Review: "Skyfall"

This review was originally published in my column at Towleroad

Skyfall arrived on US screens Friday with such multiplex flattening hype that you'd be forgiven for thinking the title literal. The Cubby Broccoli estate, which controls the adventures of the super spy, was pulling no stops for the 50th anniversary installment of the granddaddy of film franchises. We've been inundated with Bond Mania for months now. So you'd think at this point that the actual film would be an afterthought. Not so.

The 23rd official Bond film delivers… and not just the five mandatory goodies no Bond film is complete without: Action (Particularly the Opening Setpiece), Theme Song, International Villain, 007 Himself and the Bond Girl. Unlike most modern franchises, the Bond series favors stand-alone storylines with only the five-pronged Bond template uniting them. Even Bond himself changes though Skyfall happily sticks with Daniel Craig's impossible zombie handsomeness and dangerously erotic icy blues.

Five mandatory goodies and Daniel Craig's sexual pull AFTER THE JUMP...

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Remember Moonrise

Michael C here to make sure memory one of 2012's masterpieces isn't washed away in a flood of Oscar bait. 

The more I think about the final moments of Moonrise Kingdom the more it feels like the saddest thing I’ve seen at the movies all year.

At first glance it feels like the ending couldn’t be much happier. The young lovers are reunited, the storm has passed, and even if things aren’t perfect life is left in greater balance than when the story began. Yet on repeat viewings a nagging feeling of loss rises to the surface. Sam and Suzy are together but it’s not accidental that the last thing we see them do is say goodbye to each other. We first meet Suzy as a raven and now the soundtrack sings of birds flying away in the changing seasons. In film’s closing moments we see Suzy pause to acknowledge Sam’s painting of their beachfront camp. Their stolen adventure sits there, already frozen in the past.

This For Your Consideration reminder continues after the jump...

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Interview: On 'Head Games' and Reshaping Oscar's Doc Branch with Steve James

Amir here. With an unusually large number of high profile contenders and a recent overhaul in the branch’s voting system, the documentary category is sure to be one of the exciting races at the Oscars this year. There are a few films firmly in the conversation already, but I recently caught up with a contender that has curiously slipped under the radar despite the talent involved.

Head Games, the newest from Steve James (Hoop Dreams, The Interrupters) is based on a book by former WWE wrestler Chris Nowinski and takes on the issue of concussion in contact sports, a topic that is increasingly discussed among Football and Hockey enthusiasts in particular. James goes back to a more traditional structure in setting up his film with many talking head interviews and archival footage, but the end result is unexpectedly moving. Given the prevalence of these injuries in athletes, from kids who play Football or Soccer on a regular basis at school to the professionals of NFL and NHL, it’s a film that will be emotionally involving for a lot of people. I choked up a few times.

James’s history with the Oscars is well-known: despite universal critical acclaim, both aforementioned titles were snubbed by the Academy, not to mention his other powerful films. He was nominated in the editing category for Hoop Dreams, but it will be a big moment whenever he finally scores his first nomination for best documentary. On the occasion of the film’s qualifying release, I had the opportunity to chat with him about the film, his passion for sports, the Oscars, and the documentary branch’s new voting system.

 Steve James, the director of Hoop Dreams, The Interrupters and now Head GamesINTERVIEW, OSCARS & EBERT AFTER THE JUMP

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"Rise of the Guardians" Begins Its Oscar Push

This morning, very bright and early, MOMI unveiled their new exhibit "The Art of Rise of the Guardians" with an accompanying film series on the Best of Dreamworks Animation. A museum exhibit is definitely a way to announce that you are Serious For Real and not just for, you know, for kids. Methinks Dreamworks Animation wants their third Animated Feature Oscar. 

And hey, this year's Oscar is totally up for grabs. Sure Wreck-It Ralph might be the one to beat unless the Cult of Pixar regathers for Brave but it's hardly a done deal this early in the toon throwdown.

Related Oscar Chart

The only two things I could think staring at this beautiful image above is 

1. I have to see this exhibit! and...
2. Wouldn't the (admittedly unseen) movie have been more awesome if it actually looked like this image above --- so graphically compelling and painterly and not like it does with the semi generic 3D modelled CGI?

Who do you think has the edge in the Animated Feature Race?

Animated Short Oscar Race ~ The Great Winnowing

The fifty-six wide list of Oscar semi-finalists previously announced has been narrowed down to just ten lucky films. Half of these (or less) will go on to win the insanely coveted title of "Oscar Nominee".

They are...

Adam and Dog (Minkyu Lee)
Combustible (Katsuhiro Otomo)
Dripped (Léo Verrier)
The Eagleman Stag (Mikey Please)
The Fall of the House of Usher (Raul Garcia)
Fresh Guacamole (PES) 
Head Over Heels (Timothy Reckart)
Maggie Simpson in 'The Longest Daycare' (David Silverman)
Paperman (John Kahrs)
Tram (Michaele Pavlátová) 

The list is notable for: the absence of Pixar, which usually has a showpony in this race, though Paperman represents for Disney; nudity since Tram is comically erotic and the Adam of Adam and Dog is the first man; the absence of any previous winners -- only Michaela Pavlátová has been Oscar nominated previously! It'll be a first time for anyone who wins and maybe for all who are nominated.  

You can see photos and read more about these on our Animated Predictions Chart. Reviews coming soon for the films we can get our hands on...