VENICE: "Faust" takes the Golden Lion

So how can we be surprised that the Golden Lion went to something I didn't really put much interest into? Aleksandr Sokurov's "Faust" somehow didn't gain my attention, but it got enough passion from the jury to grab the top prize. I guess I may have to check this one out, but my eyebrow hasn't even been raised yet, so no promises. Similarly, the Silver Lion prize went to something I hadn't heard the slightest bit of news on, "Ren shan ren hai". I can make a pretty solid promise I probably won't end up seeing that one, because as much as I go for things off the beaten path, I'm also kind of lazy.

That confusion ridden first response may make it seem like I'm disappointed, but there's enough to be pleased about here. "Alps", from director Yorgos Lanthimos, took the screenplay prize despite his typically brazen subject matter, or perhaps because of it. I suppose what may have repelled others is what benefited from Aronofsky's jury. Cinematography went to "Wuthering Heights", and there's no surprise there. Same goes for Michael Fassbender's Best Actor win, but it certainly got a more favorable response. The rest of the awards are many in number, and far too time consuming, so see those after the jump!

Golden Lion

“Faust”

Silver Lion

“Ren shan ren hai (People Mountain People Sea)”

Vopli Cup (Best Actress)

Michael Fassbender, “Shame”

Volpi Cup (Best Actress)

Deanie Yip, “Tao Jie (A Simple Life)”

Special Jury Prize

“Terrafirma”

Osella for Best Screenplay

“Alps” (Giorgos Lanthimos, Efthymis Filippou)

Best Cinematography

“Wuthering Heights” (Robbie Ryan)

Marcello Mastroianni Award

Shota Sometani, Fumi Nikaido, “Himizu di Sion Sono”

FIPRESCI Award

Best Film, Venezia 68: “Shame”

Best Film, Orizzonti and International Critics’ Week: “Two Years”

Film Review: "Contagion" (**1/2)

Within 10 minutes of "Contagion", I was already catching myself touching my spotty face and letting out a nervous cough, and the slightest scare of paranoia reached me, and other audience members understandably. I'm about to get into a lot of things that I wasn't too fond of in "Contagion", some forgivable, but nonetheless troubling. All the same, I think it's worth mentioning the one thing that Steven Soderbergh does to perfection in this film, which is that central fear of germs and illness that is unavoidable in real life.

If Soderbergh's film has a main character, it's the virus to which it owes its title. From the first moment, it's about the spread of the virus, and how society and the several disease control agencies deal with that problem. There are several characters put to work in the film, and you'd be forgiven for forgetting one or two. Soderbergh packs "Contagion" with all star cast members, none of which hold total focus. Some of them are doctors (Marion Cotillard, Laurence Fishburne, Kate Winslet), some of them civilians (Gwyneth Paltrow, Matt Damon, John Hawkes), and just outside players (Bryan Cranston, Jude Law).

VENICE: "Damsels in Distress" Reactions

Such a delight that Venice goes out on a high note, as one usually expects the closing night of the festival to end in a whimper. That's mostly because most journalists are already Toronto-bound, and we'll get to our covering of that festival when the time comes that I become interested. Suffice it to say that there will be some that are downtrodden to hear that they missed out on something great in Whit Stillman's "Damsels in Distress". Stillman is another example of a director coming back into the fold after a long hiatus, but he's been out for 13 years, so who's to say what he's been up to? In any case, word is positive on his latest. And if Neil Young sounds a bit negative, keep in mind that it's his favorite of the festival.

Guy Lodge (In Contention; ***1/2): "It’s tempting to imagine that the reason for Stillman’s 13-year gap between features is that he was merely waiting for an actress as ideally attuned to his oddball intelligence as Gerwig: a quicksilver comic actress often cornered into passive roles, she’s on gloriously spry, expressive form here, finding reserves of empathy, however blinkered, in a character that many might play as an unremitting nightmare. (Her cohorts are very nearly as impressive, notably Megalyn Echikunwoke, whose gleefully mannered timing seems set to make “playboy and operatOR type” a beloved catchphrase among Stillman fiends.)"

"Shame" goes to Fox Searchlight

Fox Searchlight has had such a strong way of picking up exactly the right titles recently. "The Tree of Life", which I liked quite a bit, but not ecstatically so, was such a strong vote of confidence that seems to be paying off to some degree. They've also got "Martha Marcy May Marlene" coming up in October, which I may be significantly more positive to. Now they've picked up Steve McQueen's likely NC-17 second feature "Shame", which is probably the more favorable outcome of the kinda-sorta bidding war over the film. It also puts chances strongly in the corner of the film getting a release sometime this year, so it's nice that we won't have to wait too long for it.

"Tinker, Tailor, Soldier, Spy" Trailer 3

Another trailer? How aggressively are they going to pound this film into our subconscious? It's easy to think this trailer is overkill if it weren't for the fact that the film doesn't premiere stateside until December. Earlier today I spoke of Oldman's Oscar chances on this film. The film itself, in a decent world, should have Oscar chances as well. Far be it from me to call it a lock, but this trailer plays up its more mainstream aspects, and that'll get people in the door. Allow Alfredson and his boys to take it from there.

Weekend Report: Exponential Degradation

As cynical as I can be in matters of film, or more accurately inadequate film, it's weekends like these that make a strong enough case for optimism. Last time I went to the theaters was almost a month ago for "The Help", and since then I haven't felt the urge to head out to the theater for something. This weekend I have the widest variety of options, from films I've been excited for, films I'd be willing to give the benefit of the doubt, and films I've been dreading the imminent task of talking about them. Don't expect the box office to be blindingly alight, but expect a notable uptick.

"Contagion" is clearly the main ticket this weekend, as it's the only wide release playing above 2000 theaters. I've heard people go on about the strong star power at play, as I have gone on about it myself. It's interesting that that isn't much of a playing factor this time around. I'm more interested in the effect of the story, and whatever tools Steven Soderbergh may have put to use this time. The marketing of the film should aid in a wide audience appeal throughout the weekend, but I'll still be surprised if it goes any further than $25 million.

Other than that, I can't make any sure promises. I've had an antagonistic tendency towards "Warrior" since the first trailer, and it seemed to me like the formula of how to make an inspirational fight film. That might be exactly what it is, but ZOMG TOM HARDY!!!!! That's my mentality towards it. It's a lot kinder than what's left, which is "Bucky Larson: Born to be a Star". Honestly, if you put me in any position in which I haven't a choice but to see this film, I will put a bullet in yo' head as if you were Gustavo Fring. That might be a bit extreme, but who the hell makes films like this?

On Oldman and Smiley

Earlier on this week I spoke of Oldman's Best Actor chances being significantly lessened by an ensemble effect of "Tinker, Tailor, Soldier, Spy". I may have spoken a tad bit too soon, and I'd be quite happy to be wrong. Oldman has been routinely overlooked by the Academy for years, so intensely so that it's hard not to discount him on the slightest word of doubt. The clips since then, and most notably this featurette for the film, put a strong sense of reserve in Oldman's corner, and indeed the film's. That may work in his opposition, but I have a feeling it'll work in his favor.

For Your Anticipation: Graffiti with Punctuation

"Contagion" is set to own the weekend, with only a slight fight given from competitor "Warrior", which is opening on nearly 1300 less screens. I think it's wonderful that the buzz for a film this heavily star-laden has been kept on such a steady level. As for the film, I'm not elevated to irrational anticipation for it, but I'm interested nonetheless. It looks like a reserved medical thriller which doesn't just wink at potential consequences. I don't think it'll go all the way down that road, but it'll go considerably further than others would.

VENICE: "Wuthering Heights" Reactions

To tell the truth, I very nearly forgot that Venezia 68 was still going on, seeing as things seemed to drop off after Labor Day. I almost forgot to comment on "Wuthering Heights" from Andrea Arnold, who is very much responsible for one of the more life-altering films I've seen in a while, "Fish Tank". Like many others, I feared she was going to tread safer territory by taking on Emily Bronte's classic novel, but reviews clearly debunk any such worries. Arnold is still in top form, which simply makes me want to see this film all the more immediately. Is it still a strong player for the Golden Lion? I'd say so, seeing as Darren Aronofsky is heading the jury, and who's to say what he's liable to choose?

Neil Young (Hollywood Reporter): "Performances are blunt and unmannered. Top-billed Kaya Scodelario plays the adult Cathy with only the occasional linguistic anachronism jarring on the ear. These minor flubs are outweighed by the impact of the plausibly unadorned, sometimes vicious language used by what are essentially uneducated working-class farmers. This includes several four-letter outbursts and a smattering of uses (by Hindley) of the N-word towards Heathcliff – Glave and Howson are both black, a pioneering bit of casting from Arnold. Heathcliff is described in the book as “dark”, “gipsy” and looking like a “Lascar” from southern Asia, but has always been previously played by Caucasians."

Guy Lodge (In Contention; ***1/2): "Like most previous screen versions, Arnold and co-writer Olivia Hetreed have taken on only the irresistibly full arc of the novel’s first half, but have zeroed in more emphatically on the class tensions and familial cracks that both enable and cripple Heathcliff and Catherine’s relationship. Arnold’s simplest and most successful amendment is the introduction of a black Heathcliff (played at different ages by Solomon Glave and James Howson), a stroke that places the social landscape of Brontë’s story in starker relief, and adds an extra layer of rancour to the abuse the character endures at the hands of Catherine’s seethingly inarticulate brother Hindley (Lee Shaw)."

For Your Anticipation: "You Owe Me 200 Bucks"

I'll confess some natural curiosity regarding "Warrior", but it's got little to nothing to do with the film itself. I find it, for the most part, to be somewhat disinteresting, and even sweetly repulsive. Call it a gut feeling. However, I will say that what draws my eye is Tom Hardy, who has had a strong way of stealing the show from his co-stars, notably in "Inception" from last year. This is his only role since then, so I might check this out from simple Hardy-deprivation. Although, I'd also be willing to wait for "Tinker, Tailor, Soldier, Spy".

Carpet-Bagging: Add it to the pile. Then burn it.

It seems like the main heat of the festival circuit has already come and gone, even with Toronto still to come. Telluride came and went in a minute, and Venice is on its last long stretch with all the main hype come and gone. I'm still anticipating a surprise or two to come, but nothing major to change the state of the Oscar race. I'm actually somewhat weakened by the number of potential dropouts in the Best Picture race due to their festival receptions. If "A Dangerous Method" was ever a real contender, isn't now. After a mixed response at Venice, it received a similar response in Telluride. I'd say Fassbender should look elsewhere for accolades, but "Shame" is absolutely no Oscar player.

"The Ides of March", which was a favorite amongst critics before its Venice premiere, now has a general feeling of skepticism about it. It's not that it's officially out as a contender, as it may have a more positive response in the states where people may find it more relevant. And indeed there is little negative reaction out there. It's mostly positive, but not ecstatically so. The new system is based on passionate votes, and I'm not at all sure if they'll really respond with the same passion they'd place towards something like "The Tree of Life".

Eddie Murphy hosting 84th Annual Academy Awards

And here I was thinking that Brett Ratner wouldn't be dragging all parts of this year's Oscar telecast down to the pits of oblivion. Well, any denial is just superfluous at this point, so it looks like Eddie Murphy is going to be the face of the 84th Academy Awards. Now, am I saying that this is necessarily a condemning factor in the scheme of this year's ceremony. Yeah, pretty much. It's exactly the sort of decision you'd expect Brett Ratner to make, it goes in line with all his beliefs, it's the first guy he'd choose, and it's a completely unimaginative vote.

Am I saying that Murphy doesn't have the capacity to be funny? Far from it, as I admit he has had potential for success in the past, but has since fallen into a downward spiral. He's most infamously known for making comedies that are neither good, nor are they at all funny. And it does somewhat weaken the resolve of an awards telecast that should have nothing to do with the mainstream. The Academy is constantly in denial of what their show should be like, and that's my biggest lament of this move. It's crass. It's loud. It's not good.