Michael C. here just back from an encounter with the Spirit of Vengeance.
There is something about movies not screening for critics that makes me want to see titles I would otherwise self-deport to avoid. I think it’s the idea that they’re trying to get away with something. I want to go to prove that they're as awful as I suspect. Not rational behavior, I admit, but I feel I have to produce some explanation as to why, when my friends suggested we go see Ghost Rider: Spirit of Vengeance, I went, instead of doing something sensible like jumping in front of a bus.
Of course, my friends didn’t think the movie would be good either. These days one sees a Nicolas Cage movie for the same reason one Googles “epic fail” or watches the GOP debates: the promise of spectacular, instantly classic moments of insanity. Cage’s recent films have been so consistently bonkers that they are now a genre unto themselves. A genre wherein a drug-fueled communion with imaginary iguanas is classified as “same old, same old”.
It’s reach a point where I don’t think it’s unfair to ask, Will Nicolas Cage ever give another great performance?
Has this film year overstayed its welcome? Let's take a flashback then, way back to April 1965 when Sidney Poitier read out Julie Andrews as the winner of Best Actress. Julie was her typically gracious self repeating her ambiguously directed gratitude (she only really thanked Walt Disney) so much in her short speech she had to stop herself. "...but then I've already said that!"
I don't think we've ever talked about this particular win (strange that) at The Film Experience but it's quite atypical. "Mary Poppins" isn't a particularly baity role, however iconic. She's also "practically perfect in every way" which leaves virtually no room for a character arc. Can you think of a Best Actress win that's correlative?
Julie's speech was much cheekier at the Globes. Do you know who she thanked in her speech? The answer is after the jump.
Alexa here. Even though my excitement over the Oscar nominees this year is a bit thin, the films are enlivened for me when I see them through the eyes of other artists. (Another reason the Academy should follow the lead of the BAFTAs and hire some illustrators already). In last week's Curio I posted some of the more interesting unsheets (a creative term for fan poster art) popping up on the web for Best Picture nominees The Help, Extremely Loud & Incredibly Close, Moneyball, and The Descendants. Without further ado, here are the best unsheets I've spied for the remaining nominees Hugo, War Horse, The Tree of Life, Midnight in Paris, and The Artist. Happy Oscar all!
Jose here to report on Sunday night's Goya Awards.
The Goyas are always an unusually dull awards ceremony: imagine the Oscars without any commercial breaks or attempts at cheesy humor. Last night however there was something that made it one of the most interesting ceremonies in years: what was expected to be a clean sweep for Pedro Almodóvar's The Skin I Live In - which entered the race with an impressive 16 nominations - instead turned into yet another demonstration of the Spanish Academy members' apathy for their most famous prodigal child.
Pedro always becomes the center of discussion when it comes to these awards, particularly because while the rest of the world salivates over any new Almodóvar movies - just last week he upset A Separation at the BAFTAs - his fellow countrymen and women have only rewarded him three times in the past. [Continue...]