Showing posts with label Anne Hathaway. Show all posts
Showing posts with label Anne Hathaway. Show all posts

Sunday, February 24, 2013

Final Oscar Predictions 3/3 [The Big Six]


Best Picture:

“Amour”
“Argo”
“Beasts of the Southern Wild”
“Django Unchained”
“Les Miserables”
“Life of Pi”
“Lincoln”
“Silver Linings Playbook”
“Zero Dark Thirty”


Prediction: “Argo”
My preference: “Beasts of the Southern Wild”

When a film wins support from the producers’, directors’, actors’, and writers’ guilds you can pretty much call it over. Affleck’s director snub has definitely helped the film, but probably only to solidify its appeal as a mainstream crowd-pleaser, unlikely to be looked upon fondly in years to come, but nevertheless easy to anoint as a winner of the 2012 crop.


Best Director:

Michael Haneke, “Amour”
Ang Lee, “Life of Pi”
David O. Russell, “Silver Linings Playbook”
Steven Spielberg, “Lincoln”
Benh Zeitlin, “Beasts of the Southern Wild”


Prediction: Michael Haneke, “Amour”
My preference: Benh Zeitlin, “Beasts of the Southern Wild”

It’s probably foolhardy to choose Haneke over Spielberg, Lee, or Russell, who seem to have stronger films. The lack of a particular frontrunner helps the Austrian, who you can imagine people who don’t even love “Amour” might still vote for, as a ‘cool’ alternative pick, and as he’s the most auteurial of the five men. That’s how I see it, anyway.

Best Actress in a Leading Role:

Jessica Chastain, “Zero Dark Thirty”
Jennifer Lawrence, “Silver Linings Playbook”
Emmanuelle Riva, “Amour”
Quvenzhane Wallis, “Beasts of the Southern Wild”
Naomi Watts, “The Impossible”


Prediction: Jennifer Lawrence, “Silver Linings Playbook”
My preference: Emmanuelle Riva, “Amour”

Wishful thinking makes me want to predict Riva, who I suspect is close but will likely lose out to the familiar ‘star is born’ narrative surrounding Jennifer Lawrence. If Lawrence does win it’ll be a shame, since she can and will do so much better in the future, with a character she has a stronger handle on than Tiffany in “Silver Linings Playbook.”

Best Actor in a Leading Role:

Bradley Cooper, “Silver Linings Playbook”
Daniel Day-Lewis, “Lincoln”
Hugh Jackman, “Les Miserables”
Joaquin Phoenix, “The Master”
Denzel Washington, “Flight”


Prediction: Daniel Day-Lewis, “Lincoln”
My preference, Joaquin Phoenix, “The Master

Best Actress in a Supporting Role:

Amy Adams, “The Master”
Sally Field, “Lincoln”
Anne Hathaway, “Les Miserables”
Helen Hunt, “The Sessions”
Jacki Weaver, “Silver Linings Playbook”


Prediction: Anne Hathaway, “Les Miserables”
My preference: Helen Hunt, “The Sessions”

Best Actor in a Supporting Role:

Alan Arkin, “Argo”
Robert De Niro, “Silver Linings Playbook”
Philip Seymour Hoffman, “The Master”
Tommy Lee Jones, “Lincoln”
Christoph Waltz, “Django Unchained”


Prediction: Christoph Waltz, “Django Unchained”
My preference: Tommy Lee Jones, “Lincoln”

I feel as if “Lincoln” has very little momentum, and Christoph Waltz has the best role of the five men here. A leading one, but since when have the Academy cared about category fraud? There is an outside chance that they’ll give Robert De Niro the Oscar, as a reward for finally doing something worthwhile, but the amount of lame comedic films he’s been in recently leads me to believe that when he does win a third Oscar it’ll be for a dramatic performance.

Wednesday, January 16, 2013

In the Mood for Podcast: Episode 32



EPISODE 32: Baying For Blood
[1:21:59]
You can Listen online or
(Right click... save as)

It's Episode 32 of In the Mood for Podcast, a British-based film podcast hosted by Calum Reed of Ultimate Addict and Pete Sheppard of In the Mood for Blog. This week we react to the shock omissions in the recent Oscar nominations, and the dynamic of the race after Sunday's Golden Globes. We tackle two aggressive new releases in period mob flick "Gangster Squad" and vampire drama "Midnight Son," while Cal goes it alone for the decidedly cosier "Safety Not Guaranteed." And then we get to the main event, as Tom Hooper's musical "Les Miserables"gets the 'mood for' grilling, after instigating a mammoth preconception corner. There's also the results of last week's prediction contest, which will decide which one of us must serve a forfeit!

Discussed on the podcast: 

Opening Segment: Reacting to the week's awards news: Oscar nominations and Golden Globe winners 
[2:20 - 21:45]

*Preconception Corner*

Reviews of: 

  • "Gangster Squad"
  • "Midnight Son"
  • "Safety Not Guaranteed"

[26:50 - 49:50]

Closing Segment: Our take on Tom Hooper's awards hope "Les Miserables," and our favourite musicals of all-time  
[49:55 - 1:11:50]

*Shag, Marry or Kill?*
*The Watson Factor*
*The Poupaud Range*


Ends with bonus forfeit from last week's competition: 
Who has to watch what? 

Intro Music: New theme music!
Outro Music: Lulu James, "Stuck"

Wednesday, December 05, 2012

The National Board of Review Ensures "Zero Dark Thirty" Stays In The Hunt

It's my annual attempt at predicting something relatively unpredictable, the prizes bestowed by the National Board of Review. The 'freemasons' of the awards circuit, I'm not sure anyone quite knows who sits on this board or how it has gotten to be such a fixture in the season, nevertheless, it's always fun to look at what they choose each year.

[Updated with winners -- prediction score 13/24]

Picture: “Zero Dark Thirty"

Top 10: 
“Argo”
"Beasts of the Southern Wild”
"Django Unchained"
“Les Miserables”

“Lincoln”
”Looper"
”The Perks of Being a Wallflower"
"Promised Land"

“Silver Linings Playbook”
”Zero Dark Thirty”

Prediction score: 6/11

Prediction summary: You would think the assumed six safe bets for Best Picture nominations are among the 11 (10 + winner) championed by the board, those being “Argo,” “Lincoln,” “Life of Pi,” “Silver Linings Playbook,” and “Zero Dark Thirty.” After that, it could be a free-for-all; “Flight” and “Trouble with the Curve” fit that middle-of-the-road movie that this group often includes – the latter being basically a Clint Eastwood movie, despite him not officially directing it. “The Master” and “Beasts of the Southern Wild” seem to be on the decline right now, but I’m going to suggest that they come through based on their passionate pockets of fans. 


“Moonrise Kingdom” too, in that regard, although it’s resurrecting awards steam and should be a strong contender for a screenplay nomination with Oscar. You could replace “Skyfall” with “The Dark Knight Rises” or “The Avengers” or even “Magic Mike” in my predictions: it’s that smash hit entrant I figure makes it in like “Star Trek” and the final Harry Potter film did. 

Director: Kathryn Bigelow, “Zero Dark Thirty”
Leading Actor: Bradley Cooper, "Silver Linings Playbook"
Leading Actress: Jessica Chastain, "Zero Dark Thirty"
Supporting Actor: Leonardo Di Caprio, "Django Unchained"
Supporting Actress: Ann Dowd, "Compliance"

Prediction score: 1/5

Prediction summary: Bigelow seems like the perfect choice for Director critics prizes (more so than the film as Best Picture because of the severity of “Zero Dark Thirty”) although this could easily go to Ang Lee, Tom Hooper, or Steven Spielberg instead. I’m expecting Daniel Day-Lewis to sweep, and Hathaway and Jones to start ascending to frontrunner status. As for leading actress, this could go anywhere, so I’m picking Keira Knightley as a semi-outsider pick, based on the classic nature of the role and that they’ve tended to go for younger actresses of late. 


Original Screenplay: “Moonrise Kingdom”
Adapted Screenplay: “Lincoln”
Ensemble: “Les Miserables”
Breakthrough Actor: Tom Holland, “The Impossible”
Breakthrough Actress: Quvenzhane Wallis, “Beasts of the Southern Wild”
Animated Feature: “Frankenweenie”
Documentary Feature: “Searching For Sugar Man”
Foreign Film: “Amour"

Prediction score: 6/8

Wednesday, November 21, 2012

In the Mood for Podcast: Episode 25



EPISODE 25: Tricks of the Trade
[1:21:19]
You can Listen online or
(Right click... save as)


A mini milestone is passed in Episode 25 of In the Mood for Podcast, a British-based film podcast hosted by Calum Reed of Ultimate Addict and Pete Sheppard of In the Mood for Blog. This week our attentions are divided between nutritious world cinema and meaty awards chat, as The Hollywood Reporter's annual roundtables prompt us to gossip about the females of 2012. From there we move onto reviews of "Mental," "Jab Tak Hai Jaan," "Happy Happy," "A Better Life," and "On Air," before returning to process Paul Thomas Anderson's "The Master," well-publicised as having sent critics spinning. We're less concerned with the weight of the film than Amy Adams' elbow grease, which proves just too rich a source of innuendo for some...
Discussed on the podcast: 

Opening Segment: We chat at length about The Hollywood Reporter’s Actress Roundtable, the participants of which were Amy Adams, Marion Cotillard, Sally Field, Anne Hathaway, Helen Hunt, Naomi Watts, and Rachel Weisz. Who came off best, and which ladies are the frontrunners for awards? [2:40 - 18:10]


*Preconception Corner*


Reviews of: 

  • "Mental"
  • "Jab Tak Hai Jaan"
  • "Happy Happy"
  • "A Better Life"
  • "On Air"
[21:10 - 51:55]

Closing Segment: Our thoughts on Paul Thomas Anderson’s “The Master,” and discussing the art of balancing double features. [52:00 - 1:11:35]


*Shag, Marry or Kill?*

*The Watson Factor*
*The Poupaud Range*


Intro Music: New theme music!
Outro Music: Missy Elliot, "One Minute Man"

Tuesday, July 26, 2011

Does Angelina Jolie Justify Being the Highest-Paid Actress on the Planet?

I've just been getting around to this but earlier this month Forbes released an updated list of Hollywood's highest-paid actresses, and there are a couple of surprises. As well as the usual group of renowned A-list stars from the past five years and beyond (in some cases, way beyond), there are three former TV stars and a woman barely over twenty.

It isn't really surprising to learn that Angelina Jolie tops this list, earning a staggering $30m a film. Everything she's touched lately -- from animated blockbusters to Summer action movies to period dramas -- has turned to gold. Even her 2007 biographical indie, "A Mighty Heart," a film that's heavy and relatively unforgiving, managed to make a slim profit. It's somewhat more surprising that Jolie shares first-place with Sex and the City's lead Sarah Jessica Parker, whose two TV-to-cinema projects made New Line a ton of money. To me this seems a somewhat inflated figure for an Actress who has made just eight films in the last nine years (two are scheduled for late 2011) but I suppose this represents her as someone presently sought after.

So too of-the-moment is Kristen Stewart, in the midst of filming the massively popular Twilight series, but a proven draw on the Independent circuit as well as the mainstream Tween scene. Rom-com 'Queens' Jennifer Aniston and Katherine Heigl are also in the ten, while the rest of the list largely comprises of women we've seen there before; Nineties babes Cameron Diaz, Julia Roberts and Sandra Bullock still command $15+m a movie, while 62 year-old Meryl Streep is commendably able to cling to the top ten, arguably as popular now as she was twenty-five years ago.


Official Top Ten Highest-Paid Actresses

  1. Angelina Jolie - $30 million p/m
  2. Sarah Jessica Parker – $30 million p/m
  3. Jennifer Aniston – $28 million p/m
  4. Reese Witherspoon – $28 million p/m
  5. Julia Roberts – $20 million p/m
  6. Kristen Stewart – $20 million p/m
  7. Katherine Heigl – $19 million p/m
  8. Cameron Diaz – $18 million p/m
  9. Sandra Bullock – $15 million p/m
  10. Meryl Streep – $10 million p/m

I'm not really a fan of this list, so I decided to play around a little and figure out some statistics in order to get a better gauge on who might be doing better with the "limitations" of their salary. I calculated the average worldwide box-office total of their movies (based on the last six released theatrically) and used their salaries to gain a VFM (Value-for-money) percentage. This represents the average amount of money they received versus the average amount of gross their films earned.

Interestingly -- but perhaps not surprisingly -- Meryl Streep offers the best value for money, receiving just 5.4% of the profit her films eventually earn. Considering her salary is three times less than Jolie's this suggests that this figure be representative of the vast inflation afforded to the top four women compared to the rest of the ten. Still, Jolie's films have tended to earn at least $100m more than the others, and so she comes in third place at a tasty-looking 8%. Aniston offers the least value for money at 27.2%, her films mainly romantic comedies with modest (but not exceptional) success.

Ranking By VFM Percentage (Based on last six movies up to July '11)

  1. Meryl Streep – 5.4% ($186.5m)
  2. Cameron Diaz – 7.0% ($256m)
  3. Angelina Jolie - 8.0% ($375.8m)
  4. Kristen Stewart – 8.4% ($238.4m)
  5. Sandra Bullock – 10.4% ($144.7m)
  6. Katherine Heigl – 13.8% ($138m)
  7. Julia Roberts – 14.7% ($136.3m)
  8. Sarah Jessica Parker – 19.4% ($154.7m)
  9. Reese Witherspoon – 22.2% ($126.3m)
  10. Jennifer Aniston – 27.2% ($103m)

I then decided to calculate the average Metacritic score of these films to target which actresses are making more acclaimed films for their lofty salaries. Julia Roberts scrapes a victory here, while Streep and Jolie also figure highly. It should come as a shock to pretty much nobody that Aniston's, Heigl's, and Sarah Jessica Parker's recent filmographies leave a lot to be desired.

Ranking By Average Metacritic Score
(Based on last six movies up to July '11)

  1. Julia Roberts - 63/100
  2. Meryl Streep - 62/100
  3. Angelina Jolie - 61.5/100
  4. Kristen Stewart - 59.1/100
  5. Reese Witherspoon - 49.7/100
  6. Cameron Diaz - 48/100
  7. Sandra Bullock - 44.5/100
  8. Jennifer Aniston - 40.5/100
  9. Katherine Heigl - 40.5/100
  10. Sarah Jessica Parker - 38.5/100

As this list changes throughout the next couple of years it's difficult to see Kristen Stewart not making inroads, considering she has two Twilight movies within the next year and also the anticipated forthcoming adaptation of Snow White. Sandra Bullock has Stephen Daldry's Oscar-tipped "Extremely Loud and Incredibly Close" landing at the end of 2011 and a sci-fi film with George Clooney next year, while Cameron Diaz has a celeb-packed ensemble comedy and a heist caper with Colin Firth released next year. Those two look like safe bets to return.

I don't anticipate many women entering this list; Rooney Mara looks like she's going to become very hot property, and the "Dragon Tattoo" remake will likely be successful, Marion Cotillard is working with Steven Soderbergh and Chris Nolan, and future-Catwoman Anne Hathaway has "One Day" poised to shellshock audiences next month. Beyond these, I'm not sure. Suggestions?

Tuesday, March 01, 2011

Review of 2010: Oscar Night Reaction & General Reflection

Jennifer Hudson bids farewell to 2010.
Last night was one of the strangest Oscar ceremonies in recent memory, and I'm not solely talking about the outlandish behaviour of a certain James Franco. With the possible exception of 2005, every year since I've been watching (2001-Present) has seen a decent tally of wins for the Best Picture victor, especially when they were particularly nailed-on for victory (Lord of the Rings, Slumdog Millionaire.) Moreover, the amount of times I've seen technical prizes tokenly handed out to Picture frontrunners in tick-the-box fashion, is downright obscene. Despite feeling reviled by the awardage of the big prize to "The King's Speech" I'm actually encouraged that the Academy appeared to consider the merits of each category more closely this year, awarding cinematography to "Inception" (a close second to "Black Swan" by my reckoning) and Best Original Score to the intricate score of "The Social Network," both of which remained cool outsiders in the betting.

The good parts of the ceremony largely entailed of a more sensible broadcast, short on montages and mini-introductions (we know what the nominated films are!), and back to substantial acting clips and song performances (which I believe in, despite their tendency to nominate terrible songs.) The bad emerged in the form of Celine Dion's excruciatingly sentimental accompaniment to the In Memoriam segment,  and the tacky sketch-style methods of the hosts, who just didn't seem to have the knack for this brand of comedy. I also felt that it was rather hurriedly ploughed through, managing to omit some of the staple unnecessary elements of the broadcast, but content to once again burden the winners with rashly-utilised exit music.

The Full List of Oscar Winners:


Best Picture: "The King’s Speech"
Best Director: Tom Hooper, "The King’s Speech"
Best Actor: Colin Firth, "The King’s Speech"
Best Actress: Natalie Portman, "Black Swan"
Best Supporting Actor: Christian Bale, "The Fighter"
Best Supporting Actress: Melissa Leo, "The Fighter"
Best Adapted Screenplay: Aaron Sorkin, "The Social Network"
Best Original Screenplay: David Seidler, "The King’s Speech"
Best Animated Feature: "Toy Story 3"
Best Editing: Angus Wall, Kirk Baxter, "The Social Network"
Best Cinematography: Wally Pfister, "Inception"
Best Original Score: Trent Reznor, Atticus Ross, "The Social Network"
Best Art Direction: "Alice in Wonderland"
Best Costume Design: "Alice in Wonderland"
Best Visual Effects: "Inception"
Best Make-Up: "The Wolfman"
Best Sound Mixing: "Inception"
Best Sound Editing: "Inception"
Best Song: We Belong Together, "Toy Story 3"
Best Documentary: "Inside Job"
Best Documentary Short: "Strangers No More"
Best Live Action Short: "God of Love"
Best Animated Short: "The Lost Thing"
Best Foreign Language Film: "In a Better World," Denmark


Best Speech: Charles Ferguson, director of "Inside Job," whose only fault at the podium was not being Banksy. Keep knocking those bankers down.

Worst Speech: Tom Hooper, who does little for the white-British stereotype that we're all well-to-do and listen to our mothers.

Most Satisfying Victory: Aaron Sorkin's screenplay victory must rank as one of the finest in the category for a long, long time.

Least Satisfying Victory: I'm trying not to sound too bitter, but again, it has to be Tom Hooper. It's no wonder he looked like the cat that got the cream, when he beat such visionary opponents with a film that feels so visually drab and lifeless.

Thankfully for Colin, this rant is over.
Some Words about 2010 in General: From an Indie perspective, there was an awful lot to be encouraged about this year. I don't approve of a ten-wide Best Picture field, but it's heartening that smaller productions can gather a lot of traction from critical adoration and early popularity (see: "Winter's Bone" and "The Kids Are All Right") and gain multiple acting nominations in the process. I sincerely hope that this isn't a one-off, and I suspect it won't be, if American mainstream cinema continues to generally struggle.

The other key observation is that there simply is no accounting for taste. Connotative, schematic displays of "prestige" still rule the roost, but only when enough people rally behind them. One hopes that this royal triumph does not aid in slackening the tolerance towards gaudy shows of period elegance, but as ever, we'll have to wait until next year to find out.