Live Oscars Blog 2011!

11:40 [Ian]: Well, that should just about wrap it up. Ultimately, the triumph of British film left few surprises tonight, but at least most injustices were avoided. And it did give us a break from a year where Justin Beiber's documentary is nearly the highest rated blockbuster so far. Here's hoping the rest of 2011 can shape up to match the previous one.

11:40 [Greg] I can't quite say I'm disappointed with The King's Speech winning, being an all-around excellently made film, but I can't imagine wanting to revisit it ten or even two years from now the way I would The Social Network, Inception, or Black Swan. Unfortunately, Nolan and Fincher will probably go the Scorsesse route at this point, being honored past their prime for a lesser movie they're bound to make in the future. Still, all things considered, this was an impressively tight race and there were no obviously weak nominees. Aside from maybe The Kids are Alright, I can't think of a single choice that would have disappointed me.

11:39 [Ian]: If it makes you feel better, your film is the one I'll likely keep in my collection in the future. And God, I love the music that PS 22 creates and here is no exception, can you say "next viral Youtube hit"?

11:35 [Greg]: Well played, Ian. Well played.

11:35 [Ian]: Drumroll.......Damn spoilers.

11:31 [Ian]: Officially past the 11:30 deadline set up in TV Guide, we only have one major question (and a fun children's choir) left: Alpha Film of 2010. And nice job, Academy, your narration of the scenes leaves us with no suspense for the results. We may as well go to bed now and have an extra 2 minutes and 43 seconds of sleep...But for once, the record for deserving nominees is 10-0.

11:26 [Greg]: It's impressive that any of the other nominees bothered to get out of bed today as Colin Firth takes home best actor. Though I was rooting for James Franco, I couldn't imagine betting on anyone besides Firth.

11:18 [Ian]: Natalie Portman is officially on the short list of people I think I'd like to meet from Hollywood. What an emotionally warm-hearted, thorough acknowledgment of what is truly important. Let's hope Colin Firth is as impressive....oops, that is not supposed to be stated as fact yet. In the meantime, Sandra Bullock, in my mind, is standing out merely for being herself, witty and playful, as she gently jabs at each Best Actor nominee. It works well.

11:14 [Greg]: Jeff Bridges gives some really sincere and touching evaluations of each of the Best Actress nominees, and I'm impressed to see such a strong, varied list of contenders. In my mind there's no contest: this is going to Natalie Portman.

11:07 [Ian]: For Devil's Advocate purposes, I will go for The King's Speech for this one. (1) It's already won for Screenplay, Director and (most certainly) Actor, and thus looks like it is heading for a sweep. (2) The Academy loves to go with a British film on occasion, even when it doesn't seem suitable...remember Shakespeare In Love over Saving Private Ryan? (3) It features compelling characters and works as a faithful historical drama, with points for relevance to the WWII debacle. I would prefer Social Network to win, but I am not sure I can imagine Mr. NSYNC and Mr. Zombieland as Kings of Oscar Night.

11:06 [Greg] Speaking of being overdue, add some Oscar points to Christopher Nolan, David Fincher, and Darren Arronofsky, hopefully to be cashed in at some future date.

11:03 [Greg] So I figure I should make my prediction for Best Picture now, because why should I pass up an opportunity to brag or embarrass myself? I think it'll go to The Social Network, for three reasons. One, it's an all-around great movie, with a brilliant script, solid performances all-around, and excellent soundtrack. Two, it feels very little like Oscar Bait, making it a safe choice, and at the same time, a somewhat bold one. And three, if there's anything that's sure to win an Oscar, it's being overdue for one, and I can't think of a director on this list more overdue for an Oscar than David Fincher.

11:02 [Ian]: Anywho, now the home stretch with Achievement in Directing (aka, the Annual "Screw You, Mr. Nolan" Award)...And Tom Hooper pulls away, and with it, "The King's Speech" gains a sizable advantage in the two-horse Best Picture race.

10:53 [Ian]: Memorial Time, done with surprising restraint by Celine Dion. All I will say about this is...well, most of these people are unknown by the general public, but they matter to loved ones who see their efforts to be good people and follow their passions. So maybe show some love for your loved ones in the near future, it helps them realize that their impact will last much longer in this world than a photo montage could ever portray. Oh, and as for the last image, it is Lena Horne...Halle Berry explains.

10:47 [Greg] Randy Newman wins best song for the touching We Belong Together from Toy Story 3. Say what you want about Newman's voice, but he knows how to write a truly heartwarming song that captures the youthful wonder of the Toy Story movies.

10:45 [Ian]: OK, the last two Best Song nominees:

127 Hours' "If I Rise", from Dido and A.R. Rahman of Slumdog Millionaire fame, is third. It works fairly well in a mystical sort of way, to match the hallucinations of the central rock-wedged character, but it does feel a bit off-putting. When in doubt, people like a song they can sing along with.

And as for Gwenyth Paltrow's "Coming Home" from Country Strong, she is incredibly likable and winning an Oscar for "Shakespeare in Love" has the crowd behind her. But I dunno, she seems almost like cotton candy as an actress and singer: always enjoyable, very effective presentation, but not always something that stays with you too long. Not sure who to expect here, I can see two of the four winning....and that is not the one of the ones I was expecting.

10:35 [Ian]: Well, if you ignore the completely innovative imagery and revolutionary reflection on the dream realm, Inception is a visually iconic film. Another notch for Visual Effects. At least it is getting recognized frequently tonight...albeit for the minor goodies...And among a packed field, The Social Network is a deserving winner for Best Film Editing too, for making a deposition hearing and discussions over Internet programming utterly compelling.

10:33 [Greg]: Billy Crystal gives some much-needed class and wit to the ceremony, and Bob Hope delivers some great jokes. There's some great interplay between Robert Downey Jr. and Jude Law, making this so far the funniest part of the ceremony. I can't imagine Inception not winning best visual effects, although Hereafter's tsunami scene makes it a pretty strong underdog.

10:20 [Ian]: Come on, Oprah, you can give 300 audience members new cars at once and can make any book in the world a bestseller...Please call for Banksy...please...

Of course, as if we did not need another reminder about the difficult economy, "Inside Job" wins the Oscar. Grrrrrr, where is your sense of fun, Academy? You give The Wolfman an Oscar, but don't give it to Banksy - who will probably never make a feature film again? Hipsters everywhere are weeping right now, between their sips of Starbucks mocha lattes.

10:18 [Greg] And now, for no reason, an autotune segment. It's a funny idea in theory, with one or two clever moments, but.....really?

10:14 [Ian]: "Strangers No More" wins for Documentary Short, "God of Love" for Live Action Short, kinda passing quickly for me....oh, please let Banksy win for Best Documentary, I do not care if I go 1-for-everything else. I so want to see what happens if he is invited onstage...

10:07 [Ian]: Well, now we start hearing the nominations for Best Song, starting with the two Disney-based ones.

Randy Newman's "We Belong Together from Toy Story 3 comes first, piano and, er, stumpy voice included. Hard to believe this is his TWENTIETH nomination, since he sounds the same in every song, but he defines the term "infectious".

As for Mandy Moore and Zachery Levi doing "I See the Light", they fits as well here as they fit in the movie. Chuck fans can rejoice, and I stand by the claim that Tangled signals a potential new "golden age" for Disney under Lasseter's command.

9:59 [Ian]: Don't worry, it wasn't...but that does not bother me like Best Costume Design. The most authentic Western in over 10 years is found in True Grit, and yet they give the award to the same set of costumes Tim Burton does in every single film? There is a different between being different and being innovative, Academy, please try getting him to make non-superficial films like Ed Wood and Big Fish again!

9:57 [Greg]: The Wolf Man wins for best make-up. Definitely a deserving win, though don't expect this movie to be nominated for anything else.

9:50 [Ian]: Agreed, could not be happier that Inception got a bit of attention for winning Sound Editing and Sound Mixing. Major kudos to the winners of each category for crediting Christopher Nolan, since it is highly unlikely that he will appear on stage himself at the end of the night. Take comfort in the fact that Inception will likely resonate in pop culture far longer than King's Speech....cannot say the same about Facebook, though.

9:48 [Greg]: Anyone lucky enough to see Inception in a good theater knows it deserves every bit of its win for sound design.

9:44 [Ian]: And naturally, Atticus Ross and Trent Reznor pull away with it. I completely can get behind this, by the way, for the minimalist theme song alone set a sense of foreboding and unease to the entire film. Now let's see if Inception gets an Avatar-esque bone for Best Sound Mixing...

9:39 [Ian]: Um...renewal of the Academy Awards on ABC through 2020...um, yay? And following his make-up session with Hathaway, Hugh Jackman joins Nicole Kidman to introduce the standard "Music Appreciation" segment of the show, where the nominees for Best Original Score are performed live. Personally, I would love Powell to get overdue respect for "How To Train Your Dragon", but I think that a Social sort of score will triumph.

9:34 [Greg]: And Christian Bale wins best supporting actor for The Fighter. A strong selection in general, but let's be honest, he and Geoffrey Rush were the only real contenders. It's good to see Bale able to laugh at himself in his acceptance speech, and even better to see his talent rewarded after brilliant performances in American Psycho and The Machinist.

9:27 [Ian]: Franco's cross-dressing aside, it is hard to describe the Best Foreign Language Film being awarded to "In A Better World" on behalf of Denmark - because, honestly, I have not seen any of them. But at least it was fitting to have Helen Mirren and Russell Brand present, because both were speaking a foreign language...in one way or another.

9:23 [Ian]: Anne Hathaway is spoofing Les Miserables, including using the word "jackass". I do not know if I find this more offensive or unintentionally hilarious, but at least her voice is pretty passable by actor's standards...Wait, what....in the world?

9:18 [Greg]: The King's Speech takes home best original screenplay. Hardly a disappointing choice, although I'd say Nolan's script deserved it just a little bit more. At this point it's safe to say that best picture will be between The King's Speech and The Social Network.

9:16 [Ian]: Agreed, the dialogue and overall wit used in every scene took audiences seriously and was highly respected in return. It should gain respect from any guinea pig. Now the big question is whether Inception will be given as an apologetic nod by the Academy for Best Original Screenplay....nope, guess not.

9:15 [Greg]: The Social Network wins for best adapted screenplay. With such strongly written dialogue, it's no surprise. This is a good sign for the movie's best picture odds.

9:10 [Ian]: There is an interesting article waiting to be written about how close TS3 and How To Train Your Dragon are in overall quality, but in the meantime, this is a good chance for a bold prediction. I am personally thinking Bening might upset Natalie Portman for Best Actress, she has been nominated four times before and Academy might give her the "overdue recognition" award to make up for American Beauty.

9:07 [Greg]: And Toy Story 3 wins. No big surprise there, and Pixar definitely earned their win, though this was the rare year that the competition actually had a shot.

9:04 [Greg]: Shocked to see Pixar lose for best animated short, but I'm predicting they'll come back strong for best animated feature film. On the other hand, this is the first year in a long time that Pixar has some viable competition.

9:02 [Ian]: Mila Kunis and Justin Timberlake (at least one of which should have been nominated tonight) are onstage, and by the "I'm Banksy" line, you'd assume we are up to Best Documentary, right? Nope, we are at Best Animated Film and Animated Short. Personally, I am praying for a Pixar sweep, especially for Teddy Newton.

8:58 [Greg]: Kirk Douglas is disappointingly unintelligible and his appearance is honestly just awkward. It's sad to see an actor I have so much respect for like this. That aside, a strong selection of nominees for best supporting actress this year. Melissa Leo is a strong pick, and my personal second choice after Hailee Steinfeld.

8:47 [Ian]: But Inception did recieve justice in recieving the award for Best CInematography; the sans-gravity for Joseph Gordon-Levitt should have made this no contest from the start. Well done, Wally Pfister. Those with totems in their pockets can rest easy, Nolan's masterpiece will not go home winless tonight.

8:45 [Greg]: Off to a weak start. I'd think Inception would be a shoe-in for set design and decoration. Alice in Wonderland no doubt looked pretty and uniquely whimsical, but it can't seriously rival Inception's stunning dreamscapes. Bad news for Inception's chances for best picture.

8:38 [Ian]: "Oh my Gosh, you're all real..." Anne Hathaway and James Franco are clearly enthusiastic and likeable, and they each have an Oscar nod now to give them Academy cred. But they seem a little stilted in their delivery....I was gonna complain, but Hathaway's mom just told her to stand up straight and Franco's grandma...just referred to Marky Mark?!

8:36 [Greg]: All in all, a little disappointed by the intro segment. There are some seriously funny bits, but this feels more like something I'd expect to see at the MTV's Movie Awards. Glad to see a Back to the Future reference though, as baffling as it is in context.

8:30 [Ian]: Although I will say that if any of you bet on Tom Hanks NOT beatboxing during the red carpet event, your predictions are already off to an bumpy start. Here we go....

8:27 [Greg]: Ready, and needless to say I'm excited. Just a reminder to anyone following us, feel free to message us with your predictions or reactions any time you want.

8:20 [Ian]: Hey there, for those of you who are glancing at this during the Academy's self-congratulatory festivities and those of you who are seeing it later. In the midst of chants screaming "Christopher Nolan (clap clap)!", this is our attempt to try following along with the Oscars as they provide their usual share of hair-raising and want-to-rip-your-hair out moments. It should be good for a couple laughs, at least for those following along at home, so prepare yourselves! T-Minus 10 minutes; ready, Greg?

Love Actually (#15)

This was a hard one for me to finish, in both getting around to watching the film and in finding the right words to say about it. None of this should be seen as a condemnation of the film itself. In all honesty, as maybe indicated by my review of Rudy, the concept of…well, exposure to that unique heartfelt connection is something that has been both a major desire and a cinematic fascination for me. I got romance out of a flipping Fighting Irish football tale, for Pete’s sake! So anyway, seeing a story that actually tries to describe everything about love, in all its innocence and anxieties and barriers and pain and potential, thus comes across as both a humbling testimony and something of a personal challenge. And anything to stall studying for an EMT exam on airways is welcomed, so let’s begin.

#15 – LOVE ACTUALLY

Now I understand why people were so unbelievably angry and skeptical when not one, but TWO blatant rip-offs of this classic were made by Hollywood recently. [You know, besides having Taylor Swift and Mr. Twilight Werewolf featured as central characters.] Basically, this is the quintessential intertwining-paths story, proclaiming the universal message that “love actually is all around” if you keep your eyes open for it (that phrase is actually used in the intro, a tad forced but forgivable). Yes, love is all around, and no single path is on East Street. Some struggle after discovering infidelity (Colin Firth), while others struggle with its temptation (Alan Rickman). Some yearn to bring a fantasized relationship to life (Laura Linney), while others grieve over a love recently lost (Liam Nesson). Their jobs can range from Prime Ministers (Hugh Grant) to aging rock-and-rollers (Bill Nighy) to sex-related “stunt doubles”, and difficulties in matters of the heart do not show any bias to beliefs, lifestyle or overall power and wealth. But in small ways, they all intersect to create a story about wanting someone else to care for in the weeks leading up to Christmas Day.

Believable, emotion-laden (and thus relatable) acting is conveyed by nearly every cast member involved – a group that is essentially a Who’s Who in British cinema for the early 2000s. We, of course, get initial impressions of each set of characters beforehand. The rock star is a blathering has-been who needs to be constantly reigned in (major kudos for the Ant and Dec cameo, by the way), the Prime Minister naturally has an eye on one of his staff workers, and a stepfather and son struggle to connect after a family death. Much like in the news, and in many films, you are tempted to think that this is all that is relevant to our judgment of them. But like for every character, our view is forced to dig deeper – including the moments when these characters, respectively, display bitter loneliness and regret, resistance to temptation, and connection through a crazy mission. No presentation of humanity feels cheap here and not one storyline feels forced. There is a very good reason why this feels genuine and the other films rip-offs, as director Richard Curtis emerges as a conductor unafraid to let each story reach its logical and full conclusion, for better and for worse.

Not everybody finds the love they desire, and not every negative action or mistake can be resolved with a mournful apology and proclamation of love. (In fact, the epilogue that takes place one month following Christmas ensures this.) But in a way, it gives a little bit of hope in the process by emphasizing that it is natural to stumble with such an instinctive and outright intoxicating emotion, one that draws from the core of our very personalities and general nature as human beings. And unlike in other films, where it felt like some were shoehorned in for the sake of a preachy message or plot convenience (*cough* Crash *cough* preachy Paul Haggis *coughcoughcough*), nobody is presented as morally deficient or villainous. Most people are not. Some make better choices than others, but there are legitimate feelings and reasons behind each of them; and thus every person finds someone they can relate to. [For me, oddly enough, it would be the aging rocker at this point. When it is hard to find that fairy-tale connection, your camaraderie with friends makes you realize that not finding true love yet does not mean you are unloved. It helps.]

And in a film like this, it is the little moments that are absolutely touching. Seeing so many character both powerful and modest merge on a Christmas Nativity play…spotting security chasing a character through the airport…the wedding (no spoilers, they do a classic British group justice)…just too many to count. And much like a series of interconnected arteries shooting oxygenated blood cells to the bodily organs before shooting back to the heart (God, I’ve been reading too much from the textbook), if I try to explain one scene, it is going to trigger spoiler alerts for every other plotline in this classic love story. So let’s wrap this up before it’s too late with a simple statement: There are very few films that are considered “must-see” and “instant classic” before the decade is even over, and I have heard this one mentioned more than almost any other that did not have a posthumous performance in makeup, a magic wand or a ring to rule us all. IIs it corny? Surely. Does some of the dialogue feel a bit contrived? Absolutely. But in terms of giving each character the dignity of being human onscreen, this film deserves a congratulatory bouquet of roses. Preferably a full dozen.

[Overall Score: 9/10, a perfect date-movie]

COMING UP NEXT (#16): EQUILIBRIUM

Rudy (#14)...for Valentine's Day

Clearly, my efforts in this project are becoming as rambling and off-road as a Hunter S. Thompson novel (as a friend of mine put it). To apologize for delays again would surely seem redundant at this point. All I can say, in my defense, is that trying to make time for all the work involved in EMT training is similar to….say, working to fit a sperm whale into a peanut butter jar. Simply put, adjustments are being made on my end. But in light of Valentine’s Day, I felt a need to review an appropriate mood to match what I feel is necessary to remember today.

#14 – RUDY

….Now, for those of you expecting a romantic comedy, let me explain.

This film chronicles the “true story” of Daniel “Rudy” Ruettiger (Sean Astin in pre-Hobbit form, albeit looking just as diminutive), who comes from a working-class Irish family in Illinois. He has wanted to play football for the University of Notre Dame all his life, but…well, despite Rudy’s feats in high school sports, God didn’t quite bless him with a suitable physical size. Or sufficient grades, for that matter (dyslexia is later noted as a cause), and his family is the first to try letting him down easy. It is not that they don’t care for him, but they seem to have been hurt by life too many times (particular Rudy’s father, played by Ned Beatty) to support him reaching for the stars. But when tragedy strikes at the steel mill where the family works, it spurs Rudy’s drive as he heads out for South Bend. Flanked by friends like D-Bob (Jon Favreau…yeah, Mr. Iron Man) and mentored by head of groundskeeping staff Fortune (Charles S. Dutton), Rudy pushes over every obstacle in his pursuit of a run out of the famed Fighting Irish tunnel. It is specifically set up to get under any athlete’s skin, so if you are a male and don’t shed a tear towards the end, your tear ducts may have been permanently fractured.

Oddly enough, the first detail to point out about this film involves the scenery of this film, which makes the absolute most of the gorgeous Notre Dame campus. Winter and spring are equally radiant in South Bend, and using them to emphasize the passage of time in Rudy’s journey is both subtle and effective without being too in-your-face. Far too often does it feel like the seasons fade into each other as we pursue a lofty goal, but we would not be able to relate to such a desire without compelling characters. And while it does feel like each of the central characters is a bit stereotyped personality-wise, they allow audiences to place similar people in their own lives within the film. Rudy’s father represents the loved ones who want to support us but fear our spirits getting crushed in failure, while his bastard brother Frank (Scott Benjaminson) exemplifies anyone too pained by their own misfortune to see anyone carry on with hope around them. Down the line of Rudy’s dreams, and our own, D-Bob serves as the comrade who sees us at our best and at our worst, and Fortune finally emerges as that one guiding force that will not tolerate us settling for being the latter. And respectively, the actors present the anguished support, embittered cynicism, goofball joviality and sage sternness that are needed to make them seem real…like what our journeys encounter. And by the way, I absolutely despised Frank.

That being said, it does present one particular problem, aside from the fact that it really stretches the boundaries of what can be called a “true story” on film. [All I will say is that Coach Dan Devine was one of Rudy’s biggest supporters and knew what filmmakers were planning; so him getting painted as a rushed villain makes him either a world-class good sport or someone who got royally screwed, you decide.] If we are focusing on this story in itself, these characters are presented – helpful or antagonistic – in a way that is simplified, because we are simply seeing them as Rudy did. It makes a great deal of the film’s impact, maybe too much of it, depend on whether Rudy himself connects with us. The good news is that Sean Astin acts his heart out, exuding all the enthusiasm and emotional intensity necessary to make his triumph seem fulfilling. The bad news is the implications of such a character, even if we say that this is how it really happened. I mean, if you go through childhood, through a prestigious school like Notre Dame, and all you care about is dressing for one game in order to “be somebody” (Rudy says as much in the film), what happens after the game is over? Playing football and collegiate athletics should be part of a larger goal, not the end goal in itself…and this is made even more sadly noted when one learns that real-life Rudy shopped this story around himself for A DECADE in Hollywood before director David Anspaugh picked it up. Secretariat didn’t need to promote himself.

But…this isn’t meant to be a literal focus on the historical event, is it? It is meant to be treated as an allegorical tale, a symbol of the definitive “underdog” reaching his ultimate dream despite every sort of figurative demon – from criticism to genetics to self-doubt – standing in his way. It is no coincidence that Anspaugh smartly made the concept of faith a huge motif throughout the entire film, even having several scenes shot in cathedrals. Because in all honesty, it is such a hope like Rudy’s, for a better tomorrow and personal redemption, that makes athletes want to move forward…and why this is so important to review (for me, anyway) on Valentine’s Day. In terms of both love and playing as a walk-on in collegiate football, I have gotten a great deal of exposure….and I can tell you that both have their fair share of trials to endure, especially if you feel your approval by the world depends on the situation working out. But the fact of the matter is that sometimes, you may have support systems but no one else will be able to actually carry the torch for you. It’s enough to make you want to quit and walk away in a heap, even if you are right at the finish line. But much like the movie preaches, before anyone else can spot your potential, sometimes you need to see the light within yourself first.

Oh, and this being a sports film, I do have to mention the actual athletics displayed on screen. It’s fantastically done, plain and simple. The actual scenes on the football field easily pull you in, with practices showing more than enough grit and the coaches displaying a military-level intensity you’d expect from a top-notch Division 1 football program. In particular, they do a great job emphasizing Rudy’s extreme disadvantages, which helps make the final 15 minutes one of the best sports sequences ever put to film, period. The music and crowd fit so perfectly with the situation, I think you get 30cc of "Cinematic Inspiration" every time you see the final play.

Fear not, fellow single readers. Our time to get called into the game of romance will come, so long as we don’t take our names off the roster first. Happy belated Valentine’s Day.

Score:

TOMORROW (#15) – LOVE ACTUALLY

127 Hours

Once again Danny Boyle surprises viewers with a movie that's nothing like his last. After a long line of unique, stylish, and compelling films like Trainspotting, 28 Days Later, and Slumdog Millionaire, 127 Hours proves to be another unique and compelling entry to Boyle's resume with the minor flaw of being too stylish for its own good. This movie tells the (more or less) true story of Aaron Ralson, a mountain climber who gets pinned under a boulder for just over five days and takes desperate measures to survive.

The movie starts off surprisingly lighthearted, featuring plenty of laughs, sleek visuals, and a powerful, attention-grabbing soundtrack. While these elements are great on their own,  some of them feel overdone and don't fit in the context of the movie. Shots of a busy city in split-screen set to loud techno music, for example, undoubtedly look and sound great, but they serve no purpose aside from showing off Boyle's skill with visuals and sound. They'd be great in an action movie or a Ocean's Eleven style heist flick, but in a movie about survival and human drama, they feel as  out of place as a song and dance number. It's a hard trade-off when the visuals and sound are so appealing, but for a movie that depends so much on suspense and escalating tension, breaking immersion with flashy distractions is simply far too costly.

Fortunately, when the movie cuts down on technical gimmicks, it delivers a first-rate survival story with an emotional punch that only a handful of recent movies can claim to match. This is mostly due to James Franco's superb acting and some stellar camera-work. Franco's performance feels absolutely spot-on, capturing every side of his troubled character with a keen eye for dark humor. Ralson is an easy character to sympathize with, which only makes the realistic portrayal of his suffering that much harder to endure. The only times the movie seems to lose momentum are when the focus shifts from the here and now of Ralson's predicament to flashbacks and scenes that happen entirely in his imagination. 

The second star of the movie is the cinematography. For a movie that spends so much of its run time trapped in such a small space, the variety and artistry of the camera-work is spectacular. Unlike Buried, which stuck to minimalist camera-work to play with the viewer's claustrophobia, 127 Hours gives the camera crew freedom to explore every facet of the space. This results in some truly stunning shots and camera angles that are easy to enjoy even if you don't usually care about cinematography. It also helps that a tight script makes all of the seemingly mundane details of survival so intriguing.

Aside from a little over-indulgence and a few scenes that go nowhere, 127 Hours is another knockout for Danny Boyle and a sign of bigger things to come for James Franco. I dare you to watch this movie and not wonder on the deepest gut level if you have what it takes to do what Ralson did to survive.

Score:

Groundhog Day (Day 13)

Apologies for the delays, this should have been up a couple days ago but the week sort of blended together. In all complete honesty, a great deal of personal matters (and mounds of snow seemingly pouring on the Northeast every other hour) has made it feel like the same day over and over lately. Such an environment can make it hard to feel as inspired to pull different angles and means of using the electronic pen, so to speak. So in order to get out of the rut, maybe this film can serve as the perfect antidote for such a block.

DAY 13 – GROUNDHOG DAY

OK, I know what people expect with this sort of film, especially considering it pairs Bill Murray with director Harold Ramis. But even though it is classified as a comedy…it is not really a comedy in the way you expect. This is more of a dramatic morality play (with circumstance-centered chuckles) than anything else, with a formula insightful enough to be justly emulated (way too often) by TV shows and recent films looking for an existential edge.

The story follows egotistical cynic Phil Connors (Bill Murray), who has clearly fallen on the “apathetic” side of the “Hates Where He Is” scale as the TV weatherman for Pittsburgh affiliate WPBH-TV9. With an optimistic news producer named Rita (Andie MacDowell) and cameraman Larry (Chris Elliott), Connors takes a sadly-too-familiar expedition to Punxsutawney, Pennsylvania to see if the buck-toothed Phil sees his shadow. (Spolier alert: His choice then matches this year, déjà vu indeed.) And sour-mouthed Phil proceeds to alienate and disregard everything about the small town (and his colleagues in the process), even as a storm – one he did not predict properly – keeps them there for one more night. From that point on, Mr. Connors wakes up every day at 6 AM to find it is February 2 again…with no one else noticing or acting differently, except when Phil’s actions affect them. And Phil takes every route possible: he uses his eventual foreknowledge to manipulate, goes on a criminal spree, and eventually milks his limitless time to accumulate knowledge and…chances to flirt effectively. Think of it as “Dragon’s Lair” on film, where he memorizes every move in order to (someday) get all the way through the game of “February 2nd”…and gradually, as he gets better at handling the day, his personality begins to change on a level that may last when tomorrow finally hits.

You can tell that Harold Ramis absolutely knew how to bottle Bill Murray’s charisma, using the angles and stable shooting style in every scene to keep the focus on his comrade’s naturally compelling personality carry audiences through the scenes. And Murray does quite well with it here, managing to make us interested in “human Phil” even when he is completely grating in the film’s beginning. I am not sure what it is about Murray that works…but when he acts so deadpan, almost like he doesn’t care who is watching or finds him funny, he naturally draws laughs out of you. I guess you could say he is the antithesis to Jim Carrey (not to necessarily criticize Carrey, though), in that his positive effect on a film is directly proportional to how understated he makes himself…and that way, we can relate to him more. His co-stars compliment his strengths well, with Andie MacDowell playing Rita as a supremely warm and loving person without seeming too saint-like (i.e. she has her limits of what she’ll put up with), while Chris Elliott, as Larry, comes across as a cameraman who will take events (like his equipment, I guess) as they come, for better or for worse…but very excited when something (or someone) is more enjoyable.

In terms of critical comments, I don’t have as much to say except…well, even as Phil Connors relives the same day over and over again, it is not really laugh-out-loud funny. The repetition of scenes works pretty well, highlighting the townspeople more and making the variations more noteworthy…but is it rib-busting? You notice with a smile how long it takes Phil to discover and properly regard the woman of his dreams, even as she never remembers her prior conversations with him…but does it leave you cracking up? (Although it is clever that sometimes her lack of memory is a GOOD thing; so take a lesson, Adam Sandler, this is how 50 First Dates should have been.) My answers would be…no and no. Most of the laughs in here are spaced out and are more subtle, in a way that is hard to explain. Maybe it is because once you see the same day’s events repeated over and over, you can enjoy the absurdity of the character…but not as much with the scene. So as a comedy, it is not my favorite because it felt similar to playing a song too many times.

Now, as an existential drama, I enjoyed it a great deal. It really is brilliant in that regard because it so awesomely reflects not only how we would act in a similar scenario, but also how we tend to act now. In mean, think about what you do to try really making the most out of the present. Some of us focus on just avoiding the same mistakes (insert water puddle joke here). Others of us tend to feel less motivated by how repetitive days seem, either becoming extremely lethargic or seeking a more destructive (or at least more reckless) outlet as an escape. And maybe some of us even dwell to a fault on getting to the future too quickly. But maybe like with Bill Murray’s character, part of the lesson of moving forward involves just choosing to be happy with where you are in the present, future be damned. I guess that is a little too preachy-sounding, but Groundhog Day made that point without pretension, so I guess cinema’s “Dragon’s Lair” gets bonus points for that too.

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TOMORROW (DAY 14): RUDY

The Mechanic

The Mechanic is a loose remake of a 1972 Charles Bronson film. Not having seen the Bronson film, I'm reviewing this purely as a standalone movie. This version of The Mechanic follows assassin Arthur Bishop (Jason Statham) and his his assistant Steve McKenna (Ben Foster)   on various assassinations until one goes wrong and another turns out to be more than it appeared. It's a simple but effective set-up for some equally effective action.

My favorite thing about Jason Statham is that, unlike a lot of other action stars, he has no delusions of being a serious actor. That's not to say that his acting is bad, but he acknowledges his limited range and understands exactly why he's being given a paycheck: he enters a scene, kicks ass, and moves on to the next scene without any stupid one-liners, catchphrases, or attempts to look hip. His style, like his better movies, is ruthlessly efficient.

And The Mechanic is no exception. It's a predictable movie, hitting all the tropes and cliches you'd expect it to, which means that if this isn't your first action movie you'll see all the intended twists and surprises coming a mile away. On the other hand it also doesn't waste time on inconsequential plot points like too many other action movies and offers enough stylish and intense action to more than overcome a mediocre plot. There's a nice variety to the action, a fast pace, and serviceable performances from all involved. The only real standout is Donald Sutherland, who shows how to go out with dignity and class. The film itself is adequately written and efficiently shot, and with a $40 million budget, it makes you wonder how similar movies usually end up costing twice as much.

In short, The Mechanic is a worthwhile action flick, nothing more and nothing less. It's a solid effort in all respects that's likely to mean bigger movies in Statham's future, or far more likely, the same movies but with bigger budgets.

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