MOVIE OF THE WEEK: Adaptation

Having been disappointed with Spike Jonze's 2 other films, I was a bit wary of watching "Adaptation". To my surprise, I ended up being incredibly fascinated by this film. This semi-autobiographical film tells the story of screenwriter Charlie Kaufman (who wrote this movie) who is struggling to adapt a real-life story called The Orchid Thief into a movie. He finds difficulty in making the script interesting and eventually has to turn to his twin brother Donald for help. The Orchid Thief is a true story based on journalist Susan Orlean (played by Meryl Streep) and her investigation of a plant poacher named John Laroche (played by Chris Cooper).
In addition to keeping all these real persons and their names, the film also includes fictional elements (Donald Kaufman is completely made up) which mirrors Charlie's (the movie character played by Nicolas Cage) attempts to write an interesting script. Kaufman wants to write an unconventional story about flowers in an effort to set himself apart from the typical forced dramas, but finds his script lacking. The whole concept of Adaptation's plot seems so "navel-gazing", but somehow it manages to pull in the viewer. There wasn't a moment in this film where I wasn't intrigued by what was happening on screen. The screenplay is rich, coming across like Kaufman himself is giving us a look into his ponderous mind (much like "Being John Malkovich"). If you really probe the ideas of this film, you will get much to think about. The main thing however, is the notion of interest and fascination for something in your life. For Susan (played beautifully by Streep), she longs for the level of dedication that her writing subject Laroche has for plants. Meanwhile, Charlie is concerned about whether the eventual audience of the film will be intrigued by his work. There's an interesting scene in the film, where he reluctantly attends a screenwriting seminar as a desperate attempt for inspiration. As he explains his ideas for his rather mundane story, the lecturer vehemently rejects his notion that a film can sustain itself without conflict and passionate characters. Interestingly, this seems to be the point where the film engages in self-reflection and delves more into the wonderful characters. It's like the real-world Charlie Kaufman has come to the realization that his excellent cast should be the focal point of the film. We the audience have long understood this, but it's a fantastic "meta" scene that really propels the film further.
Without going into detail about each performance, all I will say is that all the key performers (i.e. Cage, Streep and Cooper) are truly doing some of their best work. As Cage's character learns during the seminar, it's the human drama that keeps audiences captivated. This really bears fruit as the film builds to a moving conclusion filled with genuine emotion. For me, this is Spike Jonze and Charlie Kaufman's best film to date. Even though Kaufman's script seems like it should be too personal to be engaging, somehow it works.

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A ROTTEN TOMATO: Being John Malkovich

I suspect I might be alone on this one...I didn't care much for "Being John Malkovich". This strange (emphasis on "strange") film follows the lives of a bunch of people whose lives are changed by a mysterious portal. Said portal puts people into the John Malkovich's head and leads to some bizarre situations. From the outset, I couldn't get into the story and its characters. The actors were fine in their roles, but they just felt so far removed from reality that I felt no emotional attachment to them. This did improve towards the end, as the emotional stakes were raised considerably. Unfortunately, I had already switched off (mentally) by that point and was counting down the minutes to the end.
Despite the negative tone of this review, I actually wouldn't say I "hated" this film. It just left me cold.

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#FF Great Remakes, reviews and more...

The current state of movie-watching culture unfortunately means that our theaters will be flooded with numerous remakes and sequels for years to come. It's sad to think about, but sometimes there's a silver lining. In a recent Top 10 list, Alex reminds us of some remakes that were actually better than the original films! Check out his post among other interesting reads from the past week:

For one of his recent Top 10 lists, Alex ranked the "Top 10 Remakes That Are Better Than The Original Films".

Film Forager's Alex reviewed one of my most cherished movies The Royal Tenenbaums.

Ryan brought up an interesting question in his Amour review. Can we call a film a masterpiece if we are unable to enjoy it? Go check out his thoughts on the matter.

John recently reviewed Sleepwalk With Me and like me, he was impressed with the offbeat style.

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OLDIE GOLDIES: The 39 Steps (1935)

Alfred Hitchcock made many great films in his lifetime and one of them is this week's Oldie Goldies selection - "The 39 Steps". This classic thriller features all of the trademark Hitchcockian plot elements we have come to love (scenes on a train, mistaken identities etc). It's filled with lots of twists and turns, resulting in a very entertaining film.

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MOVIE OF THE WEEK: Sleepwalk With Me

Mike Birbiglia signals a promising new talent in Hollywood with his new film "Sleepwalk With Me", which he co-wrote, co-directed and also played the leading role. This film tells the story of Matt Pandamiglio (played by Birbiglia), a struggling comedian who is also dealing with a failing relationship and a sleepwalking disorder. Although the plot touches on all these issues, it doesn't really delve too deeply into any of them, as the script wanders in all sorts of directions. The film is often presented in a unique conversational style, with Birbiglia breaking the 4th wall to explain his story. It's a method that mostly works, as the script isn't really sharp enough to pique your interest on its own. Despite being a comedian, his character isn't very charismatic and the dialogue isn't witty. However, there's some twisted amusement to be had from watching an uncharismatic comedian telling lame jokes. It's an interesting acting choice, as he gives a purposely self-deprecating performance that probably won't garner much praise. His character lacks the overt quirkiness or "joie de vivre" that is prevalent in similar indie comedies. In contrast, his supporting cast is quite engaging. Namely, Lauren Ambrose is just lovely as his girlfriend while Carol Kane and James Rebhorn are quite funny with their frank words of wisdom.

By now you're thinking this is one of those dry mumblecore movies. To me, it definitely starts out that way but eventually develops into something more meaningful. The film manages to portray a great sense of honesty and clarity about life. The main character undergoes a period of self-adjustment as he is forced to re-assess his life's ambitions when faced with the harsh reality of our world. Like many of us, he dreamed of success and happiness, but things didn't turn out exactly as he planned. His failures have turned him into somewhat of a loser, as he struggles to find his purpose. Rather than dwell on his pitiful life though, the film takes a nice turn as he takes some control of his destiny. He takes low-paying gigs, examines his relationship and attempts to fix his sleeping disorder. Consequently, he gradually improves his jokes, he sorts out his relationship and he is able to control his sleepwalking. To me, this really added some substance to the story and made him very endearing and relatable. I'm sure we can all see pieces of ourselves in this character.
It's not a perfect film by any means, but it has good intentions. Much like one of Pandamiglio's amateur comedy shows, some of it works and some it doesn't. Thankfully, the filmmakers had the good sense to keep the running time at a tight 80 minutes, so it never outstayed its welcome.

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#FF Foreign Films, Elf and more...

As many cinephiles know, many of the best films each year come from filmmakers outside of the Hollywood system. One of the best resources for foreign films is Bonjour Tristesse, a site that is dedicated to highlighting foreign, indie and cult cinema. Check out Bonjour Tristesse's list of 2012's best foreign films, among other great reads from this week:

Just in time for the Oscar Foreign Film shortlist, check out the Best Foreign Films of 2012, according to Bonjour Tristesse. If you're interested in indie, foreign and cult cinema, this is a great blog to follow.

For his "Favourite Scene Friday", Robert highlights an adorable scene from Elf.

Dan reviews Margaret and finds many things to like in this messy film.

Nikhat is celebrating the 3rd year of her blog with many cool posts. Check out her Favourite Looking Films.

Nick has announced his first annual Golden Katz Awards. Head over to his site and give him some suggestions!

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OSCAR WATCH: Amour

Is it possible to love someone too much? That seems to be the question that Michael Haneke attempts to answer in his latest film "Amour". As its title suggests, this film is an exploration of love in the purest sense of the word. However, this isn't the fiery lustful love of youth that thrives on the good times. The love that is portrayed in this film is the type that endures years after the superficial physical attraction has passed. It's the kind of love that we describe in marriage vows all the time - for better or worse, in sickness and in health, till death do us part. We usually mean it when we utter these words in the dizzy heights of a wedding, but we never really anticipate the hard times. In this film, we see a revelation of true love as a couple is tested by illness.
The plot follows Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), who are retired music teachers in their eighties. One day, Anne suffers a stroke that causes a downward spiral in her health and leads to the events of this film. If you think you may have seen this story before, think again. This isn't your usual romantic tear-jerker. Haneke provides no cinematic comforts in this one. There's no beautiful music, flashy camerawork, riveting monologues or showboating performances. Basically, he locks us in a house with an old married couple and forces us to watch the wife die. That may sound reductive, but if you know Haneke's work then you'll understand that this cold tone is his "bread and butter". There are no fanciful flashbacks here, he boldly dives headfirst into Anne's deterioration.
On the surface it sounds like a torturous experience, but thankfully there are other aspects at play here. Haneke provides brief moments of relief, through visits from family (mainly their daughter), a former student and other well-wishers. These scenes serve as an interesting way to add depth to the 2 main characters, as their conversations reveal their history and personality. They also provide evidence (considering the confined setting of the film) that the lead characters are indeed fully-functioning members of society and not anti-social grumpy old people. In particular, the visit of a successful former student brings such obvious joy to Anne that it seems to bring her some added life.
Another vital aspect to the film is the effect of Anne's pain on her husband. Thanks to the extraordinary performances of Riva and Trintignant, we get a sense of their deep connection without the need for any grand declarations of this love. They show a unique type of chemistry that comes from the selfless comfort of a lifetime of experiences together. Individually, Emmanuelle Riva stands out in her role. She runs the gamut of emotions and feelings that come with such a predicament. The screenplay gives her a lot to work with as she not only has to convey the debilitating pain of her condition, but also the humiliation of being pitied and being a burden to your loved ones.
That being said, Trintignant is equally impressive and is the main reason why this movie is so engaging. His quiet performance reveals a fascinating interpretation of passion that you don't see very often. Upon learning that his wife has fallen on bad health, his solemn but steadfast care for her is achingly real. To him, caring for her at home is a "no-brainer", it's simply his duty. Now this is where my opening question comes into play. As expected, Anne is enduring excruciating pain that leaves her in agony and feeling helpless. It's a situation that seems to require special professional care, but Georges is unable to accept this. As a result, he indirectly prolongs her suffering due to his unwavering quest to preserve her life, no matter how destitute she becomes. It almost seems cruel, but as you look into Trintignant's eyes and his delicate interactions with her, you understand where he's coming from. Theirs is a bond that is so firm that it feels unfathomable to purposefully go on living without the other. It's depressing to think about, but the film makes you realize that you would likely do the same if you were in his shoes.
Overall, this is a remarkable effort from Michael Haneke. It's not an "enjoyable" film and you can't necessarily call it "entertaining". What it is though, is a masterful example of cinematic art that imitates life. It may be too "real" for some, but that's what makes this uncompromising film so brilliant.

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OLDIE GOLDIES: The Passion of Joan of Arc (1928)

This week's Oldie Goldies choice is an iconic silent film - "The Passion of Joan of Arc". This chilling film really puts the "dark" in the Dark Ages! Mario Falconetti is devastating as the title character, giving one of the most accomplished acting performances of all time. She proves that silent acting can be equally as powerful and expressive as the modern spoken form.

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PLUG: Wallbangers

Some of you may have wondered where my blogging name (Squasher88) comes from. Well, it relates to a sport that I'm very passionate about called squash. I've been playing competitively since the age of 11 and it has been a major part of my life. It's a sport that not too many people know about and that's partly because we haven't been accepted into the Summer Olympics yet. Over the past 10 years or so, the squash fraternity has really stepped up its campaign to finally win the bid for inclusion. As an indirect part of this campaign, an Egyptian filmmaker has embarked on an documentary feature film project called "Wallbangers". The film will follow the lives of some of the top Egyptian players (that country currently dominates the sport) as they tour the world seeking success. It will be a fascinating look at their personal struggles in the sport while also relating to the contentious environment of Egypt's political upheavals. Check out some of the teasers below:

WALLBANGERS : "Now Filming" Teaser No. 1 from NileRoadFeatures on Vimeo.

WALLBANGERS : "Crowd Funding" Teaser No. 2 from NileRoadFeatures on Vimeo.

WALLBANGERS : "Crowd Funding" Teaser No. 3 from NileRoadFeatures on Vimeo.

They've already begun filming, but they still need funds to cover travel, accommodation, marketing expenses and post-production fine-tuning. Please contribute as much as you can, even if it's only $5. It will certainly help in our 2020 Olympic Bid.

For more information, click here: http://www.indiegogo.com/wallbangers

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MOVIE OF THE WEEK: Swingers

While searching through Netflix, I stumbled upon a real gem of a film - "Swingers". This film dismissed all of my expectations, telling a surprisingly charming story. The plot follows a group of struggling actors as they navigate the Los Angeles nightlife, hoping to have an epic night. When I read the plot synopsis, I fully expected a wild, raunchy comedy in the vein of films like "The Hangover". I was completely fooled though, as this is a delicate film about love and friendship. It's all about the satisfaction of going out with your bros, even if the party sucks or you don't "get lucky". This film ditches all our modern cliches about "guy movies" as it is almost feminine in its construct. The narrative focuses on Mike (played by Jon Favreau), who is dealing with a tough breakup and is unable to move on. Even though 6 months have passed, he still can't make the plunge back into the usual dating world. As he bar-hops with his friends, their attempts to hook him up end in failure as he still clings on to his lost love. This is the kind of romantic sentimentality that you only see in chick flicks, no?
The other key character is Trent (played by Vince Vaughn), who plays your typical stud whose main objective is to score. Although his attitude fits into the expected character tropes, the script doesn't exaggerate his behaviour. There are no wild threesomes or unrealistic hookups with supermodels. In fact, there isn't much sex or nudity at all. If you look at the film's MPAA rating, it only recieved the "R" rating for explicit languange. To me, it could have easily been rated PG-13 (or maybe even PG). Even without any strong sexual content or nudity though, it displays a maturity that is more than equal to what we now expect from an R-rated comedy. At the heart of it, this film is simply a celebration of what is now known as "bromance". As I watched the film I was reminded of the Greek term "Philos", which I learned in one of my college classes while reading Homer's Iliad. As opposed to the passionate erotic love "Eros", "Philos" refers to a deep brotherly bond that is equally as powerful. In "Swingers", this was beautifully explored in this great screenplay. For instance, in the midst of a random hookup in Las Vegas, Trent pauses to check up on his buddy Mike to make sure he is having a good time with his own lady friend. In another scene, 2 members of the gang are seated with a hot chick, but they mostly ignore her when they notice that Mike has met someone and may possibly find love again. It's a perfect example of that phrase "bros before hoes"! There are some other subtle things too, mostly in the way the men embrace each other and communicate out of genuine concern. As I said before, there seems to be a "feminine" touch to the film, as it portrays a form of interaction that society has told us to expect only from women and gay men. Some people may find this trivial (there are certainly many guys who are very close to their best friends), but it seems quite bold when you see it in a film. I can't imagine a buddy film being made like this in today's world. Nowadays, "bromance" is decidedly goofy in nature, rather than the supportive, loving relationships found in this film.
Now that I've made the film sound sappy and treacly, it would be remiss of me to forget that this is indeed a comedy. As I mentioned earlier though, the tone of the film is quite subtle. Therefore, the humour is less about on-the-nose hilarity and more about the unexpected amusements that arise when you go out with your friends. It fits in well with the overall tone of the film, exploring true friendship through clarity and honesty. The fact that Favreau himself wrote the screenplay and cast his real-life friends makes it all the more personal and affecting. Along with Vaughn, they give winning performances that elevate the words on the page. Their realistic interpretations of "the promiscuous stud" and "the hopeless romantic" were a welcome change from the usual stereotypes. This is a fine film that will remind you of the value of your true friends. They are supportive and accommodating when you are wallowing in self-pity, but they are also able to give you a firm reality check when needed. I assume most people have seen this film before, but if you haven't, I highly recommend it.

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OSCAR WATCH: The Songs

One of the most perplexing Oscar categories is certainly Best Original Song. The previous rules (voters were basically allowed to vote against a song) have resulted in some strange nominations in the past. For instance, last year we only ended up with 2 nominees. It's also very difficult to know which songs the Academy members will like. Back in 2008-2009 awards season, Bruce Springsteen's song for "The Wrestler" seemed like a shoo-in for Oscar glory after winning both the Critics Choice and Golden Globe awards. In the end, it didn't even get an Oscar nomination. Thankfully, the rules have changed and we are now guaranteed a field of 5 nominees. Here are some of the songs that have already picked some buzz with precursor awards:

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CONTEST: Predict the Oscar nominations!

I'm pleased to announce my first ever contest here at Film Actually. In anticipation of the upcoming Oscar nominations announcement, I got the idea to challenge my fellow bloggers to see who is the real expert on this Oscar game. For this Oscar Contest, the task is simply to predict as many of the individual nominees as you can. I've had lots of fun twitter debates about the Oscars and it would be interesting to see how our Oscar nomination predictions stack up.
For the first time ever (I think), the Oscar nominations will come before any of the usual televised precursors (Critics Choice and Golden Globes) have handed out their awards. Predicting the Oscar noms will therefore be a tougher challenge this time around.
I've been fortunate to receive lots of cool free stuff since I started blogging, so I thought it would be nice to return the favour and offer a prize for the winner of the contest. The person who predicts the most nominations accurately will receive a late Christmas present from me - an online gift card of $25 (USD or the equivalent in another currency) for their relevant Amazon store (US, UK, Canada etc).
There's a catch though! I'm a competitive person, so you'll have to also beat my predictions to win the prize. My predictions, along with all of yours, will be posted here on a Google spreadsheet on January 9th.
I'm hoping for lots of participation so I can make this an annual event. Read below for further details:

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#FF Oscar hopefuls, reviews and more...

What a hectic week it has been in this year's road to the Oscars. The BFCA, SAG and HFPA have announced their nominees and the Oscar nominating ballots go out on Monday! As a result, a lot of contenders have found themselves in good positions, while others are hoping for a minor miracle. One of those fringe contenders is Anne Dowd, who joined the guys from The Awards Circuit for a special live podcast. Find that link below, among other interesting articles from this week:

The Awards Circuit recorded a special live podcast with potential Oscar nominee Ann Dowd!

Andrew shares his thoughts on a highly discussed issue lately, ruminating on the tendency of some people to root for a film's failure.

Brian reviewed Silver Linings Playbook and is especially impressed by the acting performances.

Stevee makes the case for Oscar consideration for The Dark Knight Rises as part of her recent blogathon. Go check out her reasoning along with the other great entries.

Dan reviewed Beasts of the Southern Wild and agrees that it lives up to the hype.

Alex champions the underrated film Young Adult in her review.

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OSCAR WATCH: Golden Globe Nominations

The Golden Globes always hit us with some head-scratchers and they didn't disappoint this year. "Salmon Fishing In The Yemen" picked up a whopping 3 nominations in the Comedy categories! The other big stories today were Nicole Kidman and Django Unchained. Both got a significant boost, with Django Unchained especially making a huge statement, earning 5 major nominations (Best Picture, Best Director, Best Screenplay and 2 nods for Best Supporting Actor). Next stop - the Oscar nominations on January 10th, 2013! Here is the full list of Golden Globe nominees:

Best Picture (Drama)
Argo
Django Unchained
Life of Pi
Lincoln
Zero Dark Thirty

Best Picture (Musical/Comedy)
The Best Exotic Marigold Hotel
Les Miserables
Moonrise Kingdom
Salmon Fishing in the Yemen
Silver Linings Playbook

Best Actor (Drama)
Daniel Day Lewis, Lincoln
Richard Gere, Arbitrage
John Hawkes, The Sessions
Joaquin Phoenix, The Master
Denzel Washington, Flight

Best Actor (Musical/Comedy)
Jack Black, Bernie
Bradley Cooper, Silver Linings Playbook
Hugh Jackman, Les Miserables
Ewan McGregor, Salmon Fishing in the Yemen
Bill Murray, Hyde Park on Hudson

Best Actress (Drama)
Jessica Chastain, Zero Dark Thirty
Marion Cotillard, Rust & Bone
Helen Mirren, Hitchcock
Naomi Watts, The Impossible
Rachel Weisz, Deep Blue Sea

Best Actress (Musical/Comedy)
Emily Blunt, Salmon Fishing in the Yemen
Judi Dench, Best Exotic Marigold Hotel
Jennifer Lawrence, Silver Linings Playbook
Maggie Smith, Quartet
Meryl Streep, Hope Springs

Best Supporting Actor
Alan Arkin, Argo
Leonardo DiCaprio, Django Unchained
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln
Christoph Waltz, Django Unchained

Best Supporting Actress
Amy Adams, The Master
Sally Field, Lincoln
Anne Hathaway, Les Miserables
Helen Hunt, The Sessions
Nicole Kidman, The Paperboy

Best Director
Ben Affleck, Argo
Kathryn Bigelow, Zero Dark Thirty
Ang Lee, Life of Pi
Steven Spielberg, Lincoln
Django Unchained, Quentin Tarantino

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OLDIE GOLDIES: Arsenic and Old Lace (1944)

This week's Oldie Goldies selection is the classic Cary Grant film "Arsenic and Old Lace". This wickedly funny comedy really shows the authentic movie star quality of Cary Grant in his prime. The film really shines when he is on screen.

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OSCAR WATCH: SAG Nominations

For the 2nd straight day, the nominations for a major awards were leaked beforehand! I hate that it's taking away from some of the excitement of the live announcement. I know I could just ignore them, but who am I kidding. I'm just as obsessed (well, almost) as those crazy awards junkies. The biggest snubs were Joaquin Phoenix (The Master) and Emmanuelle Riva (Amour). After getting a Critics Choice nomination yesterday, Javier Bardem is looking like a serious contender! This was a big surprise, but it pales in comparison to the mention of Nicole Kidman for Best Supporting Actress! The field of contenders really seems to be expanding. Here are the nominees for the 19th Annual Screen Actors Guild Awards:

Best Ensemble (equivalent to the Best Picture Award)
Argo
The Best Exotic Marigold Hotel
Les Miserables
Lincoln
Silver Linings Playbook

Best Actor
Bradley Cooper, Silver Linings Playbook
Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Hugh Jackman, Les Miserables
Denzel Washington, Flight

Best Actress
Jessica Chastain, Zero Dark Thirty
Marion Cotillard, Rust and Bone
Jennifer Lawrence, Silver Linings Playbook
Helen Mirren, Hitchcock
Naomi Watts, The Impossible

Best Supporting Actor
Alan Arkin, Argo
Javier Bardem, Skyfall
Robert De Niro, Silver Linings Playbook
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln

Best Supporting Actress
Sally Field, Lincoln
Anne Hathaway, Les Miserables
Helen Hunt, The Sessions
Nicole Kidman, The Paperboy
Maggie Smith, The Best Exotic Marigold Hotel

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OSCAR WATCH: Critics Choice Nominations

This is the first in a very important trifecta of nominations announcements (BFCA-SAG-HFPA) this week. If you don't show up in any of these 3 groups, then you probably won't be nominated for the Oscar. Here are the nominees for the 18th Annual Critics Choice Awards:

Best Picture
Argo
Beasts of the Southern Wild
Django Unchained
Les Misérables
Life of Pi
Lincoln
The Master
Moonrise Kingdom
Silver Linings Playbook
Zero Dark Thirty

Best Actor
Bradley Cooper, Silver Linings Playbook
Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Hugh Jackman, Les Misérables
Joaquin Phoenix, The Master
Denzel Washington – “Flight”

Best Actress
Jessica Chastain, Zero Dark Thirty
Marion Cotillard, Rust and Bone
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhané Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible

Best Supporting Actor
Alan Arkin, Argo
Javier Bardem, Skyfall
Robert De Niro, Silver Linings Playbook
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln
Matthew McConaughey, Magic Mike

Best Supporting Actress
Amy Adams, The Master
Judi Dench, Skyfall
Ann Dowd, Compliance
Sally Field, Lincoln
Anne Hathaway, Les Misérables
Helen Hunt, The Sessions

Best Director
Ben Affleck, Argo
Kathryn Bigelow, Zero Dark Thirty
Tom Hooper, Les Misérables
Ang Lee, Life of Pi
David O. Russell, Silver Linings Playbook
Steven Spielberg, Lincoln

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MOVIE OF THE WEEK/OSCAR WATCH: Lincoln

Often when we watch a film, we tend to differentiate between those intended for intellectual stimulation vs those merely serving to entertain (the notion of the "popcorn" movie). With "Lincoln", Steven Spielberg shows that an educational film can be equally entertaining if its done right. It's certainly done well here, as we are treated to a work of exquisite filmmaking. "Lincoln" is set during the closing days of the American Civil War, as President Abraham Lincoln fights to pass the 13th Amendment to end slavery. Now, despite these terms "war" and "fight" there really isn't much physical action in this film. This film is more of a historical drama where the battle is won through words and ideals. The plot hinges on those words "all men are created equal" (made famous by the Declaration of Independence) and the ideals that reject slavery as a curse against humanity.
Based on his recent reputation, it's understandable that some may be wary that Spielberg might drown this story in sappy melodrama. Well, what Spielberg eventually produced completely thrashes this perception. This film is an example of confident directing, as Spielberg tells the story straight and true. Spielberg has tackled the plight of African-Americans before (The Color Purple and Amistad), coming under criticism for the heightened drama that has become his trademark. On this occassion though, he takes a big risk and it really pays off. I was so impressed by the respect that he paid the audience. He never reaches for cheap sentiment or thrills. From the first scene, he establishes a tone and commits for the remainder of the film.
Of course, a low-key film like this depends highly on strong writing to carry it through. Thankfully, Spielberg was able to reunite with Tony Kushner, bringing to life undoubtedly one of the finest scripts of 2012. For better or worse, this film is very talky. Although I was fully engaged throughout, I will admit there are times when it does lose some energy as it focuses on the preparations for the all-important vote. When the plot goes into the courtroom scenes however, the script really sings. This is where you really get the message of the film, as it reveals all the exciting politics that surrounds the decision to free the slaves. The passion showed in these scenes is a prime showcase for the phenomenal cast that was assembled for this film. Among the supporting players, you have no doubt heard much about Tommy Lee Jones and Sally Field. Much like "Tinker Tailor Soldier Spy" last year, this seems to ignore the stellar work of the rest of the ensemble though. Namely, I must single out Lee Pace, David Strathairn, Hal Holbrook and John Hawkes (superb acting from the sidelines) who are equally as riveting. It's Jones who gets the most to work with though, playing the heroic and admirable Thaddeus Stevens. To be honest, he's really just playing another version of that gruff persona we've come to love, but heck, it works. In his big showy scenes, he had me grinning from ear to ear.
The most impressive acting achievements come from Daniel Day-Lewis and Sally Field though. As Mary Todd Lincoln, she takes her character's craziness quite literally, giving a theatrical performance that stands out from the rest of the cast. Some may not like it, but I admired her commitment.
Finally, I must sing the praises of the main attraction - Daniel Day-Lewis as Abraham Lincoln. For a man known for his fiery intensity, I wasn't expecting a performance of such finely-tuned restraint. We all know about his famous "method acting" technique and he certainly employed it to good use here. It's quite amazing how he completely disappears into this role. It's really unlike any other performance I've ever seen from him. He brings a fully developed interpretation of this iconic figure. His acting is so consistently strong that his "Oscar clips" aren't even the most compelling scenes. Through his speech, posture and facial expressions, you can sense the weariness that came with his tumultuous presidency. At the same time, his eyes exude such life and passion. He makes it clear that his burden is heavy, but he's determined to do the right thing for the people.
Overall, watching Daniel Day-Lewis and his supporting cast deliver this story was a tremendously rewarding experience. I came out of "Lincoln" with my spirits lifted as it reminded me of humanity's capability for doing good. The great Steven Spielberg is back!

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OSCAR WATCH: Silver Linings Playbook

After a well-received premiere at the Toronto Film Festival where it won the People's Choice award, "Silver Linings Playbook" finally hits general audiences, where I hope it will come to be equally lauded by critics and audiences alike. In David O. Russell's latest film, Bradley Cooper plays the bipolar Pat, who is readjusting to normal life after a stint in a mental institution. As he moves back in with his parents, we follow his road to recovery as he attempts to reconcile with his ex-wife while dealing with an equally troubled and flirtatious young woman named Tiffany(played by Jennifer Lawrence). The events that transpire in the film are as crazy as Pat and Tiffany. We see them develop a very complicated relationship, as their romance is impeded by Pat's lingering attachment to his ex-wife. Throw in a dance competition and superstitions about sports (specifically the Philadelphia Eagles) and hilarity ensues.

The movie gets off to a shaky start as we see Pat's first days back at home. We get an early sense of his unstable personality, as he displays some erratic behaviour during his initial re-adjustment to normal life. It quickly becomes apparent that the film is a true comedy, as the jokes come hard and fast. Comedy is about rhythmn and timing though and the manic beginnings of the film made me quite suspect. I found it difficult to process what was happening and it made it hard to get into the film. However, as soon as Tiffany enters the picture, the film tones down its hyperactive energy and slowly but surely finds its groove.

As with "The Fighter", the mood of the environment is an important element to the film. While "The Fighter" captured the intense familial loyalty of Bostonians, "Silver Linings Playbooks" captures the slightly more individualistic pride of Philadelphia people. I'm fairly well acquainted with this society and to me, this film really nails the city's attitude. At first I was disappointed that the ensemble wasn't "gelling", when compared to the brilliant jazzy cohesiveness of the cast in "The Fighter". Somewhere towards the middle though, it dawned on me that the style of this ensemble acting was aptly different from that Boston clan. From my experience, Philadelphia natives carry a more self-absorbed, irreverent sense of humour. As a result, there is an antagonistic way of conversing that may be unappealing to some viewers, but is pretty accurate. In addition to the unique personalities, the film also expresses the city's culture through food, landmarks and most importantly sports (namely their beloved Philadelphia Eagles football team). In fact, this obsession with the Eagles is an integral part of the plot, as it relates to a lot of the social interactions in the film. It creates some hilarious moments for the cast, lead by a genius comedic turn by Bradley Cooper. "Silver Linings Playbook" is really his movie. Despite his pitiful delusions and lack of social graces, he crafts a character that is incredibly endearing. He nails the idiosyncratic humour, which works especially well when he is sparring with Lawrence as his screen partner. Their chemistry is magic, eliciting the most genuine laughs in the constantly funny script. Despite their age difference, the pairing is completely believable as she herself contributes an outstanding performance. On the surface, it seems like a simple "slutty" character. However, she brings to it a sense of depth and an impressive range of emotions. It's easy to see why she has garnered so much praise.

As they work towards the climactic dance competition, the film really grows on you as you become increasingly attached to all the characters. Playing Pat's parents, Robert De Niro and Jacki Weaver really add a nice counterbalance to the craziness of the central couple. Weaver's eyes evoke an honest motherly concern, while De Niro reminds us of his talents, digging into a great role as an OCD, superstitious Eagles fanatic. Unfortunately, the film is defiantly lite and doesn't probe the dark side of Pat Sr.'s own imperfections. Likewise with the serious implications of Pat and Tiffany's mental health history. It all leads to a somewhat cliché romcom ending that somewhat lessens the film's thematic resonance. This seems to be the complaint of the film's naysayers but in my opinion, the film is a success. It's an amiable ode to the people and culture of Philadelphia, shining on its performances and excellent comedic dialogue.

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AWARDS SEASON: The State of the Race

It's interesting how much our early instincts usually bear fruit when it comes to the Oscar race. Particularly in the Best Picture category, receptions from early screenings can usually give a good idea of which films will be legitimate contenders. This is the 3rd time I've done this preseason assessment of the Best Picture race and each year I've only missed 1 of the eventual nominees. Of course, some may say the season has already started, but for me the most important precursors are the televised awards shows. For any Oscar hopeful, a good televised acceptance speech can be hugely beneficial for building momentum in the long awards season. Based on current buzz, here's your current Top 10 for Best Picture contention:

1. Zero Dark Thirty
2. Lincoln
3. Silver Linings Playbook
4. Les Misérables
5. Argo
6. Life of Pi
7. Beasts of the Southern Wild
8. Flight
9. The Master
10. Moonrise Kingdom

At the moment, it seems like Zero Dark Thirty is the one to beat but the race is far from over. I've been fortunate to have already seen most of these contenders and to me, Lincoln also looks to be in very good shape for the win. It's very likely that it will have the most nominations (along with Les Misérables) and will garner a lot of attention from it's box office success. That being said, I still need to see some of the heavyweights (Zero Dark Thirty, Silver Linings Playbook and Les Miserables) and it's very possible that each of those will have enough support to share the wealth throughout all the various precursor awards. The week ahead will surely confirm a lot of our expectations, with BFCA (Critics Choice), SAG (Screen Actors Guild) and HFPA (Golden Globes) all set to announce their nominees (on Tuesday, Wednesday and Thursday respectively).

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#FF Positive Cinephilia, Failed feminism and more...

This was really a bumper week for blog reading, as I found so many amazing posts around the blogosphere. Chief among those was the engaging discussion about the nature of film criticism in the digital age. Building from a twitter discussion, Jessica and Ryan did some great posts about challenging the cynicism that seems amplified by the various outlets for judgement of movie quality. Check below for these discussions among other truly fascinating posts from the past week:

Jessica wonders where all this negativity is coming from, with a post titled "Where are all the film fans gone? And where did those miserable flaw spotters come from?".

In a very encouraging post, Ryan implores us to celebrate the things we love in films, rather than dwelling on the flaws in films we don't like.

Candice was disappointed with Rust and Bone, addressing its failed attempt at feminism in her review.

The Vern did an amusing analysis of one of this year's most avant-garde films, explaining Holy Motors to a 7 year old.

The gang over at French Toast Sunday did a great podcast on "Films Based on Tv Shows". They had me geeking out from the early mention of Mighty Morphin Power Rangers.

Dan explains why Anchorman is a movie that everyone should see, with a hilarious post that inspired equally hilarious comments.

John analyzed Oscar's shortlist for Best Documentary Feature and gives his predictions for the eventual nominee lineup.

Over at Anomalous Material, Nick is intrigued by the spiritual story of Life of Pi, calling it "A Modern Day Biblical Parable".

Alex finally got around to seeing and reviewing End of Watch and was mighty impressed.

Shawna and I went to see Lincoln this week and we both came out of it very impressed. Go read her thoughts on the film.

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OLDIE GOLDIES: Rashômon (1950)

This week on Oldie Goldies I bring you another impressive Kurosawa film - "Rashômon". This mesmerizing film tells a fascinating story that deeply explores the complex nature of human psychology. Centered around the aftermath of a disturbing murder, it brings up a plethora of issues such as guilt, pride and jealousy. All of this is probed in a brisk 88 minutes, reeling you in from start to finish. This extraordinary film earned an unexpected Oscar nomination for Best Art Direction, in addition to its Oscar win for Best Foreign Language Film.

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MOVIE OF THE WEEK: Ghostbusters

If there's somethin' strange in your neighbourhood, who you gonna call? Ghostbusters! When the first lines of that iconic theme song come on, that wave of nostalgia hits you and you know you're in good hands. Of course, I'm referring to the 1984 comedy "Ghostbusters", a film I had seen ages ago but had mostly forgotten. In case you didn't know, "Ghostbusters" tells the story of a trio of parapsychology professors who band together to eliminate the threat of paranormal activity in New York City. If you don't recognize the term "parapsychology", don't worry. It's part of the film's off-kilter sense of humour. Basically, a bunch of Joe Schmoes (albeit self-professed "scientists") have dedicated their lives to studying ghosts and get a dream opportunity when the city comes under attack. To remedy the situation, they provide a ghost removal service, calling themselves "The Ghostbusters". On the page it sounds like a dark, terrifying situation, but the film is defiantly not a horror movie. Despite the discomfiting design of the ghosts, their presence is never truly threatening for the viewer. While the film portrays these villains with a comedic tone, it somehow never truly risks becoming a B-movie. That's the beauty of the film and the reason why it has become so well-regarded over time.
There are many facets to this film that make it so entertaining and respectable. Primarily, the film makes use of a committed cast that fully respects their characters. Even in the most absurd situations, they are all acting from a place of honesty and truth. As the leader of The Ghostbusters, Bill Murray is in fine form, delivering endless wit with his deadpan style. The screenplay is filled with clever puns and situational humour and he just eats it up. Also delightful in a smaller role is Rick Moranis, stealing scenes as the diminutive geek. His conversations with the female lead (played by Sigourney Weaver) are especially amusing as he employs his trademark endearing charisma. Weaver is outstanding herself as she easily takes on a double character of sorts. She clearly had a lot of fun in the role and it really rubs off on the audience. In addition to these outstanding performances, the rest of the ensemble is also immensely enjoyable.
Of course, the film features some other characters in the form of various supernatural beings. With the use of special effects, the film easily integrates them into the environment. Although the techniques seem outdated now (particular scenes seemed derivative of "The Exorcist"), the unrefined quality in itself adds a bit of humour to the proceedings. As I mentioned earlier, these monsters aren't really intended to scare, with much of their aggression relating to harmless explosions of slime or marshmallows! As a result, the effects-heavy scenes may come across a bit too camp for newer audiences (admittedly, even I found my self rolling my eyes at times), but they are certainly not dull.
In the end, "Ghostbusters" is all about having a good time at the movies. Even more importantly, it leaves a lasting impression on the viewer with the iconic uniform, vehicle (the Ecto-1), monster (Stay Puft Marshmallow Man) and a bona fide hit song. I am confident that "Ghostbusters" will stand the test of time and will delight audiences for years to come.

This film is part of my List of Shame.

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OSCAR WATCH: The Documentary Features

A busy day of awards news continues with the Academy's announcement of the Documentary Feature shortlist. From what I've heard, the field was exceptionally strong this year. As a result, there was bound to be some snubs. I'm personally pleased to see "The Imposter" make the cut(it's the only one I've seen and I quite enjoyed it). Here are the 15 eligible films hoping to make the final cut of 5 nominees:

Ai Weiwei: Never Sorry
Bully
Chasing Ice
Detropia
Ethel
5 Broken Cameras
The Gatekeepers
The House I Live In
How to Survive a Plague
The Imposter
The Invisible War
Mea Maxima Culpa: Silence in the House of God
Searching for Sugar Man
This Is Not a Film
The Waiting Room

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COMING SOON: The Oscar Slate *UPDATED*

It's about that time again, time for the good movies! The Venice and Telluride film festivals are underway and we will soon get an idea of who are this year's hotshots. As usual I will give you a preview of the films you can expect to be in the race. I haven't missed a nominee yet (see 2011 and 2012), but this year I have this gut feeling that something is gonna break through at the last minute. Barring any surprises, you can trust this list as a reliable source for your Best Picture contenders. As usual, there are a few titles from spring/summer that will certainly be in contention. This year, we already have strong Best Picture contenders in Beasts of the Southern Wild and Moonrise Kingdom. I've seen Moonrise Kingdom (as of December 2, I've also seen other contenders like Beasts of the Southern Wild, Flight, Life of Pi, The Master and Argo) and it looks more like a screenplay contender to me, but I've been proven wrong before and it has its passionate fans. Also, The Hunger Games, The Avengers and The Dark Knight Rises seem to be fighting for that "genre" slot in the lineup, but their chances look increasingly unlikely and they may cancel each other out. Anyway, that's enough talk from me. Let's get down to the trailers:

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