In Contention

Tag: Brothers

  • Paramount and Lionsgate do it up pre-Globes

    Tobey Maguire in BrothersThere will be a number of post-Golden Globes parties tonight — Summit, Warner Bros., Fox, Weinstein, etc. — but a pair of studios did it up Saturday night in honor of their nominees.

    First at the Chateau Marmont, Paramount toasted its stable with a star-studded, paparazzi-snapping affair.  Actually, it wasn’t the least bit comfortable.  Talk about over-invited.  In the inner sanctum, surrounded by Martin Scorsese, Robert De Niro, Leonardo DiCaprio, Kate Winslet, Benicio Del Toro, Vera Farmiga, Anna Kendrick, Mike Tyson (who wasn’t on the list, but would you turn him away?), George Clooney, Chris Pine, Tobey Maguire, etc., breathing, let alone moving more than two inches, was a chore.  Jason Reitman was on hand early on but had to take off for the LAFCA gala before long.  Luckily, he missed that fire hazard.

    I got a few seconds with Farmiga, who was excited to say hello to Scorsese again.  Anne Kendrick and her beau Edgar Wright smartly made their way to a secondary room at one point where we had a nice chat.  Wright was, of course, being hit up by “Scott Pilgrim” queries left and right.  From the youngsters, that is.  The crowd was largely, shall we say, octogenarian.  Plenty of HFPA and Academy members scattered throughout.  And Kendrick, bless her heart, didn’t even want to talk about the “O-word.”

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  • 1/12 Oscarweb Round-up

    Peter Capaldi in In the Loop• Steve Pond talks “In the Loop” with Armando Ianucci and Peter Capaldi. [The Odds]

    • Dave Karger makes his Golden Globe picks. [Entertainment Weekly]

    • Katey Rich runs down the pros and cons in a four-way race (but it’s actually a three-way race). [Cinema Blend]

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  • 12/17 Oscarweb Round-up

    Ben Foster in The Messenger• Anthony Breznican writes up the year in varied animated features. [USA Today]

    • David Thomson on the death of method acting. [Wall Street Journal]

    • Tom O’Neil chats up “The Messenger” star Ben Foster. [Gold Derby]

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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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  • TECH SUPPORT: Best Original Song

    Jeff Bridges in Crazy HeartOver the last five months, Gerard has diligently canvassed and re-canvassed the various crafts categories here at In Contention.  The one category we have held back on all this time, as contenders have slowly fallen into place, was Best Original Song.  Today, it’s time to dig into the field.

    This has turned into something of a banner year for original songs in feature films.  We’ve had the great pleasure of bringing a number of hopefuls to you via our “listen to” posts, and look forward to continuing that into the new year.  But inevitably, frontrunners are bound to show up, and I think we can successfully narrow the field now.

    Before diving in, it’s worth reiterating the voting process in this category.  I’ll simply let the Academy’s rule book speak for itself:

    “An original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits.

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  • Listen to U2’s ‘Winter’ from ‘Brothers’

    U2A few weeks ago we told you about U2’s “Winter,” an original track from Jim Sheridan’s “Brothers.” Today we’re happy to feature the tune as we have a number of other contenders in the race for Best Original Song.

    “Winter” was conceived originally for the film.  Confusion has popped up as to whether that was the case, what with the tune accompanying the Irish band’s album “No Line on the Horizon” in conjunction with an Anton Corbijn short film.  But when Sheridan set about making “Brothers,” he in fact asked his old friends to cook something up for the film.

    In my opinion, it’s bottom-tier U2, full of a number of ideas that form a menagerie more than a cohesive song.  The lyrics are a bit too on the nose for my taste, too, but they’re clearly written for the narrative of the film.  The song comes in at the end of the film, over the credits, so it could be a tough sell for those reasons.

    Have a listen below and tell us what you think.

    [display_podcast]

  • SUNDAY CENTS: ‘Brothers’ gloom

    Brothers

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

    As I already mentioned, the first weekend in December is a veritable dead zone at the multiplex as audiences start shifting more towards Christmas shopping and making vacation plans. Or maybe they are just too busy having sex. (More people are born in August than any other month.)

    Whatever the reason, business slowed enough for Sandra Bullock and “The Blind Side” to take the top spot in its third weekend. A $20.4 million haul is off 49% from last week but that’s actually a great hold for this frame and the running total now stands at $129.3 million. $200 million seems all but certain at this point and that means it’ll pass the $208 million that “Speed” made to become Sandy’s all time top grossing film.

    I don’t think Oscar will come knocking but she’ll probably land on Entertainment Weekly’s list of Entertainers of the Year and that’s just as desirable, right? Side note: How good is “Speed?”

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  • FRIDAY FORECAST: Thanksgiving leftovers and new turkeys

    (from left) Kate Beckinsale and Robert De Niro in Everybody's Fine*All historical figures cited are adjusted to today’s dollars.

    Sorry this is a little late, as I’ve been super busy this week. Luckily, it’s one of the slowest box office weeks of the year and there is little to look forward to.

    You can bet the farm that “The Blind Side” will win the weekend for the first time on its third try and continue it’s epic run towards $200 million. “The Twilight Saga: New Moon” should be your runner-up and it may get as low as five or six before you see a new film.

    Miramax is going for broke with the drama “Everybody’s Fine.” I thought the studio might start limited and try to trick people into thinking this would be one of those good, Oscar movies but they are sticking a Christmas tree on the poster and getting it into every Regal Cinemas in the country. Will it work? It should finish with $5 million for the weekend.

    In case you don’t know, the weekend after Thanksgiving is always deadly at the box office and studios rarely open worthwhile product. Last year gave us “Punisher: War Zone” at $4.3 million and the year before gave us “Awake” with $6.1 million. How someone pitched an action movie with a catatonic lead character and got it made is pretty incredible and beyond me.

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  • 12/3 Oscarweb Round-up

    Natalie Portman• Donna Freydkin talks “Brothers” and  transitioning to an adult role with Natalie Portman. [USA Today]

    • Laura M. Holson talks to Tom Ford and others about the former Gucci creative director’s feature film debut, “A Single Man.” [New York Times]

    • Roger Ebert four-stars “Up in the Air.” [Chicago Sun-Times]

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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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  • OFF THE CARPET: Field of adaptations

    Amy Adams in Julie & JuliaAs always, the year’s adapted screenplay race is much more competitive than the original screenplay race. But what’s intriguing to note is that of the anticipated “big four” still to be widely screened, three of them are right in the thick of this discussion.

    In the case of “Nine,” there is a chance for Anthony Minghella to receive his second posthumous Oscar nomination in as many years, something I don’t think we’ve seen since James Dean. But sometimes the razzle-dazzle of a movie musical can overshadow what craft there might be on the page, so it’s no slam dunk. Michael Tolkin is co-writer on the script, and even though I’ve seen the film, I’m prohibited from offering my thoughts on the work.

    “The Lovely Bones,” meanwhile, is adapted from a beloved novel, looks to feature a more reserved and refined Peter Jackson than we’ve seen in recent years and could see the lovable trio (Jackson, Philippa Boyens and Fran Walsh) back in Oscar’s good graces. We’ll know when we see it.

    The Royals and invited British press get their look on the 24th. Harry Knowles has received his typical peek (as Paramount continues to nurture the relationship as if it’s 2002 and AICN still moves the needle). The rest of the US press corps has to wait until the other side of the holiday on the 27th to judge. Hopefully we’ll still care by then. I heard some scathing criticisms out of an exhibitor screening last week.

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  • WEEKLY WRAP: Doc shortlist, honorary Oscars and more

    Lauren Bacall at the 2009 Governors' Awards• The shortlist of contenders for the documentary Oscar was announced, surprising many — we dug into it a little.

    • The season’s first Oscars were handed out, as Lauren Bacall, Gordon Willis, Roger Corman and John Calley were celebrated at the Governors’ Awards.

    • This week’s Off the Carpet column broke down the wide-open Best Original Screenplay race.

    • The Long Shot lived up to its name, spotlighting a few of the season’s most deserving outsiders.

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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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  • U2 enters the race for Best Original Song with ‘Winter’ from Jim Sheridan’s ‘Brothers’

    U2Last week when canvassing the various FYC sites that are hitting the web as of late, I misspoke (er, mistyped) when I disregarded the eligibility of a certain original song contender in this year’s race.  Allow me to explain.

    U2’s “Winter” did indeed show up on Anton Corbijn’s “Linear,” a short film that accompanied the album “No Line on the Horizon” (which the band is touring vigorously across the US right now).  But I’m told the song was, in fact, written specifically for Jim Sheridan’s “Brothers” and that it will indeed be eligible for consideration in the Best Original Song category.

    The film has been completed for quite some time, mind you.  It took a while for it to secure distribution (though I have no idea why — it’s a fine film).  MGM picked it up maybe a year ago, and over the summer, Lionsgate bought the film in a three-picture distribution deal.  So just because “No Line on the Horizon” has been in stores for a number of months doesn’t mean “Winter” (which isn’t an official track inclusion on the album, by the way) wasn’t conceived far in advance of its release.

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  • 11/13 Oscarweb Round-up

    Ralph Fiennes in The Hurt Locker• Jeffrey Wells grills New York waitresses on their knowledge of the mere existence of “The Hurt Locker.” [Hollywood Elsewhere]

    • Oscar hopefuls “Anivl! The Story of Anvil” and “Food, Inc.” among IDA Award nominees. [Hollywood Reporter]

    • Tim Gray gets quotes making a case against The 10. [Variety]

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  • Studio FYC sites on the march

    A Serious ManIt’s that time of year, when studios roll out their awards-centric websites for films in play.  You get screening info, news and notes, reminders of how AMAZING their films are (with critical quotes to back it up), goodies like screenplays and such, etc.  It’s a good way to see how wide the net is cast during the season (since any and everything gets a “For Your Consideration” blurb), but I’ve always found it’s a good way to revisit the year’s films.

    First up, Universal Pictures has put together its standard assemblage hawking “Public Enemies,” “Bruno,” “Funny People” and “It’s Complicated.” Skimming through the “Public Enemies” section I was instantly reminded that Elliot Goldenthal’s score was actually quite wonderful and could be a sleeper to watch in a field that is notorious for its insularity.  You can even skim through tracks in a dedicated section and download the screenplay.

    “Funny People” has a similar set-up, with score toggling, the script, etc., while “Bruno” has no script to offer.  But you can listen to the raved out score again if you wish.  The “It’s Complicated” section has material to come and only mentions “in all categories” as it pertains to FYC business.

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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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  • OFF THE CARPET: Looking at the leading gentlemen

    Colin Firth in A Single ManWe’ve taken concentrated looks at the lead actress and supporting actress categories in recent weeks.  Now let’s turn our attention over to the fellas.

    Behind the Best Picture race, of course, the lead actor competition is perhaps the most hotly anticipated award of a given Oscar telecast.  Movie stars are born, Hollywood staples are rewarded and careers leap to the next level.  It makes for an intriguing annual state of the union as it pertains the the film industry’s talent roster.

    This year, one of Hollywood’s brightest stars finds himself right at the front of the conversation.  George Clooney is likely to end up with his third acting Oscar nomination, for Jason Reitman’s “Up in the Air,” and he’ll owe much of that to Reitman’s powerful work on the page.

    Clooney doesn’t give his best performance to date in the film.  But the material is so cleverly built around his persona that one can’t blame the actor for saddling up to a role that fits like a glove.  And there is something to be said for the bravery of taking one’s image on like that.

    Colin Firth, meanwhile, has caused a critical stir with his leading performance in Tom Ford’s “A Single Man.” He has already won the Venice Film Festival’s acting honor and has been tapped for another at February’s Santa Barbara Film Festival.  He is pitch-perfect in the film, giving a refined performance of nuance and gesture.

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