In Contention

Tag: Catfish

  • Revisiting the veracity of ‘Gift Shop’

    With more pundits latching onto the possibility of “Exit Through the Gift Shop” taking an atypical (and for the Academy, potentially awkward) Oscar win on Sunday, the LA Times’s Jason Felch is raking one final comb through the question of the film’s authenticity.

    With Banksy, Thierry Guetta (aka the film’s subject, Mr. Brainwash) and Joachim Levy (a filmmaker and collaborator of Guetta’s threatening to sue Banksy for insufficiently crediting his contribution to the project) all vouching for the truth of the events depicted in the film, no concrete reason has yet surfaced not to take it at face value — but doubts persist, largely because of Banksy’s own established reputation as an artistic prankster.

    Some like to float the theory that Guetta is Banksy — one easily dashed by the former’s public records and the number of journalists who have, in confidence, interviewed the latter over the years.

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  • My dream Oscar ballot, part two

    Yesterday, I began my very far-fetched (and in some cases, frankly impossible) wishlist for Tuesday’s Oscar nominations with my favorite achievements in the technical categories. Today, I offer up my picks in the top races, and I don’t mind telling you things got pretty agonizing in some categories.

    “Why can’t I have 15 nominees for Best Supporting Actress?” one half of my brain asked earlier this morning, as I once more marvelled that any pundits could once have deemed that particular race “weak.” Cooler instincts prevailed, but it bears repeating just what a staggering, and pleasingly varied, year it’s been for female performances on both sides of the category divide. I was also surprised to see how many performances stood tall from films that weren’t necessarily on their stars’ level — I like to think there aren’t too many coattail picks here.

    I’ve veered from Academy format in one respect: I’ve dispensed with a Best Foreign Language Film category. Not only do I dislike the award in principle — it’s a different language, not a different medium — but my general picks are heavy enough on foreign fare that a ghetto category seemed superfluous. Check out my picks after the cut, and share your thoughts in the comments.

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  • LIFE WITHOUT OSCAR: Chad’s best of 2010

    When it came time to choose a snappy title for my year-end retrospective, the one that seemed to fit best is the one given to all my columns at In Contention this year. Oscar and I have shared a mutual disinterest in what the other feels to be award-worthy for a few years now and it doesn’t look like the trend is going to change much in 2011. For those interested, my top 20 last year garnered a whopping three nominations between them (two coming in the Best Animated Feature category).

    If there was any kind of trend or narrative to my taste this year, I guess it would be the rise of documentaries. Nearly 50% of my top 20 is comprised of the medium (including a few hybrids that blur the line), compared to a single entry last year. My guess it has more to do with a growing disenchantment towards lazy screenwriting than a noticeable uptick in quality non-fiction film. Regardless, truth was truly more interesting than fiction for me in 2010.

    Elsewhere, a number of high ranking films have to do with relationships and their struggles, possibly connected to the fact that breaking up with my girlfriend of four years was probably the defining event of my year, personally. Sometimes a movie hits you when and where you need to be hit.

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  • 12/20 OSCARWEB ROUND-UP: Angie’s potential embarrassment, best perfs destined to be snubbed, top 10s

    • PR experts tell Kim Masters that critical pans of “The Tourist” could make Angelina Jolie’s support for her Golden Globe nomination in the form of attending the ceremony “potentially embarrassing.” [Hollywood Reporter]

    • Guy Adams, meanwhile, takes aim at the HFPA’s susceptibility to bribery this year. [The Independent]

    • The 25 best performances from 2010 that won’t win Oscars. [Vulture]

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  • Best in show 2010: the year in superlatives

    The week, and with it, the bulk of my 2010 coverage, draws to a close today with a look at the best of the best. I’m offering up a personal list of superlatives, including most Oscar categories and some other fun fields thrown in for good measure. A tradition at this point.

    There will be plenty going on next week, though, despite travel and the holidays. As always, we’ll be at your disposal. But allow me to put a tidy bow on the year here and keep forging ahead…

    Best Picture
    “Exit Through the Gift Shop”

    Best Director
    Mike Leigh, “Another Year”

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  • If I had a ballot

    The year is winding down.  Today, as part of the week’s on-going year-in-review specials, I’m offering up my annual “if I had a ballot” post.

    In years past I’ve tended to defer to studio campaigns for category placement, but this year I figured, “Screw it.”  After all, if I actually had a ballot I could call the shots.  So I have.

    You’re familiar with my Best Picture line-up by now.  I’ve opted out of the Best Foreign Language Film and Best Documentary categories because there are a few films I’d rather have seen before making that call, but otherwise, it’s the usual Oscar fields with an ensemble category tacked on.

    Feel free to post up your own selections, if you have them, in the comments section below.  And remember to check back Friday as I close up shop on 2010 with my list of superlatives.  For now, check out my personal ballot after the jump.

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  • Likability: the best films of 2010

    I don’t quite know how to peg 2010.

    On one hand it has felt like a weak year. On the other hand, I’ve enjoyed quite a few films. Maybe the story lies in that sentence: “enjoyed.” There were precious few films that really rocked me, but plenty that were a nice enough experience.

    If you listened to Friday’s Oscar Talk, then you know my top 10. But before publishing it in this space, allow me to walk through the many films that fell short, starting at the top with Derek Cianfrance’s “Blue Valentine.” Here is an honest depiction of a relationship in crisis with performances that hit the mark. It wears its soul on its sleeve.

    The Coen brothers’ dip into the western genre, “True Grit,” was a straight-forward piece of flavorful filmmaking much appreciated for its restraint, while similarly, Ben Affleck’s “The Town” didn’t attempt reinvention of the wheel while forging a resonant character study in a genre film’s clothing.

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  • OSCAR TALK: Ep. 44 — The top 10 films of 2010 (x2)

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    It’s the middle of the season, critics’ awards are set to unleash next week, the guild announcements are right around the corner, the holidays are breathing down our necks and it couldn’t be a busier time of year. There’s plenty to discuss, but Anne and I are nevertheless straying from the usual format this week…

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  • 15 films shortlisted for documentary feature Oscar

    Cue the annual outcry over what titles didn’t make it — judging from the Twitter reaction, this year’s most-mourned snubee is the Chinese critical darling “Last Train Home.” (I’d join the pitchfork-wielders, but I haven’t had an opportunity to see the film yet.) More surprising, however, is the omission of such widely fancied contenders as “The Oath” and “A Film Unfinished” — yes, folks, hell is experiencing a cold snap and the Academy snubbed a Holocaust documentary.

    Beyond that, hoewever, most of the perceived frontrunners are present, including “Inside Job,” “Waiting for Superman,” “Restrepo,” “Client 9: The Rise and Fall of Eliot Spitzer” and “Waste Land.” Joining them on the list, I’m happy to say, is “Exit Through the Gift Shop,” which I suspected would fall foul of the Academy’s usual resistance to crowdpleasing pop-culture docs. (The likes of “Catfish” and “Joan Rivers: A Piece of Work” took that bullet instead, unfortunately.)

    At this stage, I’m afraid I’ve seen only a third of the shortlist — from which Banksy’s shape-shifting, satirical art study is comfortably my favourite. (Come on, Academy: aren’t you a little curious to see who will show up if you nominate him?) “Inside Job,” however, plainly remains the film to beat. Full list after the cut.

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  • Finally, the 10 best of the 2010 LFF

    For those of you who were loyally following my London Film Festival coverage this year, I must apologize for leaving it somewhat in limbo. Though I did eventually find time for a lengthy discussion of fest closer “127 Hours,” a snowballing workload put paid to my hopes of squeezing in a few more review roundups. And frankly, since the festival wrapped on Thursday after four weeks of press screenings, I so relished having ownership of my days again that I let things lie longer than I intended.

    But by way of a belated send-off, here’s a gathering of the films that made the LFF for me this year. I saw precisely 60 films at the festival, in addition to 27 I’d already seen at previous fests, so I was naïve to hope I might get round to discussing most of them.

    Some of the  clunkers (glum German childbirth drama “Blessed Events,” Ferzan Ozpetek’s lead-footed gay comedy “Loose Cannons”) barely merit appraisal; other, more interesting, disappointments (Xavier Dolan’s meticulous but terminally precious love triangle “Heartbeats,” Benedik Flieugauf’s visually startling but sketchily conceived sci-fi “Womb”) at least deserved a few paragraphs. Ah, well.

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  • 10/6 OSCARWEB ROUND-UP: Making the case for dual ‘Kids’ nods, FX nabs ‘Social’ rights, Stone up for Stacey

    • On the hunt for “Catfish”‘s Angela Wesselman-Pierce. [Los Angeles Times]

    • Michael Cieply and Brooks Barnes write up the beginnings of the season (with a little quotage from yours truly). [New York Times]

    • Scott Feinberg makes the case for both Annette Bening and Julianne Moore getting nominated for “The Kids Are All Right.” [ScottFeinberg.com]

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  • 9/20 OSCARWEB ROUND-UP: Timberlake’s Oscar hopes, Brolin’s peculiar suggestions, flurry of Toronto purchases

    • Tom O’Neil wrangles up perspectives on Justin Timberlake’s Oscar potential for “The Social Network.” [Gold Derby]

    • Steven Zeitchik sits down with “Catfish” directors Henry Joost and Ariel Schulman. [Los Angeles Times]

    • Debating the ethics of movie spoilage on a user-generated web encyclopedia might be the very definition of futility, but the Gray Lady gives it a shot. [New York Times]

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  • OSCAR TALK: Ep. 32 — What’s hot out of Toronto, ‘Social Network’ steals the thunder, ‘The Town’ comes out strong, ‘I’m Still Here’ has no clothes

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, a one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday (except today) throughout the season, charting the ups and downs of contenders along the way. Plenty of things change on route to Oscar’s stage and we’re here to address it all as it unfolds.

    Apologies for the tardiness this time around. Anne has been in transit from Toronto and we kept missing our windows, but she’s back home now and we offer a little more for you to chew on this weekend. Let’s see what’s on the docket…

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  • WEEKLY WRAP: Venice winners, Toronto bites, ‘Network’ raves

    • Sofia Coppola’s “Somewhere” surprised many by taking top honors at the Venice Film Festival; we took a closer look at the Lido winners.

    • Meanwhile, we were considerably less than wowed by the festival closer, Julie Taymor’s “The Tempest.”

    • This week’s Off the Carpet column reflected on the unusual depth of this year’s Best Actress race.

    • A race that subsequently got even deeper as Lionsgate made the biggest acquisition thus far of this year’s Toronto fest: Nicole Kidman’s comeback effort “Rabbit Hole.”

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  • You are here: ‘Catfish’ and ‘Social Network’

    I was instructed very early on by studio friends who saw “Catfish” during Sundance, when it was still looking for a buyer, not to read anything about it.  I have, as a result, instinctively dodged every bite and nugget about the film over the last few months, so much so that you all probably knew more about the film than I did when I walked into the Arclight for last night’s final press screening (I’m also good at procrastinating).  And after all, it’s been a sponsored Twitter trending topic for a few days now.

    What I saw was an absolutely brilliant piece of filmmaking that is staggering when considered in the year of “The Social Network.” It’s a study of the here and now with just as much focus and an even greater emotional context (if you’re looking for it).  And whether it sought to be or not, the film is just as defining of where we are as a society as David Fincher’s effort.  Releasing it two weeks before “The Social Network” is also brilliant marketing strategy.

    After the jump, I am going to talk about “Catfish” in extensive detail.  There will most certainly be SPOILERS, and I urge you (unless you couldn’t care less, of course) not to click through until you’ve had a chance to see the film.  (The poster even implores, “Don’t let anyone tell you what it is.”)  That’s about as clear as I can be in the way of a warning.  I’d also stay out of the comments section if you want to steer clear of spoilage.  So, if you’d like to proceed…

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  • Is there a ‘Precious’ in this year’s Sundance lineup?

    (from left) Chyna Layne, Amina Robinson and Gabourey Sidibe in PreciousWhen (at this stage, I think it’s safe to say “when”) “Precious” and “An Education” land Best Picture nods on Tuesday morning, there will be an interesting trivia note to attach to the occasion: they’ll be the first Sundance competition entries since 2001 to make it all the way to Oscar’s top race.

    Indeed, “Precious” will be the first Sundance Grand Jury Prize winner ever to score a Best Picture Oscar nod in the festival’s 25-year history.

    These are two interesting stats that aren’t mentioned in AP writer David Germain’s story on the relationship between Sundance and Oscar, which casts a more positive gaze on the number of overlaps between the two. And he’s right to an extent: the past decade alone has given Oscar-watchers plenty of reason to keep a close eye on Sundance.

    In the eight years since “In the Bedroom” became the last Sundance contender to crack the Best Picture lineup,  Sundance has presented a number of future Oscar contenders in acting and writing categories, including “Maria Full of Grace,” “Hustle and Flow,” “Junebug,” “The Squid and the Whale,” “Half Nelson” and, most recently, “Frozen River.”

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