They're Up

Okay, so they've been announced. It's what we expected, with a few twists, but the Golden Globes and the SAG awards gave us a pretty good preview of what this would be.

Go see the full list here: Oscar Nominations

New film to the list: Munich

New actor: William Hurt (for that philly accent!)

So disappointing (and I knew this would happen): Charlize Theron, Keira Knightley, and the feel-good Judi Dench nomination (okay, I haven't seen the movie, and I think she's awesome, but where is Maria Bello?)

What do you think? Let's talk, people!

And the Oscar Goes To...

Well, I know which kind of Oscar I would rather have in MY living room, but I suspect there are a few Hollywood types who might feel differently.

So are we all ready for the big nominations tomorrow morning?

Any predictions?

People or films you're pulling for, or expect to be cruelly overlooked?

Any undeserving nominees anticipated??

Time to let the fur fly, people.

SAG Open Thread - Left Coast SPOILER ALERT!

So who's watching this? We are really just killing time until BLEAK HOUSE kicks off in half an hour. It's a little rough having to endure all of the TV awards, since I don't watch any of the shows. But still, who can resist all of that star power in one room?

So far, it's looking good for Rachel Weisz to win the Oscar.

And can I just say, Chris Cooper is PURE CLASS. Love that man.

I know you've been waiting...

So here it is! Episode 2-14 could have been so much better, and you don't know how it pains me to tell you that. Yes, that's the incredible Bill Duke putting the hurt on Lee right there. And the ingredients were SO there to really show how's Lee's been slipping since his "space walk", but this one just doesn't deliver. The fate of Duke's character is clumsily handled; he doesn't get enough screen time to fully shine.

Emily felt like Lee's memory of some romance before the holocaust was a bit clunky as a story device. I completely agree. Yes, he's been through a traumatic experience, but we've never seen any evidence (in over a season and a half) that the memory of this lost love is something he carries with him. It seemed to come out of nowhere.

But, as always, there were good points. Mary McDonnell shows why she's been nominated for two Oscars. Her scene with Baltar where the two square off over his role in the government is delicious. And while I thought the status of her illness in the previous episode was resolved a little too neatly, her current cantankerous-ness shows she still going through something, and I can't wait to see what's next!

Coen Brothers, Where Art Thou?

Lately I have been wondering what is going on with the Coen Brothers. A few weeks ago, we caught a good chunk of RAISING ARIZONA, and I almost wet my pants. I hadn't seen it in years, and I don't know if it's because I have spent a lot of time around babies lately or what, but it really was one of the funniest things I have ever seen - particularly the scene where Nicholas Cage breaks into the house and is standing in the nursery trying to decide which baby to kidnap, and the little buggers are crawling all over him. And of course Holly Hunter is brilliant; I love her sobbing "I...love...him...so...much" meltdown when Nicholas finally brings her the beloved toddler that she has always desired.

And a few nights ago, we watched MILLER'S CROSSING, which despite its operatic violence (during which I of course hid my eyes) is one fine, fine film. Great performances from Gabriel Byrne, Albert Finney, Marcia Gay Harden and John Turturro.

Another other favorite of theirs would have to be THE BIG LEBOWSKI (see my Jeff Bridges post from a few days ago), which I saw in the theater when it was released and found a bit baffling, and then saw again several years later and absolutely adored.

There have been flashes of brilliance from these brothers for years. But honestly, the last film of theirs I saw was THE MAN WHO WASN'T THERE, and I was decidedly underwhelmed. We caught a few minutes of their remake of THE LADY KILLERS (the original is definitely worth checking out), and it looked just, well...off.

I feel like the brothers are still very young, and hopefully have at least a handful of great films left in them. At least that's my hope. I would hate to think that they peaked (at least critically) with FARGO ten years ago, and that now we are just in for the dry heaves.

Your thoughts?

Get Your Bleak On

This is your official reminder that Bleak House is on this Sunday night, 9:00 p.m. eastern. Check your local listings.

Mike, this photo's for you.

Counting Down to Battlestar

First of all, who is that blond? And why is Lee out of uniform? Another thrilling episonde awaits tonight, and you can all look forward to my incisive commentary thereafter. So say we all.

It's Bad News For...

My current state of sloth led me to aimless clicking of the remote last night and I happened on a showing of The Bad News Bears from 1976. What serendipity.

I had completely forgotten how damned funny this movie is - from Walter Matthau as Buttermaker, the past-his-prime, beer drinking (all varieties, by the way), pool cleaner coach who is given the biggest bunch of misfits in the league to the precious and precocious Tatum O'Neal as Amanda, the best pitcher around who refuses to wear a cup (but wants a bra) and who proves to be a true foil to Buttermaker. Their fierce relationship breaks your heart.

I remember seeing this for the first time and feeling so shocked (and thrilled) by this bunch of kids who said "shit" in front of adults and beat up other kids and drank BEER. I have no idea how old I was (I was too young to have seen it in the theater in '76), but I remember loving this movie - the misfit kids, the camaraderie, the cool girl who kicks everyone's ass. And what about the "hood" - the kid, Kelly, who rode a motorbike and wore those strange, almost disco, tinted glasses? I especially loved that it was about baseball, the greatest game, and as a little girl who played in endless softball leagues, this movie really resonated.

This is comedy before it had to be all about vibrators and sex (not that they're not funny) OR before it had to be politically correct. Kids drinking beer and beating up other kids WITHOUT apologizing or supplying some "moral of the story?" Not today. It's not all comedy, though - this rich movie deals with love, a bit of drama, and seriously scary bullying parents.

I highly recommend a re-viewing of this movie to everyone who reads this. It's simply hilarious and if you love curmudgeons on film as much as I do, the scenes between Walter Matthau and Tatum O'Neal are priceless.

Let's Hear it for the Ladies Open Thread

I think we are all familiar with the myth (perhaps true?) that Hollywood is controlled by men who have no time for women actors once they hit 30 and the lines start showing and the boobs start sagging. I have been thinking about this myth/fact lately as we have all been reviewing our favorite pictures from 2005. It's always so easy to think of dozens of amazing performances by men, but where are the earth-shattering, soul-crushing roles for women?

So let me take this opportunity to give a little shout out for the long-lost Judy Davis, one of the most versatile - and frequently unhinged - actresses out there. We saw portions of her wonderful work in "Impromptu" (with Mandy P., Kate!) over the weekend, and a snippet of some bizarre looking Lifetime movie (a shame, I know) last night, and they both reminded me what a force of nature she is. I just wish we were seeing more of her lately.

So let's hear it, people: who are your favorite women in Hollywood??

Believing is Seeing

I was going to let Mikey lead the charge on this film, since he had such an uncharacteristically, 100% positive reaction to it, but he's been a little shy here on The Balcony, so let me just quickly recommend "The White Countess." Merchant-Ivory's final film is sublime, mournful and downright gorgeous. It's a film that works unhurriedly toward its climax, and gives its characters the time they need to unfold against the volatile backdrop of pre-WWII Shanghai.

There are many reasons I enjoyed this film so much: Kazuo Ishiguro, the screenwriter, is one of my favorite novelists, and as he has demonstrated so brilliantly in "The Remains of the Day" and "When We Were Orphans," he has a deep sensitivity for characters whose lives are disrupted by the violence - both physical and emotional - of war. And of course, Ralph. By now you have probably picked up on my heavy pro-Ralph bias, but until my sister finds the time to join our blog, I am leading the charge. Between this film and "The Constant Gardener," Ralph has broken my heart several times this year. (And cracked me up in "Wallace and Gromit.") But Ralph has met his equal in Natasha Richardson, who is luminous and splendid as the displaced countess. Don't be fooled by the promos for this film: it is a subtle, under-stated love story that moves in ways you might not expect.

Anglomania, Part 1

Okay, everyone, this is officially my first anglophile post. Emily outed me immediately regarding my reflections on Charles and Diana at the tender age of 8. But this is it, the first post, and it's all due to the latest installment of Masterpiece Theater.

Now, before you gag and move on, give it a chance. For years, MPT has been bringing excellent BBC productions to this side of the Atlantic for us sorry Americans who were looking for more beyond the "North and South" miniseries. I miss Alistair Cooke, and kind of miss Russell Baker, but we still have the excellent productions.

Charles Dickens' "Bleak House" started last night and I was practically peeing my pants with excitement. Not only is it a veritable who's who of British stage and cinema (my old friends!), but it manages to translate the sometimes overly complicated and intricate Dickens text to screen incredibly successfully. Andrew Davies adapted it - he wrote the fab adaptation of the BBC version of "Pride and Prejudice." As a reader, I am not a huge Dickens fan. But on screen, I love him. And who can resist those crazy names? And those crazy scene transitions of the three clank, clung, clonk sounds and whiplash zoom-ins?

Check out an excellent Nathaniel Parker (brother of Oliver Parker) as the squidgy leech Skimpole, acting very non-Lynley like. Charles Dance is just pitch perfect as the detestable, horrible Tulkinghorn. For those of you who have a crush on that x-files woman (Mike), Gillian gives a good show as Lady Dedlock. I won't go on and on about who's who and what other productions these actors have appeared in, but here are my three favorite names from last night:

Snagsby, Mr. Tulkinghorn, Guppy.

Tune in and get some bleak! Try it - you may even like it.

Hold That Tiger!

Before things get too carried away on this blog, there is something everyone needs to know about me: I love Jeff Bridges. No, seriously. I love him. He is probably my absolute favorite actor. I don't know when I finally realized this, but certainly at least since "The Fisher King," I have totally adored him.

Mikey has been kind enough to indulge my Jeff obsession on our Netflix queue, and this morning we watched Francis Ford Coppola's "Tucker: The Man and His Dream." "The Godfather" aside, I am not a big fan of FFC, but Jeff's towering presence makes this biopic of a relatively obscure American dreamer worth checking out. You will also be treated to a nice turn by Joan Allen as Tucker's wife, Christian Slater as his oldest son, Dean Stockwell in a brief appearance as the certifiably wacked-out Howard Hughes, and the senior Bridges as an evil Senator from Michigan. Joe Jackson (remember him?) also cooked up a nice score.

Why do I love Jeff? As far as I am concerned, he has one of the greatest smiles (love that big Muppet-esque mug) in all of film, a graceful and sometimes fiersome physicality, and whole heaps of humanity.

So David, any chance you can get me a lunch date with the man??

The Enemy (?) Within

When you're down to about the last 49,362 human beings left alive in the whole universe and you have no home, other than a few broken down space ships, you don't really need Cylons to make life miserable. Let's see - terrorism, Sharon's unborn child, President Roslin's breast cancer and vice-president Baltar's little demons in his head.

Needless to say, Episode 2-13 last night was another roller coaster. I won't offer any spoilers (it appears that David is actually watching this show, maybe), but I will say that the shit is so nice. Yes, there are some convenient scientific realities in this episode which are not really fleshed out completely, but SO WHAT?! The drama and the agony and the performances are all so much better than any televised sci-fi I've ever seen. When was the last the time that the New Yorker stopped and took notice of a show like this?

Em's Top 6 1/2

I really don't want my year-end "Best" list to be like the NBA playoffs, where all the teams but a few true bottom-dwellers make the first cut. So what follows is my list of 2005 films that really made an impact on me. I don't think these are in any particular order, but I think the film listed first is showing up there for a reason:

THE CONSTANT GARDENER: You know a film is special when it can endure Danny Huston doing a British accent. I saw this picture about 4 or 5 months ago and I can still close my eyes and see certain images from it fresh in my mind. This movie is so many things: a great love story, a murder mystery, a profound statement about the tragedies unfolding every day in Africa. And on top of all that, Justin Quayle is probably the most heart-breaking (and sympathetic) character the brilliant Ralph Fiennes has ever played. A truly great film.

CRASH: What an ensemble. Three cheers for the re-birth of Matt Dillon. The scenes with him and his sick father were so real, and so painful to watch. Ryan Phillippe continues to catch me off guard: he's not just another pretty face. The rescue scene with Thandie Newton and Matt Dillon is one of the scariest things I have ever seen on film. Films like this which try to weave together so many different characters can often get unwieldy, but I thought Crash was hugely successful, due in large part to the monstrous performances from the entire cast. (Even Sandra Bullock.)

GOOD NIGHT, AND GOOD LUCK: I know a movie is great when the credits roll and I am ready for it to go on for another 90 minutes. This picture definitely left me wanting more. But part of its brilliance is that it is so concisely told; there are no wasted shots. I have said it before, but I'll say it again: the black and white film, the Diana Reeves, the cigarette smoke all add up to an atmosphere that you feel like you can almost reach out and touch. Add to that a whole slew of my favorite actors (George, David S., Jeff Daniels, Robert Downey Jr.), and well, what's not to love?

HISTORY OF VIOLENCE: Mmmmmmmmmmmmm...Viggo. Sorry, had to get that out of my system. This movie was amazing to me because as gruesome as it was (and most of you know that I am a terrible wuss when it comes to on-screen violence), I was totally mesmerized. This film was also much funnier than I thought it would be, and in unexpected ways (not just because of the serious hamming it up from William Hurt.) Special props to the kid who played Viggo and Maria's teenaged son; so much of the film hinged on the strength of his performance. I think I am almost ready to see some of Cronenberg's other films now.

THE SQUID AND THE WHALE: Talk about a dark comedy. This movie is so dark and twisted, you can almost forget to laugh. All of the actors walked a very fine line in this film, to ingeneous effect. I thought it was reminiscent of Wes Anderson, but was a little less self-conscious and a little more artfully done than some of Wes's films. Owen Kline was downright revelatory, and thank God for being reminded how much I love Jeff Daniels. What a despicable father, but what an unbelievable performance.

WALLACE AND GROMIT: THE CURSE OF THE WERE-RABBIT: Definitely one of the funniest movies I have ever seen. Any film that involves this much cheese-related humor is bound to tickle my funny-bone. The animation (clay-mation?) is delightful, that damn dog is one of the sweetest and most lovable characters with no mouth you will ever see, and the actors doing the voices seem to be having the time of their lives (yes, Ralph strikes again.) The final sequence is one of the most breathlessly hysterical things I have ever experienced.

HONORABLE MENTION

BROKEBACK MOUNTAIN: This movie did a serious boomerang on me. I enjoyed it much more in the days after seeing it than I did while I was actually watching it. (Moral of the story: if you have to go to the bathroom, don't try to hold it until the end of the movie. The discomfort really outweighs your ability to enjoy the remainder of the film.) In retrospect, I just found Jack and Ennis to be a totally compelling tragic-romantic couple. Huge props to both of those fine young actors.

So there you have it: my top 6 1/2 movies of 2005!!! Realizing the shamefully small number of films I actually saw in the theater this year has inspired me to do much, much better in '06.

The Bestest

I haven't seen all the movies yet, either, but I always welcome more good movies to the bestest list. It's the worst movie list that always seems to get longer...

It's quite a mix for me this year, but here goes, in no particular order after #1:
1. Downfall: Nothing like a little Hitler to warm the heart. No, really, this was the best movie I saw this year and one of the best movies I have ever seen. Bruno Ganz's performance was stupendous.
2. Batman Begins: Christian Bale reigns in this dark backstory of Batman. Nevermind that I blushed when his character did push ups shirtless. Hubba.
3. A History of Violence: Excruciating, palpable physicality was a completely new viewing experience for me - and who doesn't love William Hurt doing a Philly accent?
4. Millions: Little gem of a story told from the perspective of a sweet boy trying to do what's good. Danny Boyle's hallucinogenic directing was perfect for this story.
5. The Constant Gardener: Oh, those brits. I love 'em - especially when Ralph and Rachel go to Africa.
6. King Kong: Lots of good things have been said about this movie on this blog, so if you haven't seen it, go!
7. Good Night, and Good Luck: Sharp and tasty nugget of a film that cleverly used old McCarthy footage so we could all witness that nutball for ourselves.
8. Walk the Line: In the end, a great love story, and told with warts and all.
9. Wedding Crashers: Filmed where I live, so I'm a bit biased, but I screamed with delight when I saw this. Truly riotously funny.
10. Layer Cake: British gangsters (I told you I was an anglophile) double crossing each other. It's more than that, but I don't want to spoil it. Darkly funny in some spots. I walked around for about a week afterwards saying "welcome to the layer cake."

I liked a lot:
Happy Endings
Match Point
Brokeback Mountain
Cinderella Man (for the love of Russell, not Renee)
Crash

Looking forward to seeing everyone else's posts. I assume we'll do 10 worst after we finish with best...

"If It Bends, It's Funny. If It Breaks, It's Not Funny."

As much as I love going to the movies, one part of the experience that frequently bums me out (at least when I am out of my usual "art house" safe-haven) is the previews. The dreaded previews. At the multiplex, I often find myself subjected to a barrage of trailers that just serve to remind me what a small percentage of films are really worth our while.

But aside from films that look just plain awful, last weekend I saw previews for two films that look pretty offensive: Albert Brooks' "Looking for Comedy in the Muslim World," and "American Dreamz," which looks like some sort of demented cross between Robert Altman and the Farrelly Brothers. Both of these trailers contained segments that looked extremely racist and anti-Muslim. I just have to ask: is that sh** really necessary? Is this really the time for mocking an entire culture and religion with which we are so deeply and dangerously embroiled? I don't mean to sound like the PC Police. I just think it's kind of unbelievable that there are people in "liberal Hollywood" who fail to understand that humor of this sort is just not appropriate (not to mention not funny.)

The Wrong Place and the Wrong Time

Forgive me for mixing politics and film for a just a minute, but I couldn't resist posting this brilliant bit of satire. Thanks to Mikey for directing me to it.

Warning: Impending Celebrity Bloating

Blech. It's only the beginning of the awards season (as screamed daily by E!) and I'm already feeling the celebrity bloat. It generally happens by the week of the Oscars, when I can't read one more story about Teri Hatcher's dress or Jack Nicholson's acceptance speech(s) from three awards shows back. When the Oscars finally arrive, I'm like a petulant child who's had too much candy. Grumpy, but back for more.

I think I jumped the gun too early last night, because I started watching E!'s coverage at the insane hour of 5:30 p.m. I sat through 2 1/2 hours of coverage, and although Ryan Seacrest is an improvement over Star "vader-breather" Jones, it's not a huge improvement. He's pretty much the pits.

Why do I tune in? Because like any decent hollywood watcher, I want to see the STARS and their fashions. Or should I say stylist's fashions, because no one picks their own clothes anymore. Everyone's afraid of making a bad choice. Please, give me Cher, give me Bjork, give me Sharon Stone, give me Lara Flynn Boyle - any of these characters lend spice in an otherwise tasteful boring red carpet which has been the case for the past 5 years. Overall, it was really tame and kind of boring.

I thought the only housewife who didn't look like a Whore Barbie was Felicity Huffman. (You should know I am not a fan of them in general, so this is biased.) Also looking good were...Gwyneth, Rachel Weisz (minus Elvis hair), Michelle Williams, Reese, Natalie, Emma Thompson. Special shout-out to George Clooney for wearing a tux correctly - collar down - and he owns it. Jeff Daniels looked good, but needed to take his hands out of his pockets. Colin Firth looked edible.

Not so good? Well, the Whore Barbies. Poor Drew Barrymore - her dress just made her ample bust and great figure look like that of a middle-aged librarian (and I do dig her curves, trust me). And, in general, I don't dig the black scarf - Thurston Howell III- thing that Adrien Brody was sporting last night.

Some red carpet gaffes: when Joan Rivers thought that Colin Firth was Emma Thompson's husband, Gregg Wise, and then proceeded to thank him and kiss him for the "most romantic ending to a movie this year" - meaning the screen version of Pride and Prejudice. Colin just gritted his teeth and stepped away. Giuliana DiPandi (from E!) talking to David S. who just looked completely nonplussed and irritated when she showed him her "Mrs. Clooney" compact. Isaac Mizrahi asking Eva Longoria what was going on "down there - did you wax?"

I realize this post had nothing to do with the actual awards - the only thing I have to say about them is why oh why did they add that clip of "Meet Joe Black" to the reel for Sir Anthony Hopkins? That is the worst movie I have ever seen, and I'm sure Sir Anthony does not want to remember it either.

Do You Feel Lucky??

I had the unique experience of watching "Match Point" in a packed Manhattan theater last night. The hometown crowd was out in full force, and it was evident from the first preview that there was a bit of shared-brain syndrome going on. (Witness unbridaled guffaws of laughter - led, it seems, by my sister - at the preview for the new Mel Gibson picture, "Apocalypto," which seems to be (another?) epic saga in a dead language.) Everyone was rooting for Woody, waiting breathlessly for him to hit one out of the park.

And he did. "Match Point" is a compelling morality tale, made almost completely plausible by the mesmerizing performance of Jonathan Rhys-Meyers. Woody did a masterful job ensuring that the audience is just as seduced by the Hewett's lavish lifestyle as Chris is, engendering empathy for the protagonist that lasts until the moment when his struggle to do the right thing and retain his favored status within in his new adopted family gives way to some seriously dark, misguided forces.

There were a few choice moments that let you know you were watching a Woody Allen movie: Chris breaking into a claustrophobic sweat in his giant office; Chloe's friend at the Tate Modern talking about their mutual acquitances who had gotten together after discovering that their neuroses complimented each other so perfectly. Otherwise, it was easy to get lost in this incredibly English world full of characters who never in a million years would have found their way into any of Woody's other films.

There was really only one clunky moment, when Chris is visited by the apparitions of Nola and her neighbor and addresses them with stilted, pseudo-philosophical jargon. The moment passes quickly, though, and the film immediately regains its center of gravity. I was tickled by what I thought of as the film's coda, the shtick between the Irish and Scottish detectives. They brought a certain comic levity to the action after a fairly long stretch of excrutiating tension and suspense.

My sister (who also loved the film) served as the fertility plausibility police, noting that Chloe should have been taking her temperature before getting out of bed rather than at the breakfast table. And when they all returned home from the hospital after baby Terrance's birth, she noted that Chloe was wearing tight jeans "and did not look sufficiently post-partum." But hey...

I don't know what has been wrong with Woody over these past ten or fifteen years. I am just glad that he has created a film of such creeping (or is it creepy?) intensity.

This is your Golden Globes Open Thread

I know it's kind jumping the gun. The show doesn't start for another four hours out here on the East coast. If there's a delay, we may have to moderate the comments to avoid spoilers.

In the meantime, we'd always like to see predictions and dark horses in the pre-show lull. And then there's the red carpet...

We Are Now Floating In Space

Just a quick note. Battlestar Galactica does not require apologists. Not anymore. After a season and a half, this show is a critical success and a solid moneymaker for the SciFi network. You can't call it an underdog anymore.

So once the show has exceeded expectations, what's left? The answer is an even more taught depiction of the most desperate times, where humanity's future hangs in the balance, and only the most deeply flawed and insecure human beings are able to shine a glimmer of hope.

Tonight we started to see what happens, at least for Lee Adama, what happens when that light begins to dim and go out. It's wrenching drama.

"I Don't Even Know What I Am Chasing"

I recently had the chance to see "Chariots of Fire" for the first time since its theatrical release (I must have seen it about 3 times in the theater, at age 8 or 9.) It was unbelievable, how vividly I remembered so much of the film, from Ian Holm punching in his hat after Harold wins the 100 meter, to Eric and his sister, Jennie, having this memorable exchange, which my sister and I repeated for years (with heavy Scottish inflection):


Eric: "Jennie, Jennie...Don't fret yourself!"

Jennie: "But I DO fret myself, Eric!"

(She, of course, is worried that he is abandoning his religious works for his running.)

This is a film for the ages. Perhaps because it is a "period piece," it withstands the test of time. But I think its strength comes more from the beauty of the story, the amazing photography, the brilliant performances from so many unknown actors (plus a few heavyweights like Holm and Sir John Gielgud), and, of course, the MUSIC. As my music-loving husband pointed out, it almost seems as if the running sequences were filmed to accompany the music, not the other way around. I really can't think of any other film where the music is so seemlessly integrated into the whole work of art.

I was sad to learn, after consulting my beloved (but extremely outdated and therefore frequently useless) 2002 Video Hound, that Ian Charleson, the lovely actor who played Eric Liddle, passed away in 1990, at a sinfully young age. I fell in love with him when I was a kid; I am just sorry that he didn't have the chance to go on to other great things.

What was I thinking?

Before you think I'm all high-fallootin' and only see high-quality, well-reviewed films, I wanted to let you know that I saw one of the biggest stinkbombs of 2005...Rumor Has It. Truly, it was the pits. But I was feeling vulnerable - Christmas puts me in a romantic comedy kind of mood, and after seeing The Family Stone in hopes that it would quell my thirst (failure - totally NOT a comedy), I turned to the multiplex the next day to see this picture.

UGH. It is never a good sign of a movie when the first joke - some airplane bathroom shenanigans as the couple tries to join the mile-high club - fails miserably. The audience, made up of women much like my mom and me, didn't let out a titter. After 15 more minutes, you could hear the movie go ker-plunk and sink to the bottom of film ocean.

But we stuck it out for the remaining 2 hours or so. The plot had vague promise - story of a woman who learns that The Graduate was based on her family - but it gets icky when she actually sleeps with the same man her mom and grandmother did. Kevin Costner is the rogue, playing that sandy-haired, tanned middle aged man he's been playing a lot lately. Wait, that's what he is. Hmm. And Shirley MacLaine, now pigeonholed as the sassy grandmother with one-liners that are actually kind of gross.

Jennifer Aniston was like a lamer version of Rachel, just with different hair. Hair that annoyed - brush it OFF your face, please?

Silver lining: delicious dulcet darling of Mark Ruffalo. He was good, as always, but why did his character take back Aniston's character after her night of passion with that man? Because it was in the script. I can't find another reason.

Hey Rob Reiner, what happened? Whither have you gone?

Please, Hollywood, can we please get a good romantic comedy? I have my needs, and Valentine's Day is right around the corner...

Wrangler Jeans at the Rodeo

I'm not sure when it all began - perhaps it was Star Wars - when the whole product/film tie-in began. Who was that brilliant marketing executive who decided to create action figures and have them available at mcdonalds? It exploded in the 80's with ET merchandising, and Harry Potter has taken us to a new level.

With adult movies, or should I say grown-up movies, it's different - merchandisers hope viewers are "inspired" by the movies they see, and therefore offer up greatest hits cds (with the release of "Ray" or "Walk the Line") or martinis/swing music ("Swingers") or leather catsuits ("Avengers" remake) in the hopes that consumers will want to dwell a bit longer in the movie and purchase these items. (needless to say, those leather catsuits bombed, a la the film itself.)

These are the kind of things I think about when I see a movie like Brokeback Mountain. Ang Lee's painstaking attention to detail - down to those horrible plaid coats and Wrangler jeans and cigarettes, cigarettes, cigarettes - makes me wonder if we'll start to see anyone walking around trying to evoke Ennis or Jack. Somehow, I don't think so. It's just too damned depressing.

However, I did not find Brokeback Mountain to be the overly moving, wrenching, film-that-stays-with-you-for-days movie. I had braced myself after hearing such reviews from friends and co-workers, and I sat in the theater waiting for the big MOMENT to come where my gut would just be ripped open and I would start sobbing. It never came. Was I missing something? Was I not as sensitive as I thought I was - as a straight woman, could I not understand or have empathy for a story about a gay couple forced apart by time and place? Am I still too naive to feel the crush of the choices I have made in my life to feel like I have no way out? (I cried at King bloody Kong - doesn't that mean something?)

I didn't get upset because I found it cold. After the initial summer at Brokeback Mountain, and the first reuniting scene outside of Ennis' home, I did not find their relationship compelling nor could I warm to either character. That sounds harsh, but it could have been the effect of the efforts to convey time was passing, and I could not get over Anne Hathaway's terrible wigs. Ouch! I wanted to see more longing, and I didn't get it.

I found the movie beautiful, and Ang Lee's eye for framing each shot perfectly and his gorgeous manner of filming both Ennis (Heath) and Jack (Jake) was stunning - they were lovely. I have loved Heath since his role in "10 Things I Hate About You" - but have not seen him in much since. The way he held his mouth, the tenseness in every sinew of his body, was perfect. He had the potential to overshadow Jake, and he did for the most part, but Jake held his own, particularly in the scenes at home with his family.

Things that bugged? Well, that line that everyone keeps imitating (we only saw it in the trailers a zillion times) that is captured in the above picture. That damned twangy guitar love music that would get louder before a key scene. You knew one of them was going to smell the other's shirt or look at a postcard. It was just a bit much.

Before I end, let me just say that there was one scene that did make me well up just a bit - and that was the scene at the end, with Ennis and Jack's parents. The hollowness of their expression and their acknowledgement of their son and his life was moving.

I agree with Emily - a good movie, but not the best I saw in 2005. But it is a step in the right direction - perhaps someday a movie like BBM could be promoted as a "love story - two lovers separated by time and situation" instead of "that gay cowboy movie."

Poste Haste

Hello - this is the other host - or should I say hostess - of this all-thing-moving-image blog. It's "moving-image" because besides movies (or films, depending on your point of view), I'm sure we'll get into television, movies on television, made for tv movies, and the occasional music video. (Do they even make videos anymore?)

Anyway, per the intro on the left nav, it did all begin lo those many years ago with Chuck and Di. Thanks for indulging me - but I know I returned the favor during the Tom Hulce years. But that's for another time.

At the moment, my head is just bursting with ideas, loves, hates, and the pressure is on for a BBM (brokeback mountain) review. And we're off...

The Good George

I think it might be appropriate to kick off award season by giving it up for George Clooney - a righteous man who has had HUGE year. "Good Night and Good Luck" was one of the tastiest, most compact little movies - packing a huge whallop - I have seen in a long, long time. (I was so sad when the credits rolled - I wanted more!) I loved the atmosphere (lots and lots of cigarette smoke, which is disgusting in reality but which looks sooooooo cool on black and white film), the music (Diana Reeves is fierce), and George did an extremely smart thing in casting one of my all-time favorite actors, David Strathairn, as Edward R. Murrow.

Ol' George has come a long way since his poofy-hair days as Doug Ross. I remember thinking, when he left "E.R.", "Who's he kidding, trying to become a movie star? T.V. stars NEVER make it in film." Well, let me take this opportunity to officialy EAT MY WORDS. Not only has George succeeded in terms of pure $$$$, but he has blazed a fairly unique trail in current Hollywood, though apparently he owes a huge debt to Warren Beatty, Robert Redford and Paul Newman, according to something I think I read in the NY Times magazine (as you can see, this blog is not very thoroughly researched...). George's choices are political without being bombastic, and he seems to have struck a brilliant balance between blockbusters and art house projects. And I hope that people are beginning to realize that on top of all of his other creative achievements, George really knows how to act. And not just because he gained 35 lbs. for "Syriana." I have a theory that you can't be a great actor unless you are extremely, inately intelligent, and I have a funny feeling that G.C. is one smart guy.

I really can't get over George. I hope he wins a pile of awards this season, and I hope the people around him in Hollywood realize what a rare and thoughtful artist they have in their midst.

Were Those All Real Sheep??

Phew! I finally saw "Brokeback Mountain" - this year's odds-on favorite to win the Best Picture Oscar. An awful lot of hype preceded my trip to the theater this afternoon, and while I (gasp!) did not shed a tear at this universally acclaimed "weepie," I did find it to be an affecting story with first-rate performances from its two young stars. Plus, I was truly astounded at the sheer (excuse the pun) number of sheep extras which Ang Lee enlisted for this project. The aerial shots of the heard moving through the ravines and up the mountains were quite stunning, but I couldn't help but wonder if there wasn't some digital enhancement of their numbers. But on to the more serious dimensions of the film.

I have read and heard so much criticism of this film already that I guess I will start by piggy-backing on some of the things I have heard others say. First, I found that the film struck just the right note in terms of depicting the sexual/romantic dynamic between Jack and Ennis. People are complaining that there wasn't enough sex: is that just because the romantic leads are both men? Would similar criticism be levelled at a "straight" story of suppressed love? I don't think so. I thought the story was told in a way that conveyed the deep passion that these men felt for each other - both sexual and emotional - but that also depicted their struggles against their identity and their community.

Heath Ledger was quite phenomenal as the more overtly-conflicted Ennis. His rage and confusion and love of Jack combined to make him seem like a caged animal through most of the film. His performance has obviously been hyped to death, but it's quite deserved. This is the first time I have seen him on screen, and I was powerfully impressed. Think I'll be skipping "Cassanova," but I look forward to many great things from him.

I am a bit more familiar with Jake Gyllenhaal, and he continues to deliver the goods. He has such a great big, grin, and his expansive smile suited his dreaming, idealistic Jack. His character's tragic end was perhaps a bit predictable, but he was a wonderful foil for Ledger's tormented Ennis.

I don't think "Brokeback" is the best film I have seen this year, but it was beautifully filmed and touchingly brought to life by its two stars. I also think - or at least hope - that this film represents a turning point for Hollywood, and its willingness to depict gay life and love on screen. It may have been a bit contrived in its depiction of the tragic toll that homophobia can exact, but the sad fact is that Ennis meets roughly the same end as Matthew Shephard. The moral being, perhaps, that the line between fact and fiction can sometimes be thinner than we realize.

Your Hosts

Before things get too carried away here - before the fur starts flying as the argument over worthy and not-so-worthy awards nominees really heats up - it seems appropriate that you should at least have a chance to meet your hosts in this endeavor. So here we are, circa late 2003, outside of the former Krupin's Deli in D.C.

Lying is Bad, Bad, Bad

Didn't quite make it out to the theater yesterday, but did manage to watch "Shattered Glass." A very solid little movie; tightly constructed, not a lot of excess fat on the story, which follows the meteoric rise and equally sudden fall of New Republic journalist Stephen Glass (who, judging from the accompanying "60 Minutes" piece on the DVD, is one craaaaaaaaaaaaaaazy M-F-er.) The performances were great, and I have to say, Hayden Christensen really delivered. He quite convincingly conveyed the panic-stricken free-fall of a compulsive liar (or whatever he is) when he finally gets busted.

Props are also due, of course, to my boy Peter Sarsgaard. You know him as the embodiment of evil in "Boys Don't Cry," and also as the lucky guy who got to smooch Liam Neeson in "Kinsey." I have already confessed my crush on him, but aside from that, he is quite an intense, intelligent actor.

Anyway, given the current controversy surrounding journalistic ethics (mostly at the Times), I thought this picture was a tasty and relevant treat. Since I know a teeny-weeny bit about the world of journalism (my sister-in-law is a reporter for Forbes), and judging from the "60 Minutes" piece, it seems like the crew on this film really did THEIR research, and strove to create a factually accurate depiction of what went down during this almost-unbelievable scandal.

No sex, no drugs, no violence - just a solidly-told, well-acted story. And by the way, The New Republic is a pretty crappy magazine these days (we subscribed during the '04 election season, and they endorsed Joe Liebermann. Need I say more?)

Saturday Morning Launch

"I wish I could quit you!" (say it with a twang)

Welcome to our world, everyone. Just wiping the eyes of last night's debauchery, and trying to figure out what movies to see this weekend. "Brokeback Mountain" is of course staring us down like a two-ton behemoth, DEMANDING to be seen. My dear husband and I really hate this kind of film-going "peer-pressure," but I personally also hate to be fumbling around in the dark on Oscar night, having missed out on any of the major nominees. Kate has already shared with me her unexpectedly COOL reaction to Ang Lee's alleged masterpiece, and quiet honestly, I almost puked when I first saw the trailor a few months ago. But who am I to pass up an opportunity to hop on the bandwagon of another rising Aussie star (see all future posts relating to our hero, Russell Crowe)??

So I am sure we'll break down and see it, if not this weekend, then certainly before the awards. Other contenders for the weekend are Munich, Match Point and Breakfast on Pluto. I am inclined to want to see the latter, because it's chock full of some of my favorite Irish actors.

Currently on-deck at home courtesy of Netflix (who couldn't devote an entire post to the genius of that operation?) is "Shattered Glass," from '03. I am anxious to see if Hayden Christensen can actually act. And of course, Peter Sarsgaard is one babe-ish babe, and a great actor, to boot.

I guess it's time to get cleaned up and get started!

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