Saturday, April 14, 2012

When is a Film Too Smart For Its Own Good?




Recently, I read an article in Entertainment Weekly wherein it asked if James Cameron's Titanic was the "most hated beloved movie." I felt the writer made a pretty good argument that it was...at least of the last 20 years (I'm sure there are more from the pre-war and WWII era). What is it about a film that provokes such an opposite reaction than what mainstream critics and audiences seem to feel? I really don't have answers to any of these questions, but I really must say that I did not care for the recent beloved film The Cabin in the Woods. It did not have anything to do with the aesthetic choices, acting, special effects, or story. I just felt it was too smart for its own good. 

So...what does that mean exactly?

For a film like Cabin, it means that it seems to be taking a genre that is kind of beneath any real kind of criticism, namely the slasher genre, and making it out to be the be-all-end-all definitive statement on why-exactly- they exist and why they are the way that they are (yes, Kubrick's Shining kind of missed the boat on 80s slashers while simultaneously inspiring most of them when it thought it was the final word as well...one can only dream of what lame brain clones this will inspire in the years to come) I feel it kind of made the entire genre feel more important than it is...put too much thought into something where the only real thoughts going on are usually in make-up and effects while profiting off of youthful hormones. They are deconstructing a style and a genre that really needed no explanation in the first place and making a profit off it themselves by going through the motions and pretending that what they are presenting is any more intelligent than what has been on the screen before. Of course, I am not saying it needed to be more "original" or anything pretentious like that. I just felt like it was missing some serious sincerity...which is what many real slasher films have in spades. I am not saying it had to be the start of a new franchise like Buffy, but a little more humanity and less emphasis on combining the fantastic with the mundane in crowd-pleasing ways would have seemed a lot more intelligent than the cold, calculating geeky wet dream that I saw on screen. I did not even agree with its obvious thesis of why horror film cliches need to exist, but something says that this film just really is not for me. It really just wants to hear itself talk.

Don't worry, I won't try to spoil the story so you will not want to see the film. I say see it and decide for yourselves.



Friday, February 17, 2012

The Art of Spirit Voting



Alright. I've watched all the films and have waited until the last second long enough. I better mark my ballot for this year's Film Independent Spirit Awards. I figure they're kind of like the Oscars...except the nominees are rather strange (remember the The Hurt Locker snub a few years back...a year before it swept the Oscars). For the first time, I've decided to make my ballot public on this blog not really as a confessional, but maybe for my own sake since I don't think I've ever really made very clear decisions when voting in years past. Maybe this will make up for it. And, yes, I copied the nominees list from imdb.com. Sue me!

Best Supporting Male

NOMINEES





                 While I respect the diversity of these nominees, this is was one of the easier selections since Christopher Plummer gave a career best performance and deserves to sweep the major awards like he has. I was considering rebelling against the empire and going with the overly theatrical Corey Stoll or the mesmerizing John Hawkes again, but he won last year. Albert Brooks was very natural in Drive, but still stays within his comfort zone. Mr. Plummer has really come into his own in the past few years and I cannot imagine him really topping this performance. It may not be the most "independent" of choices, but it is the one that feels right.

                  WHO WILL WIN AND MY CHOICE: Christopher Plummer

Best Supporting Female

NOMINEES





                 Another easy choice. I'm thrilled the committee recognized Jessica Chastain's work in Take Shelter, but she isn't why it's great. I felt Angelica Huston was great but was underused and Shailene Woodley was good, but overused. Harmony Santana's time will come later. The only great performance I saw was Janet McTeer's. She basically hijacked Albert Nobbs from everyone, including Glenn Close (whom I thought was amazing and should have been nominated). The film is a wash, but Janet McTeer's KD Lang-look-a-like stays with you even after Sinead O'Conner's song is forgotten. I'm sure this is a controversial choice, but that's what makes the Spirits so fun to par take in.

              MY CHOICE: Janet McTeer
              WHO WILL (probably) WIN: Shailene Woodley

Best Director

NOMINEES






              Oh boy. Going down a list like this makes me realize how unique a year like 2011 was for indie films. If I could, I would vote for all of these directors. They are all worthy (seriously). At this point, it's all apples and oranges. Mike Mills' work was very heartfelt, but too forgettable and Beginners ended up feeling like the cinematic equivalent of a indie rock album (the lame, claustrophobic kind). Alexander Payne finally returned...to overly conventional results. It's just not his best work and he won last time for Sideways, which I felt was miles above The Descendants in every way. Making an inferior film didn't seem to hurt Darren Aronofsky last year, but the competition is too fierce this year. Michel Hazanavicius is the favorite this year, but not mine. His work is whimsical and transcendent, but I feel he completely misrepresents silent film and the transition to talkies in The Artist and I don't really care how crowd pleasing and feel-good it is. I was having trouble choosing between Nicolas Winding Refn and Jeff Nichols. Refn uses his nihilism to give an otherwise empty story like the one in Drive a stylish, nostalgic 80s-esque sheen. Nichols gives Take Shelter an pretentiously indie look, feel, and a sense of character and suspense that Donnie Darko only pretends to have. I ultimately chose Refn not only b/c this is the year of Danish directors with Susanne Bier winning the Oscar and Lars von Trier stealing the headlines and the acclaim, but also Refn's unconventional, deconstructionist take on Hollywood action films with opaque protagonists is showy while never being annoying, coyly revealing without really disclosing anything, and darkly violent without ever really being exploitation. As immature as he seems to be, he has a real vision. The whole time, you feel a star is being born, while knowing that it will only shine when others aren't looking. I know many will disagree with me on this one, but these bold decisions are what Indie Spirit is all about.


                       MY CHOICE: Drive
                       WHO WILL (probably) WIN: The Artist

Best Screenplay

NOMINEES





           This category was a little easier. It always interests me how a film can win Best Picture without having a great script (like Black Swan or The Wrestler). I don't think that will be an issue this year as all of the nominees have great scripts. Again, The Descendants and Beginners were both too conventional for me. The Artist is wonderful, but kind of scrapes by on a gimmick. Win Win is very good and was overlooked, but felt contrived. I'm going against the grain and picking Joseph Cedar's outstandingly funny Cannes-winning screenplay for Footnote. The film hasn't been widely released in America yet, but it is every bit as good as A Seperation's is (which did get Oscar nominated). It amazes me that we have not one but two foreign film scripts nominated this year. Whatever the committee had to do to get that to happen, I applaud them. 

                    MY CHOICE: Footnote
                    WHO WILL (probably) WIN: The Artist

Best First Screenplay

NOMINEES





          This was an easy call b/c the script for 50/50 was the only script that actually worked for me in this whole line-up. 

                 MY CHOICE: 50/50
                 WHO WILL (probably) WIN: Margin Call

Best Cinematography

NOMINEES





          Hmmmm. Over the years, I have grown to appreciate how the Spirits seem to go out of their way to nominate low-key films with understated cinematography. That being said, I didn't really care for The Off Hours or The Dynamiter with with the nice shots. I thought Midnight in Paris really showed that Woody Allen can make a visually compelling film when he feels like it. I felt Bellflower showed indie film at its most dynamic. I'm going to go with the grain on this one b/c The Artist's old-fashioned lensing is just plain special. 

                 MY CHOICE & WHO WILL (probably) WIN: The Artist
                 

Best Documentary

NOMINEES

The Redemption of General Butt NakedEric Strauss(director/producer), Daniele Anastasion (director/producer)

We Were HereDavid Weissman (director/producer)

An African ElectionJarreth J. Merz (director/producer)


The InterruptersAlex Kotlowitz (producer), Steve James(director/producer)
         Unlike the Oscars, I feel the Spirits actually nominated documentaries that were worth nominating in the first place. I still don't get the snubbing of Project Nim, but that was the least of my worries. I found We Were Here to be poignant without being particularly revealing; exactly what I was expecting. The Interrupters, Gen. Butt Naked, and An African Election blended together too much. That left Bill Cunningham NY. I have to admit, I'm just a sucker for documentaries on great artists. Just can't help it.

                  MY CHOICE: Bill Cunningham New York
                  WHO WILL (probably) WIN: The Interrupters

                  

Best Female Lead

NOMINEES





         First of all, great line-up. All are deserving, which made selecting a choice even harder than I expected. Lauren Ambrose was the surprise choice and is deserving despite starring in the worst film. Like Think of Me, Natural Slection goes for a Todd Solondz-esque feel and just slides into predictability. Rachael Harris is the best thing about it, but the competition is too fierce. Adepeo Oduye gives the year's best film debut. The same could be said about Elizabeth Olsen, but that wasn't really a debut has she had experience working on her sister's films. I had a hard time choosing between Olsen's hip, youthful naturalism and Michelle Williams' showy brilliance as Marilyn Monroe. I ultimately sided with Williams as I feel her indie experience trumps her competitors hands-down. She's paid her dues and gives this role her all. She was also brilliant in the more subdued Meek's Cutoff, so this is actually a vote for two amazing 2011 performances. I'm still amazed she been nominated four times before and has never won. Someone give her a Spirit Award PRONTO! The others will have their time later. 2011 was Williams' year. 

                MY CHOICE AND WHO WILL (probably) WIN: Michelle Williams

Best First Feature

NOMINEES

Natural SelectionBrion Hambel (producer), Robbie Pickering(director), Paul Jensen (producer)

Another EarthNicholas Shumaker (producer), Mike Cahill(director/producer), Brit Marling (producer), Hunter Gray (producer)

In the FamilyPatrick Wang (director/producer), Robert Tonino(producer), Andrew van den Houten (producer)

Margin CallRobert Ogden Barnum (producer), Corey Moosa(producer), Michael Benaroya (producer), J.C. Chandor (director),Neal Dodson (producer), Joe Jenckes (producer), Zachary Quinto(producer)

Martha Marcy May MarleneChris Maybach (producer), Sean Durkin (director), Josh Mond (producer), Patrick Cunningham(producer), Antonio Campos (producer)
         Speaking of Elizabeth Olsen, just when you thought I was getting soft and going with the conventional choices comes this eclectic line-up. I'm so going with the haunting and brilliant Martha Marcy May Marlene, it's not even funny. Margin Call is the favorite, but I felt it was too repetitive. In the Family was too long. Another Earth was too pretentious. Natural Selection probably shouldn't even be nominated. Easy call. 

                  MY CHOICE: Martha Marcy May Marlene
                 WHO WILL (probably) WIN: Margin Call

Best International Film

NOMINEES

MelancholiaLars von Trier
Denmark, Sweden, France, Germany




         Of all the categories, this is the one I struggled with the most. This had to be the best line-up of foreign films in the history of my voting in the Spirit Awards. I ultimately had to go with my gut, which is always dangerous. I really didn't think anything could take the place of Melancholia, but then came along A Seperation and screwed everything up. As much as the dark rebel side of me wants to vote for Lars' gorgeous little ode to depression and phony astrophysics, A Seperation is probably the best nominated film in the entire line-up, period. Why we're wasting our time debating The Artist vs anything else is kind of silly when you consider that this is apparently the only category A Seperation qualified for. I really wish they would change the rules. Oh, and as much as I like Shame, Tyrannosaur, and The Kid with a Bike, none of them hold a candle to A Seperation's naturalism and ambiguity. It is one of Iran's greatest films and a stone cold classic in any country.
              
              MY CHOICE AND WHO WILL (probably) WIN: A Separation

Best Feature

NOMINEES






              Well, I was going to go with the crowd and vote for The Artist, but then I realized that I ALWAYS have gone with the crowd on Best Picture so I decided to go my own way this time. Why can't Best Picture just be a personal choice? Why does it always have to be the one that brings the people together? Why do the Spirit Awards now routinely just award the most popular and financially successful film (I'm looking at you, Black Swan)? Well, I'm tired of it. I'm going to go with the one that I felt really defined the year of indie film. The one that wasn't just a nostalgia trip. One that wasn't just a confessional. The one that had nothing to do with a rich man's self-pity. One that speaks to my and everyone else's experience this last year. It was a hard choice given the high quality of all the nominees. Any other year, I probably would have voted for every one of them individually. But, after a lot of thought, I've decided Take Shelter takes it all for me. I know a storm of backlash is coming.

              MY CHOICE: Take Shelter
             WHO WILL (probably) WIN: The Artist

Best Male Lead

NOMINEES





         Damn. What a line-up. And not an overrated George Clooney performance in sight.  I feel bad that Woody Harrelson gives an amazing performance in one of the worst films I saw in 2011, but not bad enough to vote for him. Demian Bichir earns his surprise SAG and Oscar noms. That's enough of a reward for him. Ryan Gosling is great as an opaque (super)hero, but is too cool for his indie cred. Jean Dujardin has been over rewarded enough, and will continue to be. That just leaves Michael Shannon's shockingly snubbed powerhouse performance. He doesn't just deserve to win the Spirit, he should have gotten the damn Oscar as well. Well, here's his redemption as far as I'm concerned. 
         
        MY CHOICE: Michael Shannon
             WHO WILL (probably) WIN: Jean Dujardin
     
              

John Cassavetes Award

NOMINEES

BellflowerVincent Grashaw (producer), Evan Glodell(writer/director/producer)

Hello LonesomeAdam Reid (writer/director/producer)

PariahDee Rees (writer/director), Nekisa Cooper (producer)

CircumstanceMelissa M. Lee (producer), Karin Chien (producer),Maryam Keshavarz (writer/director/producer)

The DynamiterMike Jones (producer), Art Jones (producer), Kevin Abrams (producer), Matthew Gordon (director/producer), Merilee Holt (producer), Amile Wilson (producer), Nate Tuck (producer),Brad Ingelsby (writer)
                 Pariah. No contest. See it. That is all.

              MY CHOICE AND WHO WILL (probably) WIN: Pariah

Catch ya next year, Film Indie watchers. May the Spirit be with you.