Red Carpet Globes Pt 1: Lisbeth is Wednesday

Last week on Red Carpet Convos, Joanna and I were trying on gowns; I borrowed Penelope's (don't judge) and she wore Evan Rachel's.  This week Kurt and I gawk at the Golden Globes but alas, there's no word on which of these dresses Joanna would wear.

Nathaniel: Welcome back to Red Carpet Convos, Kurt. This was meant to be a three-way but Joanna had a fashion emergency off stage of some sort. She's here in spirit and promises to return!‬
Kurt:  A Wardrobe malfunction, naturally.‬ 
Nathaniel: ...which very few ladies were actually having on the Globes red carpet. Everyone (well almost everyone) was so put together. Let's start with Best Actresses of Yore.

Miss 2005, Ms 2008, Dame 2006, Double Dipper 1988 & 1991, and Mrs 2002

poll by twiigs.com

‬

Kurt:  ‪Reese gets my Lazy Trophy of the evening. ‬Between the dress and that wind-blown hair, she looks like she's shooting Bridesmaids 2...in Chicago.
Nathaniel:  ‪Lazy is an odd adjective for Reese since her signature roles are so go-getter ambitious but career-wise and fashion wise. Okay, maybe.‬ 
Kurt:  ‪Yes on go-getter, but doesn't this outfit feel grab-and-go?‬
Nathaniel:  ‪I feel the same way about Kate Winslet since she's been doing only black and white for, what, four years now? Her walk-in s like hitting the "desaturate" button on Photoshop. But she looks sensational anyway.‬
Kurt: I'm with you. It's "matronly" as all the fashion cops have no doubt screeched, but she just looks so beautiful. I even like the clutch, i mean "trophy placeholder"
 

Nathanile: Hee. Hey, trophies are the best red carpet accessories. Did you hear Helen Mirren doing the voice of Becky on last night's Glee?‬ 
Kurt:  ‪ha! no! the boyfriend and i missed Glee. we watched Stage Beauty, with Claire and Billy Crudup.
Nathaniel:  ‪My deepest apologies. You're still functional this morning?‬ 
Kurt:  ‪hahaha...aw. yes, it's a mess. but in terms of sexuality, i had fun.‬ 
Nathaniel:  ‪That sentence out of context! Watch...

in terms of sexuality, i had fun.‬ 
-Kurt 

Kurt:  ‪omg indeed‬. whoops. But back to this damn dame. Regal as always. Definitely red carpet MVP year in year out‬

Yes, she did!Nathaniel:  I think Jodie wore this color for her first Oscar win? Anyway, it's my favorite color on her. 
Kurt:  ‪I do like Jodie's outfit; however i keep getting, A Fish Called Jodie‬ 
Nathaniel:  ‪A Fish Called Jodie. Now I am imagining Jodie seducing Jamie Lee Curtis ...in French.
Kurt: It could happen.  I know everyone loves nicoles dress, but, bless her, she's such a perennial offender for me. and this number looks like her kids glued macaroni all over it
Nathaniel: Wrong. Jodie and Nicki Kidman Nicki Kidman both look like the movie stars they are. Or were...? The weirdest thing about winning an Oscar is sometimes how much it's like a cliff face rather than a peak.‬ Not for these two in particular. I'm just thinking aloud. Sorry, let's call it the ‬‪Susan Sarandon effect when Oscar is like The End. Mabe I'm only thinking of her because she used to favor the peekaboo cleavage that Kate is blessing us with.‬ It's for ladies that are proud of their racks.‬ 
Kurt:  ‪yes. more on Madonna later‬ 
Nathaniel: HA! So when I was assembling that "previous winners" lineup i kept wanting to including Laura Linney, Glenn Close and Julianne Moore but then had to remember. Statue Repellent!‬ 
 

Kurt:  ‪Poor Julianne...

Psychotic Agent, Silent Actress, Perpetual Loser, Perfection, YELLOWWWWWWWW

MORE AFTER THE JUMP

Click to read more ...

Blue Moments With Jodie & Fassy

Was it just me or was last night's Golden Globe ceremony less gold than blue? (It was even unfortunately brown what with all the references to Bridesmaids poop jokes). "Blush" was both a red carpet trend and something that stars were having to do.

The evening literally began with a beaver joke and ended with a dick gag. Both Jodie Foster and Michael Fassbender were good sports about the below-the-belt ribbing but what the hell did they spike the drinks with last night?

Jodie's Beaver
Ricky Gervais set the bawdy tone kicking off with a joke that seemed to be about Mel Gibson (he wasn't allowed to talk about him) but morphed into a much better one about Jodie Foster. He can't mention Mel Gibson...

Especially not Jodie Foster's Beaver. I haven't seen it myself. 

I've spoken to a lot of guys here. They haven't seen it either.  

...But that doesn't mean it's not any good!

One of the talking dumbheads at E! after party actually thought that was a joke about Jodie still being hot after birthing two children. Oh no, honey, no. That's not what the joke was about. 

Elton John did not think this joke was funny in a subsequent cutaway -- though he knew what the joke was about -- but he had a permascowl on his face throughout the evening, only smiling when Morgan Freeman interrupted his own speech to say "Hi Elton"

Fassbender's Frontal
When Clooney won Best Actor, He gave a beautiful shout out to his friend and former co-star Brad Pitt before going straight for the Fassbender dick jokes, even pantomiming a golf swing without a golf club.

Also you get to meet a lot of other wonderful young actors.  I met -- I'd like to thank Michael Fassbender for taking on the frontal nudity responsibility that I had.

Really Michael?  Honestly, can you play golf with your hands behind your back?

Go for it man, do it. 

George, George, George... 

Surely that was as good as a $100 million blockbuster for upping Michael Fassbender's Q Quotient round the world. 

Box Office: Ethan, Sherlock and Alvin Return

The newish Sherlock Holmes franchise was down from its first go around and the news was even worse for The Chipmunks in their third attack on the box office. Those high pitched rodents were off 50% so maybe we can safely bury this franchise?

I could have put a picture of Alvin and the Chipmunks here. Thank me!

The big story was crowded houses in limited release for the return of Ethan Hunt (Tom Cruise) in Mission: Impossible 4. (The four is silent or pronounced "Gost Pro•toh•call".) I'm eager to see it myself, not because of that prologue to The Dark Knight Rises that's attached in some theaters but because... director BRAD BIRD! He hasn't let us down yet: Family Dog, The Incredibles, Iron Giant, Ratatouille! So curious to see how he handles flesh and blood actors instead of drawings and pixels.

Box Office Top Ten
01 SHERLOCK HOLMES A GAME OF SHADOWS new $40 
02 ALVIN AND THE CHIPMUNKS: CHIPWRECKED new $23.5 
03 MISSION: IMPOSSIBLE - GHOST PROTOCOL  $13 
04 NEW YEAR'S EVE new $7.4 (cum. $24.8)
05 THE SITTER new $4.4 (cum. $17.7)
06 THE TWILIGHT SAGA: BREAKING DAWN PART 1 $4.3 (cum $266.4)
07 YOUNG ADULT $3.6 (cum $4)
08 HUGO $3.6 (cum $39)
09 ARTHUR CHRISTMAS $3.6 (cum. $38.5)
10 THE MUPPETS $3.4 (cum $70.9)

Other Talking Points
Precursor Nominations Mean Nothing to Ticket Sales: The Descendants [Michael's review] didn't really get a boost from its week of precursor glories, off 23% from last week, but then neither did any of the other films. It's all white noise to general audiences... until Oscar nominations, one supposes. Meanwhile one wonders if the Weinstein Co is being too cautious. The Artist [Nathaniel's review] was off only 2% but they only added one screen. My Week With Marilyn [Nathaniel's review] is also losing heat without expansions. It's taking forever and what gives with that. Marilyn is a brand. 

Jodie in Hiding:  Carnage is the second Jodie Foster picture in a row to open in a tiny number of locations following The Beaver. While I realize she isn't the draw she once was, it seems like she'd still be enough of a draw in wide release to at least make some money on a wider opening, even if people don't end up liking the movie, instead of the torturous inching along which prevents revenue.

Indie Success: Shame crossed the $1 million mark with 30 screens added and Margin Call crossed the $5 million mark (on a $3.5 million budget) as it continues to lose theaters. Is Margin Call a sign that Zachary Quinto is going to be a real behind-the-scenes force? He really seems to be taking to the producer's role with several projects lined up. 

What did you see this weekend? Was it worth your time?

NYFF: "Carnage"

Though critics screenings have been well under way for some time, tonight is the official opening night of the New York Film Festival. The kick off film is Roman Polanski's Carnage, about which we should undoubtedly say a few words. And then scream them, as we lose our composure.

Moviegoers who have seen Yasmina Reza's hit play "God of Carnage" in any of its many stage productions, had just cause to fear a film version; it's very much a work of the stage. What if they cast the two young boys whose stick-wielding playground tussle prompts all the (psychological) carnage between their parents, who meet to discuss the fight? What if the movie leaves the apartment where the entire play takes place? What if the actors can't handle the tricky satirical tone that has to be rooted in internal drama but stylized enough to extract external laughs?

The first two fears involve the dread "open it up" problem that hover like dark storm clouds over so many stage-to-screen adaptations. If you don't "open it up" you run the risk of your movie feeling weirdly hemmed in and even cheap. If you do "open it up" you run the risk of arbitrary and awkward resizing that feels more like nervous approval-seeking then an attempt to serve the material. With Roman Polanski, an expert at claustrophic storytelling, guiding the tight-quarters squabbling perhaps we shouldn't have worried.

The trouble-making sons of Penelope and Michael Longstreet (Jodie Foster and John C Reilly) and Nancy and Allen Cowan (Kate Winslet and Christoph Waltz) do appear in the film but in a wonderfully smart and ambiguously played framing device. This change from the play stays magically true to the spirit of the source material but is also entirely new and right for the change in medium (which is EXACTLY what adaptations should strive for). So the first thing Roman Polanski does right is that even though we do technically leave the confines of a realistically sized New York apartment (i.e. small) both visually and physically (the apartment building's hallway), we never once feel as though we've escaped the crowded private hell of two married couples. For a smartly succinct 80 minutes (it happens in real time) you are trapped with the parental quartet and their justifiable concern: what to do about a violent encounter between their children. The comedy and drama of the play-turned-movie are the ways in which said real and justifiable but basic-sized problem morphs, twists, pivots, wiggles, shrinks and expands -- it just can't hold its shape -- until it's a series of problems both microcosmically petty (home cooking, name calling, cel phones) and gargantuan unsolvable (Genocide! Corporate Greed! Marriage!).   

For the most part the actors all do solid work. Christoph Waltz, in the film's best and most nimble performance, ably suggests that Alan is a bit of a sadist and the only one who is actually enjoying all the squabbling and suffering (until he isn't). John C Reilly has the biggest about face, appearing to be the most accomodating character (and the dullest actor) until alcohol and aggravating phone calls from his mother loosen him up. Kate Winslet and Jodie Foster, two of the screen's most formidable actresses are both good. Kate is best with Nancy's comedic outbursts  (her weak stomach and quick inebriation, just as in the play, provides some of the most memorable moments) but one wishes for more character detail in the inbetween when she isn't the focus of the scene. Foster has the most difficult role. Penelope is an extremely uptight and self-righteous Africa-obsessed mother and she's the one character that's simultaneously the worst at keeping it together and the one most concerned with keeping it together. Though Foster has fine moments her comedy is the wobbliest; one ends up pitying Penelope more than laughing with or at her which is a strange place to end up inside of a viciously dark comedy. Still, there's a certain go-for-broke original bravura in Foster's vein-popping despair (hers is the performance least like the original play's), that one has to admire it even while one mentally recasts. 

As Carnage winds down... Stop. Winds down? Yes, though Polanski often comes up with clever angles by which to watch the four characters interact, the film does run into some trouble with momentum which the play didn't have. The hallway scenes offer new and funny ways of thinking about the fact that the couples can't seem to end their evening even while their hatred for each other grows, but they strain credulity as well. If you're that close to leaving... There are strange lulls just as things are reaching fever pitch, and the ending itself is one of those and weirdly sedate.

Despite Polanski's very smart and controlled approach to the material, one almost wishes he'd taken a page from Jodie's book and just gone jugular. He employs so many different techniques to keep you visually stimulated: depth of focus, variety of shot lengths, staging, camera stability (things get a bit shakier in time with the copious alcohol) that one almost wants to scream at him to commit to one of them, embrace it feverishly and "DO IT UP REAL BIG LIKE!!!" Take your cues from Winslet's ugly vomiting, Foster's whiny-screaming or Christoph Waltz's man-pouting and let your hair down a little. Lose your composure. Risk bloodying yourself up but good.

Carnage (2011) is maybe the best film version one could hope for given the absolute stageyness of the source material but it's good enough that it leaves you wanting one that you didn't dare hope for. B/B-*

Previously on NYFF
Miss Bala wins the "must-see crown" from judge Michael.
Tahrir drops Michael right down in the titular Square.
A Dangerous Method excites Kurt... not in that way, perv!
The Loneliest Planet brushes against Nathaniel's skin.
Melancholia shows Michael the end of von Trier's world. 

* Carnage is unique enough that the grade probably doesn't suggest how "see worthy!" it actually is. It's also the kind of property one might conceivably feel differently about on a second pass. For those of you wondering Carnage's best bet Oscar-wise is an Adapted Screenplay nomination. Since no consensus seems to have formed about "best in show" acting traction will be hard to come by for a shared movie.

Venice: A Second Take on "Carnage"

[Editor's Note: Ferdi, pictured left, is one of our two correspondents in Venice this year. Which affords us the rare pleasure of reading two pieces on the same movie back to back. I hope you're feeling appropriately spoiled since we're getting original photography and everything! Here's another opinion on Carnage. -Nathaniel R.]

Carnage (2011)

80 acid minutes of poison, screams, metaphorical scratches, literal vomits and memorable laughs. God, this movie rocks. Maybe it’s the original stage material which is so funny, clever and so well translated to the screen. Maybe it’s the eye of European mega-auteur Roman Polanski, who has rarely taken a misstep in his career. Maybe it’s just me: I love movies where all the focus is on the actors branch. The fact is I can’t stop thinking of Carnage since this early morning press screening.

What else can I say? You have to sit and watch and have fun. You're taken by the tension of the story without even taking a breath from start to finish. It’s a pitch-perfect arthouse movie, a little, subversive masterpiece about verbal violence and adult hypocrisies; a complex, powerful, crazy kammerspiel that begins, as many of you already know, as a polished comedy of manners and ends as a cruel psychological massacre. 

Christoph and Kate are "best in show" says Ferdi

The pleasure of seeing these incredible actors going so over the top has no price. John C Reilly is surprisingly right for the part, hilarious and totally convincing. Christoph Waltz is once again genius and effortless as in Inglorious Basterds. Maybe the weak link is Jodie Foster who has some great moments that prove she can be very funny but she is too tight and anxious from the very beginning. (She is a great straight-forward physical actress but the part required something more subtle.) In fact, Foster doesn’t really seem to catch the satirical tone of the pochade; she goes more and more hysterical from one scene to the next instead of being multi-dimensional. This is were Kate Winslet excels. She’s the real standout, absolutely exhilarating without even doing too much.

All that said, I don’t see any Oscar play for anyone (Winslet aside, maybe, as supporting actress, but it would be a category fraud, because they all are leads), neither for the movie, which is possible too cynical, dark, weird and beautiful by Academy standards.

Kate Winslet in Venice © Fabrizio Spinetta

Kate Winslet and Christoph Waltz in Venice © Fabrizio Spinetta