Oscar's Losing Game

Andrew here, to talk about the Oscar nominations. It’s been one week since they were announced and are we all talked out? Of course not. The Academy of Motion Pictures and Sciences can't catch a break from its loudest critics each year. People often view the Oscars as some kind of monolothic entity and not as a group of individual persons with specific tastes, which grants them the aura of sinister agenda like a Bond villain. And given the weight of the crown -- Oscar remains the most significant film award -- they're subject to the sort of ardent scrutiny that would reveal flaws in even the most ostensibly immaculate of things. 

Whether you're a lover or agnostic on AMPAS, there is no denying that they provide fodder for movie conversation the way few other things do. But there's one frustratingly circular and inescapable bit of criticism which comes each year that I find particular exasperating. I'm referring to the complaints which always follow a critically maligned film earning Oscar laurels, specifically for technical proficiency. “Did you hear The Lone Ranger earned as many nominations as Inside llewyn Davis.” or “The Transformers trilogy has earned more collective Oscar nominations than the Before trilogy.” or “The Wolfman has an Oscar, Peter O’Toole does not.” And so on. I almost always think it’s meant facetiously, until I realise these lazy claims are used as legitimate attempts to illegitimatise the worth of the AMPAS (an entirely different topic altogether). It’s all part of a yearly unchanging cry from movie lovers, “How can X (Terrible Film)  be an Oscar winner/nominee when Y (Great Film) is not?" [more...]

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Short Link 12

Today's Must Read
The Dissolve Nathan Rabin discusses his own group home experience and his relationship to Short Term 12 which is now out on DVD and BluRay

General Linkage
THR Garrett Hedlund offered the plum Captain Hook role in Joe Wright's Peter Pan adaptation Pan
Ken Levine, inspired by Quentin Tarantino, makes a major announcement 
Variety Scott Thorson (played by Matt Damon in Behind the Candelabra) just sentenced to 8 to 20 years in Nevada! Yikes. 

AV Club Her trailer recut to replace Scarlett Johansson's voice with, uh, Philip Seymour Hoffman's. It's terrifying. you have been warned.
IAR interviews Destin Cretton on Short Term 12
THR a non controversy at Oscar on that strange Original Song nomination from Alone But Not Alone. Pity that Oscar is such sticklers about the rules on some classic important films like Moulin Rouge! and then lets things slide in weird cases like this
Coming Soon the Oscar winning doc Man in Wire could get the narrative feature treatment from Robert Zemeckis
/Film Disney's Frozen getting a sing-along version next weekend
BuzzFeed Rachel McAdams shares her two favorite lines from Mean Girls, 10 years later
Pajiba Chris Pratt sings a song about Jean Claude Van Damme's Sudden Death on Parks and Recreation

Finally...
EW Grace of Monaco pulled from the Weinstein Company's release schedule?!? Don't they realize I need biannual doses of Kidman like Virginia Woolf needs exhilarating trips to London? Readers who've asked how I'm coping should know that I have not yet loaded my coat up with stones. But there will be a reckoning if we never get to see it. 

P.S. Bette Davis thinks you're a vile sorry little bitch*

*show of hands: who thinks Bette is saying "sour" rather than "sorry" - I can't decipher it 

A brief history of faux-Frankensteins

Tim here. All this talk of the great-looking movies we can’t wait to see, and the Sundance crop of interesting (or semi-interesting, or bad) indie films is pulling focus from the reality of filmgoing as most of us live it. Which is that it’s January, and unless you’re still cleaning off the last end-of-year films as they trickle out into medium-wide release, the options for seeing a movie in theaters right now are dire.

Case in point, tomorrow finds the release of I, Frankenstein, which, if I’m being honest, is very much I movie I’ve been looking forward to as much as anything on my official We Can’t Wait ballot, though for entirely different reasons: the combination of Frankenstein, demons, and chiseled abs promises bad movie awesomeness of a sort that I don’t expect to be replicated anytime soon.

It’s not the first nominal Frankenstein adaptation to go so far afield from the source material, either; not even the first outrageously bad one. There is a grand tradition of Frankenstein-derived films so utterly bizarre and off-the-wall and divorced from Shelley that they make I, Frankenstein look dull, sedate, and conventional. After the jump, let's take a quick look at some of the strangest.

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Happy National Pie Day! What's Your Favorite Pie Scene in a Movie?

my first pie I baked solo! Today is National Pie Day and if you don't celebrate it by watching Josh Brolin and Kate Winslet make pies as a substitute/preamble to carnal rutting in Labor Day (reviewed), you should eat one. To the left you'll see me as the proud chef of my first pie a month back. It was pumpkin (duh!), messy, and a little burnt but I devoured it anyway. Despite the deliciousness I had planned for this Very Important Day, film festivalling has thrown off my other blogging instincts (I'll be back to normal Monday). So no big pie-celebrating top ten list or visual extravaganza for this very special day.

When I think of pies in the movie I often think of The Help or Waitress but in neither of those cases would I want a slice, you know? The other most easy-to-retrieve pie memory is the now extinct slapstick gag of cream pies in people's faces. 

Help me find better cinematic attachments to pies by citing your favorites in the comments. 

Sundance: Kumiko Hunts "Fargo"s Hidden Treasure

Sundance coverage continues with Nathaniel on the fascinating oddity "Kumiko, the Treasure Hunter"

Meet Kumiko (Oscar nominee Rinko Kikuchi from Babel), pictured above, a mopey Japanese woman in a red hoodie. This picture of her is not quite complete. While Kumiko is a mopey Japanese woman in a red hoodie there's more than just moping going on inside her, however  opaque her inner life remains. She's a quiet "Office Lady" who is miserably depressed and finds consolation only in her pet bunny Bunzo (who steals nearly every moment he's in) and her taste for treasure hunting. The movie, inspired by true events, opens with an, I assume, metaphorical search for a buried videocassette of Fargo. Once Kumiko watches it she becomes convinced that the movie is real and that Steve Buscemi's treasure awaits her in Minnesota. The red hoodie remains but she'll keep piling on other memorable attire over it on her journey from cold urban Tokyo to freezing rural Minnesota, as if the journey itself will protect her, weigh her down, or bury her. Or all three. 

The film's great strength is in its eery expressive visuals whether that's a surreal burst of shifting wet orange light (which turns out to be an airplane being de-iced I think?), odd textural juxtapositions like cloth over static tv screens, or smart visualizations (and sound mixing) which amplify Kumiko's solitude and emotional disconnect. Given the writer/director team's (Nathan and David Zellner) aptitude for mood building and imagery and the sparse dialogue, the film hardly needs to spend as much time in Japan as it does -  I confess that it took me nearly half an hour to settle into its wavelength. Kumiko doesn't always help, remaining a frustratingly impenetrable character. And yet worries about accessibility seem off point since Kumiko herself just can't connect.

The inciting image in "Fargo"

Eventually the movie curdles into something like a dark Asian companion piece to The Purple Rose of Cairo in which Kumiko continually wills the Coen Bros' classic to consume her. It's a tough sit but I found it rewarding and singular, especially in its presentational clinging to old technologies. Kumiko watches VHS, hand sews treasure maps, and despises her cel phone; she just isn't fit for the times, unable to connect in Japan or America. An ignorant but well intentioned old woman underlines this in one brilliantly succinct joke, handing the confused young woman an old paperbook of "Shogun". 

Grade: B+... it really grew on me 24 hours after seeing it
Distribution: I'd say unlikely but you never know.