Skyfall (2012)

Skyfall

Directed by Sam Mendes

Starring: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Ben Whishaw, Naomie Harris

Grade: B [71] 

It wasn’t particularly reassuring when Sam Mendes became the latest A-lister to tackle the Bond franchise, his failure to register a worthy follow-up to debut smash “American Beauty” having lasted for more than a decade now. Thankfully, “Skyfall” is a return to form for the British filmmaker, its flag-waving patriotism omnipresent but on this occasion diluted with the dense, loaded political context of a Christopher Nolan film (Mendes himself has admitted Nolan’s influence), and an inherently personal motive for its villain beyond megalomania and terrorism. Like “Quantum of Solace” this feels like a transitory entrant in the 007 series (one would hope that the next installment be considerably more fun) but the use of literary roots adds dimension to an otherwise excellently-staged action adventure, and Craig continues to impress in his stint as the agent. It feels as though the character badly needs a boost, but in the stakes of entertainment “Skyfall” is yet another slam dunk for fans of this ever-adapting world of espionage.

Addicts 2008: Sound Editing & Sound Mixing

Sound Mixing

The Dark Knight
Ed Novick & Agce Ulas

Heath Ledger's distinctive cackle may be the most resonant snippet of audio that The Dark Knight has to offer, but it's only a towering component of the film's sound library. While the heavy, dramatic, overloaded score threatens to dominate, the sound mixing ensures that this seems like a rather tense countdown of the ilk you're accustomed to seeing every five minutes on 24, and the dialogue, similarly heavy, is punctuated with booming effect. This film is loud but rarely turgid.

Doomsday
Derek Mansvelt

Another loud film; not that I think loud necessarily equals worthy, as you'll see further down. Neil Marshall's Doomsday is a runaway fledgling of B-movie anarchy, and the vehicular carnage that becomes its trademark custom feels wholly diegetic to the senses. The mobbish, grating platform of sound feels über-pulpy, and heightens the on-going battle, perpetuating the 'doom' half of its appropriate title.

The Strangers
Jeffree Bloomer, Marti D. Humphrey & Chris M. Jacobson

Horror movies are churned out ten-a-penny these days, so finding one that legitimately "scares" you is a tiresome task in itself. Enter The Strangers, which understands that the success of shocking the audience relies primarily on the quality and effect of the soundwork, as well as its mystery and unpredictability. The film is not perfect, but neither is it predictable, introducing bursts of sound that stir you to the point where you can't really accept them as manipulative devices. The contrapuntal bursts of folk music provide a certain eeriness by themselves.

The Wackness
Ken Ishii, Eric Justen & Jeffrey Perkins

Set in a time when Hip-Hop was still a revelation, The Wackness has a rather catchy and relevant song score to accompany its vehemently 'indie' circumstances. I realise that this is a sound mixing category, and was incredibly impressed with both how the film was put together, and particularly how it integrated the sounds of the period into its plot, without these moments appearing too focus-pulling, deliberate, or self-conscious. These moments also gave the film a much-needed (at times) energy.

Wall-E
Ben Burrt, Zach Martin, Tom Myers, Michael Semanick & Tony Sereno

Wall-E is a quiet, patient, and modest film that does everything you'd really want it to, and the sound is indicative of this. From Wall-E's voice, robotic but intricate and emotional, to the subtle, pattering score, to the institutional chaos of life in outer space. It's all interesting, involving, and perhaps encourages us to ruminate a little more about what's going on. Kind of like an animated version of 2001.

Winners: Jeffree Bloomer, Marti D. Humphrey & Chris M. Jacobson (The Strangers)
Runner Up: Ben Burrt, Zach Martin, Tom Myers, Michael Semanick & Tony Sereno (Wall-E)

Sound Editing

The Dark Knight
Michael Babcock, Richard King, Michael W. Mitchell & Hamilton Sterling

More bombs than you can shake a stick at (although why you'd want to, I don't know) and countless numbers of crashes, smashes, and thuds litter the latest Batman installment, and it's testament to the sound department that it doesn't become repetitive or tiresome, like other parts of the film.

Eagle Eye
Christopher Assells, Karen Baker Landers, Albert Gasser, Per Hallberg, Peter Staubli & Bruce Tanis

If action films are supposed to be thrill rides, Eagle Eye is a pretty top-billed fairground attraction. You know this when it almost deters you from seeing the flaws through sheer energy and confidence. The film feels so mapped-out and is full of plot holes, but its super-slick, never-say-die attitude extends to some wonderful sound effects (explosions, electronics, mammoth vehicles) that it's often a joy to sit through.

The Strangers
Scott A. Hecker, Rick Hromadka & Cliff Latimer

Containing some of the sharpest sound-work I've ever seen in a horror film it playfully and torturously terrifies; whether it be banging, scraping, shooting, or otherwise.
Taken from Review

Wall-E
Ben Burrt, Dustin Cawood, Teresa Eckton, Al Nelson & Matthew Wood

The mechanism of the sound in Wall-E is far from standard. The sharp, clanging, rickety nature of the moving robot a fascinating observation in the film's opening minutes, and the introduction of the highly-strung, bubbling electronica of Eve another smart touch. The conveyor-belt consumerism of space allows for more recognition, but in theory, so it should. All-in-all, fascinating variety.

Wanted
Margit Pfeiffer, Wylie Stateman & Jon Title

Although I doubted that Wanted would be embraced by the Academy's sound branch, I did enjoy the film's audio work in a similar way to Eagle Eye. In fact everything in the film is flash, but when you've got a budget as huge as this film was afforded, you'd kind of expect the soundwork to be good. A standout in that area is the gunfire, which feels wickedly gratuitous and certainly grips your attention.

Winners: Ben Burrt, Dustin Cawood, Teresa Eckton, Al Nelson & Matthew Wood (Wall-E)
Runner Up: Christopher Assells, Karen Baker Landers, Albert Gasser, Per Hallberg, Peter Staubli & Bruce Tanis (Eagle Eye)

2008 Oscar Preview & Predictions: Visuals

Art Direction

Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road

What Should Have Been Nominated? There's a major argument for Wall-E, which has the most imaginative and defined production design of 2008. The Fall was never going to get nominated but it has such interesting, diverse arrangement, from the colourful expanse of fantasy to the murky grime of post-war healthcare.

What Deserves To Win? There are few things in this life more overwrought than Changeling but you can muster up an ounce of forgiveness for the richness of its production. The Dark Knight is great too.

What Will Win? I'd be surprised if The Curious Case of Benjamin Button didn't win. It's the only BP nominee of the five and whichever way you look at it the thirteen-nomination haul won't prove fruitful next week.


Cinematography

Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire

What Should Have Been Nominated? Above all, the CFCA-nominated work in The Fall. I much prefer Roger Deakins' cinematography in Revolutionary Road to his nomination for The Reader, as he succesfully navigates the restricted visual artificiality of suburbia. I don't know how The Wrestler's Darren Aronofsky and Maryse Alberti couldn't manage a nomination between them, and it's the photography I find increasingly impressive about the gritty Mickey Rourke flick.

What Deserves To Win? The Dark Knight, which is definitely OTT, but certainly a whole lot more consistent with the tone and nature of the film than Slumdog's is. The rest don't excite me.

What Will Win? Slumdog Millionaire. It's very blatant in striking a visual chord and thus is memorable. It's also the BP frontrunner.



Costume Design

Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road

What Should Have Been Nominated? This is a fine set of nominees but if I'd have had my way Eiko Ishioka's designs for The Fall (yes, again) would have been justly rewarded. Although ineligible, April Ferry's cutesy rural wartime outfits hit the spot in The Edge of Love, and don't actively seek attention in the way that some of this year's nominated costumers undoubtedly do. The Secret Life of Bees has such a bright, fantasy-style tone to it that's mimicked wonderfully by the attire of Queen Latifah et al.

What Deserves To Win? Australia and The Duchess have clothes that adhere to their respective periods and in both cases illustrate the flamboyance of their production, so it's difficult to pick a winner. Probably Australia because it seems to confound expectation and celebrate originality a little more.

What Will Win? The Duchess, since it's so definitely a costume drama. Even Milena Canonero won this in 2006 for Marie Antoinette, despite the film being unpopular and regarded as a failure by many. What do they know? :-P


Film Editing

The Curious Case of Benjamin Button
The Dark Knight
Frost/Nixon
Milk
Slumdog Millionaire

What Should Have Been Nominated? Burn After Reading's mechanical seamlessness contributes to the continual satire, and Quantum of Solace is one of the more well-put-together Bond films in recent memory, cool and engaging without ever going full-blown crazy/frantic.

What Deserves To Win? Elliot Graham's work on Milk is excellent, spanning years with ease and blending archival footage gracefully, without making these forays into the past seem sentimental or unnecessary.

What Will Win? The Slumdawg. Overdone, but they love lively.



Make Up

The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army

What Should Have Been Nominated? Doomsday. Gore, disease, physical deformation, mutation, tribal beonging. Madness. I also love the makeup in Let the Right One In, which meshes well with the setting and like the film feels very natural amidst its own physical and thematic extremes.

What Deserves To Win? The Dark Knight. Joker and Two-Face. Creeeepy.

What Will Win? The Curious Case of Benjamin Button, which wouldn't be my choice but isn't a bad one. Major gimmicky age make-up for everyone involved.


Visual Effects

The Curious Case of Benjamin Button
The Dark Knight
Iron Man

What Should Have Been Nominated? The wondrous effects-laden Eagle Eye, which regrettably offers up big budget theatrics with very little consideration for much else, and somehow manages to cast Shia LaBoeuf as someone called Jerry (surely he hasn't reached that stage yet?). But whatever, great FX.

What Deserves To Win? All of these films have so much money pumped into them that the effects were inevitably going to be impressive, but I think that the guys from The Dark Knight have the toughest job in making impact when everything around it is so equally dark and dangerous.

What Will Win? It's a semi-tough call because I'm not sure that The Dark Knight will win any other Tech awards, and so is in with a chance. But I can't help thinking that the win for The Golden Compass over Transformers last year means that cutesy and colourful wins the day, and so I'm willing to bet that Benjamin Button grabs this prize.

It's the Most Wonderful Time of the Year...La La La

So here we are. It's that time of year again, although you wouldn't think it, would you? This year's Oscar race is frankly as flat as a pancake, and it'll take a lot of these unproven December releases to come up trumps to make this year's competition as juicy as last years. But still: a race is a race is a race, and it's time I made some official predictions.

I'll start by saying that Slumdog Millionaire looks like a frontrunner at this stage. It's got raves, positivity, a wonderful poster. Is is too Field of Dreams? Time will tell, but for now it's nailed on for the nomination. As is Milk, which could prove to be one of the few buzzed about films of the year that actually gets universal praise -- if early word on the other contenders is to be believed, anyway. The Dark Knight made gazillions, and feels like a pulpy Michael Mann film rather than a comic book movie, so I wouldn't put it far behind.

As for the rest, we'll see. Nothing save that batman film and Wall-E made any impact before Autumn and it's pretty much guesswork as to the other two BP slots. I'm going for Benjamin Button because it's gimmicky, has a good cast, a good director, and there's something about the trailer that's kinda Forrest Gump about it. With a hint of Golden Compass. I know, it's weird. Edward Zwick's mediocre late-year released Blood Diamond stole in to grab multiple nominations in a fairly weak 2006, and so what will his Defiance achieve in an even weaker 2008? I say it might just make a lasting impression with its New Year's audacity.

But there are other contenders; Aronofsky's The Wrestler seems incredibly heavy but no doubt popular, Revolutionary Road seems depressing but high-brow, and Doubt's trailer wails "take me seriously" with the force of a pissy banshee. Wall-E is the film I really want to triumph, and it could just become the second Animated Feature ever to be nominated in this category. Wouldn't that be lovely?

Other observations.... Eastwood's gonna get nominated somewhere. Sally Hawkins is seriously on the brink of being ousted by the star power of Anne Hathaway, unless Jolie's performance is too much for them, but I doubt it. Robert Downey Jnr. had a major year, and so a nomination for Tropic Thunder in a very weak category seems entirely plausible. Totally regretting not seeing that at the cinema now, by the way. Oh, and it's looking increasingly like Best Actor will be the most exciting race (Rourke, Penn, Di Caprio or Langella?) and Supporting Actress will be the most boring (surely Viola Davis is gonna grab that?).

Predictions follow in full. *** = lock ** = likely * = need to keep campaigning

BEST PICTURE

*The Curious Case of Benjamin Button

**The Dark Knight

*Defiance

***Milk

***Slumdog Millionaire

Alternative: Wall-E

BEST DIRECTOR

*Darren Aronofsky - The Wrestler

***Danny Boyle - Slumdog Millionaire

*Clint Eastwood - Gran Torino/Changeling

**Christopher Nolan - The Dark Knight

***Gus Van Sant - Milk

Alternative: David Fincher - The Curious Case...

BEST ACTOR IN A LEADING ROLE

**Leonardo Di Caprio - Revolutionary Road

*Daniel Craig - Defiance

**Frank Langella - Frost/Nixon

***Sean Penn - Milk

***Mickey Rourke - The Wrestler

Alternative: Clint Eastwood - Gran Torino

BEST ACTRESS IN A LEADING ROLE

*Sally Hawkins - Happy-Go-Lucky

*Angelina Jolie - Changeling

*Kristin Scott-Thomas - I've Loved You So Long

***Meryl Streep - Doubt

***Kate Winslet - Revolutionary Road

Alternative: Anne Hathaway - Rachel Getting Married

BEST ACTOR IN A SUPPORTING ROLE

*Josh Brolin - Milk

*Robert Downey Jnr. - Tropic Thunder

**Philip Seymour Hoffman - Doubt

***Heath Ledger - The Dark Knight

***Michael Shannon - Revolutionary Road

Alternative: Liev Schreiber - Defiance

BEST ACTRESS IN A SUPPORTING ROLE

***Penelope Cruz - Vicky Cristina Barcelona

***Viola Davis - Doubt

*Marisa Tomei - The Wrestler

*Kate Winslet - The Reader

*Elsa Zylberstein - I've Loved You So Long

Alternative: Taraji P. Henson - The Curious Case...