Million Dollar Marion

Jose here, still reeling from Rust and Bone this past Sunday (going again today in a couple of hours because it's that good). My first reaction after watching it was: wow, Marion Cotillard truly has been trying to prove to us all her Oscar win was no accident.

I am not a fan of La Vie en Rose but year after year I have found myself more astounded by Cotillard's work. She was heartbreaking in Nine and was the only thing in Inception worth anyone's time, but it's in Rust and Bone where she provesonce and for all  that she's one of the most fearless actresses of our time. Most people think she's a shoo-in for a Best Actress nomination but I'm not sure this will be so easy, given that her character isn't likable at all and we know that AMPAS likes to like its leading ladies; even Margaret Thatcher and Aileen Wuornos had redemptive qualities in their movies.

Cotillard's Stephanie doesn't give a damn if someone likes her or not. When we first meet her she's just been beaten by a guy in a club and she just picks herself up and goes home to her boyfriend, whom she resents for asking for an explanation. After a gruesome accident leaves her disabled, she doesn't change her ways; instead she finds herself a f*** buddy (Matthias Schoenaerts) and becomes involved in some shady business. Can you imagine Million Dollar Baby's Maggie Fitzgerald becoming fiercer after her accident? Rust and Bone is surprising in more than one way and its extreme lack of sentimentality will surely leave some perplexed. But Cotillard is phenomenal. There is one particular scene - set to Katy Perry's "Firework" of all things - where she doesn't speak, but communicates so much through her eyes and face that she should be a frontrunner. She is that good. 

12 Word Reviews: Pitch Perfect, Gayby, Frankenweenie...

The screenings are everywhere. It's harder and harder to keep up. Herewith some twelve word reviews of things I've seen recently in order to catch up. Naturally, I cheat (sort of) a couple of times. Twelve words is so few... just you try it!

Gayby (OPENS FRIDAY!)
Best friends from college, gay Matt and straight Jenn, decide to have a baby together... the old fashioned way. Hilarity ensues. Personal lives get confused.

12WR:  Plotty but very funny. Celebrates rather than regurgitates stereotypes. Awesome Showgirls joke! B+
Oscar? Not weighty enough even for Spirit Awards but warm and funny enough to age well on DVD shelves despite the "now" topic. It's best hope for awards is turning itself into a sitcom for the Emmys. I'd totally watch this crowd weekly (and it'd be way better than The New Normal which suffers from Ryan Murphy's now familiar Preachy Bull in Broadly Caricatured China Shop voice)

Pitch Perfect
College freshman Beca (Anna Kendrick) joins an acapella group The Bellas. They need to break free of their lame repertoire if they ever hope to win a competition. 
I loved this one while I was watching it and didn't love it in the morning so two reviews...
12 WR (Positive) Weak story, weaker filmmaking; FUN anyway. Key cast shines with great lines. B
12 WR (Negative) Lazily constructed on vastly superior Bring it On template. Funny quick fade. C
Oscar? It's 'Aca-Awkard' to even bring that up. No.

Frankenweenie
Young science-loving Victor resurrects his dead dog Sparky in a Frankenstein like experiment. Once the word gets out the townsfolk lose it.
12 WR: Inventive setpieces, surprises, awesome character design ("Whiskers!") justify expansion of classic short. B/B+
Oscar? It would surprise me if it wasn't nominated for Best Animated Feature and it could also feature into sound categories but the lukewarm response at the box office has me suddenly doubting its frontrunner status.

Our Children
Belgium's Oscar submission! A bicultural family slowly crumbles through dependency and depression.
12 WR: Fascinating thematic subtext undermined by miserabilist March-Toward-Doom structure. Suffocating close-ups. C+
Oscar? I doubt it as its very dour without much in the way of catharsis. But I've been wrong before about this always fascinating category.

Secret Life of Arrietty
Arrietty is a "borrower" a little person living inside a house. Will a new sickly human living in the house expose her and her family?
12 WR: Delicate, lovely, quiet... but too much so! Needs more pizazz. Limited characterizations  B-
Oscar? Ineligible for the Animated Feature race

NYFF: Lincoln's Unfinished Noisy Debut

Is DDL marching toward a third Oscar?I wasn't able to attend last night's "secret" -- we're stretching the definition--  Lincoln debut at the NYFF due to prior commitments but as I lined up for Sally Potter's Ginger and Rosa premiere at 9 it was clear that we would not be filing in anytime soon. Lincoln was running well over. It had supposedly begun at 6:15 and we were informed we wouldn't see our movie until 10:00 pm. For a few biophobic moments I wondered if Lincoln could really be 3 ½ hours long; much much longer than the Gettysburg address!  I can't confirm a running time but I imagine the stars bowing and blurbing "I loved working with ____" sucked up some of the 3 hours and 45 minutes that Lincoln filled the cavernous Alice Tully Hall.

As the Lincoln crowd exited, one woman who joined the Ginger & Rosa line was asked how it was.... After a long pause she unenthusiastically announced that the acting was great. And then...

It was obviously written by a playwright. A LOT of words."

Damn you, Tony Kushner. Hee!

The playwright behind Angels in America: A Gay Fantasia On National Themes, Only Those Who Guard the Mystery Shall Be Unhappy, and The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures has probably heard this particular complaint before but I imagine he feels a bit like Amadeus did when he heard "too many notes." (Remember that?)

LOTS MORE AFTER THE JUMP....

Click to read more ...

Best Actor Bait. The Key Word Being Bait.

The Oscar Prediction Chart Updates continue with the leading and supporting men. Best Actor seems especially confusing this year what with so many major stars or past Oscar nominees arriving with generally infallible bait right there in the roles. Let's do a quick chart. Here are, arguably, the five most infallible types of Oscar Bait and who is serving them up. (Obviously many of these men are still awaiting critical consensus on their performances or the fourth column would be larger.)

BEST ACTOR
In that chart right there I've only visually (and alphabetically) included  the top ten ranked men from my prediction chart. Now I'm even less enthused about Matt Damon's Oscar chances for Promised Land since he doesn't figure into these five columns at all. One might call him overdue if he didn't have that early writing Oscar (Good Will Hunting) but as it stands now he has no surefire hook for his Oscar campaign. This is not to say that "crisis of conscience" isn't a form of bait for leading men. That's a fairly common hook in leading roles but it's hardly the iconic carrot to dangled in front of voters like, say, debilatating suffering, addiction or ol' fashioned biographical dress up are.

If Anthony Hopkins is terrific as Hitchcock it's going to come down to the wire as to which of the top six men are given the boot on nomination morning since they're all packing serious bait as they fish for votes.

BEST SUPPORTING ACTOR
The supporting categories are the last to lock down since so much what happens there depends on coattails from leading players and Best Picture nominations. Though you can safely lock up Philip Seymour Hoffman who is already a default Oscar player before you account for his enormous amount of screen time or the kind of reviews he won for The Master. Beyond Hoffman it's still anyone's game though reactions to Lincoln, which premieres Monday at the New York Film Festival, will certainly tell us whether David Strathairn is in the hunt for his second nomination. He's currently my only predicted Supporting Actor nominee who hasn't yet won the Oscar so if he's strong and the field really turns out that way, a win wouldn't be out of the question.

As for the men who have never been nominated, I'm particularly frustrated that Michael Fassbender who was so sublime in Prometheus is fading from the conversation but I expected as much since Oscar don't do sci-fi. I'm also frustrated that Matthew McConaughey who is inarguably having the best year of his career, isn't winning traction. Frustrated by not surprised. Though Oscar himself is famously nude and male and popular with the gays, He isn't generally turned on by the sexualization of male actors. That shiny Global icon is famously resistant to the matinee idol type ignoring them altogether or making them wait until they're gray and less sexually potent for their Oscar glory. Oscar just doesn't like leading men who trade on their own eroticism. Witness the Oscar fate of Michael Fassbender in Shame last year. McConaughey's selfploitation in Magic Mike (and to a lesser but more compromising degree in The Paperboy) is probably working against him no matter how much he's stepped up his game this year. 

Which actors are you banking on at this point? Where would you flipflop contenders on our charts?

Predictions in Actressing: Few Locks, Many New Variables

It's entirely redundant to tell you that Best Actress and Best Supporting Actress are The Film Experience's favorite Oscar categories. This year's field continues to feel slippery, amorphous, unknowable which is... great. It should be hard to pin down the Oscar race before films have been widely seen and release dates have fully settled. The charts this month are quite shuffled so I hope you'll devour them.

ACTRESS Most pundits have assumed since the very beginning that Cotillard and Wallis were locked up done deals but I'm actually still not comfortable inking either of them in. They could happen, sure, but there are so many contenders and no one beyond Jennifer Lawrence (having one of those mega years that's impossible to deny) has cemented a position here. Especially with all the movement. Even one of these smaller films with rising stars (Olsen, Winstead, Fanning) could happen theoretically or at least siphon key votes if audiences and critics are kind and their campaign is strong.

We should note that little Quvenzhané Wallis has a new problem beyond her very young age in that SAG won't be nominating her (declaring the cast ineligible). Cotillard also has a significant problem in that she isn't the only reknowned actress killing it in a subtitled drama. Emmanuelle Riva anyone? The Hiroshima Mon Amour star is a powerhouse in a very difficult role in Amour. I've just seen the movie so perhaps it's wishful thinking but this is very moving work.

SUPPORTING ACTRESS The big new question mark for me is whether biopic mimicry -- Scarlett Johansson doing Janet Leigh's arched brow Psycho tics -- will finally win her Oscar attention after her breakthrough early misses nine years ago (Girl with the Pearl Earring and Lost in Translation... and to a lesser extent her Woody Allen hussy in Match Point). She stopped being an actress for awhile moving straight to über celebrity but after her Tony-winning run on Broadway and renewed vigor in her filmography, this could be the year. Or will various Psycho co-stars steal the spotlight. It's worth noting that Toni Collette can steal spotlights from anyone anywhere... and if her Hitchcock assistant role has a key scene or two that she can wow in, watch out! (That's a mighty big "if" of course in a film with stars this big playing famous Hollywood icons.)

I should also note that though I'm on the record as no fan of Helen Hunt's 90s Oscar win, I found her work in The Sessions to be very strong. To me it's unquestionably a leading role (it wouldn't be if we didn't spend time with her outside of the titular sessions but we do, making this a lopsided duet) and I'm a bit curious as to why Fox Searchlight so adamantly settled on a supporting campaign so early given that a lead Actress nod still doesn't seem unattainable for this previous winner.