In Contention

Tag: Joan Rivers: A Piece of Work

  • 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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  • FIRST-HALF FYC: Best Picture

    For the past eight weeks, I’ve been spotlighting nomination-worthy names,  in all major Ocar categories, from the first half of the US release calendar. Today, we close out the series with an alternative January-to-June Best Picture 10, though it comes a week after ballots closed — timing was never my strong suit.

    A look at this category on the Oscar side of things proves why I felt this series of columns necessary in the first place. Of the films currently being mooted for a place on the Academy’s Best Picture list, only two — “Toy Story 3” and “Winter’s Bone” — were released prior to July 2010. If the latter does wind up making the cut, it raises hope that small-scale indies can override voters’ perilously short memories. If it doesn’t, well, we must just accept that the first six months of the year contained no Oscar-worthy adult drama. Or, you know, not.

    There’s no doubting nine of the films on my list below are wild long-shots to show up in Tuesday’s nomination announcement — indeed, several of the titles aren’t present on the Academy’s list of eligible productions.

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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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  • OFF THE CARPET: Kicking the tires on the circuit

    On the precipice of December, the season feels at once stale and fresh. We’re in the post-Thanksgiving food coma paradox that hits every year. But things are going to start heating up real soon.

    The last two films out of the gate, “TRON Legacy” and “True Grit” (both ironically starring Jeff Bridges), have already started screening.  SAG ballots are already in the hands of nominating committee members and voting deadlines are approaching for various organizations.

    The circuit “officially” begins Thursday with the always arbitrary National Board of Review announcement. The Washington, D.C. Area Film Critics Association will get a jump on the critics awards once again when they announce one week from today, while the Los Angeles (12/12) and New York online (12/12) and print (12/13) critics will have their say the following week, as well as the BFCA (12/13) and HFPA (12/14).

    The excitement will build to the usual pre-holiday stall and pick right back up on January 4 when the writers and producers guilds announce nominees, followed the same week by the art directors and sound mixers. And the date most will have their eyes on — January 10 — will bring the DGA’s list of contenders. Before you know it we’ll be on a collision course with the January 25 Oscar nominations announcement and things will be mercifully nearing an end.

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  • Deadline for Oscar docs looming

    As we enter the fall festival season with an Oscar prediction sheet still covered in question marks, there is at least one category where almost all the viable contenders have already been seen. I speak, of course, of Best Documentary Feature, a race already crowded with possibilities from earlier fests and the summer release calendar, and with a submission deadline less than a week away.

    Over at The Odds, Steve Pond informs us that filmmakers have until September 1 to enter their docs for Oscar consideration, having completed qualifying theatrical runs (one week minimum) in the past 12 months. Sifting through the titles in play, Pond likes the chances of such heavily-buzzed titles as “Restrepo,” “Inside Job” and “A Film Unfinished.”

    All three films take on weighty subjects — respectively, the conflict in Afghanistan, the global economic crisis and (a well-known pet theme of the Academy) the Holocaust — which should stand them in good stead with a voting branch not renowned for its sense of humor.

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  • More halfway-mark blues

    A few weeks ago, I commented upon the scarcity of viable awards contenders released in the last six months, coming to the unsurprising conclusion that there hasn’t been much to, well, comment upon. In the past few days, however, Variety’s Tim Gray and EW’s Dave Karger have revisited the subject … and haven’t come up with very much either.

    A common emerging sentiment is that, with such a meagre first-half slate, filling 10 slots on a Best Picture ballot could be a challenge for many voters – and could ultimately result in a decidedly weak nominee field, one with more “Blind Sides” than “District 9s.”

    Sasha Stone has challenged this by suggesting that, in what she (if not everyone else) believes will be “a great year for film,” the Academy may end up looking to arthouse or non-summer genre fare to fill the gaps – though, to take two of her listed alternatives, it has to be said that while most critics would be down with “Winter’s Bone” making the list, “Shutter Island” would be a much more contentious nominee.

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  • SUNDAY CENTS: ‘Karate’ top

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

    After weeks of disappointing returns and underperforming titles, the box office was saved once again by Will Smith. Only this time he did it not by putting out a new film, but by having unprotected sex with his wife twelve years ago. His fairy dust box office genes have passed on to son Jaden, who stars in our number one movie this weekend, “The Karate Kid.”

    The groans were loud and plentiful when this remake was announced and even more so when Smith was cast. At some point, the groans must have turned into quiet, shameful anticipation as Sony saw a debut just a little shy of what major titles like “The Incredible Hulk” and “Mr. & Mrs. Smith” have done on this same weekend. $56 million to be exact, proving that audiences aren’t exactly tired of Hollywood’s unoriginality after all.

    But let’s focus on the positive. Summer 2010 was saved by a mid-budget film with all three main roles filled by minorities. Now that’s original.

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