AWARDS 2011: Indie Spirit Winners

Well no, I can't say that really worked out to well for my predictions. With hopes for "Drive", "Take Shelter", and "Shame" to pick up some well deserved accolades this afternoon, none of that happened. The result was a decidedly indifferent afternoon of doling out awards to "The Artist", "The Descendants", "Beginners", "My Week with Marilyn", and... well, whatever. Point is, this simply did not do, and that's all I have to say about that.

Best Feature: "The Artist"

Best Actor: Jean Dujardin ("The Artist")

Best Actress: Michele Williams ("My Week with Marilyn")

Best Supporting Actor: Christopher Plummer ("Beginners")

Best Supporting Actress: Shailene Woodley ("The Descendants")

Indie Spirit Awards Predictions

Let me emphasize that the Indie Spirit Awards are usually the fun about Oscar weekend. We could get to the tailend of this weekend and have that not be true. This could be a relatively boring rehash of "The Artist"s usual success, and that's fine, but we have the Oscars for that. Which is why I am far and away going for "Drive", "Martha Marcy May Marlene", "Take Shelter", and "Shame" to clean up this evening. Will it happen? probably not. It's a bit of a strain to think that "The Artist" would only take home one award. But let's dare to be adventurous this weekend, shall we? Isn't that so much more fun?

Now there are obviously places where I know that what I want to win isn't going to win. "50/50" has a certain chance in the screenplay category, as does "Beginners". J.C. Chandor's "Margin Call" could snap up the debut director/writer credits, which would be a massive shame. Michelle Williams could snatch up actress, and Jean Dujardin is more than likely for Actor. But I'm game with thinking that this could be so delightfully up in the air this particular year. Or maybe not, but "Black Swan" and "Winter's Bone" both took home some deserving wins last year. I'm hoping for the rush of the new to beat out the nostalgia of the old.

OSCAR 2011 PREDICTIONS: Best Original Screenplay

To be truthful I'm for the most part pleased with the nominations for Original Screenplay. I say "for the most part" on account of the unwelcome intrusion of "Margin Call". I never understood the enthusiasm that went towards that film instead of the far more deserving "Martha Marcy May Marlene". But outside that slight hiccup, there's a lot to like about the screenplays here. I'd never vouch for "Bridesmaids" on account of direction or as a corporeal film, but it is quite meticulously written by those who seem to understand the film more than it understands itself. It won't win, but it's a welcome addition.

I'm more than just happy to see "A Separation" make it in. Discounting the indifference that's often thrown the way of the Foreign Language category, as well as giving us dreamers something to root for desperately to no avail. But who are we kidding, really? This is between Woody Allen and Michel Hazanavicius, and it's more than likely that the Academy will go with the former in this case. After all, how good can a screenplay with too few spoken words be? Actually quite meticulous. From the dialogue that comes onscreen in captions, to the dialogue that we only ever see on the characters' mouths, to even the slightest gesture and movement, it's quite a brilliant script. It'll still probably go to "Midnight in Paris", for all its clever zingers, but they wouldn't be so clever if it weren't for the spot-on performances from its expansive ensemble.

AWARDS 2011: National Board of Review throws "Hugo" into the race

If we were shrugging in a somewhat disgruntled manner when the New York Film Critics Circle announced their winners on Tuesday, the National Board of Review managed to inject a bit of personality into this race. How so? Well I don't think people were quite on board with "Hugo"s Best Picture chances until just now. With Scorsese and his film taking the top prizes from NBR, which was highly expected to go to "The Artist" and Michel Hazanavicius, it feels like there's new blood in there. What gets me even further buzzed is that Tilda Swinton took the Best Actress prize for her amazing performance in "We Need to Talk About Kevin". Fingers crossed that at least this one sticks.

The wins for "The Descendants" and "Beginners", on the other hand, were pretty predictable and within the grain of what we expected. The wins for "50/50" and "Margin Call", on the other hand, are just plain silly. Their top ten are considerably more interesting than I had originally diagnosed this season, but I don't imagine this bunch will all make it to the film list, least of which "Drive", "Girl with the Dragon Tattoo", and for entirely different reasons, "J. Edgar" and "Harry Potter and the Deathly Hallows: Part 2".

BEST FILM: "Hugo"

BEST DIRECTOR: Martin Scorsese ("Hugo")

BEST ACTOR: George Clooney ("The Descendants")

BEST ACTRESS: Tilda Swinton ("We Need to Talk About Kevin")

BEST SUPPORTING ACTOR: Christopher Plummer ("Beginners")

BEST SUPPORTING ACTRESS: Shailene Woodley ("The Descendants")

Sundance 2011: Best of the Fest

I guess my attempts at keeping up with the Sundance Film Festival have been something of a failure, but this has been a very busy week, and nobody is in the same place at the same time. It's rather difficult to get much done, but I've already gotten around to the bulk of really quality films like Martha Marcy May Marlene, Win Win, Like Crazy, Rebirth, and Pariah. So if the rest of the films feel like we're simply going through the rounds, then it's because we are. I display some kind of confidence that a great deal of the films on the first list could be nominated for next year's Academy Awards, because some of my favorite films of 2010 came from Sundance. I absolutely loved Winter's Bone and The Kids Are All Right, and the further we go into this year, the more my original Best of 2010 list continues to shift. It serves as a bit of a lesson not to announce my list so quickly.

Moving on to the here and the now, let me start off with the only film of the festival that I did have the opportunity to see, and that was the YouTube sponsored documentary Life in a Day. This is certainly something that's never been tried before, and that's an intriguing notion in and of itself. What struck me, and probably struck most people who watched it, was how it didn't feel too much like a bunch of people dorking around with their cameras, as well as how it never had any narrative string to it. It was a digital preservation of that one day, and not only the positive aspects of it, but the negative and occasionally disgusting aspects. It includes some of the most beautiful images this year, but also one of the most disturbing things ever caught on camera. A man opens up the egg of a mostly developed baby chick that died, sprinkles some salt on it, and puts it in his mouth. The fact that there's actually somebody who did that shocks me, and that's one of the images I couldn't get out of my head. It's not meant to be a critical masterpiece, but it's a lovely piece of work nonetheless.

Moving on to what was probably the most talked about premiere going into the festival, Kevin Smith's religious horror film Red State had quite a bit of controversy surrounding it. However, when you make a film where the antagonistic force is a radical priest who is harsh even by Nazi standards, you're surely going to butt heads with the Vatican. When have they ever turned down an opportunity to destroy the ambitious creativity of modern filmmakers? It goes without saying that people went to see the film anyway, mostly out of curiosity, and the response was as mixed as possible. I would never go ahead and call Kevin Smith a great filmmaker, but the man certainly has balls, and that's perhaps the most that people are saying of his latest film. It's brave, but not the work of an accomplished artist. I may still check it out when it comes around, but I'll be waiting a rather long wait for that to happen, seeing as Smith is planning to distribute Red State all by himself. On the long list of kindhearted, but ultimately stupid ideas, Smith is matched by none.

Transitioning from dark to dark, one of the early hits of the festival was Brendan Gleeson showcase The Guard. I've always gotten enjoyment from Gleeson's supporting performances, so him taking the lead role in a crime drama immediately interests me. When a generally unlikable character is put in the center of a story, you need the perfect actor for the audience not to completely despise him. It worked for George Clooney in Up in the Air. It didn't work for Ben Stiller in Greenberg. Hopefully, it works for Gleeson in The Guard. Another dark treasure that caught my eye was The Details, starring Elizabeth Banks and Tobey Maguire as a married couple. I feel shy from mentioning any reviews because they reveal far too much of the story, and though it is fantastically dark, it sounds like something I'd have rather experienced for myself. All I can say is that the response has been generally favorable, and it strikes me as a companion to American Beauty, at least from the premise of it.

One of the films at the festival that struck me as potentially being this year's The Social Network was Margin Call, set on the eve of the 2008 stock market drop. It supposedly tackles the collapse of a company, and does it with some of the greatest actors out there. Jeremy Irons, Kevin Spacey, Stanley Tucci, Paul Bettany, and the wonderful Zachary Quinto are all in the film, and even though it's been made clear by reviews that this isn't a popcorn flick, that cast has me eagerly awaiting this film, no matter the quality. That's the sort of cast that so rarely comes around, and while I have my doubts that it will deliver the same emotional drama as David Fincher's recent success, it does have a certain critical weight to it.

The last film I'll talk about, and this is a very potent contender for Best Picture next year, is Vera Farmiga's directorial debut, Higher Ground. If there was any film I expected to disappoint at the festival, it was this one. It's not because I doubt the actress' wealth as an actress, but because it's rare that they can hold as much attention behind the camera as in front of it. Reviews have been fantastic, painting this religiously conscious film in a far more favorite light than Kevin Smith's more sinister look at fundamentalists. It hasn't gotten a distributor yet, but I eagerly await the moment it does. Higher Ground could earn Farmiga her first Oscar nomination for Best Actress, and maybe people will stop making jokes about her name being hard to pronounce. Her name is Vera Farmiga. It's as simple a name as Clint Eastwood.

So, to wrap everything up, here are the top ten films of the festival that I am most anticipating, not including Life in a Day.


10. Win Win
9. Pariah
8. Rebirth
7. Margin Call
6. Higher Ground
5. Like Crazy
4. The Details
3. The Guard
2. Tyrannosaur
1. Martha Marcy May Marlene




Images (In Order): Vera Farmiga in Higher Ground; Red State; Kevin Spacey in Margin Call; Martha Marcy May Marlene