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Hello and happy Monday, everybody - Jason from MNPP here with another round of our "Beauty vs Beast" series! This week we're turning our eyes to the 20th anniversary of Don Roos' The Opposite of Sex, which is tomorrow. The film came out on May 22nd 1998, and all good gays (and gay-adjacents) have been quoting Christina Ricci's surly sexpot DeDee and Lisa Kudrow's snide spinster Lucia ever since. But what if I told you you had to choose??? That's not a hypothetical - I am actually asking you to choose. Right now!
PREVIOUSLY She might not have taken an Oscar earlier this year but Saoirse Ronan can comfort herself that she's now won one of these polls, I guess - her Hanna trounced Cate Blanchett with 70% of your vote. Said Lady Edith:
"Joe Wright gave Saoirse her start and then handed her Hanna which solidified her amazing talents. We get to see the whole range of emotions from her. No disrespect to Cate but I want Saoirse to win this and trounce her evil Mom."
Jason from MNPP here with this week's "Beauty vs Beast" which is tackling the 49th birthday of one of modern cinema's more obscure and under-rewarded actresses, maybe you've heard her name in passing -- a Cate Blanchett? If you have you're one of the lucky few in the know! Okay okay so she's currently swanning around southern France in millions of dollars in fabrics being the grande dame of the movies, so you probably have.
But this week's competition is facing her down with a real buried gem, somebody only the mosy diligent of cineastes has heard of and whose film adaptation of a serious difficult piece of theater just hit theaters this past weekend... a Saoirse Ronan? Rack your brains, maybe that name sounds familiar. Anyway in 2011 these two forces of nature faced down in Joe Wright's (still under-appreciated if you ask me) film Hanna, and here we are...
PREVIOUSLY Last week also tackled a bad mother figure situation with the monsters of the Alien franchise and I think since it was Mother's Day you made the right choice, giving Mama Queen Alien Bitch 70% of the vote. Said AmandaBuffamonteezi:
Oooh, it's another new image from Ryan Gosling's Lost River (formerly titled: How To Catch a Monster) and I love this macabre club entrance that Christina Hendricks is standing in front of.
Does this image remind anyone else of the abandoned amusement park in Joe Wright's Hanna ?
Maybe all images of redheads with bobs and big animalistic mouthdoors would naturally be in dialogue with one another. Never mind.
If you haven't read the official synopsis it goes like so:
....weaves elements of fantasy noir, and suspense into a modern day fairytale. Set against the surreal dreamscape of a vanishing city, Billy, a single mother of two, is swept into a macabre and dark fantasy underworld while her teenage son discovers a secret road leading to an underwater town. Both Billy and Bones must dive deep into the mystery, if their family is to survive.
None of us have any idea if Gosling will be a good director or not but it'll be exciting to find out. The film will premiere at Cannes in the Un Certain Regard section. One thing that's hugely puzzling, though, is that Agents of S.H.I.E.L.D.'s Iain de Caesteker plays a character named "Bones" who I've been led to believe is Billy's teenage son, though the synopsis is a bit confusingly written in this regard. Caesteker is 26 and Hendricks is only 38... so he's too old to play a teenager and she's definitely too young to play his mother so I hope people are confused about who the son is.
Will people like this soundtrack more than the films it's for?Hey everybody. Michael C. here. Most of the time I try to find a topical question to address in this column, or failing that a universal question that is always pressing to some degree or another. But sometimes there is that third category of utterly random questions that bubble to the surface and refuse to stop nagging me until I’ve shared them with the world. Where the minds of most people produce useful thoughts like “Let’s go walk in the sunshine” or “It’s never too early to plan for retirement!” my mind cranks out gems like “It’s crucial that we know which film to soundtrack ratio has the biggest disparity. Quickly! Stop what you’re doing and make up a list of candidate films!”
I suspect many faithful readers can relate.
So let’s call this week’s episode more of a simmering question than a burning one, because that’s the query I want answered. Some films are best remembered only for introducing a star (The Silver Chalice) or for a single line of dialogue (Beyond the Forest). What movies would drift off into obscurity, if not for their killer playlists? What is the biggest difference in quality between a crappy film and an awesome soundtrack?
Doing a preliminary scan I realized finding a definitive answer was going to be trickier than I thought...
Around this time of year when I abruptly stop watching movies in full (a breather if you will. It usually lasts two to three weeks) I tend to spend a lot of time skimming through films I've already seen for writing purposes or little reminders of what makes them tick (or tick me off). Scanning through Hanna recently I was amazed anew at the rich theater of its sound work. I didn't quite love the movie or even like it at all in spots and yet it's really difficult to shake.
Of course, you always notice great sound work more when you're also responding to the music and you'll see that reflected in the song, score, sound mixing and sound editing categories which contain nominations for films ranging from Drive to Captain America, The Skin I Live In to The Muppets, Moneyball to Super 8. I don't tend to write much about these categories and I don't claim to be an expert but every year I promise myself to pay a little more attention to sound and scoring. I can't say that I kept the promise in 2011 but since Hollywood was busy obsessing over silent movies (Hugo and The Artist) I'll interpret that as a deferrment.
Let's talk scoring a lot more in 2012, mmmkay?!
As for 2011, which is still going on in our world since Oscar is the New Year's Eve of the film year, I'm all about Alberto Iglesias. There are a number of composers that do multiple films a year these days. Many of them repeat themselves. I think the strain is starting to show a smidgeon with Alexandre Desplat, for example, a god among composers. He's the Jessica Chastain of composers; working round the clock and signing up for endless more projects. But WOW with Iglesias this year. He's done great work before but The Skin I Live In and Tinker Tailor Soldier Spy are both A grade scores for very different films. I'd nominated him for both but for my policy of not doing that (I treat the craft categories like Oscar treats acting. You're only allowed on nomination in a category each year).
I hope Iglesias hasn't peaked yet but if he has, you'd be hard pressed to find a better twofer from any composer in the space of a single year. Both scores really fit and elevate their films.
P.S. I've add editing to the VISUAL CATEGORIES. I meant to have more done by now but I'm told that I was wrong about their being 32 hours in every day. Who knew?
Monday, May 21, 2018 at 1:25PM 
PREVIOUSLY She might not have taken an Oscar earlier this year but Saoirse Ronan can comfort herself that she's now won one of these polls, I guess - her Hanna trounced Cate Blanchett with 70% of your vote. Said Lady Edith:
