In Contention

Tag: The Last Station

  • ‘Beginners’: Plummer’s late Oscar vehicle?

    We may be almost halfway through the 2011 release schedule, and as usual, there’s been little in the theaters to trouble the Oscar-minded obsessives among us. That’s not to say the last six months have wanted for deserving work — in a perfect world, one where all good films are created equal, “Certified Copy” star Juliette Binoche would be tough to beat for Best Actress, while “Meek’s Cutoff” would be a slam-dunk Best Picture nominee, but we hardly need to go into the dully pragmatic reasons why those are mere pipe dreams.

    Only two immediate post-Cannes releases, “The Tree of Life” and “Midnight in Paris,” have prompted some awards discussion with their critical provocation and surprising box office, respectively — but beyond a near-certain cinematography nod for the former and a possible writing nod for the latter, further prospects depend largely on the performance of autumn’s big-name prestige draws, as well as a few hot festival purchases from Cannes, Sundance and even Berlin.

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  • Helen Mirren: everywhere and nowhere

    Amid the club of stars surfacing in two or more 2010 releases — Leonardo DiCaprio, Annette Bening, Chloe Moretz, and so on — has anyone been more ineffectually ubiquitous than Helen Mirren? The 65 year-old Brit has been working steadily since her Oscar win nearly four years ago, but apparently cracked the secret of human cloning this year, turning up in no fewer than six titles. (Seven if you count “The Last Station,” which most civilians only laid eyes on in 2010.)

    As much as this looks like a banner year for the actress on paper, however, her strike rate has been bewilderingly low. Brothel-madam biopic “Love Ranch,” directed by her husband Taylor Hackford, flunked with critics and audiences back in June, while “The Tempest,” her would-be highbrow awards bid, met with widespread scorn at the Venice and New York festivals.

    Two other adult-oriented dramas were left in limbo at Toronto, with John Madden’s “The Debt” booted to 2011, while “Brighton Rock” — for which Mirren ceded the critical spotlight to newcomer Andrea Riseborough — still languishes without a US distributor.

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  • OSCAR GUIDE: Best Actress

    Helen Mirren in The Last StationThis year’s Best Actress race is easily the most debated of the major categories. Though one can’t help but wonder why that is, as the writing has seemingly been on the wall for a number of weeks now, stretching back to before the nominations were announced.

    It was also one of the easiest fields to call, pre-nominations, as both lead acting categories had actually coagulated somewhat. The SAG slate was mirrored by the acting branch of the Academy, offering a nice mixture of young starlets and veteran standbys. The winner in the field, however, might be somewhere in the middle of that cross-section.

    The nominees are:

    Sandra Bullock, “The Blind Side”
    Helen Mirren, “The Last Station”
    Carey Mulligan, “An Education”
    Gabourey Sidibe, “Precious”
    Meryl Streep, “Julie & Julia”

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  • OSCAR GUIDE: Best Supporting Actor

    Matt Damon in InvictusIn a slight rarity, the year’s Best Supporting Actor category reflected the Screen Actors Guild nominees 100% this season. Nominations for Alfred Molina and Alec Baldwin at the BAFTA Awards weren’t enough to generate enough cross-over support, while Christian McKay’s late surge couldn’t get him there, either.

    What we’re left with is a sleepwalking performance in a dud movie, a spellbinding portrayal from a consistent performer in an indie awards success story, the first nomination for one of the screen’s legends, a tip of the hat to an actor who showed a wide range this season and a multi-lingual piece of work that began its awards run way back at Cannes.

    The nominees are:

    Matt Damon, “Invictus”
    Woody Harrelson, “The Messenger”
    Christopher Plummer, “The Last Station”
    Stanley Tucci, “The Lovely Bones”
    Christoph Waltz, “Inglourious Basterds”

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  • 2/15 Oscarweb Round-up

    Mia Wasikowska in Alice in Wonderland• Were some details of the Oscarcast revealed in a recent promotional video? [Gold Derby]

    • Rosanna Greenstreet sits down with “The Last Station” star Christopher Plummer. [The Guardian]

    • “Alice in Wonderland” cinematographer Dariusz Wolski complains about green screen technology. [Hero Complex]

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  • 2/9 Oscarweb Round-up

    Abbie Cornish in Bright Star• Owen Gleiberman nobly asserts that thick-headed attacks on “Precious” as beginning to “say more about the attackers.” [Entertainment Weekly]

    • Michelle Griffin sits down with quasi-surprise nominee Janet Patterson to discuss the threads of “Bright Star.” [The Age]

    • Anne Thompson goes back and forth with Moviefone’s Jack Matthews on the subject of Quentin Tarantino’s legacy. [Thompson on Hollywood]

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  • Guy’s final predictions

    Anthony Mackie in The Hurt LockerRight, there comes a point every year in predicting the Oscar nominations when you realize you’re just shuffling names to dodge commitment. I’ve reached that point, so it’s time to put myself out my misery.

    Kris has already had his say — and stolen some of my best guesses from last week in the process. Okay, I kid because I love. It’s comforting, in fact, to have his very sensible company on calls like Diane Kruger for Best Supporting Actress, or “The Road” for Best Cinematography.

    That said, however, there are still numerous areas of the ballot still driving me crazy. I discussed my uncertainties in last week’s Long Shot column, but the last few days haven’t given me any more confidence when it comes to those pesky final two Best Picture slots.

    Though logic goes against me, I can’t shake the feeling that “Invictus” will miss — how many people are putting it at the top of their ballots? However, between the likes of “The Blind Side,” “The Hangover,” “Crazy Heart,” “Star Trek” and “The Messenger,” no one title emerges as a clear spoiler.

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  • THE LONG SHOT: The pre-nomination shuffle

    Alec Baldwin in It's ComplicatedThis, ladies and gentlemen, will be the last Long Shot column I write before the 2009 Academy Award nominations are announced, and it’s not just because it’s the column’s 17th week that the well of subject matter is looking rather dry.

    I have followed longer awards seasons than this one (the awards used to take place in late March, after all), but none have felt longer – thanks to this year’s eccentric, unprecedented scheduling that has most of the most significant precursor awards done and dusted before the Oscar nominations are even out.

    The six weeks between nomination morning and awards night were once chockfull of awards ceremonies that could move the needle this way or that. We now have only the BAFTAs and some guild announcements to break up the more stealthy campaigning that could yet affect the race.

    The result, then, is that Tuesday’s nominations seem like more of a formality than usual. By the end of the weekend, the Globes, the BFCA and the three most influential guilds will all have had their say, meaning almost every major race can be boiled down to a maximum of two contenders … before we even receive official confirmation that they’re in the race at all. If that’s the case, Lord only knows what we’ll find to talk about until March 7.

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  • 1/20 Oscarweb Round-up

    Helen Mirren in The Last Station• Melena Ryzik chats with “The Last Station” star Helen Mirren. [The Carpetbagger]

    • On the breakthrough performances of 2009. [The Playlist]

    • Dave Karger tries to suss out the three slots that seem u[ for grabs at the bottom of Oscar’s 10. [Oscar Watch]

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  • 12/29 Oscarweb Round-up

    Stephen Lang in Avatar• John Campea talks to “Avatar” star Stephen Lang. [AMC Entertainment]

    • Scott Feinberg spotlights 50 performances that “shoulda been contendas” in the 2009 Oscar race. [And the Winner Is…]

    • Nikki sez Warner Bros. has broken the studio’s own domestic box office record by crossing $2 billion across the States.  Wowsers. [Deadline Hollywood Daily]

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  • OFF THE CARPET: A spade is a spade

    Sam Worthington in AvatarOscar ballots are being mailed to AMPAS members today.  So now is the time to pay attention to the buzz, as most ballots are returned within the first couple of weeks (which says everything you need to know about how much time and care is put into the process by voters).

    However, it’s somewhat amazing to me that not much has shifted in the scheme of things since the last proper Off the Carpet column.  Of course, there is “Avatar” (which I’ll get to in a second), but otherwise there are just a bunch of non-issues rearing their heads (like “Michael Jackson’s This Is It” being in the conversation, for instance, or the perpetuated Mo’Nique/bad press angle).  Chalk it up to boredom.

    The only significant note is “Nine”‘s box office whiff, which accompanied an entirely dismissive response from critics and has left many wondering whether it will be able to push through into the 10.  Passion is still necessary, despite the wider net, and it’s becoming more evident than ever that getting voters to check the film off as a #1-3 choice is going to be a chore.

    The most appreciated aspects, of course, are the below-the-line achievements (which I still think could be enough to get it across) and Marion Cotillard’s “why-the-heck-have-they-been-campaigning-for-lead?” performance.  Rightly so.  Maybe The Weinstein Company can switch gears like Fox Searchlight did with Maggie Gyllenhaal and find one more nod in the major categories.

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  • ‘Air,’ ‘Basterds,’ ‘Precious’ lead the way with SAG

    Diane Kruger in Inglourious BasterdsThere wasn’t much in the way of a surprise with this year’s Screen Actors Guild announcement.  The nods that are least likely to translate to Oscar, if I were a betting man, are Diane Kruger’s supporting actress bid for “Inglourious Basterds” and (I guess I just have a feeling) Matt Damon, supporting for “Invictus.” The rest seem like safe bets on down the line.

    I wouldn’t read too much into the ensemble snub of “Up in the Air,” though it’s curious to nominate three actors from the film and then ignore it in that field.  The ensemble category is also where “Nine” got its expected attention, though Penelope Cruz also showed up in supporting for the film.  The BFCA, you’ll recall, went for Marion Cotillard instead.

    “Precious,” “Inglourious Basterds” and “Up in the Air” had the most nominations, with three apiece.  I would have expected “An Education” to have that designation, too, but somehow Alfred Molina was ignored.  Maybe that won’t be the case with Oscar, maybe it will.

    On to the next thing.  Check the full list of nominees after the jump.

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  • WEEKLY WRAP: NBR winners, Spirit nods and Jeff Bridges

    Jeff Bridges• The National Board of Review offered the season’s first major precursors, with “Up in the Air” sitting pretty.

    • The Independent Spirit Award nominations were topped by “Precious” and, more surprisingly, “The Last Station.”

    • Indie award rivals the Gotham Awards, meanwhile, crowned “The Hurt Locker” as the year’s best.

    • Fresh off his Spirit nomination, we served up an extended interview with the great Jeff Bridges.

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  • ‘Precious’ and ‘Last Station’ lead Spirit nominees

    Helen Mirren in The Last StationIt won’t come as a surprise to anyone to “Precious” landed atop the list of Independent Spirit Award nominations this morning. Lee Daniels’ indie smash earned 5 mentions including Best Feature, Director and Actress, and looks like the one to beat in every category where it features.

    Fewer people, however, might have expected Michael Hoffman’s “The Last Station” to tie that total, landing Best Feature and Director nods alongside more predictable citations for stars Helen Mirren and Christopher Plummer. Many pundits (myself included) have been suggesting that this placid, kindly regarded film could be a threat for a Best Picture Oscar nod — this lends further weight to the idea.

    Surprises include the comparatively low profile of “A Serious Man” on the list, which some thought a shoo-in for a Best Feature nod. It missed in the top category, as did Michael Stuhlbarg for Best Actor, though the film managed mentions in the Best Director and Best Cinematography races. Further compensation for the film arrives in the shape of the Robert Altman Award for ensemble work.

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  • ‘The Last Station’ trailer

  • 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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  • 11/23 Oscarweb Round-up

    Bill Murray on the set of Fantastic Mr. Fox• Dave Karger cusses with “Fantastic Mr. Fox” star Bill Murray. [Oscar Watch]

    • Owen Gleiberman whines about the snubbing of inferior documentaries, fails to recognize the solid slate of short-listed films we ended up with. [Entertainment Weekly]

    • Nicolas Rapold talks to the principals of “The Last Station.” [New York Times]

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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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