20:11 Take The Warriors To Shelter

Year in Review Fun! It's the final installment of our peculiar time stamp fetish. The 20th minute and 11th second of the movies of 2011 in chronological order of US release date. It's like flipping channels for snapshots of the film year! For those who like a challenge, I've written the film titles in invisible ink (you can highlight to see them) below the screencap. We'd keep going but it will take too long for the rest of the movies to make it to DVD.

How many have you seen? Do these images make you want to stop surfing and watch?

Jan | Feb | March | April| May | June | July

Part 8: Samplings from August through October

Great. Write my obituary 'Charlotte Phelan: dead; Her daughter: still single.' " 

THE HELP ... lots more on this movie.

-Good fun. We'll have good fun from now on.
-Fight. Maybe we fight outside the car.
-[Laughs] I think it's gonna get more and more excite [sic] the championship."

SENNA

-Don't you think we'd feel more comfortable with our clothes off?
-Unbelievable, just unbelievable
-Why not?
-The rules! Not to mention your girlfriend
-What, Ingrid? She's very uninhibited. She'd have had her top off at the check-in desk."

ONE DAY

...a few more moments frozen in time after the jump. Have you seen any of these movies?

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Kill Your Darlings (Casting The Beats)

JA from MNPP here. It seems like it's the dream of every young actor to play one of the Beats - sensitive yet masculine fellows in sharp clothes with pre-praised snappy dialogue: what could go wrong? Well...  they were kind of all having sex with each other for one, and that keeps the money-men away. So the budgets stay tiny, pre-production gets drawn way out, and names come and go, come and go. I've been following the news on one of these projects for awhile - Kill Your Darlings first blipped onto my radar back in 2009, when it was announced that Chris Evans was going to play Jack Kerouac. That's the sort of headline that grabs my attention, you see. 

William S Burroughs, Lucien Carr and Allen Ginsberg

KYD is about the sordid story at the start of the Beats, involving the poet Lucien Carr who was friends with Kerouac and William Burroughs and Allen Ginsberg. Carr murdered a man named David Kammerer, supposedly because Kammerer came onto him. That gay-panic defense seems somewhat unlikely given the fact that Ginsberg maintained he'd had sex with Carr, but you can read more about the background to the story here.

Besides Chris Evans, KYD was originally going to have Ben Whishaw playing Carr and Jesse Eisenberg was going to play Allen Ginsberg. Then silence. Who knows what iterations of actors came after that, but the next thing we heard was two and a half years later, this past November that is, when Daniel Radcliffe was announced as set to play Ginsberg.

Well a couple of days ago we got more casting news. A lot more, actually. Young Leonardo DiCaprio doppleganger Dane DeHaan, who just topped the box office this month in the generally well-received found-footage movie Chronicle, is set to play the murderer Lucien Carr. Dexter's Michael C. Hall will be playing the victim, David Kammerer. Elizabeth Olsen is set to play Carr's girlfriend Edie. The great Ben Foster is playing William Burroughs, while Jennifer Jason Leigh and Kyra Sedgwick are set to play...we don't know who. Somebodies!

Michael C Hall (a victim for once?) and Dane DeHaan

Jack Huston | Jack Kerouac

Finally  Jack Huston, of yes those Hustons, is going to play Jack Kerouac.

Bullhead.

Jose on one of this year's Foreign Film nominees...

The steaks in Bullhead are so red that you can practically taste the blood coming out of them. The intensity of their color is such that you can’t look away whenever a piece of meat is onscreen. They look both enticing and completely disgusting which makes sense given that meat is this film's currency of choice. Director Michael R. Roskam’s debut is a dark, complex thriller that breathes new life into the coming-of-age story and the gangster drama by setting it in the unexplored world of cattle farming.

Jacky Vanmarsenille (Matthias Schoenaerts) is a young cattle farmer who is dragged unwillingly into the underworld of hormone trafficking after getting involved with a corrupt beef trader. A mysterious murder brings Jacky’s childhood friend, Diederik (Jeroen Perceval), back into his life and threatens to reveal a secret he’s been hiding for over two decades.

Roskam weaves a deceptively simple tale about the loss of innocence that works because he subverts the notions of the genre, giving us a movie that questions if the events in our past can fully determine our future. Anchored by Schoenaert’s masterful committed performance (he gained over 60 pounds of muscle for the part) the film also works as a fascinating character study. Jacky is addicted to hormones and has become a minotaur of sorts, a man who suppresses his humanity at will to let out his inner animal. Schoenaert could’ve easily relied on his character’s past to build a performance filled with quirks. Instead he interiorizes all the pain only to release it through a shattering series of confused glances. He always looks as if he’s a werewolf about to transform.

The film transforms into something more than an effective thriller. At the center of Bullhead is something else altogether, a surprising brilliant study of sexual identity. What makes someone a “man”. While other movies have explored this question through metaphors, Roskam goes to the core of the situation creating a perfect companion piece to Pedro Almodóvar’s The Skin I Live In. Bullhead could’ve been merely sensationalist but is instead chilling. The director not only points out that the cruelty of violence is often unseen, but he also reveals sexism embedded in the way we speak. Children often hear their parents say they will “become men” someday but rarely understand what this truly means. Is manhood a meritocracy? Should a piece of meat really define you?

Oscar analysis: Bullhead is a surprising inclusion among this year’s Best Foreign Language Film nominees because of its disturbing plot and violence. It feels like one of those  “special” movies chosen by the executive committee and as such joins the ranks of Gotz Spielmann’s Revanche  and Yorgos Lanthimos’ Dogtooth in terms of 'the nomination is enough of an honor given its unlikelihood to have happened in the first place'. Though Bullhead probably has no chance of winning its combination of genre awesomeness and impressive central performance make it an exemplary work of art. It will undoubtedly be remade in English in a few years. 

Tues Top Ten: Best Best Supporting Actress Winners

"I Simply Cannot Do Alone" might well be the theme song all lead actors should sing to their stellar supporting castI felt a list coming on so I didn't fight it. Neither did I fight the order as I slotted them in, though you know how this goes if you've ever made such insane list. The order might change with a moodswing and it would definitely change (perhaps drastically) if I had an opportunity to rewatch all these pictures back to back. 

Ten Most Deserving Best Supporting Actress Oscar Wins

Runners up: I'm crazy about Patty Duke in The Miracle Worker and Tatum O'Neal in Paper Moon but they're both unarguably leading roles so I'm not voting for them. My apologies in no particular order to Ruth Gordon, Wendy Hiller, Catherine Zeta-Jones and, oh, dozens of people. Never mind. Moving on! (The one winning performance I'm most frustrated to have not yet laid eyes on is Gloria Grahame's in The Bad and the Beautiful (given the hosannas I read about it... even right here.)  

10 I want to offer the tenth spot to either Mercedes Reuhl in The Fisher King (1991) or Dorothy Malone in Written on the Wind (1956) though I haven't seen either performance in aeons. Both are sometimes regarded --even by me -- as performances that are so over the top they're buzzing about King Kong's head like tiny airplanes. But given that the films they're in are as colorful and eccentric as the Empire State Building is tall, they're truly excellent and memorable contributions to their movies if you ask me. 

She's got poise. The way she holds her head at just the right angle. That takes training. That takes years of training. I see what Willy sees. Willy's got big ideas, Jack."
-in All The King's Men 

09 Mercedes McCambridge, All the King's Men (1949)
She slices right through the thick air of political grandstanding. Modern and mercurial, I sometimes like to imagine McCambridge dropped right into today's pictures. Imagine her starch and steel freed up by looser contemporary mores. She'd be even better about complicating her movies. 

Where did April come up with that stuff about Adolf Loos and terms like "organic form"? Well, naturally. She went to Brandeis. But I don't think she knows what she's talking about. Could you believe the way she was calling him David? "Yes, David. I feel that way, too, David. What a marvelous space, David." I hate April. She's pushy."
-Holly's interior monologue in Hannah and Her Sisters 

#8 through #1
Tilda, Rita, Dianne and More after the jump

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Jake Gyllenhaal Introduces The Meryl Streep Tribute At Berlinale

Awww, this is sweet. Jake Gyllenhaal met Meryl through her son Hank (aka Henry Wolfe) when he was all of 13 and Jake has been intimiated by her ever since. Jake Gyllenhaal is on the jury this year that will decide the big winners at Berlinale but he also had the honor of introducing her for the her lifetime achievement Golden Bear.

I promised to quit talking about the Best Actress race (well, until we have to talk about the actual ceremony) but wanted you to enjoy this. Her Bafta speech is after the jump if you haven't seen it yet.

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