Hollywood Awards 2011. Something For Everyone (& the Fanboys)

The annual pubicity stunt that is the Hollywood Film Festival Awards have been announced. The ceremony will take place on October 24th, 2011. No publicity is bad publicity so this is good news for all of the recipients, especially since in most cases they are blocking some direct competition from picking up the very same free publicity. (Not that publicity is free but... oh never mind.) Just for fun I've included the past two years of recipients in italics below this year's honor so you can gauge their general behavior (which is erratic in terms of titles of awards, number of recipients, and whether it has any reflection of general awards season hoopla).

A professional working actor for the past 23 years and a famous one for the past 16 wins "BREAKTHROUGH ACTOR" (Hee!)

Hollywood Career Achievement Award: GLENN CLOSE - Albert Nobbs
2010 -Sylvester Stallone; 2009 - 
Hollywood Actor Award: no one announced yet
2010 -Robert Duvall -Get Low; 2009: Robert DeNiro -Everybody's Fine
Hollywood Director of the Year: no one announced yet 
2010 Tom Hooper -The King's Speech; 2009 Kathryn Bigelow - The Hurt Locker
Hollywood Actress Award:MICHELLE WILLIAMS - My Week with Marilyn
2010 - Annette Bening, The Kids Are All Right; 2009 -Hilary Swank -Amelia 
Hollywood Supporting Actor Award: CHRISTOPHER PLUMMER - Beginners
2010- Sam Rockwell, Conviction; 2009 -Christoph Waltz, Inglourious Basterdss 
Hollywood Supporting Actress Award: CAREY MULLIGAN - Shame
2010- Helena Bonham-Carter, The King's Speech; 2009 -Julianne Moore, A Single Man
Hollywood Breakthrough Actor Award: JOSEPH GORDON-LEVITT - 50/50
2010- Andrew Garfield, The Social Network; 2009 - Jeremy Renner The Hurt Locker; 
Hollywood Breakthrough Actress Award: JESSICA CHASTAIN - The Tree of Life; The Help; Take Shelter; Coriolanus
2010 - Mia Wasikowska; 2009-Carey Mulligan
New Hollywood Award: FELICITY JONES -  Like Crazy
*** strange note *** According to the IMDb Felicity Jones won this prize last year, too, for the same film. But there is no "New Hollywood" prize for 2010 listed on the Hollywood Film Festival Site; 2009 Gabby Sidibe, Precious
Hollywood Ensemble Cast Award: "THE HELP" CAST 
2010: "The Social Network" Cast; 2009: n/a
Hollywood Screenwriter Award: DIABLO CODY -Young Adult
2010: Aaron Sorkin, The Social Network; 2009 Scott Neustadter and Michael H Weber -500 Days of Summer
Hollywood Breakthrough Director Award: MICHEL HAZANAVICIUS - The Artist
2010 -n/a; 2009 -n/a
Hollywood Producer Award: LETTY ARONSON - Midnight in Paris
2010: Danny Boyle & Christian Colson 127 Hours, 2009 Ryan Cavanaugh (not sure which movie. he had several) 
Hollywood Cinematographer Award: EMMANUEL LUBEZSKI - The Tree of Life
2010 Wally Pfister -Inception; 2009 Roger Deakins -A Serious Man
Hollywood Film Composer Award: ALBERTO IGLESIAS - Tinker, Tailor, Soldier, Spy
2010 Hans Zimmer -Inception;
Hollywood Editor Award: STEPHEN MIRRIONE - The Ides of March
2010 Angus Wall and Kirk Baxter -The Social Network; 2009-Dana Glauberman - Up in the Air
Hollywood Production Designer Award: JAMES J. MURAKAMI - J. Edgar
Hollywood Visual Effects Award: "TRANSFORMERS: DARK OF THE MOON" - Scott Farrar
2010 Iron Man 2; 2009 -n/a
Hollywood Animation Award: "RANGO" directed by Gore Verbinski
2010: Toy Story 3; 2009 -n/a
Hollywood Comedy Award: no one announced yet 
2010 Zach Galifianakis; 2009: Bradley Cooper (they're working their way through the entire cast of The Hangover)
Hollywood Spotlight Awards: SHAILENE WOODLEY - The Descendants
2010: Mila Kunis, Milla Jovovich, Leighton Meester, and Noomi Rapace; 2009 Paul Schneider and Melanie Lynskey  

Their "Movie of the Year" prize (won by Inception last year and Star Trek the year before) you can vote on yourself since they do this in conjunction with Yahoo Movies. The nominees are...

• Captain America: The First Avenger
• Cowboys & Aliens
• Harry Potter & The Deathly Hallows Part Two
• The Help
• Pirates of the Caribbean: On Stranger Tides
• Rango
• Rise of the Planet of the Apes
• Super 8
• Transformers Dark of the Moon
• X-Men First Class

Movie of the Year is short for Fanboy Film of the Year since, despite the weird anomaly of The Help, they go strictly boy-appeal f/x driven blockbusters. They lean that way so hard that they're willing to toss out a big hit like Bridesmaids in order to include a movie virtually nobody likes to drive the target-audience point home (hi, Cowboys and Aliens!). 

Snow White and the Seven Links

Pfangirl looks at all the upcoming fairy tale reinvisionings onscreen. 
EW has first look photos at Tarsem Singh's Snow White movie with Armie Hammer, Julia Roberts and Lily Collins in looks that Project Runway would most certainly declare "too costumey"

Evil Queen Roberts and Prince Charming Hammer 

Glee This is a poor quality video (but the best I could find) of Harry Shum Jr (♥) doing "Cool" from West Side Story. This past Tuesday's episode was the best in some time and Season 3 seems to be returning to less processed sounding music, and more small town big talent dreaminess which made the very first episodes so charming.
Thelma Adams prefers Michael Fassbender buttoned up (A Dangerous Method) to Michael Fassbender well hung (Shame). Fun piece. Um, not Fassy's, her blot post I mean!  

⇚ Look, J Edgar has a real poster. I like it even though I also find it hideous (I blame my Gemini nature). Anyway, I'm heading out the door this moment to buy tickets to NYFF's special surprise screening. I fear that this will be the movie since they love Clint Eastwood like I love, oh, Almodóvar at NYFF... (One of their most embarrassing moments ever was when they famously thought Changeling a worthy festival entry while refusing Rachel Getting Married in 2008. Sorry, to bring it up again.... BYGONES!) Anyway... I'm hoping it's one of the two Spielbergs or Dragon Tattoo -- something Christmasy to justify the cash to see it early. But if I just blew cash on any November release that I can see in less than a month for free, I will boo-hoo. 

Towleroad Jay Brannan does Adele's "Someone Like You". Love the song. Love Brannan. 
Movie|Line did you know that there's a documentary on The Swell Season. Fans of Once (2007) should take note.
The Insider have you seen this funny clip of Evan Rachel Wood expressing her hipster cred (reference to Requiem for a Dream soundtrack is A+ Evan) before going gaga for Justin Beiber. Delightful... even though, ewww. 

Yes, No, Maybe So: "Young Adult"

Last time director Jason Reitman and Diablo Cody got together they gave us Juno (2007). This combined effort won them millions at the box office and four Oscar nominations. Can they strike gold twice? 

Cheers. Charlize Theron is a fierce funny bitch in "Young Adult" 

Young Adult features Oscar winning glamazon Charlize Theron as "Mavis" who returns to her hometown to win back an old boyfriend who is now a happily married father. Everyone else knows this is a terrible idea.

YES

• A lying cheating amoral lead character who is a "psychotic prom queen bitch"? We're so there.
• Dogs in bags, black fingernail polish... love that she's a bit dated in her badass "coolness" but totally pleased with herself about it. You can't get a bead from these two minutes whether she's aware that she's "shocking" (see also: Liza in Cabaret) or if she's oblivious to her own crazy... but either way that'll be funny.
• Biggest LOL Moment: Mavis and the ugly baby. If the whole movie is that funny, it'll be a perennial you can watch on repeat.
• Love the disconnect in her conversations "I'm a married man." "We can beat this thing together!"
• Charlize's comedic talents rarely get such a work out so bring it on.

NO

• The trailer promises The Charlize Show, but one of Juno's strengths was its fully humanized supporting cast. This doesn't suggest any depth of focus at first glance beyond its showy lead. Will Charlize be enough?
• If Charlize ends up with Patton Oswalt, that's just going to be weird and yet totally pandering/typical of the movies where the über babes are always falling for guys who look like regular moviegoers. 

MAYBE SO

• Jason Reitman's films are usually fairly impressive juggling acts with dramatic and comedic balls up in the air (sorry) constantly. This looks like a simple straightforward comedy. It might be more but even if it isn't won't that be welcome in the heat of Prestige Film Season surrounding by Totally Meaningful Sober Epic Dramas?

Here's the trailer

Are you a yes, no or maybe so? Charlize Theron: how ya like her now? How you like her Oscar chances once that Golden Globe is sewn up... or will Kristen Wiig's Bridesmaid trip her up there?

The Little Mermaid... She's Gotta Have It.

With this week's Disney announcement that The Little Mermaid will get 3D rerelease treatment (along with other pictures) that put The Lion King back on everyone's lips, I thought it was time to republish this piece on the classic film...

The Little Mermaid (1989)  | Directed by Ron Clements and John Musker Screenplay by Roger Allers, Ron Clements, and John Musker (very loosely based on the Hans Christian Andersen fairy tale) | Music by Alan Menken Lyrics by Howard Ashman | Starring the Voices of: Jodie Benson, Pat Carroll, Kenneth Mars and Samuel E Wright | Production Company Walt Disney | Released 11/17/1989

American members of Generation Y or Z and beyond may have a good deal of trouble imagining this but it's true: once upon a time, animated movies were considered highly uncool. They were strictly for babies. Teenagers disdained them. Adults took their children under duress. They barely caused a ripple at the box office. The Academy of Motion Pictures Arts and Sciences ignored them. CGI was not part of the national vernacular. Strange but true.

In a very short window of time, from November 1989 through February 1992, three major events changed modern perceptions of the animated film in a gargantuan way. Let's take them in reverse order: The third big-bang was the moment when Beauty & the Beast (1991) was nominated for six Oscars including Best Picture, the first time that a cartoon had received that pinnacle mainstream honor. The middle part of the three-part revolution was when hipster American audiences began to discover that there was more to the form than Walt Disney. Katsuhiro Ôtomo's Japanese sci-fi spellbinder Akira was the key that opened the door for anime, now very big and influential business in America. But the first key event in animation's rebirth (stateside at least) was the release of Disney's "28th animated classic" The Little Mermaid; an orgasmic reawakening of the most flexible and fantastical of film mediums...

"She's Gotta Have It!"

The heroine of Disney's modern breakthrough film is Ariel, a teenage mermaid. Since this is a fairy tale (and a Disney one at that) she's also a beautiful princess: the youngest daughter of King Triton who rules the ocean. Only trouble is, despite her quick smile and high spirits, she's restless and unhappy... dissatisfied with her life of privilege under the sea. She wants to trade up. Literally. Since this is a late 1980s film (and a Disney one at that) she's also the headstrong entitled type. This princess isn't going to whisper her need. She's no Oliver with his meager allotment of gruel, politely asking for more.

music, sexuality and animated evolution after the jump... 

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Distant Relatives: Who's Afraid of Virginia Woolf? and Blue Valentine

Robert here with my series Distant Relatives, which explores the connections between one classic and one contemporary film.

Who's Afraid of Virginia Woolf? and Blue Valentine explore the same territory but come at it from entirely different angles. Woolf is deliberately theatrical, full of delightfully big performances, long monologues, and crescendoing clashes. Everything that's wrong with George and Martha's relationship gets said and said again. Blue Valentine is insistently realistic, filled with small moments and quiet regrets. All that's wrong with Dean and Cindy's relationship is encompassed by things gone unsaid. Ultimately though, both are marriages on the brink of collapse, a subject covered many times since the invention of film, or the narrative story itself. What makes Who's Afraid of Virginia Woolf and Blue Valentine interesting companion pieces is that both juxtapose a middle-aged couple with a young couple.

A Tale of Four Couples

Who's Afraid of Virginia Woolf, introduces us to the middle-aged collegiate couple George and Martha (Richard Burton, Elizabeth Taylor, of course) as they're introducing themselves to a younger couple Nick and Honey (George Segal, Sandy Dennis). Nick is a new teacher at the school, filled with ambition. George is not. Honey is a fragile little thing. Martha is not. Over the course of one night filled with lots of booze and BS, both relationship, but particularly George and Martha's, for that's the important one, will be bent to their breaking point. The middle-aged couple in Blue Valentine are Dean and Cindy (Ryan Gosling, Michelle Williams). Dean is a bit of a layabout and treats life as if it were as easy as he wishes it were. This leaves the majority of the work to fall to Cindy who can't really find the time in her schedule for anything resembling fun and at this point has pretty much given up on wanting to. And the young couple in Blue Valentine are the same Dean and Cindy, at the beginning of their life together, filled with love and optimism. It's not a "feel-good picture."

This isn't to say that the young Dean and Cindy are directly equatable to Nick and Honey or that the older Dean and Cindy are the same as George and Martha... (more after the jump)

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