Category Archives: Oscar Nominee

Prometheus (2012)

Playing witness to a long-standing director’s career can be fascinating, especially when said director enters his twilight years. While few of them would ever admit to it, any artist who has found an enduring critical success must eventually look at his oeuvre in terms of “legacy”, measuring his work against that of his peers and cinematic kin. For Ridley Scott, this self-evaluation brought him back to the bleakly-industrial and brilliant Alien, and a desire to see that world augmented. Like any artist with an eye trained on his own mortality, Scott chose to build on his Alien world existentially, and the resulting epic is Prometheus; a film somehow both ceaselessly mesmerizing and utterly baffling.

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Argo (2012)

Argo begins with the events at the Iranian US embassy on November 4th, 1979, when protesters—incensed by their country’s inveterate political and societal turmoil—broke through the embassy gates and held the residents there for what would become a 444-day hostage situation. Serving as both setting and character introduction, this opening sequence is one of the most indelible and disquieting beginnings I have seen in the theater in a good long while, and provides us with a trove of useful info, both within the movie and without. Superficially, it pulls us headlong into the story, introducing characters and circumstances in a meticulously edited prologue, while building to a truly frightening climax that sets the whole picture in motion. Incidental to the exposition the scene provides is the realization that this is a seminal moment for Ben Affleck as a director. Argo is a strong film in many ways, yet this opening sequence suggests a caliber of talent not just absent from his first two titles, but altogether unaccounted for. It seems that Ben Affleck the Director is the real deal.

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Indiana Jones: The Complete Adventures

The “hero” as a concept or storytelling device is, and always has been, fluid. Some of us prefer the pure altruist—the Superman who does right simply because he knows what right is. Others need their heroes to be flawed or tragic, like Hamlet—angling for the light even as their blemishes define them. Others hanker for antiheroes, preferring Taxi Driver’s Travis Bickle, a psychotic knight in rusty armor. Indiana Jones is enigmatic in his heroism; vacillating between all heroic traits, occasionally embodying all at once. His position as an archaeologist leads him to scour the globe in the interest of saving and protecting precious antiquities. Yet isn’t the quest for history-defining curios inherently a quest of self-triumph? Dr. Jones, over the course of his story, is at once selfless and selfish, motivated one minute by his moral compass, and the next by the fame and glory latent in uncovering history’s secrets.

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The Master (2012)

Lead or follow. At one time or another some puffed up authority figure has pointed to these as your two options in life. Not both, and certainly not neither. With this edict comes the implication that a leader is what you should want to be. Leaders are powerful and impressive, and followers are simply everyone else. While the world tends to consist of only leaders and followers, the idea that we can and should choose our path is tradition. The Master is flooded with followers and the leaders who lead them, but even more so with the notion that these roles are changeable. In every leader resides a follower, and vice versa, and the side we show is ultimately a product of the other person in the room. This may seem like a minor epiphany, but as Paul Thomas Anderson proves in his latest opus, it can change the way you view the world, and it can change the way the world views you.

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Moonrise Kingdom (2012)

There’s a particular sect of artists of which Wes Anderson is almost certainly a member. A group of individual creatives defined almost exclusively by their style, while their substance grudgingly takes a backseat. This “style-first” aggregate often bears long-lasting fruit, as consumers have no trouble making quick reads on the group members’ products, and establish their obsessive fandom at the earliest possible stages of a career. Artists like Andy Warhol, David Bowie, Andy Kaufman, Dave Eggers, Nicki Minaj, et al, laid the foundation of their careers with a style that, at first glance, is primarily distinct for its “newness.” Certainly the question of content is raised, though only after plenty of gushing conversations about the artist’s “distinctive voice.” This has always been the dilemma for Wes Anderson, a director known universally for his visual style. Because while audiences spend countless hours discussing the color palettes and the symmetry and the fluid sets, a collection of wonderfully human characters parades right by them.

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The Avengers (2012)

There’s no scenario where Joss Whedon gets the credit he deserves for The Avengers. Certainly he’ll be lauded for the cash this box-office bogart is already piling up, and critics seem impressed enough with the film to plant it firmly in the upper echelon of “comic book” movies. But the success Whedon has achieved is far loftier than that, encompassing years of Marvel canon, hoards of characters beloved to fans, and unparalleled expectations. Put another way: making this movie was an unprecedented challenge. And The Avengers isn’t perfect, though that was never really an option in the first place; there are far too many elements that would have to be handled flawlessly, far too much scrutiny from far too many directions to ever truly be called “perfect.” It is, however, as good as it was ever going to be, and considering the circumstances, that’s pretty damn good.

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The Help (2011)

There are very few people anymore who can claim authentic, first hand knowledge of the Civil Rights movement. In the same way that I wouldn’t pretend to possess any particular insight into the fall of the Berlin Wall, having been alive during the 60s doesn’t grant you special insight into the race struggle. The only people who can really say that they were a part of things weren’t just alive in the 60s, but were decision-making adults with the self-awareness to adopt a position on one side or the other, and their numbers are dwindling. Which must explain why The Help, a film that simplifies and exploits one of this country’s most strained periods, and does so with broad, stereotypical character types and exchanges, has been nominated for Best Picture. Or it could just be that Viola Davis can make anybody like anything.

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Extremely Loud & Incredibly Close (2011)

There should be a list somewhere of books that should never be adapted to film. While plenty of literature can make the leap from page to screen without much or any alteration, far more often a book is a book for a reason. Because while a book allows you to reach an emotional conclusion on your own, a movie forces you towards one. Which is unquestionably the case with Jonathan Safran Foer‘s 2005 novel; a narrative that, at a glance, is vibrant in the same way as a Little Miss Sunshine, with a host of quirky characters and a comical, yet emotionally-resonant tone. In a host of other ways however, Extremely Loud & Incredibly Close is a story far more inclined towards the written word than the big screen, and has pulled an Oscar nomination mostly on the weight of its dramatically moving and frustratingly manipulative approach.

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Tinker Tailor Soldier Spy (2011)

More and more the template for a spy film is “action first, story later–if at all.” This has mostly to do with the new opportunities provided by technology, but it also says something about contemporary audiences. Old school spy stories are intended to be convoluted, meandering whodunits, and vagueness doesn’t sit well with modern viewers, myself included. That said, anybody who puts Tinker Tailor Soldier Spy next to, for instance, Mission Impossible – Ghost Protocol will quickly come to appreciate the nuanced origins of the spy thriller. Tinker Tailor–Tomas Alfredson‘s follow-up to the critically successful and successfully recycled for American audiences Let the Right One In--is moody and stylish, recalling the lost art of skillful ambiguity.

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The 2011 Wertzies : Part Three

And finally, Part Three of the 2011 Wertzies. This post includes not only my thoughts on the Best Pictures of the year, but a new section looking at the year’s Most Overrated films.

Enjoy.

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