Notes on the Oscars

It was the best of shows, it was the worst of the shows. What exactly does that mean? With regards to the second clause, I mean this sincerely: It was probably the worst (or at least the most boring) Academy Awards ceremony I have ever seen. Granted, I've only seen eleven (or more accurately, ten and a half, as I was boarding a plane halfway through the 2011 Oscars. If you can't remember exactly what happened at that year's ceremony, think Anne Hatheway and James Franco; and if there was ever a disastrous show to miss, that was it). But this most recent show was pathetically, terribly unfunny. I require laughter during the Oscars, and hosts of the past, particularly Steve Martin and, to a lesser extent, Billy Crystal, have really succeeded. Someone who also succeeded was Ellen Degeneres, the hysterical host from 2007. Her sweet jabs and humble demeanor were terrific back then; this time, there wasn't a single moment that provoked laughter from me--not even a Dick Cheneyesque smirk.

Ellen's running gag about ordering pizza for celebrities (what a tremendous and awe-inspiring work of comedy it was) was essentially the "Oprah-Uma" of the show. It was dreadful to watch Ellen hand out some plates and ask, "Who wants pizza?" (When watching the Jimmy Kimmel post-Oscars show, especially the absurdist comedy of cats called "Ameowadeus," it's a wonder why Kimmel wasn't picked instead.) The best moments didn't involve Ellen or pizza; they were simply one-liners: Bill Murray's unscripted tribute to his recently deceased friend Harold Ramis, and Kevin Spacey presenting himself as a certain Machiavellian Southern politician. Appearing after Darlene Love gave probably one of the most awesome acceptance speeches in history, loudly singing "I sing because I'm happy, I sing because I'm free," Spacey, with that Frank Underwood drawl, claimed, "And I sing because I'm so happy to be out of Washington and here with all my Hollywood friends," to the audience's great approval.

It should be noted that this was a year in which the speeches were surprisingly interesting to listen to. and not a single one of them was cut off). Matthew McConaughey gave a fine speech, thanking God (a rarity at the Oscars) and proudly claiming that it is a "scientific fact that gratitude reciprocates." Chris Mooney at Mother Jones backs him up: "What's the payoff of feeling grateful, of 'paying it forward,' and of helping out those who help you? The research suggests more hope and optimism, a better ability to manage stress, a tendency to exercise more and even sleeping better." Despite that and the fact that he ended his speech by uttering his famous "alright, alright, alright" line from "Dazed and Confused," the New Yorker gave his speech a C. After annoying (to say the least) many with his sophomoric speeches at other shows, Jared Leto got it right this time in a heartfelt speech paying tribute to everyone from his mother to the protesters in Venezuela and Ukraine. Lupita Nyong'o's speech, in which she not only humbly recognized that her joy was because of someone else's pain but also where she firmly declared that no child's dreams are invalid, was delightful. So, too, was Cate Blanchett, winning for "Blue Jasmine," when she criticized "those of us in the industry who are foolishly clinging to the idea that female films, with women in the center, are niche experiments. They are not. Audiences want to see them, and in fact, they earn money." Her shouting that "the world is round, people!" could barely be heard over the applause.

There were other moments that might qualify for being decent. Amy, Meryl and Lupita danced, so well and spontaneous that one almost wonders if it was rehearsed ahead of time. John Travolta infamously (and bizarrely) pronounced Idina Menzel as "Adele Dazeem" (to which Menzel went to Twitter and thanked "Jorn Tromolto"), and now you can go to Slate to "Travoltify" your name. (For the record, I'm Craig Keezy.) For a while, it seemed everyone--including me (a bit)--picked on Hollywood legend Kim Novak, until we were shamed by the Siren's powerful defense:

"So let's say--just as a hypothetical for-instance--that you are an 81-year-old star whose last movie was in 1991 and who hasn't been to the Oscars in many a long year...As the evening approaches, the anxiety sets in. Harsh lights, you think. High-definition cameras. And a public that remembers you chiefly as the ice goddess whose beauty once drove James Stewart to the brink of madness. And even back then, when you were 25 years old, you worried constantly that no matter how you looked, it wasn't good enough. So a few weeks before the ceremony, you go to a doctor, and he says, 'Relax, honey. I have just the thing to make you fresh and dewy for the cameras.' And you go to the Oscars, so nervous you clutch your fellow presenter's hand. And the next day, you wake up to a bunch of cheap goddamn shots about your face. Nice system we got here, isn't it."  

Anyway, with such a dismal performance by Degeneres, the pathetically dull and pointless musical performances, and the fact that the flip-side of getting all but three predictions correct is that it made for a fairly boring show, the 2014 Academy Awards likely will not be fondly remembered. It was mostly the worst of shows.


Finally, poor Leo.

Read More →

The Best Films of the (Previous) Year

Hey there, cats and kittens. The Oscars are upon us, and while most critics (especially the ones who actually get paid to write reviews--and who live in countries where cinema isn't illegal) already released their top ten lists of the best films of 2013, as you can see, I'm a bit late. Regardless, here are the best films of the (previous) year.

10. The Past (Le Passe)
Not unlike his Oscar-winner from 2011, the Iranian film "A Separation," Asghar Farhadi's French film is a tale of quiet characters, all loudly angry at one another. Berencie Bejo (whom American audiences might recognize from "A Knight's Tale" and "The Artist"), Tahar Rahim (from "A Prophet") and Ali Mosaffa are all fantastic, as is young actress Pauline Burlet. (Have you ever had to tell your mother that you did something awful and feared the reaction and punishment? That should give you just a slight hint of a critical scene between her and Bejo.) Just like in "A Separation," Farhadi has shown us that he is (and I mean this sincerely) the new master of suspense. The suspense featured in his previous film is even more pronounced and prevalent here. Watch the final scene, where not a single note of music exists, and tell me you weren't (forgive me for using such a hackneyed expression) on the edge of your seat.

9. Nebraska
There are many things I think of when I think about Alexander Payne's "Nebraska." I think of how, while it is not as good as his masterpiece from 2002 ("About Schmidt"), it is even more entertaining than his films in between the two ("Sideways" and "The Descendants"). I think of, in particular, the idiosyncrasies of the American Midwest; those who know them will adore this film even more. Payne somehow perfectly captures the realistic surrealism of it all, and how better to do it than in black and white? It gives it a certain timelessness to it, what several critics have called a new take on American Gothic imagery, much like Peter Bagdonovich's "The Last Picture Show." Bruce Dern is fantastic here, practically helpless, yet often cruel when pressed by his son, played by Will Forte, who only several years ago was a "Saturday Night Live" cast member and who now appears to have successfully shifted to dramas. I think of Bob Odenkirk, who will soon be the star of his own show, "Better Call Saul," a spin-off of "Breaking Bad." I think of June Squibb, the actress who is practically a new hit star despite being 84 years old. I think of what Quentin Tarantino described as "Dernsies," "a reason for an excuse to film the shot in the first place." There are many Dernsies in this fine film.

8. 12 Years a Slave
As I wrote in January, "12 Years a Slave" is a movie that features a "total deficit of empathy and compassion." Like many of the films on this list, it is a critical movie, one that challenges its audience members to reconsider how they might have been (implicitly) told to think of race relations during the Antebellum period. Katie Van Syckle of Rolling Stone magazine wrote it better: There have been a handful of movies about slavery, but "a movie that makes movie-goers look, and look again, and then a little more, at the gruesome realities of plantation life--the alcohol-soaked sweat of lecherous masters, the raw skin of seeping lash wounds, the oppressive, inescapable terror of nameless captivity--feels like a first." She quotes Brad Pitt, a producer and supporting actor in the film, as arguing that "it took a Brit" to ask painful questions that Americans were avoiding.

That Brit is Steve McQueen. He has only directed three full-length films. One of them ("Hunger") was a decent and fairly impressive debut, another ("Shame") was overrated. The third is exceptional. All three starred Michael Fassbender in incredible performances. So far, there has been no bad or even subpar acting from this immensely talented individual. I look forward to seeing more of his work, along with the work of the other newer and/or younger performers in the film, like Paul Dano (who was also quite good in "Prisoners"), Benedict Cumberbatch (who was also in "Star Trek Into Darkness," "The Hobbit" and "August: Osage County") and Lupita Nyong'o, who deserves the Oscar for her performance. But I really look forward to seeing the future projects of McQueen and Fassbender, who are perhaps a modern day Scorsese/De Niro team.

7. American Hustle
"American Hustle" features the best cast of the year and compared to a disturbing "12 Years A Slave" and an intense "Gravity," this is the most fun of the Best Picture nominations. This isn't to say that there aren't any problems with this film.  Indeed, there are almost too many. The film's ending is a bit lame, and one scene (I won't say which) is practically ruined with a quick solution that still has left me puzzled. But Russell is one of those rare directors who is able to get perfection from his actors.  This is two-in-a-row from Bradley Cooper, Jennifer Lawrence and Robert De Niro; Amy Adams and Jeremy Renner have never been better. Russell's story-telling style and techniques are clearly borrowed from Scorsese and Quentin Tarantino, but he still creates a story that is uniquely his own, with an Oscar-nominated screenplay along with Eric Warren Singer.

6. This Is the End
"This Is the End" is by far the funniest film of 2013 (with Scorsese--of all people--giving us the second funniest with "The Wolf of Wall Street"). I think I laughed from start to finish. (With all due respect to our cousins across the Atlantic, see this one instead of the disappointing "The World's End.") The actors, among them Seth Rogen, James Franco, and Jonah Hill, and others theorize about the mayhem and apocalypse outside their wealthy home but are interrupted over arguments over who gets the last chocolate bar. The exorcism scene is certainly one of the funniest in recent memory.

   

5. The Hunt (Jagten)
You may recall Mads Mikkelsen's awesome performances in "Casino Royale" and NBC's "Hannibal." Here, he returns to his native Denmark in Thomas Vinterberg's "The Hunt" and he's just as good, or perhaps even better, than in the American and British productions. He has been handsomely rewarded, winning the 2012 Cannes Film Award for Best Actor. "The Hunt" is also Denmark's nominee for Best Foreign Film (and for some bizarre reason will likely lose to the Felliniesque-wannabe film "The Great Beauty" from Italy). In "The Hunt," we are witness to a witch hunt started by children--think of the banality of evil but personified by a young girl. Mikkelsen is Lucas, a respected member of a small community and a worker at a local kindergarten. When he is accused of something terrible, the entire town turns against him. The story relies on Lucas trying to prove he's innocent, but what's really unforgettable about the film is Mikkelsen's performance, particularly the scenes near the conclusion, where he's essentially ungeziefer in this Kafkaesque story. You owe it to yourself to see it simply for the performances.     

4. Lee Daniels' The Butler
Consider this: If "Lee Daniels' The Butler" had been released in November or December, would it be totally ignored by the Oscars?  Hell. No.  But the Oscars have a terribly short memory, and they should be scolded for that. Forest Whitaker and Oprah Winfrey were robbed of nominations, to say the least. This is a movie that, along with "12 Years a Slave" and many others on this list, recognizes the important place of criticality in film. It does so softly, walking a fine line between appreciating the civil rights efforts of American presidents but also openly attacking the segregationist and apartheid policies that many of them supported or at least tolerated. But it's not simply a story about presidential and civil rights history. It's about a hardworking man who struggles to relate to his son. It's an incredible movie that deserves more recognition.

3. Fruitvale Station
I'd be willing to bet that this isn't the first review that observed an obvious similarity between Michael B. Jordan and Denzel Washington. Jordan, as Oscar Grant, gives a terrific performance. In one moment, Jordan effortlessly switches between a focused intensity and a persona that begs for sympathy. Grant's story is a true one, adapted for the screen by director Ryan Coogler in his feature-length film debut. It would usually be appropriate to write here a "spoiler alert," but not this time. For one, the film's opening moments show us what happened to Oscar, caught on cellphone camera. Second, the controversy remains today, as the officer convicted in the case received a punishment of less than a year in jail.  The point is not what happens at the end, but the journey there.

The journey shows us Oscar Grant the human being. He is a father, son, husband, a man struggling to find employment and take care of his problems. It is virtually impossible not to see the similarities between this story and the George Zimmerman trial, especially considering that the verdict was announced the week of the film's premiere. In this film, Grant is not perfect. The character is a womanizer and has been in prison before and sells drugs. But this reminded me not only of the Trayvon Martin story but Spike Lee's defense of his brilliant 1989 "Do the Right Thing." In response to criticism about the so-called racism of the movie, Lee noted that white audiences usually focus on the destruction of the white character's property, ignoring the fact that in the film's climax, a black character has been shot and killed. I would not be surprised if many audience members of "Fruitvale Station" also focus on the flaws of Oscar Grant and his situation, ignoring the fact that he was murdered. It's a film you owe yourself to see and discuss.

2. Side Effects
First of all, I recognize that I'm certainly in the minority here. Steven Sodenbergh's "Side Effects" was released early in the year and barely got any notice; instead, much of the attention went to Sodenbergh's "Behind the Candelabra," the Liberace biographical film starring Michael Douglas and Matt Damon. Out of about 150 top ten lists, "Side Effects" is only on three. But "Side Effects" is a smart, brave, almost mesmerizing thriller. It's a movie that takes aim at the "doctor-as-god" complex of modern medicine but refuses to be its cheerleader. Sodenbergh knows the audience is too smart to simply accept this as a message movie. It's more. It's a Hitchcockian thriller, scary and fun. More importantly, it is thought-provoking, particularly to those who have suffered from chronic illness and pain.


And the best film of the year is...................



1. Wadjda
(Before I begin, let me first make a point that the Academy should be deeply ashamed of itself for not nominating such an incredible movie.)

"Wadjda," from the Kingdom of Saudi Arabia of all places, is one of those films that left me excited, even weeks after seeing it. The kind of movie that I want to tell all my family members and friends that they need to see. I truly believe that this movie will be viewed as part of the vehicle that brought change to Saudi Arabia. Having lived here for the past three years, I can tell you that, yes, there is change happening here. It may be painfully slow, and it may be change that happened in Western countries a hundred or more years ago (!), but it is happening. Part of what is most interesting is that part of the change is actually evidenced by the common people, especially women. Consider Manal al-Sherif's forceful call to "rein in the Saudi religious police":

"Last October, a woman in Qassim, considered Saudi Arabia's most conservative region, lashed out at a member of the religious police who demanded that she cover her entire face (she was wearing a veil that left her eyes exposed). "Don't provoke me!" the woman retorted. "Do you think we don't know our own religion? We know our religion, and covered up before you even existed. The veil is not forced upon a woman!" A 42-second video of her response blew up on Saudi social media. Using the hashtag #DontProvoke, people tweeted messages of support, criticizing the officer for berating a modestly dressed woman, and for doing so in front of her children. The public outpouring was a rarity in a country where, when it comes to confrontations between a men and women, it is generally accepted that women are to blame."   

Both the director and star of the film are Saudi women (Haifaa al-Mansour and Waad Mohammed respectfully). Mohammed's performance as Wadjda, a young girl who wants to ride a bike in a country that frowns upon it, to say the least, might remind some of the famous Italian neo-realism film "The Bicycle Thieves." But another comparison is to Keisha Castle-Hughes' performance in "Whale Rider" from 2002. Both feature excellent performances from young woman playing characters willing to push the envelope. I loved every bit of it.

Honorable Mentions: August: Osage County, Saving Mr. Banks, Europa Report, The Hunger Games: Catching Fire, The Wolf of Wall Street, The Angel's Share, Blood Brother, Mud

And now, the Oscars...

Read More →