In Contention

Tag: A Christmas Carol

  • Going out with a bang: the best films of 2009

    Sharlto Copley in District 9I’ve often been asked throughout the latter part of 2009 why I should have the gall to consider it the best year of film product in a decade. It’s such a subjective circumstance that, of course, the only answer is, “I liked a lot of movies.” That’s not enough for most. Hard and fast evidence is necessary. A carefully outlined, persuasive argument is expected.

    I just liked a lot of movies.

    The year began slowly, as they tend to do. The first film I saw that cried for end-of-the-year remembrance was a modest baseball drama I caught at the Santa Barbara Film Festival in February. Then it was all the way into the summer before a blockbuster banged the first four-star gong, followed shortly by a happenstance viewing of an unconventional British biopic at the Los Angeles Film Festival and a catch-up viewing of one of the year’s Sundance hits.

    Sprinkled throughout was top-tier animated product, a Comic-Con screening of one of the best sci-fi outings in years (and a homefront viewing of another first-time filmmaker’s fascinating foray into the genre), not to mention finally catching up with one of two exemplary war dramas that debuted in Toronto last fall.

    Before long, the summer, with all its surprise delights, both substantial and appropriately frothy, began to wind down. The fall awards season picked up steam as Telluride fired the starting gun and, after that, it seemed every trip to a darkened theater brought some form of satisfaction.  Even the entertainments seemed to satisfy completely.

    How can one defend the position any more succinctly? I liked. A lot. Of movies. And I relish the opportunity now to pay tribute to the year’s best, some 30 titles, each of which could have been a top 10 finalist in any other year.

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  • SUNDAY CENTS: A little ‘Princess’

    The Princess and the Frog*All historical figures cited are adjusted to today’s dollars.

    Disney tasted a bit of its old early-1990s magic with the number one finish of “The Princess and the Frog” this week. The hand-drawn toon grossed $25 million after two phenomenal weeks in New York and Los Angeles only. “The Little Mermaid,” “Beauty and the Beast” and “Aladdin” all had similar Holiday season launches and only “Aladdin” went wide with a bigger total.

    Of course, all three were on far fewer venues than the 3,434 of “The Princess and the Frog,” but this is still a very encouraging figure.  Family entertainment is solid gold during the two weeks around Christmas and a finish well over $100 million should be no problem. These aren’t Pixar numbers, but they at least match up to “The Hunchback of Notre Dame,” “The Fox and the Hound” and other second-tier Disney classics. Or is that third-tier?

    “The Blind Side” takes second place with another $15.5 million and cruises past the $150 million mark. Another $3 million and it will pass “Remember the Titans” for the title of highest grossing sports drama since “Rocky.” The $246 million it would need to pass “The Waterboy” for the title of highest grossing football movie may be out of reach, but let’s all pause for a second to digest the fact that “The Waterboy” made $245 million.

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  • 12/8 Oscarweb Round-up

    (from left) Clint Eastwood and Morgan Freeman• Reed Johnson sits down with “Invictus” director Clint Eastwood and star Morgan Freeman. [Los Angeles Times]

    • Eric D. Snider digs into the different perspectives on what makes a decade’s end. [Eric D. Snider]

    • Noah Forrest stumps for some low-lying contenders that need the help. [Movie City News]

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  • OFF THE CARPET: Let it all bleed out

    Saoirse Ronan in The Lovely BonesEvery now and then this season, I’ve sat down and taken on the fool’s errand of deciphering what 2009, the year in film, has been “about.”  It’s silly because a given film year is the result of years and years of preparation and development, so to think a collective thematic consciousness settles in is a bit of a stretch.

    This year alone we have a swift production that at this time last year saw the filmmaker still in the editing suite for his late-2008 entry, while on the other side of the spectrum, a forward-thinking director will finally see the end of a decades-long journey for an anticipated “game-changer.”  Movies come from a thousand different places and a thousand different perspectives.

    Nevertheless, I’ve always come back to one thought on this year’s slate of films: catharsis.  With expected exceptions here and there, in one way or another, the bulk of what we’ve seen on screens in 2009 has very much been about emotional purging, bleeding out the past and, not to be too on-the-nose with the zeitgeist connotations, change.

    Let me illustrate.  The most and the least compelling examples are the best place to start: Lars Von Trier’s “Antichrist” and Clint Eastwood’s “Invictus,” respectively.

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  • FRIDAY FORECAST: Bad ‘Moon’ rising

    Taylor Lautner in The Twilight Saga: New Moon*All historical figures cited are adjusted to today’s dollars.

    It’s Edward and Bella’s world and we’re just living in it. The film to beat for the Holiday season is “The Twilight Saga: New Moon” and fans finally got their chance to lay eyes on it tonight at midnight. Twi-hards have been lining up and breaking advance ticket sales records on Fandango so there’s no question that the film will be big. But how big?

    The original film opened just 52 weeks ago and earned a surprisingly huge $69.6 million. Prognosticators knew that the book had fans but there was little evidence to suggest a figure that size, particularly because new distribution outfit Summit Entertainment was the studio putting it out. The $36 million it took in on opening day was the 17th biggest Friday ever and represented more than half of the weekend take. If the fanboy rush was that big for the original, you can imagine how frontloaded the sequel is going to be.

    Some sort of record will probably be broken this weekend as the film unloads on a massive 4,024 screens nationwide with round-the-clock showtimes. “Harry Potter and the Goblet of Fire” is the current November opening weekend champ at $115 million and that isn’t totally out of the question. Neither is the $67.2 million opening day record by “The Dark Knight” completely safe, although I’m not quite bold enough to predict that big a Friday for Chriz Weitz’s film.

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  • TECH SUPPORT: Best Original Score — Volume II

    (from left) Tobey Maguire and Jake Gyllenhaal in BrothersSome categories haven’t had that much renewal since I last reviewed them. Best Original Score is an exception. Principally, this is because the category is very difficult to judge before hearing the scores, not to mention last minute personnel changes (as composers always seem to be the most disposable members of film crews).

    As I said last time, the music branch, though it has opened up to newbies slightly in recent years, is notoriously one of AMPAS’s most insular branches. Best Picture nominees tend to do reasonably well, but the category also tends to award “loud” music, and as of late, world music has been a favorite.

    One thing that has not changed, in my opinion, is that Michael Giacchino continues to lead this category for his score for Pixar’s “Up.” Giacchino was nominated two years ago for “Ratatouille” and again composed a soundtrack which was sad, joyous and suspenseful. The film is likely headed towards a Best Picture nomination and I expect Giacchino to show up as well.

    At the same time, I also can’t help but wonder if Giacchino maybe, just maybe, could pull off a double nomination this year for his compositions on J. J. Abrams’s “Star Trek.” The music was quite original and bombastic.  And, of course, the film a huge hit. I don’t see a lot of surefire nominees in this category, so this could be a place where it finds a home.

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  • SUNDAY CENTS: Apocalypse wow

    2012*All historical figures are adjusted to today’s dollars.

    Roland Emmerich’s still got it. And by “it,” I mean the ability to make blockbuster hits out of the same movie again and again.

    “2012” opened at the top of the box office with $65 million and the seventh-biggest opening of 2009. It’s also the 10th-biggest November opening of all time, sliding in between last year’s “Quantum of Solace” and 2002’s surprise juggernaut “8 Mile.”

    Mid-November releases have the benefit of the highly lucrative Thanksgiving holiday coming somewhere around their second or third week, so “2012” has the chance to earn three times its opening, which certainly wouldn’t be the case in the summer. I actually don’t think it will be the case here either and I think we’ll see it top out around $150 million. While that figure is less than the production budget, the film has already made $225 million worldwide after just three days, so Emmerich has free reign to make whatever disaster movie he wants next.

    Destroying the Earth four times is probably the limit for any director but luckily for Emmerich, we just discovered water on the moon, so he can go ahead and make a movie where we’ve colonized it and are living there, but for whatever reason it gets destroyed.

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  • WEEKLY WRAP: Reflections, early predix, animated contenders

    Coraline• Kris boldly offered some early winner predictions … I (and you) followed.

    • AMPAS unveiled the official list of 20 animated feature contenders, guaranteeing five eventual nominees.

    • This week’s Off the Carpet column picked through the leading Best Supporting Actor contenders.

    • In The Long Shot, we reflected on a handful of the Academy’s better moves this past decade.

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  • Listen to Andrea Bocelli’s ‘God Bless Us Everyone’ from ‘A Christmas Carol’

    Andrea BocelliWe’re featuring the year’s Best Original Song contenders when we can here at In Contention, and today, we bring Andrea Bocelli’s “God Bless Us Everyone,” the closing credits track from Robert Zemeckis’s “A Christmas Carol.”

    As mentioned in the past, being the first cue on the closing credits can be a bit of a liability with the new voting paradigm.  “God Bless Us Everyone” plays quite traditionally at the end of the film rather than in the context of the piece, so songs like those from “Crazy Heart,” “Precious” and certainly “Nine” and “The Princess and the Frog” have a leg up here.

    But Bocelli’s song is quite robust.  It’s like a power hymn to the holiday season, packing the considerable punch of the tenor’s vocal gifts.  I’m skeptical of its chances, but despite some rather thin lyrics, it nevertheless sends me headlong into the yuletide spirit.  Have a listen below and tell us what you think of the track.

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  • 11/9 Oscarweb Round-up

    Max Records in Where the Wild Things Are• Colin Firth and Robert Zemeckis on making a surreal, stylized “A Christmas Carol.” [The Guardian]

    • A.O. Scott on darker thematic rhythms in recent children’s films. [New York Times]

    • Roger Ebert revisits “Hoop Dreams,” considers it “the great American documentary.” [Chicago Sun-Times]

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  • SUNDAY CENTS: Slight ‘Christmas’

    A Christmas Carol*All historical figures cited are adjusted to today’s dollars.

    The first weekend in November is considered the official kick-off of the Holiday season at the box office and so it’s appropriate that Robert Zemeckis’s yuletide digital experiment, “A Christmas Carol,” is the film leading the way. The film grossed $31 million for the weekend to easily claim the top spot and set itself up very nicely for a strong, two-month run.

    Sure, it’s nowhere near the $63.1 million that “Madagascar: Escape 2 Africa” claimed on this weekend last year, but “The Polar Express” started with $27 million in November 2004 before chugging along through the new year and maxing out at $187.7 million, and I expect “A Christmas Carol” to come very close to, if not match, that figure.

    Zemeckis has directed 15 features in his phenomenally successful career and only three of them have failed to reach the $100 million mark (his first two and “Beowulf”). An amazing seven of them have grossed the equivalent of over $200 million in today’s dollars. To use that success and single-handedly try and pioneer a new medium of filmmaking is admirable, even if it means millions of children will have nightmares involving Tom Hanks, Jim Carrey and their dead, soulless eyes.

    “Michael Jackson’s This is It” fell a respectable 40% to $14 million and a running total of $57.9 million. Anything under 50% was going to be a huge win for Sony and will undoubtedly cause the studio to back off the “two weeks only” promise and let this one coast to around $75 million domestic and $200 million+ worldwide.

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  • WEEKLY WRAP: Oscar hosts, Bridges arrives, animated five

    Jeff Bridges in Crazy Heart• Oscar season ramped up this week, with the popular selection of Steve Martin and Alec Baldwin as this year’s Oscar emcees.

    • This week’s Off the Carpet column surveyed the runners and riders for Best Actor …

    • … only to be immediately outdated as Jeff Bridges and “Crazy Heart” arrived to turn that race on its head.

    • Big news in the Best Animated Feature race, as last-minute entry “A Town Called Panic” ensured we’ll have five nominees.

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  • Tell us what you thought of ‘A Christmas Carol’

    A Christmas Carol

    It feels a bit strange to be discussing the release of a Christmas film less than a week removed from Halloween, but here we are.  I spoke up with my thoughts on Robert Zemeckis’s “A Christmas Carol” yesterday, but with the film hitting theaters today, it’s time for you to sound off.  Head on back and let us know your thoughts once you see the film.

  • OSCAR TALK: Ep. 9 — Baldwin/Martin, ‘Crazy Heart,’ animated contenders and the Gurus’ latest chart

    Oscar TalkWelcome to the latest installment of Oscar Talk, a weekly kudocast between yours truly and Anne Thompson of indieWIRE’s Thompson on Hollywood.

    On the docket this afternoon:

    • Anne and I discuss the week’s biggest Oscar news, the tapping of Alec Baldwin and Steve Martin as this year’s Oscar telecast hosts.

    • Another substantial news item this week was the revelation that Scott Cooper’s “Crazy Heart” would get a last minute 2009 release from Fox Searchlight.  Anne and I talk up the film and actor Jeff Bridges’s wonderful, certainly Oscar-worthy performance.

    • “A Christmas Carol” releases today, so we use that as an opportunity to revisit the animated feature contenders.

    • As mentioned earlier this morning, the latest Gurus o’ Gold chart has gone up.  Anne and I talk about a number of the contenders, placements, etc.

    Have a listen to this week’s podcast below, leading in with one of the original tracks from “Crazy Heart.” And as always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • REVIEW: “A Christmas Carol” (***1/2)

    A Christmas CarolFilmmaker Robert Zemeckis’s allegiance to performance-capture technology these last few years has begun to wear thin for some.  But the fascinating thing to note is an artist improving his craft before our very eyes over the course of three separate productions.

    “The Polar Express” in 2004 didn’t hit the mark for a great many, the “uncanny valley” of its characters’ glossy, somewhat lifeless expressions a considerable liability.  But it was the beginnings of a new process Zemeckis was bound and determined to master.

    “Beowulf” in 2007 was a big step forward, though the director perhaps got a little carried away with consistent, gimmicky elements meant to emboss the 3D aspect of the film.  But you could see the improvement.

    A typical complaint of the technology is that it comes off a bit arbitrary, or that it drowns out the work of actors.  But the value of the process that is too hastily dismissed is that it allows an artist to tell a story in ways rather unfathomable under traditional filmmaking techniques.

    With “A Christmas Carol,” a performance-capture adaptation of Charles Dickens’s classic tale, Zemeckis proves that point explicitly.  And as far as refining his medium of choice goes, I have to say he’s close.  VERY close.

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  • 11/5 Oscarweb Round-up

    A Christmas Carol• Anthony Breznican on the opening of “A Christmas Carol” and the early holiday grab. [USA Today]

    • Dissecting “Amelia”‘s troubled road to the screen. [Hollywood Reporter]

    • Hugh Jackman gives newly tapped Oscar hosts Alec Baldwin and Steve Martin his blessing. [Vulture]

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  • 11/4 Oscarweb Round-up

    (from left) Robert De Niro and Drew Barrymore in Everybody's Fine• Gregory Ellwood slams “Everybody’s Fine,” calls last night’s AFI festivities a Miramax wake.  I’m having trouble disagreeing with him. [Awards Campaign]

    • Rebecca Milzoff gets some face time with “An Education” director Lone Scherfig. [Vulture]

    • Jim Carrey’s Scrooge rings in the holiday spirit. [Associated Press]

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  • Animated feature looking like five all over again

    The Missing Lynx: Paws on the RunTwo weeks ago we told you about the animated feature film category’s state of flux and how a little film no one has heard of called “The Missing Lynx: Paws on the Run” could be its saving grace.

    With “Evangelion 1.0: You Are (Not) Alone” and “A Town Called Panic” currently off the qualification list, and Disney trying hard to pad the field of eligible titles by submitting Robert Zemeckis’s “A Christmas Carol” (when Zemeckis has gone on the record as saying such a thing is a “disservice to the great animators”) and even squeezing in the formerly-straight-to-DVD “Tinker Bell and the Lost Treasure,” the magic number of 16 has been too close to call.

    Well, today at 5:00pm is the official deadline for submissions, and prints of qualifying titles are due by November 13.  It’s now or never, and things will start to take shape soon.  But getting back to “The Missing Lynx,” Steve Pond is reporting that the film was officially submitted and gets some great quotes form director Raul Garcia about the situation.

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