In Contention

Tag: Revolutionary Road

  • EDINBURGH: Away they go

    John Krasinski and Maya Rudolph in Away We GoTuesday dawned gray, gusty and rain-spattered here in Edinburgh – the kind of morning where there’s nothing for it than to bury oneself in the comforting recesses of a dark movie theater – which, handily enough, is all that I had on my agenda for today.

    After formulating a strategy over breakfast as to which films could be caught at a later date, I ended up deciding morning’s viewing with a coin-toss, a concession to fate that happily led to the droll delights of Australian animation “Mary and Max,” before my afternoon was given over to the festival’s rather more glossy opener, “Away We Go.”

    As I write, Sam Mendes and cast members John Krasinski and Maggie Gyllenhaal are treading the red carpet to formally christen this year’s festival. (Not joining them is female lead Maya Rudolph, who, in an irony apparent to anyone who has seen the film, was unable to fly to Edinburgh because she is eight months pregnant.)

    It’s a fitting opener, in the sense that its carefully negotiated balance between indie outsiderness and cozy Hollywood warmth reflects the transitory state of the Edinburgh Film Festival as a whole. Symbolic neatness aside, however, I see no context in which “Away We Go” (**1/2) can’t be regarded as a major disappointment from Sam Mendes.

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  • Sam Mendes on Kate, Chekhov and cricket

    Sam Mendes and Kate WinsletPerhaps it’s telling that this recent Times interview with Sam Mendes mentions his latest film “Away We Go” in a single sentence, while focusing rather more attention on his upcoming theatrical double-bill, directing Chekhov’s “The Cherry Orchard” and Shakespeare’s “The Winter’s Tale” for Kevin Spacey’s Old Vic in London. I have yet to see the thus-far coolly received new film (I’ll catch up with it in Edinburgh next week), but I’ve booked my theater tickets — and I know which evening I’m more excited about.

    Be that as it may, it goes to demonstrate just what a busy guy he is at the moment: not many people can claim to have unveiled two major feature films and a weighty stage project in a six-month period. Not content with that, he also finds time to play cricket for a county team — there’s something I didn’t know.

    As the interview makes clear, Mendes’ sudden spurt of creativity is a sort of compensation for four rather quiet years which he devoted to raising his young family. I hope he maintains the newfound energy level, given the variable nature of his filmography thus far — for a gifted filmmaker, inconsistency is best accompanied by prolificacy. (Ask Woody Allen or Clint Eastwood.)

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  • 6/2 Web Round-up

    Alien• With “The Hangover” on the way next weekend, Dave Itzkoff talks to director Todd Phillips. [New York Times]

    • Tom O’Neil remembers Jay Leno’s 12-year Emmy losing streak as the host exits “The Tonight Show.” [Gold Derby]

    • Hey, proper use of the word “exclusive” for a change (and a few days late linking).  Steve Weintraub talks to Tony Scott about the recently announced “Alien” prequel. [Collider]

    • Another late-to-link piece, but it seems Blockbuster Video will dip into the movie memorabilia racket to steer clear of fiscal life support. [Hollywood Reporter]

    • With “Revolutionary Road” making its way to DVD and Blu-ray, a quick Q&A with Oscar-nominated Michael Shannon. [Premiere]

    • 15 pages of silliness to jack up the traffic numbers: “Where are they now?” with the cast of “Friday.” [New York Daily News]

    • A list of…wait for it…the top 10 best movie punches.  Think that’s terribly specific?  Wait until tomorrow’s requisite arbitrary list link. [Rope of Silicon]

    • “Coraline” makes its way to Broadway, with analysis from the Financial District. [Wall Street Journal]

    • First look at James Cameron’s “Avatar”: screenshots from the accompanying video game?  Lame. [/Film]

    • Glenn Kenny writes up the DVD release of Michelangelo Antonioni’s “Zabriskie Point.” [Some Came Running]

  • WEEKLY WRAP: ‘Antichrist’ and action

    Willem Dafoe in Antichrist• Scandalising media and polarising critics, Lars Von Trier’s “Antichrist” emerged as the undisputed talking-point of the Cannes Film Festival.

    • That firestorm even managed to overshadow the Cannes debut of Quentin Tarantino’s divisive “Inglourious Basterds.”

    • In other news from the Croisette, “A Prophet” impressed critics, while “Taking Woodstock” took a hit.

    • We celebrated the start of summer (and provoked some argument) with a list of the all-time Top 10 action sequences.

    • Unfortunately, our review deems “Terminator Salvation” unlikely to earn a place on any such future lists.

    • In the wake of that disappointment, “Up” happily lived up to expectations.

    • In box office news, “Angels and Demons” turned out to be a pale shadow of its predecessor.

    • This week’s edition of Page to Screen reviewed the literary source for Jason Reitman’s upcoming comedy “Up in the Air.”

    • John delved further through his personal cinematic treasure trove, returning to the 1990s, and reappraising last year’s “Revolutionary Road.”

  • New to DVD, ‘Revolutionary Road’ may yet be discovered for the masterpiece it is

    (from left) Kate Winslet and Leonardo DiCaprio in Revolutionary RoadWhen “The Wizard of Oz” was released in 1939, neither audiences or critics were particularly fond of the film and it died a rather quick death at the box office. When “Citizen Kane” was first released in theatres in 1941, audiences did not warm to it, and despite winning the New York Film Critics Circle award for best film, and nine Academy Award nominations, it too died a fast death.

    In 1956, John Ford’s magnificent western “The Searchers” was not nominated for a single Academy Award, and though well liked at the time, no one seemed to think it was the work of art it is considered to be today. Even Martin Scorsese’s “Raging Bull” did not find an audience when first released, and though the film had many strong reviews, no one thought iof it on the level they do today.

    It happens all the time.  Great films get ignored by both audiences and film critics. And though it would be an obvious stretch to consider Sam Mendes’s “Revolutionary Road” in the above company, it is nevertheless a perfect recent example.

    True enough, some critics (myself included) admired “Revolutionary Road” when it was released, but there were simply not enough of us to get the word out. Not even the casting of Leonardo DiCaprio and Kate Winlet could help the film pull in audiences. Incredibly, the Hollywood Foriegn Press Association (their choices sometimes dubious at best) nominated the film for several awards and Kate Winslet rightfully won Best Actress in a Drama for her performance in the film. A couple of weeks later, collective jaws hit the floor when she was nominated for a leading actress Oscar, but for “The Reader,” a lesser performance and film.

    Earlier this week I received my DVD of the film, which hits shelves on June 2, and so I sat down at once to watch it again.  I made my way through the features, wanting to learn more and more about this astonishing film.  And it is my sincere hope that “Revolutionary Road” will some day come to be recognized for the sublime work of art it truly is.

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  • You were right, I was wrong: Guy’s final predictions

    (Expanded thoughts and reasonings on yesterday’s list of predictions.)

    It’s years like 2008 when I throw my hands up and admit (albeit with great reluctance) that my family and friends have been right for the last two decades. Carla, Tom, Kim, Auntie Mavis: I give up. I am insane to care as much as I do about the Oscars. They are stupid. They don’t matter, and I really should find something more important and rewarding to care about, like, oh, needlepoint classes or professional darts championships.

    But who am I kidding? I will always care about the Oscars, even in years like this when the race is so dry, and its significance so questionable, that I take great care in not caring. In a year when so few of my personal favourites have cracked the contenders list, it has at least been interesting to sit back and watch the furore unfold over the Academy voters’ spectacularly self-sabotaging antics this year.

    I’ve been wrong about a lot of things this year (Kris scoffed at my naive suggestion back in July that “Happy-Go-Lucky” could be a Best Picture nominee, and he was right to), and right about … well … “Milk’s” nomination for Best Costume Design. (Hey, let me salvage some glory from this year’s meagre spoils.) I don’t expect to be a hell of a lot more successful with the following predictions, but you never know. It’s still been a lot of fun riding out the season with you this year – here’s to a better slate of contenders (and a lot less grousing from me) in 12 months’ time.

    BEST PICTURE
    Apart from the fact that it is the most imaginative and entertaining of this year’s feeble clutch of nominees, the reason “Slumdog Millionaire” has a stranglehold on this category is because it’s the only one of the five that has any discernible relationship to contemporary cinema. The other four all feel to varying degrees like the finely-tooled Best Picture winners of decades past, but the younger, more curious Academy members have been moving away from such self-consciously packaged ‘prestige product’ in the past few years – even if they need a lot of pointing towards what to reward in its stead.

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  • TECH SUPPORT: Final predictions

    Tech Support at In ContentionAfter six months of Tech Support previews and interviews, the films have arrived, the nominations have been announced and the guilds, the critics and BAFTA have all announced their preferences.  Today we take a final look at the races before the envelopes are opened on Sunday.

    BEST ART DIRECTION
    After guild and BAFTA wins, I would say “The Curious Case of Benjamin Button” has cemented its frontrunner status in this category. Spanning decades of the 20th Century, Donald Graham Burt’s production design was impossible not to notice and gave us gorgeous backdrops for its character’s predicaments.

    The other nominees all have the odds stacked against them, whether similar work has been seen before (Michael Carlin’s “The Duchess” and Kristi Zea’s “Revolutionary Road”), is just not showy enough (Nathan Crowley’s “The Dark Knight”) or the nominee is otherwise along for the ride (James Murakami’s “Changeling”).

    Will win: “The Curious Case of Benjamin Button”
    Could win: “The Duchess”
    Should win: “The Curious Case of Benjamin Button”

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  • 2/18 Oscarweb Round-up

    Michael Shannon in Revolutionary Road• Dave Germain digs into Oscar’s history of scene-stealers, joined this year by Viola Davis and Michael Shannon. [Associated Press]

    • Erika Kinetz, meanwhile, keeps at the same old “Slumdog Millionaire” story that has grown stale over the last few weeks. [Associated Press]

    • Ryan Adams eschews the usual “top 10 list” and instead cranks out a list of the 30 films that mattered to him the most in 2008. [Awards Daily]

    • Sasha Stone, meanwhile, begins building her annual predictions chart from info scattered across the Oscarweb. [Awards Daily]

    • Noah Forrest’s last minute consideration of “Slumdog Millionaire”‘s stranglehold on the season. [Movie City News]

    • Nathaniel Rogers kicks off his annual Oscar Symposium, with Erik Lundegaard, Karina Longworth, Ed Gonzalez, Timothy Brayton and yours truly. [The Film Experience]

    • David Carr isn’t impressed by this year’s John Singleton-directed Oscar trailer. [The Carpetbagger]

    • Elizabeth Snead talks to legendary “Revolutionary Road” costumer Albert Wolsky. [The Envelope]

  • In praise of Kate’s … feet?

    I’m not sure where I stand on David Thomson these days. He is surely one of the greatest film writers still at work today; few of his rivals manage such a fine balance of personal appreciation and critical insight, particularly in the area of performance. (As a prose stylist, Thomson at his best leaves Ebert for dust, in my opinion.) His “Biographical Dictionary of Film” is as essential as it is idiosyncratic, while last year’s “Have You Seen … ?” is a bedside-book delight, ideal for dipping in and out of at leisure.

    But in recent years, his work has grown increasingly sloppy and, in some cases, frankly unhinged. His further “Biographical Dictionary” entries for the Guardian have been spotty and back-handed of late, but the clincher was his factually malnourished and unavoidably creepy 2006 “biography” of his long-time cinematic crush, Nicole Kidman, which paid stomach-churning tribute to the Australian’s “commas of breast” and “gingery pubic hair.” An embarrassment for all concerned, it truly has to be read to be believed.

    It’s difficult to say, then, whether it’s good or bad news for Kate Winslet that Thomson appears to have set his sights on her instead, writing an extraordinarily generous tribute to her in today’s Guardian, calling the actress “the finest performer of her generation,” and waxing lyrical about her performance in “The Reader” (“easily the best and most disturbing film of the year”). It is, in fairness, a civil and intelligent appreciation for the most part, after an eccentric opening that focuses on her, er, feet:

    Near the end of The Reader there is a large close-up of two bare feet … The feet are less than lovely – mottled, calloused, the toenails out of shape, everything well-worn. My wife opined, “They can’t be Kate Winslet’s feet – must be a stand-in, a foot-in. Perhaps they are Sam Mendes’s feet, and he did the shot so she could have a lie-in.”

    Not to disparage the consideration and fondness between Mendes and Winslet, husband and wife, director and actor, I preferred to think that Winslet is too much the perfectionist to let false feet into her picture. “She’d have been up at four in the morning,” I said, “getting the make-up people to give her the opposite of a pedicure” … I assume that Winslet would take any trouble, from the tips of her broken toes to the proper split ends in her elderly German hair. “Would Meryl Streep entertain anyone else’s feet?” I asked my wife. She agreed not. And that is the standard here: Kate Winslet is the heir to Meryl Streep.

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  • The angel says…

    Here is a movie from a director who had gotten typed into being a success only in x-treme cinema, set in another country, often in another language, with three sets of young, inexperienced actors playing the same kids from single-digits to 20-ish, delving into the internationalism of both human aspiration and the medium of television (which might as well be movies), unafraid to deliver some of the harshest moments in mainstream cinema this year, yet emotionally kind and compelling to its core… all of this, made for a studio Dependent that has been put out of business, sold off, in part, by the parent studio to another studio’s Dependent that passed on its first opportunity to make it, sold brilliantly, surrounded by talent that is both charming and unusually generous and kind of spirit, and now in line to win The Oscar and all that comes with that honor.

    From David Poland’s recent “20 Weeks to Oscar” column at Movie City News.  Of course, he later chalks “Ordinary People” up as superior to a modern masterwork like “Revolutionary Road,” but you take what you can get (while wondering why the comparison was made int he first place).

  • SANTA BARBARA: Virtuosos on the march

    Richard JenkinsUnfortunately, “Happy-Go-Lucky” star couldn’t make it to tonight’s presentation of the Virtuoso Awards at the Lobero Theatre due to surgery recovery, but Viola Davis, Richard Jenkins, Rosemarie DeWitt, Melissa Leo and Michael Shannon were on hand to talk their roles in five of the most critically acclaimed films of the year.  James Cromwell did the honor of presentation.

    It’s a shame DeWitt was the only one on stage lacking (criminally) an Oscar nomination, but moderator Roger Durling kept the conversation away from awards as much as he could.

    A considerably amount of the discussion was spent on the nature of these actors’ careers, floating between the big screen, television and theater with a particular ease.  Many of the Virtuosos swept the comment aside with the usual “we go where the work takes us” rhetoric, which is fine, but Davis made a compelling comment regarding the state of the profession.

    “When you think about actors, you think about Brad Pitt, Angelina Jolie,” she said.  “But most of them look just like us here on stage.”  The indication, of course, is the middle class actor and how often he or she isn’t given the proper credit, be it on television, on stage or, certainly, on the screen.

    “Please, go to New York,” DeWitt said.  “See a play.  Some of the greatest actors in the world are working on stage,” but their names aren’t well-known.  It’s an interesting topic with the SAG dispute of late, which finds middle class actors at the forefront of a fight for credit.  Durling, of course, didn’t pursue that line of questioning.

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  • Did Harvey Weinstein cost Kate the Oscar?

    Harvey WeinsteinFor all his marketing and campaigning genius, Harvey Weinstein’s tactics have become — well, have been — a bit thuggish. In Peter Biskind’s extraordinary book “Down and Dirty Pictures,” a stunning look at the independent film world in the late 1980s and all through the 1990s, we are made privy to many of Harvey’s tantrums, eyewitness accounts of his bullying behavior, and crazy belief that because he is rich, he can do whatever he wants.  He can always buy his way out.

    Is there anyone left out there who truly believes that “Shakespeare in Love,” a lovely film, was actually better than “Saving Private Ryan?” Somehow Weinstein convinced the Academy it was, so the best directed, best edited, best shot and best sounding film, lost to a beautifully written work that will be forgotten in time, if it has not been forgotten already.

    Weinstein is a genius at getting his films Academy Award nominations, and some have said he will promise the artists as much when he buys the film or agrees to finance the work. He took Billy Bob Thornton from relative obscurity to an Oscar win for writing “Sling Blade.”  Who did Thornton defeat that year?  No less than the great Arthur Miller for “The Crucible!”

    I had hoped that when Disney dismissed Weinstein and brother Bob from Miramax (a company they founded) that perhaps he had learned something. It seems The Weinstein Company will continue the legacy of Miramax during the Oscar season, however.

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  • After cooling off a bit…

    Michael Shannon in Revolutionary RoadYesterday the Academy displayed just what a fractured organization they are, championing a small film like “Slumdog Millionaire,” for which I applaud them, but snubbing “The Dark Knight,” one of the best reviewed films of the year and a titan at the box office. All day I was asking, ‘How?’  All day I wondered just how out of touch this organization truly is and what a major overhaul is needed.

    Call it ageism if you must, but we I think we need new blood in there.  I have been covering the Academy Awards for more than 20 years and have had my share of disappointments and shocks over that span of time. One would think I’d get used to it.

    I remember the rage when “Ghost” was nominated for Best Picture and when Roberto Begnini won Best Actor. That anger and shock was nothing like I felt yesterday morning at 8:30 Ontario time.

    I could not speak. I closed my office door and quietly raged, trying to make sense of it. Reading the other reactions helped ease the wound (I take it personally you see when my films are snubbed) and tried to see the good in the nominations this year. And as Guy astutely points out, there is some good.

    Melissa Leo in “Frozen River” made the cut, as did Richard Jenkins for “The Visitor.”  Both deserved, both terrific performances. “Wall-E” grabbed a screenplay nod, as well as sound nominations, and “Slumdog Millionaire” did very well indeed, with 10 nods. “The Curious Case of Benjamin Button” lead the pack with 13 and Brad Pitt finally got a nomination for Best Actor — long overdue.  Mickey Rourke and Marisa Tomei made the list for “The Wrestler” and all four major actors from “Doubt” are nominees.

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  • Hey, it ain’t ALL bad

    OK, looking at the bigger picture, I’m as mortified as everyone else by this morning’s Academy Award nominations. By playing it safe in numerous areas, AMPAS voters have once more failed their art form … but more surprisingly, they have failed their audience.

    Kris has already touched to some extent on the most glaring injustices of the morning, and I plan to indulge in my own share of ranting later today. But before I get into that, I’d like to channel my inner Bing Crosby and accentuate the positive. Amid the minefield of errors, there were some isolated pleasant surprises and level-headed decisions, even if many of them were on a smaller scale. And these were the best of them:

    “GRAN TORINO” STRIKES OUT: Many were speculating that the latest from the (usually) Oscar-beloved Clint Eastwood could be a spoiler in the top race, with the man himself an ominous threat to actually take the Best Actor gong. But for once, Eastwood’s stealth-release strategy didn’t pay off. Either the film gathered momentum too late, or voters saw through the film’s creaky construction and hammy lead turn. Either way, in passing over Eastwood for the wonderful Richard Jenkins, the Academy made the right call.

    ORIGINAL SCREENPLAY GETS ORIGINAL: Matching the WGA’s Original Screenplay nominees in only one instance, voters dug deep here and pulled some inspired choices out of the hat. Bypassing the familiar comforts of Woody Allen or the Coen Brothers, they recognised that “Frozen River” owed its jagged, riveting tension to more than just Melissa Leo’s stellar performance, and, most thrillingly, recognised the pitch-black wit and literary sensibility of “In Bruges.” A nod for Mike Leigh’s unconventionally constructed “Happy-Go-Lucky” was more expected, but no less gratifying.

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  • TECH SUPPORT: Final preview special, part one

    Tech Support at In ContentionFive months of Tech Support reach their climax on Thursday morning.

    This Canuck is, like the rest of the world, celebrating a new American President today. The fact remains, however, that a new set of Oscar nominees will greet us tomorrow and I can’t help but share my final thoughts on the categories.

    This is the first part of my review, including the categories of best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing and best Makeup.  We’ll chart the final five fields later today, so be sure to check back.

    Best Art Direction
    Starting with the most difficult category, there is only one film I would give the title “lock,” and it’s “The Curious Case of Benjamin Button.” I’d be stunned if Donald Graham Burt’s exquisite sets failed to make the cut.

    I suspect that Michael Corenblith is a solid bet for his detailed and realistic sets for “Frost/Nixon.” If “American Gangster” could get in last year, I would surprised if Corenblith did not score, especially considering his past success when working with Howard. James Murakami also seems a solid bet for “Changeling” for what were detailed and memorable designs of 1920s Los Angeles. His guild and BAFTA nominations suggest people remember the work.

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  • Best Actress: a tough call

    Anne Hathaway in Rachel Getting MarriedRarely does the lead actress category provide more suspense than leading gentlemen and rarely is it as packed with fine performances as it is this year.  I can remember years when it was a struggle to come up with five nominees for best actress, 1975 and 1992 springing to mind.  It might have less to do with quality female performances than it does the amount of quality female roles Hollywood provides.

    But the Academy won’t have any trouble this year.  There are going to be excellent performances left off the list of nominees this year due to uncharacteristically heated competition, that is a sad fact, and there is not a thing anyone can do about it except continue to love and support the performances snubbed. In fact it is not even that they will be snubbed, it’s just that there is only room for five ladies, and this year, selecting those final five must be proving an enormously difficult task for the Academy.

    With her two Golden Globe wins, Kate Winslet seems to be a shoo-in for her superb performance in “Revolutionary Road,” a truly heartbreaking piece of acting that is sadly underseen at the moment.  Meryl Streep, meanwhile, will be nominated for the 15th time for her tyrannical nun in “Doubt” and Anne Hathaway will get a welcome to the big show for “Rachel Getting Married,” in which her caustic turn as Kym has altered the course of her career and announces her as a serious actress in the industry.

    And then it becomes tricky — those final two spots.

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  • A film that sticks — why ‘Revolutionary Road’ is a masterwork

    Leonardo DiCaprio and Kate Winslet in Revolutionary RoadGENTLE SPOILERS WITHIN — READ WITH CAUTION

    Fear of change, fear of risk.

    “If you don’t try anything, you can’t fail,” she tells him, striking at the heart of what has him so afraid of uprooting their family to Paris in the hopes of a better way of life.  Frank Wheeler is terrified of change, but his wife April longs for it.  She needs change to survive as a person, as a wife, believing, wrongly perhaps (perhaps not), that change will help her marriage and better define her place in it.

    The characters in “Revolutionary Road” are in agonizing pain as they go about their daily lives, each trying to keep their marriage intact while also trying to live out their dreams.  Deep down, they must know their dreams have to be sacrificed to a degree.  Way down in their gut, they must know their dreams may never come true, and it is quietly destroying them.

    Is “Revolutionary Road” a classic American film destined to be remembered for decades to come?  Or is it merely an over-praised, depressing work that will be forgotten once it hits DVD, a bizarre blip on the careers of the creators?  I tend to believe the former.  It is a sublime work of art and a demanding piece of cinema that takes audiences on a difficult journey through a rocky relationship that, for me, resembles the young years of George and Martha in Edward Albee’s “Who’s Afraid of Virginia Woolf?”

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  • The top 10 shots of 2008: part one

    Slumdog MillionaireI’m hoping to make this an annual tradition here at In Contention.  It’s no secret we have a lot of respect for below-the-line talent around these parts, but it’s nice to have a visual way of showing that appreciation.  I sat down to write this piece for the first time last year, taken by the caliber of cinematography we had to bask in throughout the year and, indeed, the awards season.  The unusually high number of lensing achievements in 2007 left a slew of images to choose from and it was difficult whittling it down to 10.

    This year the challenge was of a different sort.  The field was curiously thin.  It wasn’t that the talent wasn’t on display.  God knows, a number of the greats were lining up behind the camera this year.  But the images weren’t as instantly iconic or as viscerally gripping as they were in 2007, which might have left me a bit disappointed on one hand.  Then again, it just made searching for my favorites all the more involved and interesting, and I’m happy to offer my findings to you in this space, even if it meant doubling up.

    Yes, in one instance (an undeniable one, really), a certain film found two shots popping up on the list, and nearly three.  Another film also found itself close to a second mention, but I tried to keep a balance of honesty and fairness in place as much as possible.  If a film has two of the year’s best shots, it has two of the year’s best shots, right?

    This year, things are slightly different.  Last time around, I got a few arbitrary quotes from lensers throughout the season and plugged them into the piece where they fit best.  This year, I sought out the various directors of photography to get their opinions on the specific shots in question.  Their insight, as always, makes for a better story and, indeed, more context for the reader.  I hope you enjoy reading their thoughts as much as I did collecting them.

    So, I look forward to doing this each and every year I’m cranking out copy for your reading pleasure (or displeasure).  In my view, it is one of the best ways I can commemorate the technicians that so often find themselves overlooked this time of year.

    So let’s get on with the list…

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