Ignoradamus 2014
Time, again, for me to stick my neck out and attempt to predict the winners of the 2014 Academy Awards!
Last time I did this my predictions were largely a disaster. This year they will probably be equally, spectacularly, and embarrassingly wrong…but I can’t help myself. Just like last year, I’ve cut out some categories, like best short film and best foreign film, because I honestly haven’t been bothered to watch any of the nominated entries.
I know, I know, I’m a slacker film buff.
Anyway, I’ve split my predictions into three categories this year, making them quicker for you to browse and understand (especially for those of you who read this blog for the pictures and GIFs, rather than the silly words I have to share.). I’ll be laying out the films I think will win, should actually win (but likely won’t), and should really win (but were criminally not even even nominated this year!). We start at the bottom and work our way to the top…
So…not much diversity in this first one. I’m entirely on board with the Academy’s position on Glenn Freemantle’s sound editing for Gravity. It’s rather fantastic, and subliminally (but integrally) makes the film as powerful as it is. So, do we have a more split decision on the next one?
Hmmm…this is awkward. Carry on…
Ah, here we go! Alright, so it’s somewhat safe to say that The Great Gatsby, as with so many of Baz Luhrman’s films, will be greatly rewarded for going above and beyond in the costume department. Well, that’s because his films are almost always draped around the costumes. They’re also not very subtle, which is why I’d personally love to see K. K. Barrett and Gene Serdena win for their precise, calculated, futuristic updates to the Apple-inspired world of Her. A future I can believe in rather than a past I know is being romantically misrepresented, that’s what I prefer.
This one’s weird, because there are no obvious choices at all. It’s anyone’s guess, between Bad Grandpa; an irritating Jackass movie with some prosthetics, The Lone Ranger; an awful film with some courageous but bizarre makeup choices, and Dallas Buyer’s Club; which…um…makeup, seriously? What, cause of Jared Leto? Good lord.
Well, I did actually find Johnny Depp’s look in The Lone Ranger to be the most interesting thing in the film, so what the hell…I’d vote for that one, myself. However, the Academy has stupidly and predictably overlooked Evil Dead. As always, snobbish Academy voters brush off horror films as “vile nonsense”. Well, I’m here to say that Evil Dead had the most outrageous, splashy, shocking, fun, and fleshy gore effects I’ve seen in years. If Bad Grandpa can be up there, so should Evil Dead! Don’t be this stupid again next year, guys!
I’ll be stunned if this one comes out any differently. Truly…stunned!
Can anyone name or sing the other nominated songs this year? I can’t.
Steven Price will likely nab an Oscar for this one. The soundtrack to Gravity is not only inspiring to listen to, but drives the movie forward in both a symbolic, scientific, and emotional way. However…
The Hans Zimmer score for Rush was undeniably better. I’m a sucker for blood-pumping, testosterone-inducing, action scores. Hans Zimmer is the master of them, and I can’t pretend that the score for Rush alone didn’t have me wholeheartedly invested in the outcome of the film.
Blah blah blah Great Gatsby blah blah Great Gatsby blah! Boring! Of the nominated costume designers in this category, the only truly deserving winner is Michael Wilkinson for American Hustle. Few films are remember specifically for their costumes, much less could you dress up as one of the characters for a costume party. I have no doubt, however, that I couldn’t don Christian Bale’s outfit and glasses without being recognised as Irving Rosenfeld.
And yet…the great overlooked achievement in costume design this year goes to Michael Wilkinson…but for another film; Man of Steel. There was an endless wave of problems with Man of Steel, but costume design was certainly not one of them. I loved Superman’s new look, as well as the updated vision of Kryptonian fashion. A more believable and impressive alien-ware was of tremendous importance to this franchise.
There’s been nothing but praise for The Act of Killing, due in large part of Werner Herzog’s attachment to the project. It was an interesting documentary and, considering the competition, deserves the prize it has coming to it. This year’s docco-snub, unfortunately, is Sarah Polley’s Stories We Tell.
While a filmmaker documenting the story of her own family seems very self indulgent, the love and nostalgic delight she injects into her process makes it nothing but necessary viewing. By marrying outstandingly convincing 8mm film recreations and actual modern video interviews, Polley blurs the lines between reality and fantastical memory. It’s a production choice that beautifully reflects the title and triggers us to re-examine our own memories.
I was tempted to predict that Gravity would snatch this one off the podium, but the more I thought about it the more indefensible it seemed. Gravity is a film that was perfectly planned out from the beginning. There isn’t really any editing to do…is there?
Therefore, I’m taking a stab at 12 Years a Slave…but I’m still rather unsure about it. Personally I’d like to give it to Captain Phillips‘ Christopher Rouse. The sheer amount of footage that Paul Greengrass must have made him wade through is enough to earn him a sympathy Oscar.
Yet, that’s nothing compared to the petrol-greased speed and ferocity that Dan Hanley and Mike Hill fuelled Rush with. Come to think of it…no one I know has seen this movie, and that really bothers me. It’s really good.
Knock Knock. Who’s there? The Oscar goes to. The Oscar goes to who? The Croods!
Anyone who has ever tried to light a scene in front of a blue/green screen will know exactly how hard it is to make the foreground and background look as if they truly belong to one another. For that, Emmanuel Lubezki should not only get an Oscar, but deserves the entire guild of cinematographers on their knees in front of him. Worshipping…I mean! Not…not that. Anyway, for my pick…
Yes, I’m going back to Rush. Anthony Dod Mantle found more ways to shoot a Formula One car than I could ever have imagined were possible. Front, back, overhead, underneath, exterior, and interior shots are just the basics for this guy. It’s by far the most impressive automobile racing photography you will ever see. And see it you should!
12 Years a Slave will probably walk away with the award for best adapted screenplay, on account of it being an “issues” movie with historical significance. It is, however, not the best adapted screenplay in the bunch. The Delpy, Hawke, Linklater trinity who perfectly crafted Before Midnight in their own image need to be recognised. Their time and effort has payed off in a beautiful film that touches firmly upon the seminal mounds and fissures of an aged relationship. Now it should also pay off in the form of a fucking award!
I have a lot of faith in Spike Jonze’s original take on the computer-human relationship movie (yes, it’s a surprisingly big genre). Considering that the script for Her deviates from convention at every possible turn and has so much to say about human interaction, it just might end up being the Academy’s number one choice! Go Her!
Jared Leto’s rendition of a transexual in Dallas Buyer’s Club is a near-certain lock for this one, but I’d love to see Captain Phillips‘ Barkhad Abdi up there. It would be a heartwarming win for a total newcomer and an important message about the importance of new blood from a painfully exclusive club like Hollywood.
I, however, totally fell in love with John Gallagher Jr.’s performance in Short Term 12. Chemistry galore! As a straight man, I have no shame in admitting that…I’d cuddle up to him.
Speaking of total newcomers, Lupita Nyong’o is probably the most pleasant surprise for everyone this year. For me, she easily outshines Chiwetel Ejiofor in 12 Years a Slave, and deserves the Oscar that I think in all likelihood she’ll end up receiving. It’s always possible that Jennifer Lawrence could steal it undeservedly, but…well, there we go.
Now, I know some people out there may hate me for this, because it seems like a very meat-headed choice, but I was completely captivated by Margot Robbie’s performance in The Wolf of Wall Street. She completely nails the accent and attitude of a “so-beautiful-she-can-have-anything-she-demands” New York gold digger. Had I not known better, I would never have believed that she was a Neighbours-spawned Aussie. Talk about a chameleon! Give her the statue, dammit!
So Matthew McConaughey is on an unbeatable roll these days, and it’s quite an impressive “rags to riches” story…in as much as an already rich famous person can start to make his own industry take him seriously. It will, in all likelihood, culminate with an Oscar. But who do I think should win?
I’m split, honestly, between McConaughey and DiCaprio. Were it up to me, I would have given Matt the Oscar already for his eerie work in Killer Joe, and then we could avoid this mess completely. However, I have to go with the internet goblins on this one…Leonardo DiCaprio deserves his Oscar, fair and square. I don’t know that his performance necessarily warrants the ultimate award, but he’s done such tremendous work in the past and gone completely unnoticed…hat I think his time has come.
The actor who easily gave the best performance this year was Daniel Bruhl in Rush. Have I told you to see Rush enough times yet? Go see it! You’ll thank me, I know you will. Bruhl does such an dead-on impression of the real Niki Lauda that it gives me chills. Indistinguishable mimicry is a rare and wonderful thing to observe in films these days. It’s a true art.
Cate Blanchett is officially the Godzilla of this year’s awards season. Nothing can stop her.
Sandra Bullock, on the other hand, gets no real recognition for carrying a 100 million dollar sci-fi epic almost entirely by herself. I think it’s a remarkable achievement, and should make everyone who ever wrote her off eat a cereal box full of their own words. Bullock is a wonderful actress, and deserves more roles worthy of her talents.
The real stand out female performance this year, though, is Scarlett Johansson as Samantha in Her. Someone who’s thespian contributions are often overshadowed by her looks, Johansson managed to create a living, believable, and loveable character using only her voice. I was as smitten with, connected to, and aroused by Samantha as Joaquin Phoenix was. So crucial to the film, and yet so negligently overlooked by the Academy. It’s really sad.
Although I would love for Alfonso Cuaron to win it, I feel like the academy is far too aware of the historical impact of 12 Years a Slave to let anyone but Steve McQueen walk home with the Best Director Oscar. If he wins, incidentally, he will be the first black director to ever win the award. That’s something to be mindful of.
Perhaps there will be an Argo-esque split, with Cuaron winning Director and 12 Years a Slave winning Best Picture, but either way…
…12 Years a Slave wins Best Picture. Or “Best Film”, as I stupidly called it.
Can’t be bothered changing it now. “Best Film” it is!
I’m desperately hoping, against all odds, that Gravity wins and officially becomes the first science fiction film ever to achieve the main prize. It’s such a tremendous cinema experience, it deserves the award and then some. In years to come, people will remember Gravity…and, dare I say it, they will soon forget 12 Years a Slave. Controversial? Maybe, but true. Slave is a good film, but not a great one. Gravity is a great film, and an important one! It’s important to the industry as a whole; a modern 2001: A Space Odyssey. Do the right thing, Academy, do the right thing!
– Rant Over!
Forgotten Fifteen
I’m getting a little sick of people telling me that “American Hustle is so amazing!”, “The Wolf of Wall Street is so genius!”, “Gravity is so awesome!”, “Frozen to so wonderful!”, and “12 Years a Slave is so powerful!”. Ok, we get, you saw and liked a movie that millions of other people also saw and liked. Boring! Most people who say things like “The Wolf of Wall Street should totally win Best Picture at the Oscars!” typically haven’t seen more than 3 or 4 of all the nominated films this year…so their opinion isn’t really valid as far as I’m concerned. Let’s get a few things straight…
American Hustle is a pretty good movie, The Wolf of Wall Street is an okay film, and 12 Years a Slave is a rather moving piece of historical drama. That’s about the best thing I can say about those three. I will admit that Gravity is one of the best films (if not the best film) of the year, and Frozen is nothing less than bottled magic reminiscent of classic Disney cartoons merged with a lovely progressive feminist message. Still…it’s so boring to sit and agree on all those things, don’t you think?
So I’m releasing my inner Grinch…
…and substituting popular opinion for a lesson in preachy contrarianism! Thus I unleash the 15 Best Films You Probably Didn’t See Last Year and Should Spend All of This Year Catching Up With. (Yes, I know it ends with a preposition!) We start at number 15…
Room 237 was my second favourite documentary of 2013. It’s a bizarre concept to sell to an audience, but here goes:
“An exploration of various interpretations of Stanley Kubrick’s horror film, The Shining.”
– IMDB
Making use of the “fair use” copyright loophole when using trademarked media in order to produce a commentary, this documentary plays and replays iconic scenes from The Shining with voiceovers from a number of different fans and critics; all of whom have their own bizarre interpretation of Kubrick’s choices – ranging from believable to just plain nuts. It’s not a particularly energetic or emotionally captivating doco, but it’s eerily mesmerising to watch. You can prepare yourself for it by watching the director’s earlier short-documentary The S From Hell here on youtube.
What happens when you take 26 iconic indie horror filmmakers, give them each a separate letter of the alphabet, and ask them to make a 2 – 5 minute short film about death – using their letter as inspiration. Well, you get The ABC’s of Death.
While it’s not a conventional feature, or even a typical anthology film, it’s an inspiring 124 minutes for any enthusiastic filmmaker out there. Wading through 26 different flavours of morbid creativity can be nothing but good for the soul, I say. Beware, however, the films start off strange…get stranger…and then you get to the Japanese ones!
There should be a question mark in that tagline. Jesus, that bugs me!
Anyway, The Kings of Summer was a movie that I initially had some issues with…but it ultimately won me over.
“Three teenage friends, in the ultimate act of independence, decide to spend their summer building a house in the woods and living off the land.”
– IMDB
Some of the humour seems a bit too “cooky” to be believable, but the central story here is something I could relate to endlessly. It’s a movie that makes you want to “grow down” and go back to climbing trees. Trading in adult responsibilities in favour of childhood simplicity is something we all wish we could do, and you can live that fantasy through these characters.
I was a bit unsure where to place this one. I knew it was too good to leave off the list, but it scrolled it’s way up and down in my mind for a long time before settling at number 12. I can see some of you loving this movie and others hating it. Don’t blame me if you don’t like it, blame your nature, or nurture…or both.
“An underachieving voice coach finds herself competing in the movie trailer voice-over profession against her arrogant father and his protégé.”
– IMDB
In a World… is appropriately named for many reasons, one of which is that it lets us into a previously unexplored environment; the voice over industry. Add to that some funny lines, a strong central theme about the under appreciation of women’s talent in the media, and you have yourself a fun little gem.
Probably my most critically controversial pick on this list, especially since it’s all the way up at number 11!
“Left for dead on a sun-scorched planet, Riddick finds himself up against an alien race of predators. Activating an emergency beacon alerts two ships: one carrying a new breed of mercenary, the other captained by a man from Riddick’s past.”
– IMDB
After David Twohy followed up one of the best films ever made (Pitch Black) with one of the most disappointing sequels ever made (The Chronicles of Riddick), he decided to take the advice of his fans and go back to basics. I generally liked what he did with the third film in the Riddick franchise.
Yes, there is some horrid acting, a lot of flat dialogue, and an inexcusable amount of fake CGI backdrops. Still, I quickly got over the fact that every special effect in this movie looks like it was drawn in MS-Paint, and just enjoyed the virtues of greased up muscles, gooey creatures, and blood by the bucket loads. David Twohy, even when he’s failing, is always attempting something interesting and different. Give him props for that at least and leave your high artistic expectations at the door.
Great film. Rubbish title. Drinking Buddies? Fuck off!
“Luke and Kate are coworkers at a brewery who spend their nights drinking and flirting heavily. One weekend away together with their significant others proves who really belongs together and who doesn’t.”
– IMDB
The filmmakers seem to have this idea that there’s an important central theme about alcohol consumption running through the plot of this movie just because the main characters work at a brewery and enjoy an unhealthy amount of beer. I don’t think so, to me it seemed like more of a MacGuffin than a central story element.
Either way, I’d watch Anna Kendrick’s toothy triangular smile and Olivia Wilde’s eagle-spread eyebrows in anything. They’re extraordinary actors who both easily rise above their beauty.
If you’ve never seen a mumblecore movie before, then this is a good one to start with. Extremely natural performances and a believable twisting of fate lulls you into thinking that you’re actually watching a slice of real life unfold before your eyes.
If you want to see a documentary that provokes the “slacktivist” part of your brain and makes you want to stop a corporate cross-species atrocity, you can skip the horrid Oscar winning hack job The Cove and go straight to the far superior Blackfish.
“Blackfish tells the story of Tilikum, a notoriously aggressive orca that killed three people while in captivity.”
– IMDB
One thing that drew me in to this movie, above everything, is the impressive amount of shock footage obtained and aired in order to prove its point. We’re provided with real incidents of Orca attacks captured on video, something I’m sure SeaWorld isn’t happy about. Well, fuck SeaWorld! After seeing this movie, you’ll know why I say that.
Did you like Cast Away, but wish there was a lot less dialogue? Well, how about a movie with none? At the very beginning of All is Lost, we hear Robert Redford’s dying words read from a written letter…and then we proceed to watch an essentially silent film detailing the events leading up to him writing it:
“After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.”
– IMDB
I’m a sucker for survival films like Alive, The Grey, The Edge, Apollo 13, and of course the previously mentioned Cast Away. There’s something really fascinating about watching someone improvise in a hostile environment with limited resources.
I found myself getting genuinely frustrated on behalf of Robert Redford’s character when his efforts failed against the elements, and cheered when he was able to find his way around a problem. The ending of the film is just…perfect…if you ask me.
When I saw the trailer for You’re Next, it didn’t look like anything more than another home-invasion slasher. Then…I saw the film…
“When the Davison family comes under attack during their wedding anniversary getaway, the gang of mysterious killers soon learns that one of their victims harbours a secret talent.”
– IMDB
This movie, in a somewhat similar vain to the Scream franchise, takes much of the typical horror convention and turns it on its head. As someone who is both in love with and bored of horror convention, it was a wonderful thing to experience. Grab your significant other and enjoy this one on the couch one night when the kids are out.
One of the sweet things about this movie, as you might be able to tell from the poster, is how much effort has gone into making it look like a French New Wave film. It’s shot in black and white and structure much like an early Woody Allen or Jim Jarmusch picture.
“A story that follows a New York woman (who doesn’t really have an apartment), apprentices for a dance company (though she’s not really a dancer), and throws herself headlong into her dreams, even as their possibility dwindles.”
– IMDB
If you have hipster-allergy, Frances Ha might not be the best thing for you. I’d still urge you to try it though, as there’s more here than just whimsical quirkiness. Anyone who’s ever worked odd jobs, or been young and in need of a place to “crash” while they attempt to get their future lined up in front of them, will recognise themselves in Frances (Wait, that’s like…everyone!)
This film not only passes the Bechdel test, it beats it into the ground. If you’ve ever complained about poorly written female characters, here’s your prescribed medicine.
I’m glad this one popped up on my radar, as it was in severe danger of going by unnoticed. Seeing as it only made 196,000 dollars at the box office, I’m guessing most people never heard of it. That’s a shame.
“Two highway road workers spend the summer of 1988 away from their city lives. The isolated landscape becomes a place of misadventure as the men find themselves at odds with each other and the women they left behind.”
– IMDB
I’m tempted to describe Prince Avalanche as a straight Brokeback Mountain. Comparisons have been made with the simplicity of Waiting for Godot, and that’s certainly fair. I was hesitant about praising it too much, as it’s a remake of an icelandic original and I’m not usually very enthusiastic about “dramadies”. As often happens, however, I then proceeded to watch it…and love it.
Who knew Joseph Gordon-Levitt had a few extra tools in his satchel?
“A New Jersey guy dedicated to his family, friends, and church, develops unrealistic expectations from watching porn and works to find happiness and intimacy with his potential true love.”
– IMDB
As doge would say: “Such montage!”. This movie flickers through our modern culture of sexual and sensual consumption at a very meaningful pace. Levitt knows how to make a thematic movie appealing to the very generation it critiques. For that alone, he deserves to be recognised and rewarded in his efforts. I totally went with this film, and it managed to do something extraordinary; it actually found the humanity buried deep within a Guido. I’m excited to see what Gordon-Levitt directs next.
We’re into the top three, this is where things get serious. If you haven’t seen this movie (and the next two), it’s your job as a human to track them down.
“A 20-something supervising staff member of a residential treatment facility navigates the troubled waters of that world alongside her co-worker and longtime boyfriend.”
– IMDB
Not a great summation, so perhaps it’s better to describe Short Term 12 as a modern One Flew Over the Cuckoos Nest. It’s sweet, sad, and regularly funny. The best part is how natural and affecting the performances are. There isn’t a single character in this movie that I didn’t believe in. In fact, I’m willing to admit something right here and now; I actually teared up a little during the more emotional peaks of the film. Those who know me, know just how rare that event is.
Everyone needs to see Before Midnight, but only after seeing Before Sunrise (1995 ) and Before Sunset (2004). Without seeing the first two films in the trilogy, the third won’t be able to unleash its full emotional weight on you.
“We meet Jesse and Celine nine years on in Greece. Almost two decades have passed since their first meeting on that train bound for Vienna.”
– IMDB
I have nothing but love for these characters and this film. My favourite of the three is still Before Sunset, but this one was a perfect end(?) to the best on-screen real-time romance ever created.
Before Midnight is nothing but lengthy conversations about love, companionship, inconsistencies, dislikes, honestly, and endurance…and it’s absolutely spellbinding! Are we watching the end of a worn relationship or the renewal of young love in middle age? Perhaps, if you stay till the end, you’ll find out.
I will give you all the money I have in my bank account right now if you’ve seen this film. In fact I’d consider giving you a decent sum if you even heard of it before.
“A mysterious outsider’s quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family.”
– IMDB
I was so unbelievably lucky that I caught this golden nugget at the Melbourne International Film Festival earlier this year. I have been unable to find it anywhere else since. It’s currently not on Blu-ray, DVD, the internet, or screening in any cinemas that I can find.
The result of a Kickstarter campaign, Blue Ruin shows you what a dedicated filmmaker like Jeremy Saulnier can achieve with few funds and a landscape of vision. It’s shot as beautifully as a Terrence Malick film, reminiscent of Badlands, and is as enjoyably violent as any Tarantino flick. The dialogue flows back and forth from simple, to poetic, to non existent. After the first 30 minutes, the film throws you into completely unpredictable waters and tapes you to your seat with anticipation of “where can it possibly go from here?”.
One day Blue Ruin will debut on home media, I’m sure of it, and when that day comes I’ll be standing in line…and so should you.
– Rant Over
Ti-Tilly-ating
I just received my Blu-ray copy of Bound in the mail. Here are the two reactions you may have to this:
1. “Oh, awesome, I love that movie. Congratulations!”
2. “What’s Bound?”
If it’s “What’s Bound?”, sit down and prepare for a good talking-to…
Bound is an absolutely brilliant neo-noir erotic thriller. Released right in the middle of the greatest film-decade ever, the 1990’s, it was the directing debut of the Wachowski’s (formerly known as the Wachowski brothers) who would later go on to give us The Matrix. Plot:
“Corky, a tough female ex con and her lover Violet concoct a scheme to steal millions of stashed mob money and pin the blame on Violet’s crooked boyfriend Caeser…but thing’s don’t go as planned.”
– IMDB
Wait a minute…Corky and Violet? Corky and her lover, Violet? Can that mean? Would that mean? Does it mean…?
Yes, you warmblooded males out there (of which I am one) and women of that persuasion…this movie centres around a highly sexual lesbian affair. Hey, I’ll be the first to admit that in my simplistic sexual mathematics; 1 woman + 1 woman = nothing but a bonus (No, I said bonus!).
Anyway, the lesbian aspect isn’t really what’s exceptional about this thing, it’s the fact that it’s so damn hot! You think you know sexy movies? Believe me, you ain’t seen nothing yet. Unlike Steve McQueen’s Shame or David Cronenberg’s A Dangerous Method, which are movies that take a clinical and observational view of sex, Bound crawls under the sheets and revels in the heat. It’s not really a story of love, it’s a story of lust, and it makes no apologies in that regard.
Beyond the lesbian tension, however, this story involves blood and money too. No modern noir would be complete without betrayal and bullets, and there’s plenty to lap up here. As the main characters’ plan veers inevitably off course, it descends into a wonderfully compelling violent mess.
This sort of film would never work without two fantastic lead actresses. In this case we have Gina Gershon playing the stud Corky, who brings a wonderful display of mettle to her role. In an equivalent fairy tale, she would be the prince; saving her princess bride-to-be from the dragon’s breath. As the scissoring seductive princess (sorry, i meant sizzling!), we have one of my favourite women in the whole wide world:
Jennifer Tilly was born to play a femme fatale, and has done so on many occasions. She is perhaps best known as Tiffany doll, the freaky plastic girlfriend of Chucky from the Child’s Play series. Her whispering steamy voice is easily recognisable, unfailingly enjoyable, and can be found sampled everywhere from Family Guy to Monsters Inc. Some people are born to be interesting, some to be funny, some to be talented, and others with quality social skills…but Jennifer Tilly was born to be sexy! Don’t believe me? Here’s a picture of her playing poker:
Alright, so now you know what I’m talking about (and I know what you’re thinking, but it’s not just them!). Jennifer is extremely hard working and a lot smarter than she appears. She’s won several World Poker Tournaments and regularly contributes articles to Bluff Magazine, so don’t judge her by her cover…or mannerisms…or voice. Wonderfully, however, she doesn’t run from her sexual charms and instead lovingly embraces them into her career without letting them define or control her. Rather, she uses her charisma to her advantage…a natural femme fatale! (By the way…she’s 51 in that photo.)
Sorry…back to the film!
In the role of the princess-clutching dragon we have the always watchable Joe Pantoliano as Caeser. A very underrated and underused actor, Pantoliano does a tremendous job of flipping his character back and forth from a villain to a victim. Anyone who remembers seeing him in The Sopranos or The Matrix will know what good things are in store.
The Wachowski’s are known for leaving nothing to the last minute. Their strength lies in pre-production; planning out every shot, transition, and colour scheme meticulously. It’s an effort that pays off wonderfully in The Matrix and Cloud Atlas, but it all started with Bound. Symbolic uses of light, shadow, costume, and props may not be the bread and butter of today’s “shaky-cam” generation…but it’s a lesson in proper filmmaking from the days when people cared about more than just the performances. The score by Don Davis is one of my all time favourites; an operatic swell with an undercurrent of impending doom.
So fly away my pigeons! Fly out and get yourself a copy of Bound. You won’t regret it!
I’d firstly recommend watching Bound on Blu-ray, as the crisp chiaroscuro cinematography really lends itself well to high def, but it can be hard to get hold of unless you order it from the US. DVD should be alright, and if need be…you can download it. I won’t judge, honestly. You can relax, I give you permission.
Am I not merciful?
– Rant Over!
Philip Seymour Hoffman
So this morning I awoke to the news that Philip Seymour Hoffman, one of the most watchable film and stage actors of the last 20 years, is officially announced dead.
Usually when this sort of thing happens, a B-listed celebrity is rocketed up to the A-list post-mortem. It’s like a painters work becoming famous only after their death. It happened in the case of Heath Ledger and Paul Walker. Was anyone, besides 14 year old fangirls, gagging over Heath Ledgers combined career? Sure, 2 of his last films were major Oscar and box office hits, but was anyone other than your teenage sister singing the praises of A Knights Tale and 10 Things I Hate About You. Who the fuck even knew Paul Walkers’ name before he died? I sure didn’t, and the only film series he was ever known for stacked up a combined average of 50% on rotten tomatoes. No one gave a toss about him until he left this world in such a spectacular manner.
A similar thing will likely happen to Hoffman. The mainstream world of pop culture will catch on in a torrent of postmortem appreciation. “I loved Philip Seymour Hoffman!”, “Oh my god, he was like totes amaze!” “#bestactorever!”. While I do believe it’s better late than never for people to start appreciating his worth, it continues to baffle me that it requires something as traumatic as death for the general public to take notice.
The difference here is that anyone with even a meagre interest in acting for stage and screen will already be acquainted with and enamoured by this man. He was, hand on heart, one of the greats. He had very few starring roles in movies, and typically played a very important second fiddle. Never-the-less, there is a saying I want you to memorise. It is as true as the skye is blue, and it goes like this:
“There is no such thing as a bad Philip Seymour Hoffman film!”
There are some great ones, good ones, and not so good ones…but never a truly bad one. Check his IMDB page if you wish. The worst you’ll find is likely The Invention of Lying and Along Came Polly, which aren’t that bad when all is said and done. No, he was a pearl in a sometimes rotten clam, but always a positive force. You were damn lucky if you could score Philip Seymour Hoffman in your movie. It was like having an extra life in a Mario game. The whole movie could literally fall apart around him, and yet he was always enough to keep you watching.
So, for those of you out there who want to tweet or Facebook (or, um…blog) about this tragedy and gush over how important he was to your moviegoing experience…let’s all put our money where our mouth is. Here is a list of the top Philip Seymour Hoffman films that I think everyone should watch in chronological order.
In his first truly major breakthrough, Philip played what was essentially a villain role. As a spoiled rich prep-school student who threatens to undermine the main character’s academic future, he made his mark in the world of oscar nominated cinema and caught the eye of one yet-to-make-his-debut filmmaker.
Paul Thomas Anderson, in his commentary track to Sydney, recalls first seeing Hoffman poking his serpentine tongue at Chris O’Donnell and being completely captivated, stating “I had to have this kid in my movies!”. His squinted snobbish expression and eerie croaking voice provides the story with a much needed and exceptionally hateful antagonist. You can’t help but despise him!
Enough about where Paul Thomas Anderson first saw him, where did I first see him? Naturally it was in Twister! As the clumsy, eccentric, and probably perpetually high hippie Dustin, he laughed his way maniacally onto the big screen in a summer blockbuster that likely served his career enormously. He is by far the funniest thing in the film, and a great comic relief in general.
I love boogie nights so much! Not having seen it is like not having had sex. I can’t possibly describe to you how good it is…you just have to experience it for yourself.
My only criticism of an essentially flawless film is that Philip Seymour Hoffman isn’t in it enough. He easily plays one of the best characters, Scotty J. ; someone you laugh at, ridicule, love, pity, and then feel immensely sorry for. Philip took this tragic clown with precious little screen time and turned him into a kitten you just want to squeeze some love into. I would have been the first in line to see a Scotty spinoff of some kind.
There is a surprisingly large amount of people out there who don’t like Magnolia. I happen to love it, but regardless of whether it suits your taste or not…the one thing you cannot fault is the acting. There are so many great actors packed into this movie that Phil Hoffman tends to get overlooked. I think he’s phenomenal and totally believable as a stay-in male nurse with inner anxieties and frustrations that just lightly touch the surface.
Now this is just a great film anyway, and just made all the better by having Philip play a very interesting moral antagonist. He’s not a villain per se, because he is attempting to do the right thing by tracking down his missing friend. On account of Matt Damon’s increasingly lethal Tom Ripley being the main character, however, Hoffman basically becomes our “bad guy”.
To me it feels like he’ re-channeling his spoiled prep-school character from Scent of a Woman. What do you think?
This one isn’t ambiguous in the slightest, Hoffman goes plain and straight out evil. Punch-Drunk Love is one of my favourite romantic comedies of all time, as I noted here. I stated in that particular rant that it’s an adaptation of Popeye the Sailor Man, which would make Adam Sandler into Popeye, Emily Watson into Olive Oyl, and Philip Seymour Hoffman into…Bluto.
I can’t tell what must be more fun, for him to play such a monumental dick or for us to watch him play such a monumental dick.
Everyone should watch this film for 2 simple reasons:
1. To see Hoffman do a dead-on unflinching impression of Truman Capote.
2. To see the performance that won him the Academy Award for Best Actor 2006.
That is enough.
This is another one that you simply cannot miss. The story’s fantastic. Phil Hoffman and Ethan Hawke play brothers who decide to rob their own parent’s jewellery store. As you might have guessed, things go from bad to worse as they attempt to dig themselves out of an ever-deepening hole. This movie is so much fun, Hoffman or not…but you do get Hoffman…so you win either way.
Two words; Charlie Kaufman! Charlie Kaufman the writer…and Charlie Kaufman the director. If you know the meaning of this then you will have some idea what to expect with this film. It’s certainly far more of an art piece than it is an entertainment film, but there is something about Kaufman’s absurd “metaphor-actualisation” synthesis that’s oddly appealing. I would recommend this film largely on Hoffman’s ability to act out half a lifetime on screen, but don’t go in with your action film hat on.
This is a film that I liked far more than I thought I was going to. I think there needs to be a lot more films about the egregious nature of the child rape revelations from within the Catholic church and I’m very thankful to John Patrick Shanley, Amy Adams, Meryl Streep, and Philip Seymour Hoffman for daring to discuss it. Obviously this movie has more to do with the shaking of faith, belief versus evidence, and emotion versus fact. Still, it’s a perfectly well poised “issues” film.
Most people will see this movie for either Ryan Gosling or George Clooney. I have to say that I went in thinking it was going to be West Wing-esque, and possibly even quite dull. I was amazed at just how riveting it was. This movie is so much darker than you think it’s going to be. Hoffman does a great rendition of a wise old political strategist butting heads with fresh young talent. See it, and stick with it, you won’t be disappointed.
A surprisingly similar role, but hey…if it ain’t broke don’t fix it, right?
Moneyball is a great film with nothing but dialogue, anger, and competition behind the scenes of baseball. It’s about the desperate search for truth and new tactics in a world of lazy tradition and ego. Who better to exemplify that lazy tradition and ego than one of this generations finest actors? The picture really tells you all you need to know about his character.
And so we fittingly end with The Master (and awkwardly land on the number 13)! If you haven’t seen the Master, it’s your duty to split for a bright big BluRay copy right now.
Based (unofficially) on the rise of L. Ron Hubbard and the Church of Scientology, The Master tells the story of an alcoholic World War II veteran who meets the charismatic leader of a growing cult. The two become best friends and begin to affect each others philosophies. The beautiful 70mm cinematography alone envelops you in a strange hyperreal vintage world, but add to that the uniqueness of Paul Thomas Anderson’s writing and the towering presence that is Philip Seymour Hoffman…and it will at the very least put you in a state of awe.
I suppose that’s all there is to say.; A man I never knew, but through his work. Clearly beloved by many both before and after his death. Special mentions go to The Big Lebowsky, Almost Famous, Love Liza, Cold Mountain, Mission Impossible III, Charlie Wilson’s War, Mary and Max, The Boat That Rocked, The Hunger Games: Catching Fire, and of course Jack Goes Boating which he starred in and directed.
I will leave you with a little favourite clip of mine. It’s from the making of Magnolia. I have no doubt that this man worked extremely hard at his craft, but it’s also deliciously good fun to see him joking around with one of his directors…merely as a friend.
So long, thank you for everything.
Philip Seymour Hoffman
1967 – 2014
Cinema Rant 