Posts Tagged ‘Oscar’

“Atonement”: She Gives Anton Chigurh a Run for the Money, A Critical Continuation

January 5, 2008

AtonementIf you wish to read my review of Atonement. Go here.

*Major Plot Spoilers Ahead; Read With Caution. The First Paragraph Gives Everything Away!*

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The Awards Season Has Begun or Has Anyone Seen These Movies?, Part 1

January 4, 2008

There WIll Be BloodThere’s a conundrum this year within the awards ceremony realm and that is There Will Be Blood. It’s a big, bold film detailing the outer rise of an oil man Daniel Plainview and his inner fall as a man. It’s a film that’s been nominated for numerous Golden Globe Awards, and has now been nominated for SAG Awards, and will surely be nominated for an Oscar or two. And it certainly deserves to be. I go into extensive detail in my review.

The bewildering thing isn’t that the movie doesn’t deserve these nominations, it’s that no one has seen it. Even before it’s limited release it was nominated for the Globes. Now in limited release it’s up for SAG awards. It’s definitely helped its financial take generating curious spectators to see the film. In 2 theatres over the New Years Holiday weekend it made $302,845 (as reported by boxofficemojo.com). I was lucky enough to find a seat in one of those theatres and it was playing on two screens!

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“There Will Be Blood”: How High Are Your Expectations?

January 4, 2008

There WIll Be Blood

With wunderkind writer/director Paul Thomas Anderson at the helm of a movie there are certain levels of expectation to be met. With one of our finest method actors Daniel Day-Lewis in the same movie the expectations are that much higher. Even without those two elements with a title like There Will Be Blood expectations are already set high. There has to be blood spilled. Now with the existing creative team the expectation is that when that blood is spilled it should mean something, or have some level of effect on us. An impact, be it anti-climactic or Rober DeNiro with his head hanging out a car screaming bloody murder climactic (I think Robin Williams said that in his stand up — I just quoted Robin WIlliams.) When I left the theatre this evening, I felt slightly short changed on both accounts.

The first thing I have to speak about, because it sets the tone for all things to come in Blood, is the music by composer Jonny Greenwood who composed that lush score for Children of Me. (This is incorrect and has been amended in the comment section below.) In Men there’s a moment when the characters are heading through the prison camp to get to the boat that will get them to their final destination, but first there’s an empty shot of a tunnel. Just as that image comes up, before the characters enter frame, we’re met with a collision of stringed instruments that tell you things aren’t going to go as planned. The very first shot of Blood has that same beautiful car wreck of unnerving symphonic wonderment. It gives everything in its path an unhinged and terrifying soul. We don’t trust the landscape we see. We get a strange feeling about Daniel Plainview (Daniel Day-Lewis), even though he says nothing. The music creates a hypnotic spell as Plainview digs towards the heart of the earth looking for silver, almost as if he were digging towards hell. But when he hits instead oil, it pools like black blood on the surface of that dead landscape. And he’s a wealthy man. Already our expectations have been met, blood has been spilled. But the music itself also builds an expectation, that things no matter how well they go will always carry with them for Plainview (an ironic name if I’ve ever heard one) a misery that will send him spiraling into the worst kind of apathy, digging his way closer to hell. And all this is apparent from that first chord struck. It reminded me in many ways of the use of music in Kubrick’s The Shining.

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“4 Months, 3 Weeks, 2 Days”: The Scariest Kind of Horror Film

December 26, 2007

4 Months, 3 Weeks, 2 Days

The title is far scarier and problematic than it suggests, and like most films of its nature the people who need to see it won’t. Let me write it again (to get it out of my system)… 4 Months, 3 weeks, 2 day is a film by Romanian director Cristian Mungiu, and it’s gnawing away at me. Sometimes a person has to write to get it out of their system, this is one such time. I walked into the movie theatre this evening wanting to experience something different and I got my wish bestowed upon me times three. All that I knew of the film was the title from a few best of year lists, and the fact that its now up for a Golden Globe and will more than likely be up for an Oscar.

Now the question is as it always is, how do I unfold the story to you without ruining the experience in the way I experienced it? So I’m not going to give you a synopsis of the story because the psychology of the film works better if you don’t know going into it and while the film focuses on one particular event and the aftermath of it it’s not what the movie is about. This film unfolds like a first person story – one of the only films that I’ve seen work as a first person film – and to feel the confusion and exacerbation that Otilia is going through for her friend Gabriela, it helps not to know what the event is. The first twenty minutes is a daunting task as we play catch up to our two young women preparing for something though for what we’re not sure. This movie is in the details so pay careful attention to the small things Gabriella focuses on and thinks are important. When you understand everything, think back on these things and you’ll end up shaking your head in dismay. She’s a girl in a woman’s body, able to experience things as a woman, but unable to maturely handle the responsibility and repercussions of her actions. Otilia is a pushover but she’s dependable, dependable to a fault. She’s the character we end up following around through the preparations and the reason why we’re kept in the dark is so that our own frustrations are amplified to match her frustrations, but once we do get the idea we’re taken through every emotion she goes through, as she’s going through it. The camera follows Otilia’s shadowy figure through streets allowing us to feel like we’re walking the streets. We jump when she jumps, we get nervous when she does – is that guy following her or is he just going the same way? She is invited to sit around a cramped dinner table while she anxiously awaits the opportunity to excuse herself, and we wait along just as anxiously. This isn’t done with the use of music, or with tricky editing, but letting the camera sit opposite Otilia with everyone crammed into the edges of the frame. There are no cuts. And we wait, and wait, until we hear the phone ring. She wants to get it, but can’t…how can a person answer someone else’s phone? She’s too kind to excuse herself, we would be too kind to excuse ourselves, so we wait it out, nodding our head to the polite chatter and answering questions we’ve been asked a million times before, we have to. Layers upon layers build, and we sit, getting more and more anxious. Waiting for the worst to happen.

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