True to the End? A Final Season in Bon Temps

Here's Adam on a show that probably should have ended a couple of years ago but finally has its eviction notice -Editor

It’s been seven years and we’re finally (almost) to the end. I don’t know how many people of you have stuck with True Blood from the beginning. Nathaniel bolted during the show's nadir (season 5) though he's silently returned since. But if you’re anything like me, you believe that season six was, as much as it could be, a return to form, a reminder or the series glory days. 

As I plowed through the first three episodes of this seventh and final season, I could not help but feel that it has all been a prolonged set up to something better... or perhaps 'trimming down' to something better more aptly explains it. While no episode has been an absolute knock out, you can feel season 7 trying desperately to become the show it once was before it meets the true death. 

Lets start at the beginning of the end... 

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All That Link

It's been so long since we had a link roundup! You were all partying over the long weekend anyway. But we're back to normal. Please to enjoy these fine, discussable or just fun posts around the web...

Antagony & Ecstasy looks back at Thelma & Louise now that Susan Sarandon is on the road in Tammy's crime spree
VF Jennifer Lawrence meets Emma Watson
Leigh Alexander on internet sexism - the dos and don'ts 
BuzzFeed Matt McGorry and Samira Wiley from Orange is the New Black recreate Matthew McConaughey movie posters. Love.
WSJ Taylor Swift fancies herself a journalist suddenly and writes about the future of fandom, music careers and record sales 
AV Club on that potato salad kickstarter 
Deadline on new controversial strict rules for documentary eligibility at the Oscars. I understand the arguments against the new ruling but I would also like to caution documentarians to think about what they're asking for. The Oscars are larger than your particular craft and they really are supposed to be about CINEMA (i.e. things that play in theaters) so shush. These kinds of rulings may hurt at first but there should be a difference between television and movies. Television has its own awards for you to win if your film is great. Don't be greedy. I do agree with one complaint though: what's fair for docs should also be fair for features so Oscar needs to tighten up its eligibility rules across the board.

Hey, Look

It's the first image of Don Cheadle as Miles Davis in a forthcoming biopic. Filming has just begun. I guess Cheadle hasn't moved to TV for good (i *really* hate House of Lies) but at this point he seems far more likely to win an Emmy than an Oscar. The movie is apparently more about his marriage than his music. The best news about the project by far is that it gives Emayatzy Corinealdi a follow up leading role to her great work in Middle of Nowhere. She plays Miles first wife Francis Taylor.

Bob Fosse and Roy Scheider at Cannes for "All That Jazz"Fosse Fosse Fosse
Sound on Sight has an excellent retrospective of Bob Fosse's astounding but weirdly forgotten cinematic career from Mynt Marsellus. I wish Marsellus hadn't hedged on his ending - Fosse absolutely is equal to the other far more famous auteurs cited (Coppola, Scorsese, Spielberg, etcetera). They are only better remembered / respected I'd argue because they:

a) have comparatively gigantic filmographies
b) are still alive and working twenty-seven years after Fosse's death (Fosse was older than all the other crucial 70s breakout auteurs save Robert Altman and Fosse also died relatively young at only 60)
c) made their best films in genres that are more typically male than the film musical and thus escaped the pervasive destructive sexism that tends to devalue all rich work in more traditionally "feminine" fields like musicals, romances, and melodramas. We see this all the time in film criticism. Still.

Beauty Vs Beast: The Two Jakes

JA from MNPP here - The year 2014 is halfway over and since Nathaniel seems to be having fun listing his picks for "the best of so-far" I felt like joining in - my favorite movie of the year here at the half-point is Denis Villeneuve's doppleganger creep-fest called Enemy, which stars Jake Gyllenhaal and Jake Gyllenhaal as two men (maybe?) who find each other (maybe?) through chance (uh... maybe?) and the destructive effect that this has on their lives (definitely).

If you didn't catch the film in theaters (I managed to twice but I realize I am extraordinarily priviledged for that; its release was a puzzler) it came out onto DVD and so forth two weeks ago, so hopefully you've set aside the time - as I said when I reviewed it way back when this movie is the dream of a movie I would be able to make if I were a movie-maker. It hits all my buttons and then some, including ones I never even knew about -- Jake Gyllenhaal ordering another Jake Gyllenhaal to take his clothes off? Sure!

On the surface this week's "Beauty Vs. Beast" might seem a trick question (and maybe it is, just like the whole movie might be a trick movie) but Jake's performance in the film does make Adam (the teacher who's with Melanie Laurent) and Anthony (the actor who's married to Sarah Gadon) two distinct men - it's usually not hard to tell who's who because of posture alone, and the differences only seem to branch out (and yes, perhaps double back...) from there. So have at 'em...

poll by twiigs.com

If you haven't seen the film now before voting my point is go watch the movie right now! And then vote. Of course a vote for Jake, any Jake, is a winning vote all the same. And on top of telling me which Team Jake you prefer in the comments I'd love to hear y'all's theories about the movie. This movie brings them forth!

PREVIOUSLY Last week we got ourselves pre-juiced for Showtime's Masters of Sex, which returns on July 13th, by asking y'all to choose between the Masters & Johnson at the show's heart - I can't say I was surprised to see that Lizzy Caplan bounces the highest on the bedsprings of most of our hearts. She walked away with a full 85% of the vote. Said par, getting a hearty chuckle outta me:

"I love her so much I'd even invite her to a pool party... even if there were going to be girls in bathing suits there."

Halfway Pt. 3: Sound, Songs, Score. What Did You Enjoy Listening To?

Having covered the most astounding visuals from the first half of 2014 let's move on to Sound. This is when I suddenly become shy, mutable, and tongue-tied as a critic. You may read this post at any decibel level but please know that I'm whispering it. A truth: sound is the aspect of filmmaking for which I feel least qualified to judge. I try to absorb what's happening in underscoring and with the mix and editing. I'm definitely more attuned that I once was. But the fact remains that my ears are neither as well trained nor as aggressive in consumption as my eyes. I love to hear other people talk sound and scoring (I recommend the book The Conversations by Walter Murch which is on film editing but it touches on sound as well) so please do share your favorites in the comments. I'll probably learn something if you do. At the very least I'll have more to consider. 

If I had to vote right now...

BEST ORIGINAL SCORE: Captain America: The Winter Soldier (Henry Jackman); Godzilla (Alexandre Desplat); The Grand Budapest Hotel (Alexandre Desplat); Noah (Clint Mansell); Snowpiercer (Marco Beltrami)... though I'd be hard-pressed to tell you why in all five cases other than that I responded to the music and thought it a fine match for the material tonally

BEST SOUND MIXING & EDITING: In these categories I'd undoubtedly go with some mix of the otherwordly bestial movies like Godzilla, Noah and How To Train Your Dragon 2 and I'd most definitely opt for Under the Skin and not just because my BFF and I leaned toward each other and whispered Yaz's "I Before E Except After C" lyrics during the enormously creepy vocalizations in the first minute of the film. But other than that I'm open to suggestions...

BEST ORIGINAL SONG: And now we can raise our voices again after the jump because I have five I LOVE already and we're only half finished with 2014. Guess what they are...

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Halfway Pt. 2: Visual Cinematic Achievements of 2014

Before the holiday weekend we wondered what AMPAS voters might latch on to had they had to vote right then on the Oscars. It was a hypothetical exercize since we all know the studios backload the year and 85% of the intended contenders for "best" honors are as of yet unavailable. On to something not at all hypothetical.

Consider this my tracking sheet for the film bitch awards at year's end. It also doubles as an FYC directed at Academy members. Awards are too often regarded as trivial pursuits but they aren't at all. Award winners and nominees go into the history books or web archives as it were and, later, baby cinephiles seek them out for cinematic education. I speak from experience and I've heard so many similar growing up cinephile stories over the years that I know this to be true. So think carefully over even movies you didn't love when you weigh titles for "Best" in various categories. You owe it to future generations to really focus on the last word in "For Your Consideration"

Here's what I'd vote for (at the moment) in the visual categories if the year ended right now. I hope you'll join me in sharing your favorites (that have already opened) in multiple categories.  

BEST CINEMATOGRAPHY: Seamus McGarvey isn't lighting and composing in a vacuum for this visual fx behemoth, but much of the painterly grandeur and awe that Godzilla, would be king of blockbusters, conjures relies heavily on his gift; While black and white films often win praise solely because they're novelties in the 21st century, Ryszard Lenczewski & Lukasz Zal's work on Ida would be stunning in any color, with its diffuse sensitivities and meticulous emotional focus; Darius Khondji is easily among the most neglected of Oscar-ready DPs with a filmography that includes stunning films from multiple A list auteurs and he does another fine job with the warmly retro but never inappropriately romanticized period work on The Immigrant; Hong Kyung-pyo's nails amazing technical challenges on Snowpiercer and his lighting often makes the grim fascinating imagery pop; and, finally, Daniel Landin serves Jonathan Glazer's mesmerizing purposes beautifully with the eery, cold aesthetics of Under the Skin... like peeks into some unfathomable abyss.

Smart costumes, mutant powers, and big hair are after the jump

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