One Day More (of Oscar Voting)

Everyone join them in a rousing chorus of "One Day More ♫"I think this must be a first. In the response to technical difficulties and voting problems with their new online balloting system, the Academy of Motion Picture Arts and Sciences has extended Oscar nomination balloting by a single day. Ballots are now due by Friday January 4th, by paper or online, instead of January 3rd. (The nominees will still be announced on January 10th). I'm not sure how much 24 hours will help but given all the long-ass movies on offer, but it can't actually hurt. (I've taken their cue and also given myself a couple more days on my top 20ish list so that starts on Thursday.) 

So herewith my plea to voters:

Have a Great 2013 Academy Members!
It's Nathaniel at the Film Experience. One of the ways you can make the new year happy is by really thinking over your ballot. So many film fans obsess over your choices.

And though you'll never please everyone, those Supporting lineups are going to be so much more exciting (think of the Oscar night clips!) if you include Matthew McConaughey in Magic Mike and Nicole Kidman in The Paperboy. No matter what you think of either film, great risky artistic stretching from big stars shouldn't be tossed aside just because the film containing it isn't being widely "considered" in any other way if you know what I mean. I mean why give all the nominations to the frontrunning heavyweights like Lincoln, Les Miz, and Argo when there's so much good work out there in so many films! Put in those Beasts of the Southern Wild and Moonrise Kingdom screeners (to name just two examples) -- aren't you curious? -- and see how visually and sonically rich movies can be without mega-budgets.

Finally, here's to the underdogs -- have you seen Perks of Being a Wallflower or Anna Karenina or Middle of Nowhere or Amour or Compliance yet? You've got a whole extra day. Stay in and watch some movies!

Interview: Eddie Redmayne Talks Live-Singing, Skinny-Dipping, Name-Calling

If there's a surprise name called out as one of the Best Supporting Actors this year on Oscar Nomination morning, might it be Eddie Redmayne? The rapidly ascending 30 year-old actor, a recent Tony winner for "Red" on Broadway, stood in as surrogate for our enduring communal crush on Marilyn Monroe (Michelle Williams) in My Week With Marilyn just last season but the spotlight is even brighter now. Les Misérables' entire second act romantic structure spins on his swooning revolutionary Marius. In one of the quirks of movie awardage, male actors aren't generally honored for their facility with romantic drama, but Redmayne's secret weapon could well be his rendition of the grief stricken show-stopper "Empty Chairs at Empty Tables" in which he mourns his fallen brothers who died at the lonely barricades... at dawn. He'll undoubtedly jerk at least some tears from the Academy's acting branch this week as they finalize their ballots (due on January 3rd).

Marius is getting married! Eddie Redmayne in "Les Misérables"

I asked Redmayne about the massive pressure he must have felt approaching this famous number in Les Misérables and our conversation stretched back to Oliver! The Musical on stage and on through his non-musical duets with Cate Blanchett, Julianne Moore, and Michelle Williams in his young but vivid filmography. [More...]

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RIP Charles Durning (1923-2012)

2012 has been, so definitively, the year for huge teeming male casts (Argo, Lincoln, Zero Dark, Magic Mike) of stars and character actors playing anxious determined men that I felt an extra pang of sadness to hear about the passing of Charles Durning on Christmas Eve. He was 89 years-old. 

Charles Durning at the SAG ceremony in 2008 accepting his lifetime achievement award

Had any of those movies (well, not, Magic Mike) been made in the 1980s, he would with certainty have popped up --  100% -- growling great lines in a suit or stove pipe hat.

Since the seeds of my movie mania were planted in the early 1980s, Charles Durning was one of the very first actors that embodied and defined the term "Character Actor" for me. I absolutely loved him in Tootsie (1982), one of the all time great movie comedies, as Jessica Lange's widower dad who took an unfortunate shine to Dorothy (Dustin Hoffman in drag). I remember experiencing early onset Oscar confusion when I realized (a couple of years after the fact) that he had been nominated for an extended cameo in The Best Little Whorehouse in Texas instead. So I rented that one in 1985 of 1986, I think, on the sly -- my parents did not approve of "raunchy movies" -- and just delighted in his "little sidestep ♫ "

Other roles I have slightly less vivid memories of from that decade were his Oscar nominated turn in Mel Brooks comedy To Be Or Not To Be (1983) and his monsignor in the gay drama Mass Appeal (1985). The Golden Globes got to him before the Academy -- as they so often do -- nominating him for Best Supporting Actor for his hostage negotiator in Dog Day Afternoon (1975) which we recently discussed. Durning won a Tony Award in 1990 for playing "Big Daddy" in a revival of Cat on a Hot Tin Roof opposite Kathleen Turner (who he worked with onscreen immediately thereafter in the failed would be franchise launch VI Warshawski) but sadly he never won any major competitive acting award for his onscreen work despite Globe, Emmy, and Oscar nominations. His most recent Emmy honors were for a stint as Denis Leary's father on "Rescue Me".

What's your favorite Charles Durning role?
Have you ever seen his Oscar nominated roles?

10 More Critics Prizes: "Argo" & "The Master" Fight For "Zero Dark" Scraps

I haven't done the math but why count with my fingers when The Wrap is a born calculator and reveals that as the critics prizes have shaken down Zero Dark Thirty leads the race with 8 while Argo is in second for Best Picture prizes with half as many triumphs thus far. The Master is the only other film that's managed multiple "Best Film" gongs (3) in this thankfully divided year. Licking the crumbs off the critics awards plate we have Amour, Life of Pi, Lincoln, Silver Linings Playbook and... Safety Not Guaranteed? Well, ok, Indiana! You go your own way.

Zero Dark Thirty, Argo, and The Master are the critics win leaders

Les Misérables is the only film from Oscar's presumed big five that hasn't managed a Best Picture win from a critics group though it's surprising to realize that Lincoln hasn't done much better in terms of taking the top prize. Another casualty is Beasts of the Southern Wild. That gloriously original moving indie has recovered from its first weeks in the precursors where it couldn't win "first film" or "breakthrough performer" prizes with the unexpected strength of How to Survive a Plague and Middle of Nowhere blocking its pathway with critics or at the Gothams respectively. It's won a few things here and there. But I'd argue it's the biggest casualty of the critics weeks since it hasn't managed even one Best Picture win. It deserved and needed them so it's no surprise that it's outsider shot at a Best Picture nomination which once seemed totally doable now looks like a true long shot.

Supporting Actor Disappointments and more after the jump...

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Hats Off to Mr. Jackson

Michael C here to sound some trumpets for a fine actor's return from the wilderness. There are many pleasures to be found in Django Unchained, but for me the most satisfying was being able to unambiguously love a Samuel L. Jackson performance for the first time in what feels like forever. 

Let's be frank, Jackson has always been a guy who would cheerfully say yes to just about any script that was correctly formatted. But at least back in the 90’s he would throw in an Eve’s Bayou or a Jackie Brown every once in a while. Over the last decade, however, his time has been divided between coasting on his star presence in blockbusters or squandering his considerable talent in straight up dreck like The Man or The Spirit. What attempts he has made at meaningful work have largely been dumped directly in the straight-to-video bin. (Home of the Brave anyone?) The last performance of his that left any impression on me was 2000’s Unbreakable, although your mileage may vary. Black Snake Moan had its fans, as did The Caveman’s Valentine. Whatever the case, there’s no denying the internal compass he possesses for choosing projects is severely miscalibrated.

But now there is his work in Django and damn does it feels good to seem him nail it in a big way. Jackson gave what is basically one of my favorite performances ever in Pulp Fiction and Tarantino has handed him another winner. He plays Stephen, the most trusted slave of Leo’s malevolent plantation owner and the two of them share a terrific, twisted chemistry. In terms of thematic weight Stephen's importance to the story is second only to Foxx's Django, and Jackson makes a meal out of every second of screen time. It’s a devious, deceptively simple performance. A late in the film monologue in particular should have Oscar voters second guessing whether DiCaprio and Christoph Waltz, who were both Golden Globe nominated, are really the Django performances to unite behind in the awards game.

Jackson may very well turn around and follow this up with another decade of crapola (the XXX sequel listed on his IMDb page doesn’t bode well) but for now I’m pleased to see he has another performance that can stand proudly alongside Jules Winfield, Gator Purify and Sean Nelson’s alcoholic, chess playing father from Fresh (Rent it!)