” Lawrence Bender, Producer
* “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
* “A Serious Man” Joel Coen and Ethan Coen, Producers
* “Up” Jonas Rivera, Producer
* “Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers

Short Film (Animated)

* “French Roast” Fabrice O. Joubert
* “Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell
* “The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia
* “Logorama” Nicolas Schmerkin
* “A Matter of Loaf and Death” Nick Park

Short Film (Live Action)

* “The Door” Juanita Wilson and James Flynn
* “Instead of Abracadabra” Patrik Eklund and Mathias Fjellström
* “Kavi” Gregg Helvey
* “Miracle Fish” Luke Doolan and Drew Bailey
* “The New Tenants” Joachim Back and Tivi Magnusson

Sound Editing

* “Avatar” Christopher Boyes and Gwendolyn Yates Whittle
* “The Hurt Locker” Paul N.J. Ottosson
* “Inglourious Basterds” Wylie Stateman
* “Star Trek” Mark Stoeckinger and Alan Rankin
* “Up” Michael Silvers and Tom Myers

Sound Mixing

* “Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
* “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
* “Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano
* “Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin
* “Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey Patterson

Visual Effects

* “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
* “District 9” Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
* “Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton

Writing (Adapted Screenplay)

* “District 9” Written by Neill Blomkamp and Terri Tatchell
* “An Education” Screenplay by Nick Hornby
* “In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
* “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher
* “Up in the Air” Screenplay by Jason Reitman and Sheldon Turner

Writing (Original Screenplay)

* “The Hurt Locker” Written by Mark Boal
* “Inglourious Basterds” Written by Quentin Tarantino
* “The Messenger” Written by Alessandro Camon & Oren Moverman
* “A Serious Man” Written by Joel Coen & Ethan Coen
* “Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy

Nick and Norah's Infinite Playlist

2010-01-24T20:18:00.002-02:00

For some reason I don’t understand Nick and Norah’s Infinite Playlist (2008) went straight to DVD in Brazil. I don’t understand why it wasn’t distributed to the cinemas, because it is a pretty alright teen indie film and I could definitely see a lot of people queuing at Estação Botafogo to watch it.

Fair enough, maybe I’m a little bias to judge it, it is sort of well known (I’ve said it here before) that I’m a sucker for films that combine well good music on their soundtrack and witty dialogs, but in fact, when I first watched Nick and Norah’s about six months ago for the first time I just thought it as “ok”. Actually, I felt it was just another indie teen romantic comedy, but it had potential.

Though, since then, I have watched it a few times again, the last one being today on HBO, and it slowly grew on me.

Is not that I suddenly realized what a masterpiece Nick and Norah’s is, but just that I no longer think of it as “another indie Michael Cera film”. I slowly but steadily started to think of it as pretty sweet and endearing. Also, as it happens when you watch a film again, I paid more attention to certain things I had not noticed the first time around and actually think that some of the dialogs have more depth and meaning than when I watched it in July 2009.

I don’t know. Maybe it has something to do with today and the fact that I now can relate better to it for some reason.

Still, I think it is a good film to watch on a Sunday afternoon. It is a pretty easy watch if you are into “Juno-esque” type of films.

**

To sum up all I just wrote here is a quote:

Look, other bands, they want to make it about sex or pain, but you know, The Beatles, they had it all figured out, okay? "I Want to Hold Your Hand." The first single. It's effing brilliant, right?... That's what everybody wants, Nicky. They don't want a twenty-four-hour hump sesh, they don't want to be married to you for a hundred years. They just want to hold your hand.

~ Thom

Heath Ledger

2010-01-22T10:08:00.003-02:00

Today marks two years of Heath Ledger's death...

(This is my favourite picture of him, shot by Bruce Weber for Vanity Fair in 2000)

Where The Wild Things Are

2010-01-20T20:36:00.001-02:00

Where The Wild Things Are is pure poetry.

There isn’t another way to describe it.

Spike Jonze adaptation of the book by Maurice Sendak is magical and child like in the sense that it makes you remember how children (we as children) used to feel.

For this reason, it should be seen not from an adult’s logic and perspective, but by the child that still resides inside all of us. Forget about the moral of the story or everything having a rational reason, you should just enjoy the moments and try to remember that despite being a world imagined by a child, we all still feel like Max more often than we would like to admit.

Actually, what is truly captivating about Where The Wild Things Are is that it shows us how we were and behaved when we hadn’t learned how to keep our inner monsters tamed.

Moreover, if you are not delighted by Jonze’s storytelling style, then you should at least watch WTWTA for the cinematography. Lance Acord does an incredible job colouring Max’ world.

***

OBS: Max Records, who plays Max, reminds me so much of Macaulay Culkin. It made me nostalgic... Culkin was that good of an actor at a very young age too, when I was also still a child.

And the Golden Globe goes to....

2010-01-18T14:19:00.004-02:00

I have been a fan of Ricky Gervais’ humour for a very long time now (he is English, you know?). Lately however, I was starting to get a little annoyed. It seemed that every time he was invited to an award ceremony, all he could do is have a dig at Steve Carrel.

Yesterday, however, after doing the tweaking of Carrel, Gervais went on with his opening monologue saying “On a serious note, just looking at all the faces here reminds me of the great work that's been done this year... by cosmetic surgeons. You all look great!” – and just like that he won me back.

Gervais seemed to be on a role and throughout the night had plenty of acid comments towards pretty much anyone and everyone. The climax was his extremely funny yet inappropriate joke on Mel Gibson – “I like a drink as much as the next man, unless the next man is Mel Gibson” – it was so hilarious that I too am sure he is never going to be invited to host an award show again.

On the winners front there weren’t many surprises, which doesn’t mean I was less disappointed that some of my favourites didn’t win.

Like Jason Reitman, I am still waiting to hear Quentin's name.

However, my biggest disappointed of the night wasn’t that Quentin lost everything, but that James Cameron won best director. Come on, James Cameron???? I know Avatar grossed U$1.4 billion, but that doesn’t mean James Cameron is a good director, just that he is a good entertainer.

I do really hope this mistake is corrected at the Oscars. I cannot endure listening to Cameron’s obnoxious speech in Naavi again.

***

The positive notes on the Golden Globes besides Gervais? Paul McCartney joking about drugs while presenting Best Animation, Christoph Waltz winning best supporting actor (even if it was a given), everything about Martin Scorsese's Cecil B. Demille award and The Hangover taking best comedy (maybe the only real surprise of the night).

I also was pleased with Robert Downey Jr. winning best actor comedy or musical, but just because I’ve been in love with him since Chaplin.

Otherwise, everything was kind of mediocre...

Bellow the complete list of winners (motion pictures):

Motion Picture, Drama: Avatar
Motion Picture, Comedy or Musical: The Hangover
Director: James Cameron, Avatar
Actress in a Motion Picture, Drama: Sandra Bullock, The Blind Side
Actor in a Motion Picture, Drama: Jeff Bridges, Crazy Heart
Actress in a Motion Picture, Comedy or Musical: Meryl Streep, Julie & Julia
Actor in a Motion Picture, Comedy or Musical: Robert Downey Jr., Sherlock Holmes
Actress in a Supporting Role in a Motion Picture: Mo'Nique, Precious
Actor in a Supporting Role in a Motion Picture:Christoph Waltz, Inglourious Basterds
Screenplay: Jason Reitman and Sheldon Turner, Up in the Air
Foreign Language Film: The White Ribbon (Germany)
Animated Feature Film: Up
Original Score: Michael Giacchino, Up
Original Song: "The Weary Kind," Crazy Heart; music and lyrics by Ryan Bingham and T-Bone Burnett

Happy New Year!

2010-01-18T13:21:00.001-02:00

I’m sorry it has taken me so long to start writing again, but these first few weeks of January have been crazy. I can’t even begin to tell you (I mean really cannot, I don’t want to cross the line and talk about my job).

So let’s get on with our agenda.

First up: Golden Globes.

Honourable Mention

2009-12-28T22:55:00.001-02:00

Alright, I wasn't going to do this, but I like these two films too much not to mention them:

26. Monsters, Inc. (Peter Docter, 2001)
27. Good Bye Lenin! (Wolfgang Becker, 2003)

My Top 25 Films of de Decade

2009-12-28T22:06:00.003-02:00

This will be controversial, I know, but the parameter I used to select my favourite films of the decade was very reliable: my taste.

Here is my list in chronological order:

Memento (Christophe Nolan, 2000)
Amores Perros (Alejandro Gonzáles Iñarritu, 2000)
Almost Famous (Cameron Crowe, 2000)
High Fidelity (Stephen Frears, 2000)
The Man Who Wasn’t There (Joel Coen and Ethan Coen, 2001)
Waking Life (Richard Linklater, 2001)
Sen to Chihiro no kamikakushi (Hayao Miyazaki, 2001)
Le fabuleux destin d’Amélie Poulain (Jean-Pierre Jeunet, 2001)
Houve uma vez 2 verões (Jorge Furtado, 2002)
Cidade de Deus (Fernando Meirelles, 2002)
Lisbela e o Prisioneiro (Guel Arraes, 2003)
Elephant (Gus Van Sant, 2003)
Lost in Translation (Sofia Coppola, 2003)
Big Fish (Tim Burton, 2003)
Kill Bill Vol. 1 and 2 (Quentin Tarantino, 2003/2004)
Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
Sin City (Frank Miller and Robert Rodriguez, 2005)
Into the Wild (Sean Penn, 2007)
Juno (Jason Reitman, 2007)
Lars and the Real Girl (Craig Gillespie, 2007)
Les plages d’Agnès (Agnès Varda, 2008)
The Curious Case of Benjamin Button (David Fincher, 2008)
Avatar (James Cameron, 2009)
Inglorious Basterds (Quentin Tarantino, 2009)
The Imaginarium of Doctor Parnassus (Terry Gilliam, 2009)

Avatar

2009-12-28T00:38:00.006-02:00

I could sum up my review of Avatar in one expression: WOW!

Though, maybe that would be much unarticulated of me. So let’s get to it while everything is still fresh in my head and I’m utterly impressed.

Usually my motto for everything regarding culture is “don’t believe the hype”, however, I admit that this time the hype is completely right, Avatar is absolutely incredible.

Yes, the story is a bit too simple, a classic hero narrative that we have seen many times before. Yes, James Cameron is as tacky as ever and you kind of expect Jake Sully (the main character) to scream “I’m the king of the world” (like a friend of mine poited out) when he is riding/flying a giant pterodactyloid-esque bird. And yes, the villains are too cartoonish. But really, who cares? You will be so stunned by the visuals that you won’t have enough time to dwell on it.

Oh the visuals!! James Cameron takes CGI to a whole new [upper] level. The textures, the lighting, the backgrounds… the whole world of Pandora is so psychedelic and fantastic and yet so believable that you forget that none of it is actually real (I can imagine people thinking “what is reality?”, but that is a completely different discussion). Cameron truly ups the bar for all CGI-live action films to come, the distinction in Avatar is almost impossible (if it wasn’t a fantasy, obviously). Add to that Cameron’s vertiginous and fast pacing camera and you will be holding to your seat (or at least, be dizzy like I am after leaving the theatre).

Making Avatar all more incredible is the cast, who was just magnificent in bringing to life these characters. Their body work is nothing short from amazing. I can only imagine how hard it was becoming these characters without having anything to work with (costumes, props, sets, etc)…

As for the 3D… well… I don’t really want to get into this discussion, but I personally didn’t care much for it. I don’t think that it makes a substantial difference to the 2D copies and, more importantly, I think the visual impact has nothing to do with the 3D effect and everything to do with the world Cameron is presenting on screen (I also don’t think that 3D is “the cinema of the 21st century” nor that it will “save cinema” – I actually don’t think cinema needs saving, just better films, but this will be a whole different post some other time). Still, I strongly recommend you watch in 3D, it sets the mood for the film and the trailers before it are great fun.

Holiday Break

2009-12-24T11:37:00.000-02:00

Dear All,

I wish you all a Merry Christmas and a Happy 2010!

Because during the next couple of weeks my life will be more hectic than usual – I am hosting my family’s Christmas’ Eve dinner – and going away for New Year’s, I won't be able to update as much - or possibly at all – until I come back on the 4th of January.

If I can, I'll post a review of Avatar and my final list of best and worst of 2009 before I go away.

Season greetings,

Elisa

sad days

2009-12-21T19:50:00.001-02:00

This is what I wanted to write about yesterday, but I didn't really feel like elaborating it (and I still don't, sorry):

It has been a couple of bad days for cinema. First, on Saturday, Brazilian director Fabio Barreto was involved in a car accident and is now in a coma and no one can tell for sure that he will survive. Then, on Sunday, Brittany Murphy died of full cardiac arrest all of a sudden.

In all I think 2009 has seen a lot of sudden deaths of very young talented artists. This is a very sad realization and it makes me feel old (someone once told me that you know you are old when your idols start dying – neither Murphy nor Barreto are my idols, but you get the gist).

67th Golden Globes

2009-12-16T23:37:00.003-02:00

So the Golden Globes nominations are out. A little disappointed with the nominations, I thought they were way too predictable, but - to be quite honest, I don't really know who I would nominate instead.

Anyway, I'm not ready to place any bets yet - especially because I haven't seen most of the films nominated, but I will already tell you that I hope Quentin's Inglorious Basterds wins everything that is nominated for.

In case Inglorious doesn't swipe all of them, I at least hope Chris Waltz wins for best supporting actor, he truly - and I mean TRULY - deserves.

Here are the nominees (motion pictures) and my comments (in purple-ish) :

Best Motion Picture - Drama

Avatar
Lightstorm Entertainment; Twentieth Century Fox

I can’t stress enough how much I want to watch Avatar. I know James Cameron is a bit on the tacky megalomaniac side, but the trailer is fantastic. Though, I’m a little afraid that the hype will ruin it.

The Hurt Locker
Voltage Pictures; Summit Entertainment

Inglourious Basterds
The Weinstein Company/Universal Pictures/A Band Apart/Zehnte Babelsberg GmbH Production; The Weinstein Company/Universal Pictures

Like I said I wish Inglorius would win, but I’m not holding my breath. This is definitely the best film I’ve seen this year (so far).

Precious: Based On The Novel Push By Sapphire
A Lee Daniels Entertainment / Smokewood Entertainment Group Production; Lionsgate

Quite looking forward to finding out what the hype is all about. Honestly, the fact that Oprah is SO behind this films is a bit of a turn off for me.

Up In The Air
Paramount Pictures; Paramount Pictures

Great film, wouldn’t give a best picture award, though.

Best Performance by an Actress in a Motion Picture - Drama

Emily Blunt – The Young Victoria

Sandra Bullock – The Blind Side

I know.... Sandra Bullock is no Meryl Streep, but she has her moments and I do hope she wins. I mean, seriously, how many other shots she will have?

Helen Mirren – The Last Station

Carey Mulligan – An Education

Gabourey Sidibe – Precious: Based On The Novel Push By Sapphire

Best Performance by an Actor in a Motion Picture - Drama

Jeff Bridges – Crazy Heart

George Clooney – Up In The Air
Seriously, this is not Clooney at his best. Has everyone forgotten about Good Night and Good Luck?

Colin Firth – A Single Man

Morgan Freeman – Invictus

Tobey Maguire – Brothers

Haven’t seen Brothers, but I love Peter Parker… I mean, Tobey.

Best Motion Picture - Musical Or Comedy

(500) Days Of Summer
Watermark Pictures; Fox Searchlight Pictures

The Hangover
Warner Bros. Pictures; Warner Bros. Pictures

Ok, Nine is going to win, but I am pleasantly surprised that The Hangover was nominated. It was quite ballsy of the HFPA to nominate such a blunt comedy – COMEDY.

It's Complicated
Relativity Media, Scott Rudin Productions; Universal Pictures

Julie & Julia
Columbia Pictures; Sony Pictures Releasing

Nine
The Weinstein Company/Relativity Media/Lucamar Productions/Marc Platt Productions; The Weinstein Company

Best Performance by an Actress in a Motion Picture - Musical or Comedy

Sandra Bullock – The Proposal

This was my reaction when I first saw this: "Really? REALLY? She has a double nomination?? WOW!" Hope she gets the drama one, because she is just her normal-actress-self in The Proposal.

Marion Cotillard – Nine

I hope Marion wins, but not because I love her or anything, I just don’t want to see Meryl Streep winning for the 100th time.

Julia Roberts – Duplicity

Meryl Streep – It's Complicated

Meryl Streep – Julie & Julia

Best Performance by an Actor in a Motion Picture - Musical Or Comedy

Matt Damon – The Informant!

Daniel Day-Lewis – Nine
Any other year and I would love to see him take the award (again), but this year he is up against R. Downey Jr...

Robert Downey Jr. – Sherlock Holmes
Please, please, please, give an award to Robert Downey Jr. I love him and that's it.

Joseph Gordon-Levitt – (500) Days Of Summer
Mmmm, not quite sure he deserves a nomination for this film. I didn't see anything extraordinary about his performance. He is great, but lots of others could have portrayed the same character equally well.

Michael Stuhlbarg – A Serious Man

Best Performance by an Actress In A Supporting Role in a Motion Picture

Penélope Cruz – Nine

Vera Farmiga – Up In The Air
Just realised I haven't said anything about her on my review. She is very good too, but outshined by Clooney and Kendrick.

Anna Kendrick – Up In The Air

She is not going to win, but what a surprise: she really can act.

Mo'nique – Precious: Based On The Novel Push By Sapphire

Julianne Moore – A Single Man

Best Performance by an Actor In A Supporting Role in a Motion Picture

Matt Damon – Invictus

Woody Harrelson – The Messenger

Christopher Plummer – The Last Station

Stanley Tucci – The Lovely Bones

Christoph Waltz – Inglourious Basterds

I will be truly disapointed if he doesn’t win. I love Damon and Harrelson (and I haven’t watched any of the other films of the contenders in the category), but Waltz is so brilliant in Inglorious Basterds I don’t think I can stress this enough.

Best Animated Feature Film

Cloudy With A Chance Of Meatballs
Columbia Pictures and Sony Pictures Animation; Sony Pictures Releasing

WTF? Haven’t watched it, but it seems absurd that this is nominated alongside the the other four. I mean… well, forget it.

Coraline
Laika, Inc.; Focus Features

Fantastic Mr. Fox
American Empirical Picture; Twentieth Century Fox
People told me it's absolutely great. Don't know, haven't watched it yet.

The Princess And The Frog
Walt Disney Pictures/Walt Disney Animation Studios; Walt Disney Studios Motion Pictures

Up
Walt Disney Pictures/PIXAR Animation Studios; Walt Disney Studios Motion Pictures

Only managed to watch 15 minutes, because it freaked me out a little, but with everything I’ve heard and read about it, I hope it wins.

Best Foreign Language Film

Like my friend said: the Academy should take lessons with the HFPA on which films to nominate for best Foreign Language Film. I cannot predict who will take this home.

Baaria (Italy)
The Country of Italy
Medusa Film; Summit Entertainment

Broken Embraces (Spain)
The Country of Spain
El Deseo SA; Sony Pictures Classics

The Maid (La Nana) (Chile)
The Country of Chile
Forastero; Elephant Eye Films

A Prophet (Un Prophete) (France)
The Country of France
Chic Films/Page 114/Why Not Productions; Sony Pictures Classics

The White Ribbon (Das Weisse Band - Eine Deutsche Kindergeschichte) (Germany)
The Country of Germany
X Filme Creative Pool/Les Films Du Losange/Lucky Red/Wega Film; Sony Pictures Classics

Best Director - Motion Picture

Guess who I hope wins.

Kathryn Bigelow – The Hurt Locker

James Cameron – Avatar

Clint Eastwood – Invictus

Jason Reitman – Up In The Air
If Quentin doesn't win, I hope Jason does - even if I don't think this is his best work.

Quentin Tarantino – Inglourious Basterds

Best Screenplay - Motion Picture

District 9
Written by Neill Blomkamp, Terri Tatchell

Ok, despite the fact that I hope Quentin wins, I think Distric 9 is the most original here, so if it takes this award away from Inglorious Basterds, I won’t be too upset.

The Hurt Locker

Written by Mark Boal

Inglourious Basterds
Written by Quentin Tarantino

It's Complicated
Written by Nancy Meyers

Up In The Air
Written by Jason Reitman, Sheldon Turner

Best Original Score - Motion Picture

I can never tell in this category.

Up
Composed by Michael Giacchino

The Informant!
Composed by Marvin Hamlisch

Avatar
Composed by James Horner

A Single Man
Composed by Abel Korzeniowski

Where The Wild Things Are
Composed by Karen O and Carter Burwell
Ok, maybe because this is Where The Wild Things Are only nomination and I really want to watch it and already love it, I hope it wins.

Best Original Song - Motion Picture

I haven’t heard any of these, so I won’t comment yet.

"Cinema Italiano" – Nine
Music & Lyrics By: Maury Yeston

"I See You" – Avatar
Music By: James Horner and Simon Franglen
Lyrics By: James Horner, Simon Franglen and Kuk Harrell

"I Want To Come Home" – Everybody's Fine
Music & Lyrics By: Paul McCartney
Paul McCartney. Enough said.

"The Weary Kind (Theme From Crazy Heart)" – Crazy Heart
Music & Lyrics By: Ryan Bingham and T Bone Burnett

"Winter" – Brothers
Music By: U2
Lyrics By: Bono

Whatever Works

2009-12-13T22:07:00.007-02:00

Ok, let’s clear something out of the way first: I am not a Woody Allen fan, but please don’t shoot me.

I could say it is nothing personal against him, but I suppose it is every bit personal. I find Allen’s narcissistic tendencies obnoxious and his ego way too big for such a short man. I’m sorry, yes, I’m a cinema sinner. Whatever.

In my defence – which I don’t really need to write given the fact that this is my blog about my opinions – I do appreciate his genius. I honestly have nothing but respect for him. Really, how could I not? The man has directed 41 films in 44 years (45 if you count his TV work), has won 86 awards - of which 3 Oscars - and has a legion of fans. As if that wasn’t enough, Allen is the founder of a style, his style, which has been copied to exhaustion.

So yes, I see the point why people look at me funny when I say I’m not a fan and that I don’t particularly enjoy his films, but maybe this is changing and here is why: I loved Whatever Works.

I loved the sarcasm behind the stereotypical characters and the actors portraying them (kudos to Larry David portraying the neurotic intellectual and Evan Rachel Wood the ditsy blond); I loved the use of the formula of the main character talking to the audience and I just loved and related to the very dark and dry humour.

I honestly don’t think Allen’s neurosis and sharp writing have been this powerful in forever (there are so many memorable quotes in it), which means I would go as far as saying that Whatever Works is not only great, but fantastic.

Moreover, I also found the change of muse a relief (so long, farewell, auf wiedersehen, goodbye to Scarlett Johansson, who annoyed the hell out of me) and didn’t feel suffocated or irritated by Allen’s persona - I actually finally found it extremely funny.

Maybe this all means that I’m growing up (I heard innumerous times that I didn’t like Allen because I am too young), maybe it means that after watching enough Allen films I just surrendered or maybe (and this is my bet) this means that Whatever Works isn’t the Woody Allen type of film that everyone loves and longs for every year. Who knows, like I said, I’m not a Woody Allen fan.

New York I Love You

2009-12-13T20:19:00.004-02:00

Like any antology of shorts New York, I Love You has its ups and downs. However, unlike other features of the sort, all the 10 short films are pretty much lukewarm. There are no extraordinary master pieces of filmmaking in it. Yet, obviously, I did like some better than others - like Mira Nair's and Brett Ratner's segments.

Having watched it twice, I’ve made up my mind that what makes New York, I Love You even more underwhelming is not only that it has an all star cast, but mainly - and more importantly - because it has incredible directors behind each segment. Directors like Brett Ratner, Mira Nair, Shekhar Kapur and Joshua Marston, who have all done remarkable feature lenght films over the past decade. So the question that lingers after watching it is: what happened?

My theory is that short films are way harder to make than features. Telling a story under 20 minutes is tough; when the audience finally gets involved with the plot and the characters, the film ends - which leaves us/them a little frustrated. So average becomes a good evaluation (at least I'm not saying there are any terrible segments); at least in this case.

Up in the Air

2009-12-11T17:05:00.011-02:00

Being the director of two brilliant films like Thank You for Smoking and Juno means that Jason Reitman had already won my heart. Now, with Up in the Air, Reitman has completely and definitely entered my favourite contemporary directors list (behind only of Quentin Tarantino, David Fincher and Cameron Crowe).

Like in Thank You for Smoking and Juno, Reitman’s delivers one of the best films of the year. However, arguably, Up in the Air is the weakest of the three.

The shortcomings of Up in the Air though have nothing to do with Reitman’s talent and more to do with the fact that its background subject is still very fresh in everyones mind: the recession. Up in the Air's main character fires people for a living and it is hard to laugh about people losing their jobs while the world hasn't fully recovered from the economy crises (especially when the testemonials in the film are real).

Reitman still does his job brilliantly, giving us a perfect mix of comedy and drama that is only heightened by his ever-so-perfect timing.

He doesn't rush through the shots, taking time to let scenes run their course - he is definitely not part of the music-video-tv-ad generation of directors, jumping from shot to shot every five seconds. His direction has an intimate and somewhat cozy feeling about it,which is pretty clear at the wedding scene.

Another Reitman's many talents is getting great perfomarnces out of his actors, which is a definite and unquestionable plus for his latest work.

Like Brad Pitt, George Clooney has proven himself a great actor a long time ago, so being brilliant in Up in the Air isn’t a surprise.

The surprisingly good performance is left to Anna Kendrick, who had a small supporting role in the two Twilight films and I would never have thought was able to act (I’ve said it before: acting isn’t the forte of the Twilight cast), and now delivers a naïve, but smart, powerful, fresh-out-of-university yuppie.

Finally, if the response of the National Board of Review of Motion Picture is an indicative of the near future, Up in the Air is bound to be a big contender for the other awards to come. So it definitely should be in your "must watch" list.

---

Word of advice: don't believe the romantic comedy packaging.

Update 13/12/2009: I forgot to mention how great the soundtrack is (another trademark of Jason Reitman and a trademark that all my favourite directors have in common)

Top 9 list of 2009

2009-12-11T14:01:00.001-02:00

So the "Award Season" has begun. Sort of. This week the National Board of Review of Motion Picture (what a looong name) has given out its awards.

For best picture is Jason’t Reitman latest film Up in the Air. I don’t know if I would have chosen it for best picture, but it is definitely a great film.

Inspired by them I decided to choose my top 10 from 2009 (despite the fact that 2009 hasn’t officially ended and that Avatar and many other films that I am looking forward to seeing aren’t out yet).

…..

Ok, after giving myself a headache trying to think of a top 10 and finding out that I 1) Can’t remember all the films I’ve watched this year and 2) Haven’t watched that many great films, decided to settle for a top 9 (so far and in no particular order):

(500) Days of Summer; Adventureland; London River; Inglorious Basterds; The Imaginarium of Doctor Parnassus; Up in the Air; An Education and Le plages D’Ágnes

making it up

2009-12-09T14:11:00.002-02:00

Ok, I didn't post on Sunday, I know... So, to make it up, I'll post two reviews - one later tonight and one on Friday - and this article (below) from Variety.

Hope I'm forgiven.

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This article from Variety pretty much sums up everything that was talked about during the Rio Market, back in October.

If you work in filmmaking, I suggest you read it.
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Future of Film summit aims positive

Execs seek opportunity in challenges

By DIANE GARRETT

With challenge comes opportunity.

That was the mantra at Variety's Future of Film Summit in Santa Monica on Tuesday. Panelist after panelist invoked the aphorism in between talk of broken business models and the need to trim costs accordingly.

"We are in the middle of a seismic revolution, not evolution, in the film business," said Paula Wagner, now an indie producer with Chestnut Ridge Prods., during her keynote conversation with Variety prexy Neil Stiles.

Wagner stressed the need to rein in development and marketing costs to adjust to the new realities of distribution. "We're in that place that we knew was coming," she said of the technological changes transforming Hollywood.

She said mid-tier movies have an especially tough time breaking through the clutter of entertainment choices and therefore require sizable marketing expenditures. "If it's not a brand or franchise, youmight be spending as much if not more on marketing," she said.

"The economic model isn't changing fast enough to enable movies to be made across the broader spectrum," concurred Morgan Creek Prods. chief operating officer and co-chairman Rick Nicita in the game changers panel later in the morning. The exec, a longtime agent and spouse of Wagner, observed that smaller movies and bigger tentpoles have been able to succeed in this climate, but "movie economics have malfunctioned in the middle."

The problem, he said, is that it's impossible to quantify marketing campaigns. There's no way to tell whether extra coin poured into marketing made the difference. When in doubt, studios do not cut marketing budgets, he observed; they make them bigger. "It's fear," he said. "CYA -- cover your ass."

Nicita, who nonetheless remains committed to mid-tier films, predicted that there soon would be an all-platform day-and-date release of a major title. Comcast's acquisition of NBC Universal should speed that up, he added.

IFC exec veep Lisa Schwartz noted that there was a lot of resistance to the company's day-and-date strategy when it began releasing movies on multiple platforms simultaneously four years ago, but filmmakers have grown more accepting. The company distributed more than 200 pics, many of them with smaller budgets, last year over its various platforms. Five of them -- including "Che," "Gomorra" and "In the Loop" -- generated more than $1 million at the box office.

"Four years ago we saw things were changing and frankly were a little broken on that sort of film," Schwartz said.

The problem with simultaneous VOD, however, is that many investors and filmmakers still insist on a theatrical release as an indication of quality. And major exhibitors resist such simultaneous releases.

Schwartz's co-panelist Oren Peli admitted he refused VOD and home entertainment distribution offers because he believed in the theatrical potential of "Paranormal Activity," a movie that cost him $15,000 to make.

"After I saw how the movie played on bigscreen at festivals, I rejected those offers," said the writer-director, who's now busy on his second movie, "Area 51." "We pushed really hard to get a theatrical release."

Peli naturally felt vindicated since his movie, once slated as a direct-to-video release, has made more than $100 million at the domestic B.O.

Panelists outlined a chicken-or-egg scenario with financing and domestic distribution. Without domestic distribution, it's difficult to get financing, but financiers want to know that the project has that distribution before they fork out coin.

"Without having that domestic guarantee, you have a lot of questions," said Rena Ronson, co-head of UTA's independent film group at the afternoon session on overseas markets.

"The biggest challenge right now is the domestic theatrical piece, which has become a really empty, funky place," said Groundswell Prods. founder and CEO Michael London in the finance session.

Bill Block, founder and CEO of QED Intl., noted there are 25-30 big projects now in production with major movie stars that don't have domestic distribution. He said the indie community is rooting for Bob Berney's Apparition Films and Mark Gill's Film Department to pick up some of the slack now that studios have scaled back their specialty arms.

The key to survival, Block reiterated, is to cut those costs.

"If there's any path for all of us, it's bringing those costs down," Block said. "The revenue has come down. That's OK. We'll bring costs down."

In case of "District 9," he points out, Weta did not do the special effects even though the project was backed by Peter Jackson. "It was too expensive."

He said that producers must "give talent a fair shake with a real transparent backend. We need to find our way to a better model that rewards today's box office performance."

Adding to the financial pressure: Foreign coin has dried up due to the economy and shift toward local productions. According to Stuart Ford, founder and CEO of IM Global, international coin that once would have made up 40%-50% of box office now accounts for 10% "on all but the most slamdunk commercial movies."

"I think for the last five years there were a lot of free lunches," said Ashok Amritraj, chair and CEO of Hyde Park Entertainment, alluding to Wall Street coin that pumped biz coffers for a spell. "But that has stopped."

He said international companies are afraid to step up with "stupid money." And they've gotten choosier about which projects they will buy in pre-sales.

"We would like foreign companies to come in," he said. "We love it when a 'Twilight' happens, because it keeps the foreign guys happy and in business."

The good news, panelists said, is that agents and talent have become more aware of how different the environment is today and have reduced expectations accordingly. The growth of VOD domestically and internationally was also cited as an encouraging sign by financiers.

"The toughest moment was six to eight months ago, when there was a lot of denial about what was going on out there," London said. "Now there are a lot of green shoots out there."

London said indie producers and financiers are "all scrambling to find out what whether the answers lie in VOD or home entertainment."

"As all that happens, the movie business will move back to much more rational process," he said. "Audiences are still really hungry for good movies," he said.

Separate panels touted technological advances in 3D and home entertainment delivery as other developments that will energize the business.

The 3D format "provides us an opportunity to reinvigorate the experience in the theater," said Ed Leonard, chief technology officer of DreamWorks Animation. "3D done well is an incredible tool for our creative teams -- not as a gimmick, but as a vehicle to really pull you into the story."

(Cynthia Littleton contributed to this report.)

Histórias de Amor Duram Apenas 90 Minutos/Spleen

2009-12-02T21:26:00.009-02:00

Last night I was invited to watch Histórias de Amor Duram Apenas 90 Minutos (Spleen – officially - or Love Stories Last Only 90 Minutes - in a free translation) written and directed by Paulo Halm.

I had watched it before at the Rio International Film Festival and the only reason I went to watch it for the second time is because A) it was for free and B) it was at the Open Air and my friends were pressuring me to go.

The fact that I would not have watched it again is not criticism to Histórias de Amor.../Spleen per se. The film is in no way bad, but it isn’t exceptional to make me want to watch it a second time without a good reason to do so either.

On the upside of it - and not surprisingly -, Histórias de Amor.../Spleen has a good script. Halm is an accomplished writer with films like Quem matou Pixote? and 2 perdidos numa Noite Suja under his belt. His direction also doesn't dissapoint (fair enough I wasn't expecting anything), but it is not good enough to be commented extensively. I would say that the only distinct thing about it is the frequent plongée shots (which are not so frequent or without reason to bother anyone).

Though, despite being an average film, História de Amor…/Spleen has one remarkable merit in my opinion: it isn’t a movie about the violence in Rio or the poor or the hungry... It isn’t a film driven by social issues and it isn't also (thankfully) a Globo Filmes-esque production.

Histórias de Amor…/Spleen is quite simply a dramedy, made in a Brazilian style (with more drama then comedy and just a different feel to it because of it).

"Nothing is permanent not even death" (The Imaginarium of Doctor Parnassus)

2009-11-29T12:18:00.008-02:00

It’s kind of pathetic, but while I’m sitting here trying to think of what to write about The Imaginarium of Doctor Parnassus, I’m starting to get tears in my eyes.

There is no way I can review this film without being clouded by the fact that The Imaginarium of Doctor Parnassus is Heath Ledger’s last film. It was a weird and sad experience watching it and thinking all the while that Heath is no longer alive. I really could not get the thought out of my head and I did almost cry when Ledger transforms into Johnny Depp and he declares “Nothing is permanent, not even death” and boats with pictures of Lady Di and James Dean (and someone else I don’t remember) appear floating only for Depp to announce “these people may have died, but they are still immortal”.

Yes, Heath is immortal. Definitely. But I still get teary eyes writing about his death.

See, Heath Ledger was to me what Robert Pattinson is to many now. I remember when I was first dazzled by his charisma, acting and beauty. It was a decade ago, when he played Patrick Verona in 10 Things I Hate About You.

I was 15 and I fell in love with him. He became my teenage obsession and from that moment onward I watched everything he was in, bought all the magazines he was on the cover and watched his every TV appearance. In time, as the years passed and he became a better actor with each movie, my obsession turned into deep appreciation.

I can still recall as if it was yesterday the morning of the 23rd of January of 2008, when I saw the news of his death. I remember watching on TV the images of his body inside a black bag on top of a stretcher being rolled out of his building and thinking that was not the image I wanted to carry of him. I wanted to remember Ledger as Patrick or William or Skip or even as the Joker…

So where does that leave The Imaginarium of Doctor Parnassus for me?

I honestly cannot give a straight answer.

All I can say is that I did like the film a lot and I do think that all the rewrites have worked well given the premise of the film and the situation. Yet I can’t help but feel that there is a sadness to it all and that it exudes from everything (even the other actors' performances). I have also the feeling that it was all so influenced and altered by the obvious absence on screen that this cannot be the picture that Terry Gilliam had in mind when he first set out to film it and, therefore, I’m pretty sure that it would have been a far greater film had Heath not died.

But maybe this is all my imagination.

Hachiko: A Dog's Story

2009-11-26T10:19:00.005-02:00

Hachiko: A Dog’s Story (Lasse Hallström, 2009) is shamelessly melodramatic and corny. It is an average film, really neither good nor bad. When compared to others of its genre (Free Willy, Babe and more recently Marley & Me – to name a few) I would even classify as not good, not good at all. So how come I still cried my eyes out?

I think everyone who reads this blog knows that I have a Frenchie called Cash. It has been a dream of mine to have a dog since forever, so when I finally got him it was well… a dream comes true. From my breakup with my ex, two years ago, until now Cash has been my emotional cushion. I cannot conceive my life without him. He has become a very active and important part of our family and he has won even the coldest hearts around our house.

Hence me crying copiously at the screening of Hachiko last night - and when I watched Marley & Me, a year ago, for that matter.

And that’s the thing about cinema. Even when you watch a - cinematographically speaking – terrible film, its story might just hit close to the heart and involve you anyway.

---

On a different note, last night was the opening night of Vale Open Air. I think the Open Air festival is in its fourth edition and, apart from last year, I went to all opening nights since its first year.

Since 2003 the opening nights have been somewhat of a gala event. Lots of famous and important cinema people seeing and been seen. Last night, however, there was a different atmosphere. The sponsor (Vale) decided to invite the children of the NGOs they support and, because of it, the whole night had a family feel to it.

There was no alcohol being served, the film was very PG and it just didn’t feel like an “industry” event.

At first I thought it was going to be terrible (the film, the orchestra playing, the non-alcoholic beverages...), but I confess that it suited me. After all it was a school night.

another apology

2009-11-26T01:12:00.000-02:00

I'll try to make this my last apology for not writing on the right day. I just watched Hachiko: A Dog's Story at the opening night of Vale Open Air and I have to wake up in 6 hours to work. So, the Wednesday review will be posted later today.

Sorry again. Life just keeps getting in the way of my blog's schedule.

Thanks for the patience.

New Moon (or don't believe the hype)

2009-11-23T21:39:00.013-02:00

I have written about five drafts of this review over the past month (I started writing it early because I knew it was inevitable, I was only leaving the New Moon bit out). I have been struggling to write it because I’m mortified to admit that

I have watched both Twilight films
I have read all the Twilight books and liked them

In my defence I feel I have to tell how I ended up being sucked into the phenomenon that both the Twilight films and books are.

---

When the first film was released I was completely oblivious to everything. I only became aware of it after I read a feature in a weekly magazine about “the movie about a chaste love story between a teenage human girl and an emo vampire”.

After that, suddenly, I was unable to escape it. Twilight was everywhere I looked – or, actually, Robert Pattinson was.

I honestly couldn’t understand what it was about that boy or this film and I started to get curious. By the time I watched the MTV Movie Awards I had decided I had to watch it.

I did it the day after the MTV Awards and it sucked. But it sucked in a funny/ trashy way that made me even kind of like Twilight. Also I could finally understand why all these teenage girls where obsessing about Edward Cullen (the teenager in me also started obsessing about him).

So, in August, when I finally had nothing to do after a very long time and I had to find something to escape my own mind, I decided to pick up the Twilight book my brother-in-law had given me for my birthday and that I had tossed aside thinking “why the hell is he giving me this stupid book?”.

To my dismay and embarrassment, Twilight (the book) didn’t suck. In fact, it turned out to be a page turner. Please, don’t misinterpret me here; Stephanie Meyer is not a literary genius, her writing isn’t that great nor her story is particularly original, but she does know how to get a girls attention – at least she got mine and I ended up reading all four books in two weeks.

---

Now that the embarrassment is taken out of the way lets finally get to the point: the review of New Moon.

Like Marc Malkin put it on his review, I know that what I have to say won’t make any difference whatsoever to the whole Twilight phenomenon (it won't even stop me from watching Eclipse, which I'm really looking forward to since is David Slade who directed it), but I too want to have a say.

New Moon isn’t good. Not even bad, but good in a trashy way. It is boring and annoying and Chris Weitz doesn’t deliver. He does an ok job, but it is very uninspiring and conventional (unlike Catherine Hardwicke who directed the first film and made it kind of interesting to watch).

The only sort-of-good sequences in New Moon are the montage of time passing when Bella is depressed - and even that lacks a little bit of depth - and the Volturi scene (and I was disappointed that Dakota Fanning didn’t get more screen time, she is awesome).

The regular cast (by regular I mean the actors who were in Twilight) didn’t help. Everyone seemed to be in pain to be in this film and delivering their lines in the most unconvincing way. Plus the script wasn’t good either. The dialogues were absolutely awful and corny.

Even Taylor Lautner’s physique - that was praised by pretty much everyone - seemed way too built up and weird to me.

To top all this crap up, in the theatre watching with me were the most annoying tweens ever. I was prepared to endure girls going hysteric when Taylor Lautner or Robert Pattinson entered the screen (actually the only funny part of the experience was that the girls DIDN’T scream when R. P. took his shirt off), but I wasn’t prepared for other bizarre behaviours like the girl behind me singing along to the soundtrack and announcing what band was playing it or another girl calling her friend, who was watching in another theatre, to ask whether she was enjoying the film while the film was still on.

But, hey, like the proverb says I've made my bed, now I had to lie in it. Shame on me for expecting anything other then a bad film.

excuses, excuses...

2009-11-20T03:33:00.003-02:00

I'm sorry there wasn't a new post on Wednesday. The film I'm producing is filming this week.

Producing is crazy and busy as usual, which means I don't have anything to write about that is remotely insteresting and/or worth reading. If I try and write anything right now it will be a long bitchy rant about the little stressful things that are happening everyday on set and that I know I will (eventually) laugh about, but that are not funny at the moment - "remember that time when the actress was 5 hours late and no one could reach her at home or on her mobile and we all thought she had just quit without saying anything?" (that actually happened today).

I will come back on Sunday... Ok, let's make that Monday, with the review of Twilight Saga: New Moon.

Little Ashes

2009-11-15T14:54:00.015-02:00

Since it is “Twilight Season”, I’ve decided to review a film starring one of its most popular offspring: Robert Pattinson.

When I first heard that Pattinson portrayed Salvador Dalí in Little Ashes (Paul Morrison, 2008) it made me cringe. Robert really isn’t an obvious choice to play the surrealistic painter and no one in their right mind would defend it. Worse than that, Pattinson is very English and playing such an emblematic Spanish historical figure doesn’t seem to be in his elm of expertise (to be honest, sometimes acting doesn’t seem to be his forte… just saying). To top it up, for me personally, it was even more absurd since Dalí is - alongside Andy Warhol - my favourite artist of all time (I have a Dalí painting tattooed on me, just so you can understand the extent of the favouritism). So, it seemed very disrespectful to Dalí’s memory to choose an English boy, whose acting is often questionable, to portray him (and yet I have a funny feeling that Dalí would absolutely love it).

If that wasn’t enough reason to make me and every other sane person very sceptical to watch Little Ashes, the film is in English. Yeah, that’s right: a film about Frederico García Lorca, Salvador Dalí and Luis Buñuel, set in Spain, during their youth, with mostly a Spanish cast, in English…..

But, anyway, despite all the reasons telling me I shouldn’t watch Little Ashes, I decided I had to give it a try. If for nothing else, I had to watch it to be able to criticize it with substance.

So I watched it.

The first 20 or 30 minutes were painful. It took me a while to get passed all my prejudices, but Paul Morrison’s direction and Adam Suschitzky’s cinematography broke me little by little. And then, when Lorca and Dalí are in Cadaqués at night, on a boat, rowing and jump in the water, I was won over. The scene is beautiful and it looks very much like a surrealistic painting.

Also, to my complete and utter surprise, at some point in the middle of the film, Robert Pattinson as Salvador Dalí stopped repulsing me and I actually caught myself thinking (shockingly) that Pattinson can, in fact, act. I’m not saying it is an award winning performance – let’s not get carried away. Actually, I’m pretty sure that there are plenty of Spanish speaking actors who would be far better suited for this role (Gael Garcia Bernal being the most obvious example). However, it would be unfair of me to say anything other than that Pattinson does a good job and – brace yourselves – does not ruin Salvador Dalí’s persona.

So, all in all, I do recommend Little Ashes. It is a good glimpse on the passionate and turbulent friendship between these three incredible artists and it portrays a time before Dalí was Dalí, which is always interesting to see or read about.

--

All of that said, I feel it is my duty to warn any Robert Pattinson teenage fans, who might eventually run into this review on their Google searches, that he is most definitely not Edward Cullen in Little Ashes and that your hopes and dreams about the ridiculously handsome Pattinson might be shattered by the scenes where he passionately kisses another man. So think deeply before you run to the DVD or iTunes store to buy/rent it.

Up

2009-11-11T20:59:00.000-02:00

Today I tried to watch Up (Disney/Pixar, 2009) but couldn’t. I mean, I could, but the first 10 minutes of the film just broke my heart and I couldn’t bring myself to keep on watching it.

I’m sure it gets better, but the fact that the main character’s motivation for the rest of the story is his wife’s death is just too sad.I keep thinking about it every half second.

When did animations get so depressing?

Sorry for the short non-review. I’ll try and tackle it again tomorrow. Right now I just want to watch something mind numbing. Maybe I’ll watch Ferris Bueller’s Day Off (John Hughes, 1986) for the 100th time.

Julie & Julia

2009-11-08T19:18:00.001-02:00

When I first decided to watch Julie & Julia (Nora Ephron, 2009) I had very little idea of what it was about. I knew Meryl Streep and Amy Adams starred in it and that it had something to do about cooking, but that was about it.

I decided to watch it on a Sunday afternoon because it seemed like a perfect choice: a girly flick about cooking with two great actresses…

…and it really was.

Julie & Julia is a light and breezy film about a girl/woman (she does turn 30 in the film), who works in an office from 9 to 5 and decides to write a blog putting together her two passions: writing and cooking.

As you can probably imagine, it is hard for me not to put myself in her shoes.

I too write a blog about what I love (cinema) and I too love cooking (and I mean LOVE). More than that, Julie's conflicts and issues are very relatable.She wanted to be a writer, but ended up being a secretary. She is turning 30 without having ever finished anything in her life. She feels frustrated and finds an outlet and ends up obsessing about it...

Anyway, back to the film.

It is quite a personal delight to watch the adventures of a non-professional cook in the kitchen, especially because it is based on a true story/blog - however edited and really pretty - and because Julie is far more adventurous in the kitchen than I am (I would never debone a duck).

Leaving my personal reasons for liking it aside, Julie & Julia is also technically quite great. The script and editing are very good, which makes you forget that this is a two hour-long comedy, and Nora Ephron's direction is perfect for the story.

Ephron, who has written romantic comedy classics When Harry met Sally (1989) and Sleepless in Seattle (1993, which she also directed), places the camera beautifully, using extreme and yet delicate angles and soft camera movements leading to an even more breezy and girly atmosphere and transforming the kitchen into the most special, wonderful and beautiful place there is in a house (and I really think it is even when it is chaotic).

Finally, I have to warn anyone thinking about watching it that this isn’t a rolling with laughter type of comedy, it is more of a “feel-good-little-laughter” one and I would mostly recommend it for girls (or for guys to take girls on a date).

Most Wanted List

2009-11-04T23:57:00.008-02:00

Because I had a bunch of stuff to do for the short film I'm producing and therefore had no time to write a review, I decided to at least put up links to the trailers of some of the films that I'm most looking forward to watching.

(I couldn't embed them becuase of the size of some and because on others this feature was disabled)

Tim Burton's Alice in Wonderland

http://www.youtube.com/watch?v=DeWsZ2b_pK4

Where the wild things are

http://www.youtube.com/watch?v=Rhfywi5Y8TM

Mammoth

http://www.youtube.com/watch?v=7MR59x2EA_E

Toy Story 3

http://www.youtube.com/watch?v=JcpWXaA2qeg

random thought

2009-11-02T20:50:00.009-02:00

After re-reading my last post, a quote from Almost Famous (Cameron Crowe, 2000) and another from Notting Hill (Roger Michell, 1999) came to mind:

"Famous people are just more intersting"
Penny Lane

"The fame thing isn’t real, you know."
Anna Scott

***

Watched EdTV (Ron Howard, 1999) again the other night and came across another great quote about fame:

"It used to be that people were famous for being special, now they're considered special merely for being famous."

The Star System of the 21st Century

2009-11-01T23:09:00.020-02:00

Since I started this blog I have been thinking about writing about the frenzy around actors and actresses nowadays.

It’s been difficult gathering my thoughts around the subject. Being a reader of gossip/celebrity websites myself it is hard to cast a stone against the celebrity culture.

I’m part of the system therefore I feel like a hypocrite to criticize it. But I guess I’m not the only hypocrite in this story.

***

The buzz around film actors is not a new phenomenon. Actually it was fabricated and perpetuated since the 1910s, when the Star System emerged. Without going too much into Hollywood’s history and for the benefit of those who might not know “the Star System was the method of creating, promoting and exploiting movie stars in Classical Hollywood cinema. Studios glamorize and create personas for their actors…”*

Even though a lot of history books state a decline of the Star System starting in the 1960s - due to the fact that most actors were no longer bound by long and restrictive contracts with one studio - I think it is pretty safe to say that the exploitation and promotion of actors is still going strong. I dare say that maybe it is stronger than ever.

You don’t have to work in cinema or study it to notice the strength of celebrity culture. If you don’t live in a nutshell, you are bombarded everyday by celebrity news. Paparazzi have been moved to the core of the entertainment war and gossip websites, tabloids, magazines and newspapers about the rich and famous are everywhere. Even respected media outlets will feature pictures taken by paparazzi; have celebrity gossip columns and take part in the whole circus (perhaps, in a more organized fashion).

Feeding all of this are the studios and, sometimes, the actors that want the attention. They fuel the rumours and seek the press to oblivion and then, when things get out of hand, they blame the fans, the press or whoever in order to keep the appearances and the controversy; which is always good for business.

And that is partly what I find hypocritical about it.

Maybe hypocritial is not the right word. Maybe I should call it ironic. Because it is definitely ironic that most of these criticized and hated mediums are owned by large communication conglomerates, which are also the owners of the studios. Take TMZ for example: it is produced by the one and only Time-Warner. Yet, their tactics of approach, their site and TV program are highly loathed by celebrities.

Another good example of this twisted relationship between studios-actors-media is Perezhilton.com. The self-proclaimed “Hollywood’s most-hated website” always features ads, banners, trailers, teasers and other publicity material of major films and TV series. Not only that, but the love-and-hate relationship between Perez and the celebrities is exposed when these people invite Perez to their parties and they are more than happy to go to his events.

A different side of this circus, but still an important aspect of it, is situations like the one that happened earlier today in São Paulo, when Twilight fans tried to break into the hotel where a press junket with Kristen Stewart and Taylor Lautner was being held. The mayhem was such that the security decided to have a “lock in”; no one was coming in and no one was getting out of the building until the police arrived to deal with the screaming teenagers. The blame game after the mishap was incredible. The production and hotel blamed the crazy fans, the fans blamed the production behind the event and some the actors saying they deserved to be acknowledged by the young stars, the press blamed everyone but themselves... it was just endless.

Frankly, there are infinite cases I could use to illustrate the celebrity culture and its games, but my point is that the Star System is definitely not dead. Its 21st century version is more refined, complex and (why not) fun.

It is alive and entertaining us with celebrities complaining and getting restraining orders against paparazzi, while their employers promote their products on gossip websites and while their agents are feeding the columnist and paparazzi with their whereabouts and private information.

Finally, on a professional level for me it is interesting to watch everyone playing their parts (including me), to try and uncover the publicity stunts and games and to realise that none of it should be taken too seriously because that's entertainment.

*taken from Wikipedia just because it was the best simple explanation I could find amongst my books and cinema websites.

***

Above I didn't ponder about the more business side of the Star System because that wasn't my aim on this post. But I feel I must say something about it.

Like the exploitation of the image and charisma of the actors back in the day, the industry now promotes their films based on their actors’ popularity and work them to the bone upon the release of a movie. An easy example is, once again, Twilight, since its actors seem to be constantly promoting the film and seem to be everywhere you look.

Furthermore, even the so called freedom the actors have now can be discussed. Their contractual obligation might not bond them to a certain studio, but still holds them to the film they are acting in. Sometimes these bonds and obligations even interfere with their lives and their freedom of being and saying whatever they want.

I know that all of these contracts and obligations are two way streets. On one hand, high profiled actors get paid stupid amounts of money and, on the other hand, they are partly (sometimes greatly) responsible for generating incredible box-offices. Plus, the success of a film is in the interest of everyone who is involved in that production, so there is really no harm in using the actors' image to help with that.

What I'm trying to say is that the more serious and business side of the Star System is also alive and kicking and ultimately they are the base for everything else.

Un novio para mi mujer

2009-10-28T21:39:00.007-02:00

When I was invited to watch the première of the “Argentinean film of 2008”, it surprised me to find out it was a comedy and not a drama.

Whenever I think of Argentinean movies, I think of sad melodramatic stories. Argentineans just seem to have a flare for it, look at their national music, the Tango; it doesn’t get much more dramatic than that.

So, obviously, a comedy from Argentina couldn’t be exactly a romantic-feel-good-movie. And it really isn’t.

Un novio para mi mujer, Juan Taratuto's third film as a director, is a pretty serious film in more ways than a dramedy usually is. Yes, there are funny sequences, the guy who is chosen to be the wife’s future boyfriend, played by Gabriel Goity, is hilarious and you will laugh several times, but the storyline is about a man who decides he no longer wants to be married to his wife and no break-up is ever that funny. As a result, the humour in it is very subtle and very dark too.

So, in the end, Un novio para mi mujer keeps its countries tradition of the drama while making you laugh of the characters' tragedy.

Adventureland

2009-10-25T18:47:00.014-02:00

Even though I tagged this as a review, this really isn’t one. This is more a few thoughts that crossed my mind while and after watching Adventureland.

The first one is about Kristen Stewart.

I like her. I really do. There is something about her that is captivating. The girl is a little weird and yet she still exudes sex appeal (despite not being a bombshell); plus her eyes have depth and she has a lot of intensity, which I find to be rare in actors or even just regular people her age (she is 19). However, there is this thing that bothers me a little – and it really is just a little - about Kristen… Every film I’ve seen her in she seems to be playing the same character (ok,I’ve only seen three: Into the Wild, Twilight and now Adventureland) . Actually, sometimes it's hard to believe that she is even acting, since her public persona seems to be so much like the awkward-beautiful girls she plays.

The other thing that crossed my mind is about Greg Mottola.

It is surprising that the same guy who directed Superbad (one of my least favorite films of all times), has also directed this. Granted the thing I despise the most about Superbad is the script/story, which he didn’t write… In all fairness, I can’t even criticize him as director in Superbad, because it was so bad that I fast-forwarded through most of it. So I guess what surprises me is that someone who is sensitive enough to write Adventureland and to direct it so beautifully is also connected to a piece of @#$% like Superbad.

My last consideration is that Adventureland is good, not great or amazing, but a very solid good. Yes, I might like it because it is yet another indie "dramedy", but what can I say... this type of film has a special place in my heart and perhaps one day I will explain why they do better.

Agnès Varda / Les plages d'Agnès

2009-10-21T10:00:00.009-02:00

I fell in love with Agnès Varda when I first watched her film Les glaneurs et la glaneuse (2000) last semester at university. I confess that up to that point I had never heard of her, but I was very glad I had finally been introduced to her work.

Because of my chaotic life that has only now slowed down – since I came back from my holiday in England I’ve decided to concentrate on my career in cinema and left almost everything else on the side – I had not watched any of her other films.

That was until I saw that Les plages d'Agnès was being screened at the Rio International Film Festival. When I read about it I decided that, even if I didn’t watch anything else, I had to watch Les plages.

To my complete surprise, the session that I bought tickets for was the première of the film and none other than Agnès Varda herself was present.

It was an absolute pleasure to hear her talk about her latest work and the time she has spent in Brazil. Her speech was short (even though she apologized for being too long I felt like I could have listened to her for hours), but sweet. In all honesty, I don’t recall much about what she said about her creative process, but I do remember the tenderness in her voice when she spoke about the last time she was in Brazil, 40 years ago, with her late husband Jacques Demy (director of Les parapluies de Cherbourg).

Everything she said was very touching. She said that she felt like her life had come full circle, that she was in Brazil for the first time in such a long time and without her husband, but that their kids were here with her representing him. She also talked about how great she felt spending time with the young filmmakers in Fortaleza and how it contributed to her feeling of having come full circle in her career.

Finally she said how pleased she was to see a crowded theatre saying “that is the best gift you can give a filmmaker”.

***

In many ways Les plages d'Agnès feels like a home movie. In Varda’s own words she was looking back into herself, her memories and her life – what she called her landscapes hence the title. It is so personal and private and yet still speaks to everyone. Its universal character comes from one simple fact: we all have memories, families, stories and we are all growing older.

Les plages d'Agnès was supposed to be completed for her 80th birthday, but each film has its own time and she couldn’t rush through editing. And I’m glad she didn’t. The final cut is what I would call perfect.

Despite her efforts to follow a chronological line, the film is structured the same way a memory is, it jumps through time and makes somewhat random connections. A few times she opens parenthesis to talk about something that she “just” remembered. The unexpected, random or accidental have a space and are all essential parts of Les plages. Other times she will stage a memory and scramble a little fiction into her documentary.

Actually, as I’ve learned from my documentary teacher, the random and fictional are all part of her creative process and, in my opinion, are what make her documentaries so unique. More importantly, they make her films very poetic and relatable (not to say endearing).

For all those reasons (and some other very personal ones) Les plages d'Agnès is truly a masterpiece and it has definitely become one of my favourite documentaries of all times.

FYI

2009-10-20T23:50:00.006-02:00

My dreams and hopes of being so creative that I would be able to feed this blog with a new post every day have been shattered. I have accepted the fact that, although I have lots of ideas on subjects I would like to write about here, I’m just not able to.

For one I am not exactly a writer and, as creative as I may be, writing everyday is a little bit difficult for me. Then there are two reasons that are intertwined:

1) A lot of the subjects I want to write about need some kind of research, because I don’t want my posts to be superficial. I want them to have depth, to relate them to history and give more information about the directors’ background – which leads to…

2) I don’t have that much time since I’m currently producing a short-film and also have to work to pay my bills (and then there is life and I need to live out there in the world and not just in front of the computer).

Sooooo, I’ve decided that from tomorrow onwards, every Wednesday and Sunday I will post something new here.

Hope that also makes it easier to follow it.

Inglourious Basterds

2009-10-18T15:29:00.005-02:00

So I finally watched Inglourious Basterds. I was a little skeptical about watching it. I hadn’t seen the trailer nor read anything about the film. I also didn’t watch the interviews the cast and crew gave while promoting the film. Mostly I didn’t because I felt uneasy about it.

For the first time ever I wasn’t looking forward and craving a Tarantino movie. I don’t know why. It really made no sense.

I am a HUGE Tarantino fan. For a long, long time, I wanted to write my final paper about him, it would be almost a love letter to him I admit and that is one of the reasons I didn't.

Quentin Tarantino is one of the reasons I decided I wanted to work in cinema in the first place. I remember clearly the day I watched Pulp Fiction (1994) for the first time. It had just been released on video; I was about 11 and tricked my mum into letting me rent it. I watched it during the afternoon, after I came back from school. I thought the film was pretty cool and I couldn’t believe I had pulled it off and made my mum let me watch it. There I was just being smug when, suddenly, I was hit by the adrenaline-shot-in-the-heart scene. At that moment I thought “I want to do this. I don’t know what this is, but I want to make films too”.

So, clearly, not wanting to watch Inglourious Basterds kind of surprised me too. But yesterday when my dad invited me to go to the cinema with him, I felt obliged to. I thought “this is Tarantino; he is one of your very few idols, so get over yourself!” And I am really glad I did, especially because Inglourious should be watched on a big screen with surround sound.

Anyway, this is a true “Tarantino”. All his trademarks are there: blood baths, western references, recurring actors, beautiful long shots, the chapters, the dark sense of humour, the feet fetish… everything. So if you like him, you are bound to love it. If you don’t, then I guess you should consider watching it anyway.

It is a wonderful piece of fiction. I don’t think I can stress enough how wonderful it is without being completely politically incorrect. So, to sum it up and try and be politically correct, Tarantino rewrites history as never before and it is I N C R E D I B L E. Visually it is a feast for the eyes and when it comes to the narrative it is even more astonishing. Plus he lets his imagination run wild and do to Hitler and his army what - I guess - anyone in their right mind would have wanted to do. It is a fantastic (in every sense of the word) imaginary revenge and it is fun, lots of fun.

Then, there is the performance and the perfect casting - and here I have to insert another ode to Tarantino: He is a great actor’s director. Every actor who has been in one of his films has given unforgettable and amazing performances and in Inglourious Basterds it is no different. Not only that, but the casting for his films are always perfect. Every single actor in his films is great. They are so expressive and intense, fitted perfectly to their characters. There are no small and unimportant roles. Every character seems to deserve the best actor for it and every actor delivers the best portrayal for their character.

And no, I’m not referring here especially to Brad Pitt as Aldo Rainer. I don’t think anyone is surprised any more that Pitt is an amazing actor and, to be completely honest, I don’t expect anything less than incredible from him. I am talking about everyone else and particularly about Christophe Waltz as Hans Landa. Waltz truly takes over and Inglourious becomes his film. His performance is theatrical in a way without being over the top or fake. It is so astounding that once again I’m thinking about awards...

There are so many great things to say about Inglourious Basterds that I could go on for at least another 672 words. It would be easy to pick it apart and use every adjective I know for great over and over again, but I guess it is suffice to quote what a friend of mine wrote on his Facebook yesterday:

“Tarantino is a genius clown and not in a bad way. What is important is the cinematographic chaos. Talk about artistic expression!”

I really couldn’t have put it better in so few words.

Distribution

2009-10-16T22:01:00.001-03:00

It’s funny how every time I mention to someone who either studies or works with cinema that I dream of working with distribution I get a face like I am completely crazy.

I know the average cinema student or professional aren’t so keen or maybe don’t even think about distribution. What always comes to mind are the creative departments or producing (which I fit in creative, because you’ve got to be pretty creative to juggle people, budget and schedule).

But think about it for a minute: films - commercial ones, either independent or blockbusters or anything in between - are meant to be seen. No one makes a film for themselves. Every filmmaker wants an audience.

Distribution is making sure that happens. It means not only getting them to reach their audience, but - going deeper - it means spreading someone’s message, vision, dream to someone else. It means making sure that movies fulfill their purpose to exist.

So, no, I am not crazy. Just a dreamer too.

Roman Polanski

2009-10-11T20:22:00.002-03:00

First of all: I am not saying Roman Polanski isn’t a great filmmaker. He is most definitely one of the greatest directors in the history of cinema. Being so amazing is one of the reasons why it saddens me to see him involved in a child molestation crime (not that I didn’t know about it before, but since the issue has resurfaced, I have also been forced to think about it again).

But to everyone who thinks he shouldn’t be prosecuted and that he isn’t guilty, that a lot of time has passed or any lame excuse anyone can find, I ask this: what if the 13 year-old girl had been your sister, your cousin, your daughter or even just a very close and dear friend? Would you still think he should be forgiven? That everyone should just forget about it?

I don’t care that the girl - now woman - is saying she forgives him. He has done something terrible and inexcusable (I know he has been through a lot of personal tragedies, but that doesn’t grant him a free pass to do whatever).

Yes, the world will lose an amazing director and, yes, he is old. I still think he should go to jail for it.

(everyone can start casting their stones towards me now)

London River

2009-10-07T23:51:00.005-03:00

I’ve been sitting here in front of the computer with a blank page open trying to find a way to write about London River that will convey everything it made me feel while watching it.

It is funny to confirm once again that I have no problem in writing about the things I don’t like, about what things aren’t and all the other negative aspects about any given subject, but once I have to write about the reasons why I like something, why it is great, etc; I blank.

I think a good way to start writing about London River is to say that A) it is the best film (fiction) I have watched at the Festival so far and B) it will be really hard not to spoil anything about the story (so, if you want to be truly surprise you should stop reading now).

London River is the story about a woman and a man whose children go missing after the attacks in London in 2005. The film follows their efforts to find out what happened to them and their struggle to accept the obvious.

The brilliance about London River is that what could have been an over melodramatic film is, instead, very emotionally repressed.

I know that for Brazilians and other Latin-American people, telling such a dramatic story this way might seem odd and, even worse, cold. But it truly isn’t. It turns out quite the opposite, in fact.

The very contained direction and script from Rachid Bouchareb ends up making you feel even more for these parents and what they are going through. Their despair is subtle and yet palpable. It involves you and moves you. It is heartbreaking.

Another reason for being the perfect way to tell this story is that the fear and prejudice that permeates British society is a touchy issue. How could it not be? No one likes to admit their faults, but facing it this way without accusations or making it a spectacle (like Michael Moore in Bowling for Columbine or Fahrenheit 9/11) is more powerful; it makes you think. It is also a very respectful and honorable way of tackling a very real and present aspect of British life.

If the technical aspects of London River weren’t enough to make it a great film, then you can delight and be amazed with Brenda Blethyn and Sotigui Kouyaté performances. They are very honest and beautiful. They will bring tears to your eyes, I guarantee.

On a personal note, I rarely watch a film and am taken aback by the actors to the point that I think they deserve awards, but this time I did. I really hope they get nominated for the major awards. It will be shocking and unfair if they don’t.

Over critical

2009-10-06T13:59:00.003-03:00

After re-reading what I wrote on the previous post, I have realised that I’ve become over critical.

Being too critical about films is actually an ongoing subject in conversations I’ve been having with some friends, who have also studied cinema. We always end up picking on things that don’t really matter.

Who cares that there is too much blue in the palette of (500) Days of Summer? What normal person pays attention to camera angles and what they convey or continuity (unless is something as bizarre as the floor moving when Tom Cruise jumps from a building in M.I. 2)?

What truly matters is if people are able to relate and connect with the film, if it is good in that particular genre or universe it belongs to.

Anyway, I miss the days when I could just watch a film and not pick it apart. I miss believing in the magic. I miss the days that I could just like or not a film.

The 2009 indie film that I’ll watch over and over again

2009-10-05T21:40:00.007-03:00

Yes, here it is. Here it is that indie film that since 2006, when Little Miss Sunshine stole our hearts, we have become accustomed to watch: (500) Days of Summer (Marc Webb, 2009).

Everything is there. The not-so-famous-but-yet-known actors, the cool music, the mix with art/drawings, the witty dialogs...

If that wasn’t enough (and it usually isn’t), (500) Days of Summer speaks volumes to me. The story is bitter-sweet and romantic, it has a cool soundtrack and better yet there is so much in the script that reminds me of Nick Hornby’s books - who happens to be my favourite contemporary English write.

But still I can’t help but feel that something is missing from (500) Days. That something just doesn’t quite measure up to its predecessors.

I know it really isn’t a fair competition. When you look back, after Little Miss Sunshine three year ago, we were greeted by Diablo Cody’s Oscar winning Juno in 2007 and last year we saw the sweet-teenage-flick Nick and Norah’s Infinite Playlist.

So I guess we were a little spoiled, because these three films were actually really good in their own right. They all had something that you could go “wow, this is actually pretty great”.

However, in our 2009 lovely indie film there isn’t anything like that. More than that, (500) felt a bit too fake. Everything is so well put together. The dialogues, the costumes, the makeup, the sets… everything! It really does feel like is fitting some kind of genre box, following a formula, which is not exactly a bad thing, but I think it ends up being pretty boring.

Funny enough, in the end none of its shortcomings matters. So far, from what I've heard everyone is loving it. And, truthfully, like I said in the title, I'm still going to watch it over and over again.

4 other great documentaries about rock

2009-10-04T13:18:00.003-03:00

These are four documentaries I had the pleasure of watching during the “Rockumentary” month of the Film Club at PUC-Rio and that I strongly recommend.

Don’t Look Back (D. A. Pennebaker, 1967)
This documentary follows Dylan during the spring of 1965. Dylan is his enigmatic self and very young. Even though this is supposed to be a “fly on the wall” sort of documentary it is pretty clear that Dylan builds up a character for the camera.
That said, this is a great example of the American Direct Cinema movement.

This Is Spinal Tap (Rob Reiner, 1984)
This is Spinal Tap is actually a fiction film that follows the aesthetics of the rockumentary to make fun of the rock scene. It is incredibly funny and well done. A true modern classic.

I am trying to break your heart (Sam Jones, 2002)
Supposed to be a simple documentary of the creative process of the band Wilco, while they were recording their album “Yankee Hotel Foxtrot”, this documentary ends up exposing the music industry and its lack of vision plus all the drama that goes along to being part of a rock band.

DiG! (Ondi Timoner, 2004)
DiG! is about the relationship of love and hate between founders of the bands The Brian Jonestown Massacre and The Dandy Warhols, once believed to be the two next great American bands.

It Might Get Loud

2009-10-04T12:53:00.001-03:00

I suppose I’m a little biased when it comes to talking about documentaries about music, more so when it comes to documentaries about rock. I am just a complete sucker for them.

I love rock + I love cinema = I love “rockumentaries” – even when is not a masterpiece.

So it was pretty obvious that I was going to love It Might Get Loud (Davis Guggenheim, 2008).

And I did.

I did even though the way the film is put together –divided in chapters – doesn’t really work for me and despite the fact that I think it doesn’t go deep in the subjects that matter the most nor shows the relationship built between the three characters right until the end and very briefly.

Anyway, I did love it and here is why:

The official synopsis is “A documentary on the electric guitar from the point of view of three significant rock musicians: the Edge, Jimmy Page and Jack White”.

I know, I KNOW. The choice of the characters is controversial. Besides Jimmy Page, who is unanimity, The Edge and Jack White are not the guitarist that come to mind when most people think about the greatest of their kind - which you sort of expect and want when you think about a documentary about the electric guitar. But I liked the choices, they are bold and you have to bear in mind that Jimmy Page is the executive producer, so they were pretty much his choices.

Then, like the synopsis points out, this is more about different perspectives and it is not about great guitarist, but about the guitar. So, the Edge and Jack White end up being perfect. Their approach to the guitar couldn’t be more different.

Jack White is more of a purist. He likes the basic sounds of the guitars, he doesn’t mess with it that much. He doesn’t even really care if the guitar is broken or out of tune.

Right at the other corner, creating an opposition, there is The Edge. He loooves the special effects, distortions, pedals and everything else that technology can do to the sound of a guitar.

Finally, in the middle, balancing things out, you find one of the Gods: Jimmy Page (who I don’t think needs any sort of introduction even to people who don’t like rock).

And it all works. It works not only because the script is neatly put together, weighing and balancing the differences, but because somewhere around the beginning of the film something becomes very clear: despite being about the guitar and despite being very different men from different times of the rock history, they share their love for music and their desire to change the world through it. So, the film becomes much more about music and passion and there is no way you can be immune and dislike it.

RioSeminars in Quotes

2009-10-03T21:15:00.007-03:00

“You have to know the size of your audience”
Leonardo Barros (Conspiração Filmes)

“Don’t forget it is commerce and it is about money”
Tommy Imperato (Fox International)

“The ‘middle movie’ is dying”.
Tommy Imperato (Fox International)

“Action sells”
Tonantzin Esparza (Maya Entertainment)

“The truth is between an Argentinean and an Ecuadorian there are as many cultural similarities and affinities as there are with a Thai".
Pablo Iraola (Film Producer)

“It is preposterous that in an industry that produces 80 films a year, 30 are documentaries (in order to supply the need of feature films)”
Jorge Peregrino (President of Paramount Pictures Latin America)

“Every movie has to be successful in their country of origin first and foremost”
Sergio Aguero (Film Producer)

Rio International Film Festival

2009-10-03T20:40:00.012-03:00

I can’t really pinpoint when I started going to the Film Festival. I’m sure it was back in the day, when I was still a child and my mother dragged me along to the movies because it was easier, cheaper and more educational to bring me along.

Though, I do remember when I started going by myself; when it became this moment during the year.

It was right after I moved back to Brazil, in 2002. From that year until 2006, I was Miss Festival. I would plan ahead; get the program, research the films, mark the ones I wanted to watch and do a little timetable on Excel so I wouldn’t lose track. I would watch 20+ films, so a timetable was really a necessity.

During those years, I really looked forward to the gala sessions and parties. I loved seeing the actors and famous directors up close. I felt important being next to them (yes, I was kind of immature).

But then, as time passed, I started growing out of all that. First I became disinterested in the gala sessions and parties, then I started watching fewer films every year and, then, in 2007 I decided I was done with the whole Festival thing.

I think mostly I was done with the chaos that the Festival usually is. The chaos that is part frenzy and part lack of organization, but this post isn’t about complaining about the Festival, so I’ll leave this out.

In 2007 and 2008 I kind of held my own private personal strike against the Festival.

This year, though, I realised I was just being stupid and decided to go back and do it differently. After all the Festival is all about cinema and so am I - most of the time.

I decided to change my relationship with the Festival and do something less “film-geek” and more “future-filmmaker”. I ditched the gala sessions entirely, was more selective about the films I was going to watch and decided to, instead, spend time and money at the Seminars held during the Festival.

What a difference.

I still have a week of it all to go, but I feel like this has been the most profitable Festival to me yet. Everything I have listened at the Seminars, the people I have met and the films I have watched so far have contributed greatly to me personally and professionally.

So I guess, my love affair with the Rio Film Festival has had its ups and downs and it has been hard at times, but so it is with everything that is worth anything in life.

First & Foremost

2009-10-03T19:52:00.009-03:00

I think I should start this blog by saying what it is all about

I was never very good at determining what things are. I was always, however, very good at defining the negatives. I mean what things are not.

I guess what I am trying to say is this blog is not and will not be about cinema per se. It is more about me. It is about what I think about films, my relationship with them, my opinions and whatever else I feel like writing about that has anything to do with how I feel about cinema.

Though, I believe that everyone is entitled their own opinion and I do like a good debate, so feel free to comment and tell me that I am wrong - if you think so.

Isn’t the beauty of the world that everyone has their own personal point of view of everything in it(including cinema)?