Pfeiffer Pfriday

I recently got a Pfacebook message from one of her biggest pfans  and he asked me if I'd misplaced my love for the one and only Michelle Pfeiffer. "Of course not!" I wanted to shout only to immediately realize that though she's been far less elusive than usual: magazines, press conferences for Dark Shadows, fresh on DVD with New Year's Eve, at premieres -- I've said pfew words. This must be corrected.

This is my favorite 2012 pfoto of her, taken last month at Cinema Con where she was honored as a "Cinema Icon".

Catwoman black / Susie Diamond sexy.

Since I abandoned my Thursday "Burtonjuice" series which y'all didn't seem to be into, I'll redirect my eyeballs and pfantasize about Pfeiffer each Pfriday till People Like Us premieres... even if it's only a pfoto. Deal?

With Pfeiffer back on the red carpet I was expecting a parade of sleek black but she's been mixing it up: Red and gold to Dark Shadows premieres; black at Cinema Con; gray at the Globes in January (couldn't find a full length pfoto since she didn't do the press lines); purple at New Year's Eve in December.

poll by twiigs.com

Red and black are her standbys (it's easy to see why) but it's nice to see variety. Lock-wise Pfeiffer has never much believed in variety, preferring long curly toussled for most of her career give or take stick straight detours here and there.

With Dark Shadows opening today (more on that later) here's a pflashback to the Batman Returns premiere 20 years ago...

Penguin. Batman. Catwoman. Burton

The Fabulous Linker Boy

Forbes an awesomely nerdy calculation of Smaug's wealth from The Hobbit. It's from the "fictional fifteen" of the wealthiest characters from movies, books, and tv. 
Grantland looks at the end of the full frontal wang era, which peaked with Shame last year and will supposedly die with Magic Mike this summer.
Los Angeles Times Two of the stars of the Tribeca winning Una Noche have defected from Cuba and are seeking asylum in the US. They're a couple in real life and siblings on the screen.
Movie|Line asks everyone to calm down with their "best picture!" proclamations in April. Oopsie. We just completed all of our predictions. But at least The Film Experience has never been driven to "lock!" proclamations before movies are even finished.

The Wrap Any Day Now, a gay adoption drama starring two fine actors (Garrett Dillahunt & Alan Cumming) won the audience award at Tribeca
My New Plaid Pants James Franco and Michael Shannon in compromising positions for The Broken Tower 
24 Frames Henry Selick still hush hush about his Coraline follow up, another spooky sweet stop motion film. It will probably be released in 2013. Scribble it down on your Oscar predictions for next next year. Then he's doing Neil Gaiman's The Graveyard Book.
The Mary Sue eye makeup looks inspired by The Avengers. As colorful as any superhero comic.
Collider yes, they're still planning to reboot The Fantastic Four
Guardian Olivia Williams isn't one for "flamboyant self display". Perhaps she'll rethink that if she wants Oscar traction this year for Hyde Park on Hudson.

Finally...

if you follow the Oscar race religiously and have for at least a few years you've probably discovered that the craft categories are inherently like the acting categories in that some giants of the trade can't seem to win the gold man despite rich filmographies and stunning year-best work. The Oscars require some luck as well. So I'm very happy to congratulate Michael Ballhaus, pictured above, an amazing cinematographer for his lifetime achievement award at Germany's Lolas this past week. 

His Oscar nominations came for The Fabulous Baker Boys (1989), Gangs of New York (2002), and Broadcast News (1987) but he also lit Bram Stoker's Dracula (1992), The Age of Innocence (1993), and The Bitter Tears of Petra Von Kant (1972)... and that's only a handful of the visual wonders he's produced. The Film Experience ♥s him and has ever since La Pfeiffer spun around on that piano and Made Whoopie. We congratulate him sincerely on this career honor.

Pretty Panem Princesses

JA from MNPP here. Have you guys seen the bizarre (and wonderful, genius even, if you ask me) merchandizing choices that the team behind The Hunger Games movies have been making? First I assume we all know the basic story, but if not here's the quick take - in a future dystopia, The Hunger Games are a televised battle fought every year by the children of this society's twelve districts. Fought to the death, that is. The survivor of the battle wins food (yes, food) for the starving people of their district. Such a light and airy premise! Happy, happy stuff.

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Anyway this is a big Hollywood movie they're making so they have to make money somehow, and so naturally they have decided that the best way to sell this movie's premise is with nail polish.

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Naturally! Okay a little more context is needed. The first district is The Capitol, and it's a city and it's filled with rich vain types. There are good people and there are bad people there, it's not cut and dry, but there's  a definite focus on the ways in which we distract ourselves with frivolity in the face of the world's horrors. If you've seen the trailer then you've most definitely seen Elizabeth Banks as Effie Trinket, who typifies the people therein. That's her in the ad above, and now there's an entire website devoted to "Capitol Couture" and it looks like any old fashion website. Except, you know, with an undercurrent of violent, horrible death.

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Since the books are very critical of this thoughtless extravagance by the super-rich and the literally life-or-death inequalities deeply embedded within these societies, I've seen a lot of people online who have gotten upset that the movie is using these same kinds of frivolous extravagances as its marketing tools. But I dunno... it seems kind of brilliantly ballsy to me. I haven't seen the nail polish in person but if I'd been the one designing it I'd have really wanted it to say somewhere on the label that this bottle was bottled by only the most downtrodden of serfs, working the most horrible hours you can imagine. And when you're done getting dolled up, you're going to look like a crazy purple clown lady, won't that be just terrific?

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 Can you imagine? But even without getting that explicit, I really do feel as if the nudge is there. Come for the pretty fingernails, and stay for the state-sanctioned murder of innocents! Or am I projecting? What's y'all's take on this?

The Lady of the Link

Off Oscar. Should You Need a Break
Boy Culture attends Madonna's royal premiere here in NYC for W.E.  
David Bordwell "a guide to the perplexed" for Tinker Tailor Soldier Spy 
Stale Popcorn We need to talk about "Katniss". Good question: What is it with archery these days? 
THR Two Beauty and the Beast related projects coming. Because in Hollywood there always must be double dipping on the limited idea pool. 

Okay. Back to Oscar. Stop Slacking!
Tom and Lorenzo on Jennifer Lawrence's unfortunate morning as the nominee announcer.
Ultra Culture on the best typography among the Best Pic Nominees. Love this.
Towleroad "Hot Movie Moment" from one of my favorite Best Pictures Wings (1927) the first one!
Indiewire The Oscars are moving to electronic voting in 2013. Cue: thousands of articles about whether or not This. Changes. Things. Oscarologists are so excitable.

In Contention looks at the Art Direction category
Examiner plays an "Oscar Replacement" game for the nominations 
Carpetbagger on Glenn Close and her makeup and wig team for Albert Nobbs 
MNPP A rarity: JA sounding off on the Oscars. Yay. He's one of the only blogging voices we love that have virtually no interest in them. (No interest in the Oscars? I know. I know. Difficult to comprehend.)   

Finally... a sad goodbye to British actor Nicol Williamson (1936-2012), my very first "Merlin" (though I've lost track of how many actors I've seen as the sorcerer since).

Mirren and Williamson owning Excalibur (1981)

Daily MUBI has the roundups of obits for the Excalibur (1981) actor. My most vivid memories of that film, aside from the Lancelot nudity (gasp) was the Merlin/Morgana Le Fay rapport. I was way too young to know that Helen Mirren and Williamson had... history. 

Film Bitch Awards Continue: VFX, Animation, Makeup

Film has always been a collaborative artform but the computer seems to be the great unifier these days. Is there any contribution that isn't tweaked these days in post? Maybe costumes? It's hard to know where the disciplines of stunt work, visual effects, performance capture, animation, prop and makeup effects begin and end these days but that's all right. It's always been hard to separate the film disciplines. A great many art direction nominations have happened because a cinematographer maximized the beauty of the sets and so on. What matters is that everything works in harmony to serve the movie.

We haven't really discussed The Adventures of Tintin and I'd love to hear your opinion. I was continually startled by the dense complexity of the imagery and effects but I also found the movie utterly exhausting, the movie equivalent of certain film scores by certain uh composers that begin with a climax and climax in each and every scene. I like a little more contours of beginning, middle and crescendo endings. But I had to credit its technical marvels somewhere.

My personal ballots for Visual Effects, Animated Feature and Makeup ... (the latter of which I treat more like Bafta and less like Oscar, considering hair and non-fx based makeup as well)

The Skin I Live In, Rango, The Tree of Life, Captain America: The First Avenger, Rise of the Planet of the Apes