oscars 2013

Oh what a night! This year the Oscars were all about sophistication, elegance, with just a little bit of cheek. Seth MacFarlane was a slightly awkward and surprising well-behaved host (most of the time), holding back a little bit on his usual risque humour, however the night was saved by the great combinations of presenters that read out the awards. Adele's performance of Skyfall, winner of best original song, was incredible and there was a heartfelt number performed by the Les Mis cast, as well as a standing ovation for Jennifer Hudson's song. Big congrats to Ang Lee for taking out the Best Director for Life of Pi (we cheered very loudly), Daniel Day-Lewis for Best Actor, Jennifer Lawrence for Best Actress (despite her on-stage stack), Christoph Waltz, Anne Hathaway and one over-zealous round of applause for Argo, winner of Best Picture!

our picks for best dressed

Naomi Watts 
100% flaw free. The asymmetric neckline and the all over glitz flattered everything and she just looked amazing, I can't even express how much I love this.

Samantha Barks

Her first Oscars for her first film and damn, she looked fine. Sam's dress was elegant, simple and sexy, the plunging neckline showing off that amazing body.

Amanda Seyfried

Absolutely stunning. The Les Mis girls really pulled out all the stops tonight, and Amanda was no exception. The cut and colour of this dress may be bland to some but she pulled it off looking beautiful as ever. The dress' texture made it interesting and the hair was simply perfect. 

Sally Field

You know what? It mightn't be the hippest or the sexiest gown on the carpet, but Sally proved that you can still dress like a superstar at 66 years of age. Props to Sally, she looked fab!

Special mentions also go to Jennifer Aniston in her simple-but-statement red gown, Sandra Bullock in her gorgeously embellished black dress that showed she still got it, and George Clooney's belle Stacy Keibler in sexy-sleek. 

            

no mour

Finally we come to the end of our Oscar journey. There's been ups and downs, laughter and tears, tigers roaring, peasants singing, presidents... presidenting. And now all we are left with left is Amour, the only foreign film nominated for the Best Picture title this year. Directed by Michael Haneke, this french film is about a different kind of love than the one we see in rom-coms; its about the love that remains after our faces have wrinkled and our boobs have sagged and we can never seem to remember where we put our keys. No, I'm not talking about the aftermath of a wild night, but Georges and Anne, married octogenarians whose life-long devotion is tested by Anne's sudden physical and mental deterioration. There aren't a lot of movies around about elderly folk, and none are more revealing than Amour about the struggles of growing old, particularly when the person you've spent your entire life with begins to crumble before your eyes.

rating: ★★★1/2
I couldn't help but have high hopes for Amour, because every review I came across gave it five stars. That's why, when I finally got to the advanced screening yesterday, I was wondering why this supposedly amazing, critically acclaimed masterpiece was sending me to sleep. For the first half hour of the film, I could barely keep my eyes open. I'm sorry, it sounds awful, but it's true. It wasn't so much the story that was lulling me off to slumber, but it was the way the movie was shot. I've heard Michael Haneke being praised for the way he holds the camera still in one position for minutes on end, but honestly, I don't want to watch someone washing the dishes for that long. I have enough of that in real life, thank you very much. Then there was the screenplay, which at times would be very clever and meaningful, while at others repetitive and inane, which I hope we can chalk up to being lost in translation.

Yet, after the slow-paced beginning, the movie took a turn. As Anne's health disintegrates, the film becomes more and more involving, and you find yourself empathising with Georges as he deals with his wife's growing senility. Suddenly, you have this highly confronting and overwhelmingly sad movie that, despite the characters age group, deals with some very contemporary issues. Emmanuelle Riva is living proof that you're never too old to act and my, my did she impress. This was a hugely demanding role and Emmanuelle pulled it off so flawlessly that I decided I want to be as awesome as her when I'm 86 (the age she just so happens to be turning on Oscar night, happy birthday Emmanuelle!). The movie did slow down again towards the end, at which stage the 127 minute running time started feeling like 127 hours, although I had no inkling to hack my arm off, which I'm interpreting as a good sign. Overall, I think this is an important film for people of all ages, and if you manage to stay awake for its duration, you'll hopefully feel that it was worth it, in the end.    

 

there's always a silver lining

We're on the home stretch now, with two days to go until Oscar time and two movies left to review. Silver Linings Playbook is the latest David O'Russell film, who apart from directing wrote the screenplay alongside Matthew Quick, author of the original novel this movie was adapted from. This is a lovely, quirky comedy/drama that follows the story of Pat (Bradley Cooper) in his attempt to reconcile his relationships with his family and wife after spending eight-months in a mental facility for bipolar. But of course, he meets a girl, an equally messed-up Tiffany (Jennifer Lawrence), with whom he finds solace in their shared dysfunction. Cue the ensuing hilarity and poignancy as the pair try to weather the storm that is mental disorder, with the help of a little football and a lot of dancing.

rating: ★★★1/2
This is such a charming/adorable/meaningful film that covers all bases. Its funny and sad and confronting and oddball in all the right amounts and it finds the perfect balance in portraying mental health issues for both their comedic and destructive nature. Its a really sincere movie, and I think David O'Russell's own experience of his son's mental disorder has contributed to that greatly. You can see he's put so much thought and heart into the direction, from the camera usage to the editing to the acting, all of which helps us understand what its like to be living with something like bipolar disorder. On top of that, you have such lovable characters: Pat is erratic, but loyal and affectionate, and its surely Bradley Cooper at his best. Then there's Tiffany, who is outspoken and wild and truthful and the role is filled fearlessly by the beautiful and talented Jennifer Lawrence (who already won at the Golden Globes and the Screen Actors Guild Awards for the part). Then there is Pat's parents, played perfectly by Robert De Niro and Jacki Weaver (Aussie represent!), and Pat's best friend Danny (Chris Tucker) provides plenty of laughs.

While that's all the silver lining stuff, there was something a little off-putting about the first hour or so of the film. While the hand-held camera effect was meant to reflect Pat's mental state, I think in the beginning it was a bit too shaky, which made me feel a little uneasy. There was something that didn't sit quite right with the screenplay initially either, possibly how frank and upfront it was. I can't fully explain why, but there was just this pervasive sense of discomfort in the beginning. It didn't last though and eventually I settled in to enjoy that feel-good sensation of the warm-and-fuzzies in my tummy. This one is bound to make you smile.

Madolyn
rating: ★★★ 
I quite enjoyed this movie, but, unlike the other Best Picture nominees, it doesn't really stand out in any way as Oscar worthy. I guess it's nominated because of its quirky take on mental illness and relationships, putting a spin on the usual rom com, but really, it isn't revolutionary or anything. This is the 14th film in history to have nominees in all four acting categories, and I can see that they definitely deserve it. Not that they'll win, or anything, but Bradley Cooper's performance was great and made me love not only Pat, the character, but Bradley as an actor, too. I do think Jennifer Lawrence may have been too young for the role, but she seems to have pulled it off, and her bluntness and easy delivery of lines made Tiffany's character the perfect match for Bradley's. All in all, an enjoyable film, with a cute storyline and a few laughs thrown in, but definitely not the one to win the golden statue.
      

nought black 29+1

If you didn’t get that, that’s a really bad, top-secret code for Zero Dark Thirty, Best Picture nominee number 7 (we’re nearly at the end, I swear!). This time we have Kathryn Bigelow directing the true story of the decade long manhunt for Osama Bin Laden and the woman who devoted her life to his capture, played by Jessica Chastain, who has already taken the Lead Actress Golden Globe for the role. I’m raising the alert on this one; we have tons of political content, torture, terrorism, and some other not-so-nice stuff too, so it is by no means for the faint hearted.

rating: ★★★1/2
Before I review, I have to admit my bias: I generally run far, far away from anything that has anything to do with this kind of subject matter, in particular when it’s TRUE STORY. I find these kind of overt, patriotically American themes and negative representations of Islam pretty distasteful, and in truth I was not looking forward to seeing this movie. I didn’t particularly enjoy watching it either, but you’re not really supposed to. It is an extremely raw and uninhibited retelling of the events surrounding Osama Bin Laden’s death, which makes it confronting and frequently uncomfortable to watch. It lacked the security of fiction, which in my opinion contributed to the success of Kathryn Bigelow’s The Hurt Locker, winner of Best Picture and Best Director among four other Oscars in 2010. I loved that movie, and Bigelow’s direction was far more present in that than in Zero Dark Thirty (possibly why she was snubbed like our poor Benny Afleck at this years Oscars), which is unfortunate as she is very talented.

The movie did have redeeming qualities, and I sure didn’t give it a three-and-a-half for nothing. Al Qaeda aside, the story of Maya (Jessica Chastain) is actually quite inspiring, with plenty of female empowerment and dedication to admire. Jessica Chastain continues to wow us all with her versatility (compare this role to Miss Celia Foote in The Help—I swear it’s not even the same person), not to mention she looks fucking badass in aviators. Great locations, fast-paced script, and Bigelow is proving herself a master of expressing human emotion. And I’ll hand it to her; she damn well knows how to do an ending.

where the wild things play

Oscar nominee number six is Benh Zeitlin’s wonderfully weird film, Beasts of the Southern Wild, which stars the oh-so-talented and gorgeous Quvenzhané Wallis (Kwuh-van-ja-nay, but her friends just call her Q!), the youngest person ever nominated for an Academy Award in the Lead Actress category. This is a very different kind of film. Ask anyone who’s seen it and I’m willing to bet they’ll struggle to tell you what it’s about. Effectively you have one little girl on one big adventure to save her hometown, a collection of shacks housing a ragtag community of people known as ‘The Bathtub’, from a destructive storm. But it’s about so much more; family, childhood, home, poverty, global warming, alcohol abuse, consumerism and where we belong in the big ol’ world. And all of this is wrapped up in a realistic fantasy that will shoot you off to a different planet for a couple of hours and send you on a magical journey with this ragamuffin child.

rating: ★★★1/2

This film is 100% unique and I’ll admit I went into a bit of a trance watching it. It was so strange and confronting at times that I even felt a bit uncomfortable in the beginning, which is very similar to the way I felt watching the movie version of Where the Wild Things Are, and it is the only movie I can liken to Beasts. Initially, I was confused. I didn’t really know what I was meant to be taking away from the film—what the meaning was—and I always find that highly disconcerting when I’m watching a movie. But eventually I settled down and just started going with the flow, the only thing you can do when you come across a movie like this. And when you let it take you for a ride, that’s when you start to understand. I think Quvenzhané’s character, Hushpuppy, best sums it up when she says:

“When it all goes quiet behind my eyes, I see everything that made me, flying around in invisible pieces. I see that I’m a little piece of a big, big universe”.

The movie is quite beautiful to watch and is filmed in some amazing locations. The hand-held camera effect and this kind of soft image made it all the more entrancing, but no aspect of the film was more mesmerising than Quvenzhané herself who, in my personal opinion, beat out all the other adult actors up for Female Lead. I really don’t understand how someone so tiny can have such huge acting chops! She made the movie for me and I can credit at least 3 of those stars to her alone. The direction by Benh Zeitlin was another success, and while the movie wasn’t exactly packed with dialogue, much of what was said captured that innocent wisdom of childhood. It’s arty and bizarre and not to everyone’s taste, but whether you like it or not, you have to admit, Beasts of the Southern Wild is pretty extraordinary.        

honestly abe

Movie number five in our Oscar overload is Steven Spielberg’s latest film, Lincoln. If the name isn’t recognisable (because you’ve been living under a rock since the early seventies), Spielberg is one of Hollywood’s most prolific directors, with much-loved titles such as War Horse, Catch Me If You Can, Schindler’s List, and of course E.T. the Extra-Terrestrial under his belt. His most recent directorial endeavour is based on the true story of Abraham Lincoln, President of the United States of America, and how he managed to abolish slavery in the 1860s; a time when beards were long, top hats were ridiculously tall and a civil war raged on. Caution: Lincoln contains lots of political shit.

rating: ★★★★1/4

It really doesn’t make sense that I loved this film so much: I don’t like American history, am generally bored to tears by political mumbo-jumbo, and the only eye-candy in the whole film was a bearded Joseph Gordon-Levitt, who never once took his shirt off. And yet, I thought this movie was bloody fantastic! Daniel Day-Lewis was absolutely amazing/inspiring/charming/faultless in his portrayal of Lincoln, because he managed to bring this image of an American hero down to earth and made him loveable and relatable. For me it was the best performance of all the males nominated for Best Leading Actor at the Oscars; not surprising when he’s supported by Sally Field as Mary Todd Lincoln and Tommy Lee Jones, both of whom were just awesome in general. The screenplay, adapted from Lincoln’s biography, ‘Team of Rivals’, by Doris Kearns Goodwin, found that perfect balance between a script that is political accurate (with lots of big political words), and a script that is understandable to the layman, with some witty one liners and uplifting speeches to keep the ball rolling. The historical element only made the film more awe-inspiring and epic, not to mention educational (although I think they left out the part with the vampire hunters???).  On top of all this, the sets and costumes made me wish I could teleport back to the 1860s, which is saying a lot considering there was a war going on and a lot of racial stuff was going down…

I'm not usually one to cop out and give a 1/4 star rating, but there was just something holding me back from giving an all-out 1/2. I will admit the movie was LONG, and there were probably one or two scenes that could have been done away with. There were also a few schmaltzy moments where the orchestra would swell just a little too inspirationally for my taste, however in saying that, for the most part the score was great; subtle and not too in-your-face. I realise this film definitely won’t be for everyone, but I do recommend a trip to the cinema. You never know, you might be pleasantly surprised.          

Madolyn

rating: ★★★

While there's not really any point in denying the critical brilliance of this movie, for me it just wasn't really a standout in any way. The best way I've seen it described is that it was just kind of...there. It was good, yes, but it wasn't entertaining, and that's what makes a movie for me. Also, it was really very long. Usually, as shown by my reviews of previous Oscar contenders, that's not really an issue for me, but this one didn't have the entertainment value to sustain it. That being said, I love Abraham Lincoln in all forms of himself, the vampire hunter version, the actual historical version and now the Daniel Day Lewis version. He was warm and inspirational and his love for telling stories was what kept me watching the film. DDL is definitely going to win the Best Actor for this role, because of his strength of character and also because he's portraying a great American hero, and, well, the Academy loves that. All in all, a good film if you're the Academy, sets and costume design and acting all brilliant, but if you're going to the cinema, prepare yourself for a hard slog - the road ahead is tough.

les magnifiques

Do you hear the people sing? The next hopeful for the title of Best Picture is the musical blockbuster Les Misérables, the newest in a string of adaptations of Victor Hugo's novel and directly based on the long-running stage musical written by Alain Boublil and Claude-Michel Schonberg. The film is directed by Tom Hooper and features a star-studded ensemble of talented actors, including Anne Hathway (Fantine) and Hugh Jackman (Jean Valjean) who have already won acclaim for their performances at the Golden Globes and the BAFTAs, to name a few. Set in post-revolutionary France, the film intertwines the stories of the rich and the poor, and their struggles to free themselves from whatever may be restricting them, whether it be Jean Valjean and his life on the run from Javert, or Enjolras and the rebels protesting the monarchy. Or, alternatively: a man stole some bread and shit went down. Now, the constant singing may not usually be your style, but you do get used to it after a few minutes and settle in to enjoy the beauty of the film.

rating: ★★★★1/2
I loved this movie with a capital L. While I've always been quite partial to a good musical, this was a spectacle unlike any other I've seen. If you aren't usually one for musicals, as I said before, it's easy to forget they're actually singing after a few minutes, because the music is so enchanting, so emotive, really furthering and expanding upon the story - sort of like a voice over, but better. It gives chills. The sets and costumes were wonderful, and although everything was rather dark and dirty, it really gave a feel of what the streets of France would have been like in the early 19th century. The storyline itself is heart wrenching (bring tissues) and the characters are well developed and it's very easy to get attached and empathise with them, especially as they sing away their feelings to the audience. Notable performances include, of course, Fantine's (Anne Hathaway) heartbreaking performance of "I Dreamed A Dream" which brought a tear to every eye in the cinema, and Éponine's (Samantha Barks, who, incidentally, had played Éponine in London in 2010-11, as well as the Les Misérables 25th Anniversary Concert in 2010) sad solo "On My Own."

For me, there was really not much wrong with this film. I can see its two and a half hour run time being an issue for some people, and there are probably a few ways it could have been shortened, but I've seen it twice in the cinema and would happily watch it again, so it wasn't a problem for me. There's a little something for everyone, be it the singing, the story, the beautiful actors (cough Eddie Redmayne) or the bit of comedic relief through M. et Mme. Thénadier (Sacha Baron Cohen and Helena Bonham Carter), and the beautifully poignant finale scene will leave everyone full of emotion and ready to wave the red flag of 19th century revolution.

Blake

rating: ★★★★

This film sure is a spectacle like no other. 'Powerful' is the word I would use to describe the performances given by the incredible Anne Hathaway and Hugh Jackman, whose live singing added a whole new dimension to your everyday musical... and made it SO MUCH MORE. Everything about the making of this movie is seamless: costumes, set design, cinematography... all of it makes you feel like you're living through the revolution yourself. The direction by Tom Hooper (also directed a little movie called The King's Speech, you know, if that's something you're into) is wonderful, but I did have some issues with the editing of the film. Unlike Madolyn, I found the length of the film a little uncomfortable (make sure to empty those bladders!) and I felt some scenes, in particular those by Russell Crowe, and Sacha Baron Cohen and Helena Bonham Carter, could have been cut down substantially. Neverless, this is a once-in-a-lifetime, not-to-be-missed, so-intensely-well-done-I-want-to-weep-a-little-bit film and I urge everyone, everywhere to clear their throats and be ready to sing your support!    

its pi's life (and we're just visiting)

It’s closing in on Oscar time, and with two movies down we still have seven to review before the big day (so excuse the abundance of film reviews, it’s not the only thing I can write about… I think). The next movie up for the Oscar glory is Ang Lee’s Life of Pi, which has been dubbed one of the best uses of 3D film-making thus far. Yann Martel’s best-selling novel of the same name has been adapted as a visual feast in its depiction of the young Pi (Suraj Sharma) on a high-sea adventure, trapped on a small lifeboat with a Bengal tiger. As one who had read and loved Martel’s book, I was keen to see how this adaptation would fare amongst so many failed book-to-screen attempts. 

rating: ★★★★

This has got to be one of, if not THE PRETTIEST MOVIE I HAVE EVER SEEN. I’m not usually one to enjoy a movie where essentially the only piece of set necessary is a green screen, but what Life of Pi managed to do with CGI is incredible, and you just lose yourself in it. The visual imagery gave the story something the book could not, and that has been vital in separating the book from the movie (and in my opinion, to succeed in an page-to-screen adaptation is to either follow the book to a T, or find a way to make the movie an entirely different experience). To top this off, the way 3D has been used only adds to the visual effect and it’s up there with James Cameron’s Avatar as one of the very few films better with 3D effects than without. Suraj Sharma gives a brave and lovable (seriously, adorable) performance as Pi, and although he might not be nominated yet, I think he has a bright future ahead of him in the biz.

I have very few issues with the film, although the ending didn’t quite carry it home the way I wanted it to. Having read the book, I am a little (a lot) biased, so I also feel they left out important plot movements of the original story and opted for a movie where not much happens for a hefty portion of its duration. I am not by any means saying it is boring – in fact, this story of a boy-stuck-at-sea happens to be one of the most captivating I have ever seen.      

Madolyn 

rating: ★★★1/2

It's been a while since I watched this one, I saw it in December at a preview screening at the Vmax cinema in the city - and if this movie isn't the perfect film for THE BIGGEST CINEMA EVER then I don't know what is. The size of the screen went hand in hand with the scale of the scenery and the story of this film. Suraj Sharma was brilliant, especially when you consider he was acting alone opposite nothing in front of a green screen for most of the film, the fact that he can't swim and the other fact that he only went along to the audition because his brother promised him a Subway. I think he deserved a nom but that's just me! I haven't read the book, so I can't comment on the page-to-screen aspect, and I can see how, for some, the film could have been quite boring and pointless, because of its stretches of seascape and loneliness, and it isn't a film packed with entertainment, but its magnificent beauty certainly makes up for all that in my eyes.

argo a go

The next movie vying for the Oscar is Argo, a little film directed by Ben Affleck that has already received the highest of accolades from the Golden Globes (Best Drama Movie, Best Director) and the Screen Actors Guild Awards (Best Ensemble Cast in a Film). Argo is based on the true events of 1979, whereby CIA operatives attempted to rescue six American diplomats held hostage in Iran under the guise of a sci-fi film crew. If you’re turned off by political content, don’t be! This thriller is all about the suspense and the heart, and the boring stuff seems to fade in the background behind this amazing story.

rating: ★★★★

Ben Affleck deserves all the praise he’s getting for this little masterpiece, and he’s quickly proving himself as a contender amongst the big shot directors of Hollywood (despite missing out on being nominated for Best Director at the Oscars – complete blasphemy!). This film is wonderfully directed by Benny, and somehow he’s also found the time to star in the movie alongside a fabulously talented cast including Alan Arkin, who has also been nominated for his supporting role, the always-amazing Bryan Cranston, and the jolly good John Goodman. The film is well made and well written, but the true triumph of the film is the tension. So. Much. Tension. If you’re a nail biter,I’d be bandaiding my fingertips before leaving for the cinema, lest your nails become gnawed and bloody. You’ve been warned.

My only quibble with the film is the American patriotism that got a little over the top and schmaltzy towards the end, which in a way seemed to villainize Iran. Speaking to those who have seen the movie more than once, it also appears that once you know what happens, the film loses all that suspense; unfortunate as it is one of the film’s best attributes. Alas, while it mightn’t stand up over multiple viewings, I recommend at trip to the cinema to support this wonderful movie. Argo is a go!      

django unchained (and unimpressed)

The Academy Awards are on the horizon, and nine movies are preparing themselves for battle, where only the best movie will win. In this corner, we have Quentin Tarantino’s latest, Django Unchained, a film set in America’s south prior to the civil war in 1858. The story follows freed slave Django (Jamie Foxx) who, with the help of bounty hunter Doctor Shultz (Christoph Waltz), is on a revengeful quest to save his wife, Broomhilda, (Kerry Washington) from the cruel plantation run by Calvin Candie (Leonardo DiCaprio). With a tip of the hat to the old wild west genre and a comical twist, this film had all the ingredients to be a classic.

rating: ★★★

I’ll start by saying that the first two thirds of the movie was quite fabulous. With a completely engaging and comically well-timed performance by Christoph Waltz (who no doubt deserved his Golden Globe win), and the always impressive Leonardo DiCaprio (look out for the part where he accidently cuts his hand open, but stays 100% committed to the scene. Now that’s dedication!) the film’s beginning was exciting, action-packed and extremely funny, in particular, Jonah Hill’s appearance had the whole audience in stitches. Tarantino’s screenplay was witty, and the seamlessness of set design, costuming and cinematography made for an enchanting movie experience.

And then, it was like a switch was flicked. The plot quickly disintegrated, the dialogue became stale and cliché, even the editing began to fall over itself, becoming choppy and almost nonsensical, and by the end there were loose ties that were never resolved. None of this was aided by Tarantino’s cameo (I mean, come on, even Meryl Streep can’t pull off an Australian accent). I left the cinema disappointed and unfulfilled, kind of like having a dessert snatched away from you before you could enjoy the last bite. And we all know the last bite is the best.

But that's just me. Here's what my co-blogger had to say:

Madolyn
rating: ★★★
Much the same as Blake, I really really enjoyed the first two thirds, and I also just really love Christoph Waltz and baby Leo, who were both brilliant. There was just enough humour to lighten the underlying themes of the brutality of slavery, but it was about when Quentin himself entered the fray that things took a turn for the worse. I felt at that point that the movie could have wrapped up already, and I found myself actually looking at the time to see how long until the film finished, and I never, ever get impatient in movies, ever. I would recommend you see it, because obviously it's nominated for a reason, and the first part was great. It's not one I would watch again though, I don't think (and I'm the type that watches movies over and over and over.) I'm just gonna carry on with my life and pretend that last part wasn't a thing.