Yes No Maybe So: "My Old Lady"

Here's Andrew Kendall on a trailer I didn't get to! I've thrown my back out and I thank the team for this weekend's content for your amusement. I should be back in regular form soon - Nathaniel R

That it took an entire week for Yes No Maybe So to appear for upcoming British dramedy My Old Lady shouldn’t be seen as a sign of disinterest, or indicative of the trailer's merit. Although, on suggesting it for this series I pointed out to Nathaniel that Israel Horovitz's quiet European dramedy might not be one many are immediately passionate about. In the glut of trailers released in the past week, the modest My Old Lady seems to have been lost in the midst. Although I generally I tend to avoid trailers, I was curious to see how Horovitz would adapt his drawing-room play, which I'm fond of, to the screen.

Here's the trailer. The Yes No Maybe So breakdown featuring Maggie Smith, Kevin Kline and Kristin Scott Thomas is after the jump...

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First Round Predix: 5 Questions About Best Supporting Actress

"Actressing on the edges" is one of our favorite things, as the Smackdowns should make clear. Since most TFE readers are similarly affected with this obsession love, we assume you'll have plenty to say on the topic of "Best Supporting Actress" even before you've seen the performances and movies in question here. 

Will The Baker's Wife (Emily Blunt) cheat on her husband with a handsome Prince (Billy Magnussen)? Anything can happen in the woods

Oscar traction for the supporting categories of either gender is always hard to see in advance primarily because the size and substance of the roles in question aren't broadly telegraphed in advance the way lead characters tend to be. (It's not even always clear with adaptations of familiar material since role compositing happens and focus can shift characters from one version of a story to another.) What's more, supporting campaigns are often dependent on love for the lead actors and for the movie itself and the reverse is hardly ever true.

But speculation is fun! 

01. INTO THE WOODS
Who will win MVP reviews? This is always a pertinent question for ensemble properties when it comes to awards traction. In the first Broadway production in the 80s The Witch and The Baker's Wife were where it was at. In the revival in the Aughts people seemed more obsessed with Cinderella and, arguably, Jack. Into the Woods is funny like that, shifting focus and soul with each production. Some people though the recent short revival in Central Park with an all star cast turned the show over to The Baker (Denis O'Hare at the time who is not in the movie). Despite shifting love from viewers, The Witch (Meryl Streep in the movie) is always considered the lead role but that's only because it's the "star" part, not because the role is larger than the others. (Technically speaking Jack is probably the biggest role). If Streep goes lead that'll leave Anna Kendrick's Cinderella and Emily Blunt's Baker's Wife as our possibilities. I'm currently predicting Oscar favor to lean in Blunt's direction. Maybe that's wishful thinking and the desire to see her strangely quiet career get noisier but there's no arguing that The Baker's Wife isn't a great part (Amy Adams played it in the park recently). This adaptation could go any which way from Oscar behemoth to total flop and any actor could well be the one that gets people excited. Yes, even Little Red Riding Hood (played by the recent "Annie" on Broadway, Lilla Crawford).

After the jump four more pertinent year-in-advance questions about this year's Best Supporting Actress race...

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Top Ten: The Best of Kristin Scott Thomas

DON'T LEAVE! Don't check out of the movies now. 

I'd like to speak to your manager."
-Kristin Scott Thomas as "Crystal" in Only God Forgives

As you may have heard the great Kristin Scott Thomas, who first broke through as Hugh Grant's deliciously tart unfortunately platonic friend in 4 Weddings and Funeral and was Oscar nominated way back when for her ice hot sand- blasted eroticism in The English Patient and who has elevated countless films since has rather casually tossed off a 'good riddance' to cinema. 

I just suddenly thought, I cannot cope with another film. I realised I've done the things I know how to do so many times in different languages... I can't do it any more. I'm bored by it. So I'm stopping

Oh come on Kristin, Only God Forgives wasn't that bad. [More...]

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Links with an Invisible Glass of Moët

Inside Movies Andrew Lincoln looks back at "to me you are perfect" from Love Actually
MNPP wants to watch Only God Forgives again. Are you also experiencing these deviant feelings?
Ultra Culture anatomy of most Blue is the Warmest Color "reviews" 

In Contention wonders if Will Forte can win Best Supporting Actor traction for Nebraska - well the category is amorphous still...
BuzzFeed saw fit to rank every episode of Buffy the Vampire Slayer. Such a mammoth project so even if you quibble with the ranking -- and boy do I (love "Beer Bad") --you have to respect 
Gawker weeping through The Best Man Holiday 
Pajiba how to prepare yourself for the release of Nicolas Cage's nude photos 

And while I was in Los Angeles earlier this week the Moët British Independent Film Award nominations were announced. I love little weird awards groups like this (the corporate titling not so much) because you can't tie them to "ooh, they're trying to influence the Oscars" which is just about the most boring thing you can possibly do if you're a group thinking of handing out awards. No matter what your group is, if it has no character, personality or purpose outside of predicting another groups awards, QUIT - the world doesn't need you! But anyway... here's a complete list of nominations in case you missed them as I did. They were big fans of the bleak with the violent Starred Up and Clio Barnard's festival gem The Selfish Giant leading the nominations. They also approved of Metro Manila which is the UK's Oscar submission. But they also found room for more mainstream senior Brit efforts like Philomena with Judi Dench and Le Week-End starring Jim Broadbent and Lindsay Duncan.

What a World: Ralph Fiennes & Kristin Scott Thomas are co-stars again. But this time he's sleeping with her screen daughter. Here's why I spit out my Moët, though. They ignored 12 Years a Slave in "International Film" and had a reaction to Ralph Fiennes' The Invisible Woman that I find not only puzzling but deeply lazy. They nominated it only for Best Actress (Felicity Jones, whose appeal still escapes me like crazy) and Best Supporting Actress (Kristin Scott Thomas). Now y'all know I am an über fan of KST but if you're handing out acting prizes to that movie and you DON'T start with Joanna Scanlan, who plays the unloved wife of Charles Dickens, you're on autopilot with stars in your eyes. To which you might counter if you haven't yet seen the film "But KST is a great actress!!!" Well, yes, dear reader and BIFA voters, she is... but Joanna is this movie's MVP. And by a significant margin, too. 

Of course the movie is marginalizing Scanlan, too. She doesn't appear or barely appears in the ads and none of the film's promotional stills include her; P&A has never been a meritocracy.

Random Thoughts on Upcoming "Best Supporting Actress" Race

Being a month late to my usual "April Fool's" predictions has caused me a lot of behind-the-scenes strife. Trying to stare into the open future through a crystal ball when things are actually happening in the present overseas (i.e. Cannes) is incredibly ineffective. Next year I must be more prompt and buy a plane ticket. I have made a few adjustments on the charts mostly in regards to more research on American Hustle and Saving Mr Banks but also in regards to Cannes hits like All is Lost and Philomena (I know, I know -- it didn't show but it still had a great week!).

Carey sings in "Inside Lleywn Davis". The last time she sang onscreen ("Shame") critics fell madly in love but mysteriously zero awards traction happened. 

Cannes buzz
A note of caution to everyone taking each word out of Cannes like its holy scrit. Cannes can be like a magician's misdirect in regards to the Oscar race because for every Jean Dujardin and The Artist there are ten films and performances that get people hot and bothered there under those very special circumstances that don't go anywhere in the real world or, for our purposes, don't excite the mainstream sensibility of Oscar. And quite a few films each decade see their critical fates changed once they leave the festival circuit with its foolishly instant pronouncements of grandeurs and foibles. Take it all with a grain of salt or at least a whiff of the ocean-scented air. Especially if a new Coen Bros' film takes the Palme D'Or. Cannes always loves them so it's like Michael Haneke or the Dardenne Brothers taking a prize. What else did you expect?

But on to this afternoon's topic... 

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