Beasts of the Southern Secret Garden

JA from MNPP here, taking a look at the news of the day - newly Oscar nominated writer Lucy Alibar, who adapted her play into the movie Beasts of the Southern Wild, has just been announced as the writer of a new movie adaptation of Frances Hodgson Burnett's much loved (not to mention much adapted) 1911 serial-turned-novel The Secret Garden. For a hot minute it seemed as if Guillermo Del Toro was going to direct it, but he's too busy making giant robots fight giant monsters so he's just gonna produce.

The Secret Garden is about, well, a largely orphaned girl who gets left to her own devices amid overgrown nature, where she allows her imagination to run wild. Sound familiar? I just can't imagine how Alibar got the gig. Apparently the action is being shifted from England to "the American South at the turn of the 20th Century," as well.

The Secret Garden's already been adapted several times - I remember liking the 1993 version with Maggie Smith, although it's been a very long time since I've seen it.

Raven Haired "Mama"

Jose here. By the time this weekend's over, Jessica Chastain will have finished taking over the world her latest movies in the first and second spots of the box office (help me out here, has this happened before?), which might not mean she's a money-making sensation (at least not yet) but will undoubtedly expose her brilliance to a broader audience. The Oscar nominated Zero Dark Thirty, whose commercial success is undoubtedly owed to the torture controversy, dropped to second place, while the horror movie Mama is set to open as number one with a figure in the mid-twenty millions

http://thefilmexperience.net/blog/2013/1/20/raven-haired-mama.html

The Guillermo del Toro-produced movie seems to be a good 'ole "mediocre January horror flick" but it's actually not half bad. I saw it earlier today and was shocked upon realizing I hadn't rolled my eyes a single time. The Chastainite in me wants to say the movie owes itself to her, but in reality, the direction and cinematography seem like a breath of fresh air compared to what this genre has given us lately. [More Chastain after the jump...]

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Oscar Horrors: Setting The Table for The Pale Man

Oscar Horrors continues with Michael on everyone's favorite Guillermo del Toro film

HERE LIES... Pan’s Labyrinth, winner of the 2006 Oscar for Best Art Direction.

I could go through Guillermo del Toro’s Pan’s Labyrinth a scene at a time picking out all the brilliant little details that makes its imagery so indelible, but for this post, let’s limit our focus to the film’s most famous scene: The Pale Man. The monster that has a table full of delicious food but only feeds, to use del Toro’s words, “on the blood of the innocent.” There have been thousands of scenes where one form of monster or another stalks the story’s protagonist. It is one of the basic equations of the horror genre. So what do set decorator Pilar Revuelta and art director Eugenio Cabellero do with this one that shakes the viewer on such an elemental level? 

Of course it helps to start with one of the all time horrifying creatures in all of cinema. Del Toro instructed the team to imagine an old obese man who quickly lost a lot of weight, and when that proved insufficiently nightmare-inducing proceeded to erase the face of their designs.

But beyond the surface there are many elements to the scene most viewers will only register subconsciously. Like... 

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Oscars Horrors: Hellboys and Albinos

In this series, Team Experience is looking at Oscar nominated or Oscar winning contributions from or related to the horror genre. Horror has many hooks (and other deadly pointy things) but it's historically lacking in Oscar bait.

HERE LIES... Hellboy's makeup, sent to the grave from Benjamin Button's cradle in the 2008 competition for Best Achievement in Makeup for 2008; aging in reverse buried ageless supernatural creatures. 

Have you ever found yourself wholly confused by what Oscar's makeup branch looks for in a movie? Aside from aging prosthetics, where latex is lathered on to  take movie stars from cradle to grave in bloated biopics, there seems to be no consistency in how they vote. Benjamin Button's aging, which was surely heavily computer abetted, won the Oscar whilst Nicole Kidman's nose in The Hours was ruled ineligible due to computer touchups years earlier.  If you stop to recall that that the subgenre of movies that is most obviously makeup dependent (the zombie movie) has never received one makeup effects nomination it sets the head spinning right off one's shoulders. What are they looking for? It's my dream to corner one of them one days and ask just that question.

The case of Hellboy II: The Golden Army is an interesting one because, though the movie is rife with beautiful prosthetics work, many of the characters appeared in the earlier film Hellboy (2004) for which Mike Elizalde and Thomas Floutz did not receive nominations. Technically makeup work within a sequel must be sufficiently "new" to qualify. Was it the adorable site of Little Orphan 'Code Name: Hellboy' in the prologue flashback? 

The makeup work was so perfect that child actor Monste Ribé could even brush his fake teeth!

Why was the amazing sight of Ron Perlman as the adult Hellboy in 2004 not enough for a makeup nomination? Perhaps we're so accustomed to seeing genre favorite Ron Perlman buried in latex and prosthetics that it's only the site of him without (like in Drive this year) that warrants any double takes and "how did they do that?" wonder!

Or maybe the nomination came from those twin Royal elves Prince Nuada (Luke Goss, pictured) and Princess Nuala (Anna Walton) and their albino skin and weirdly creepy scarring?

Either way I hope the makeup artists or Guillermo del Toro got around to thanking Ralph Bakshi and Frank Frazetta for the Fire & Ice inspiration... "NEKRON!!!!!"

Have you ever seen the Hellboy movies?
Hellboy would sure be a tough costume to pull off for Halloween.