American cinema has too long glossed over the reality of the huddled masses.
March 08, 2010
Leave it to the Oscars to frustrate me even when they’re properly awarded. On Friday, I loudly declared my belief in inavataribility, arguing that, given the Academy's lifelong emphasis on movies' commercial success, there was no way it would give Best Picture to a $12.6 million-grossing indie (The Hurt Locker) over a well-reviewed juggernaut that made 50 times as much (Avatar). On Sunday, it gave Best Picture to a $12.6 million-grossing, etc., etc. How did this act of cinematic sanity come about?
Buy Me Love
March 05, 2010
As we approach this weekend’s Oscars, there are two predominant takes on the Best Picture category: Either it will be a close race between James Cameron’s 3-D (and nearly 3-hour) money-mill Avatar and Kathryn Bigelow’s Iraq indie The Hurt Locker, with the latter a slight favorite (as this gambling site submits); or Bigelow’s picture already has the award in the bag.
February 04, 2010
The Oscar nominations rolled on out this week, but with a difference: In a rather explicit admission that it does not trust its own judgment, the Academy has upped the number of Best Picture nominees from the usual five to ten. Let’s begin there. Best Picture Last year, there was widespread disgruntlement that critical and popular hits Wall-E and The Dark Knight missed the cut for this award. So the Academy decided, in essence, to protect itself from its own ineptitude by nominating more pictures.
The Orrscars 2009
January 12, 2010
What does it say that three of the top five films on my list this year--and another that could easily have made the top ten, Coraline--are “kid’s movies”? In the end not much, I think. Two of the three, Where the Wild Things Are and Fantastic Mr. Fox, were directed by talented indie auteurs (Spike Jonze and Wes Andersen, respectively) who merely happened to adapt children’s books in the same year.
The Mini-review: 'the Hurt Locker'
July 24, 2009
The Hurt Locker opens with an onscreen quote from journalist Chris Hedges declaring war to be a "drug." If so, then Kathryn Bigelow’s film is itself a drug delivery device, a harrowing, exhilarating exercise in tension and release.
The Majestic Assassination of Jesse James
October 01, 2007
Gentleman bandit. Heartless killer. Confederate martyr. Rank opportunist. Inspiration. Abomination. Jesse James has been considered all of the above by various people at various times, but Andrew Dominik's The Assassination of Jesse James by the Coward Robert Ford is largely agnostic regarding such disputes. The film is concerned less with the content of James's character than with the meaning of his murder. Insofar as it asks a question, it is whether a man who has been elevated to myth can continue to coexist with mere mortals.