Fiona Goode (Jessica Lange) has a brief respite from her advancing sickness. After the attempt on her life, she seems in good spirits and as powerful as ever. However, someone is still going to depose her as ruler of the witches of Miss Robichaux's Academy for Exceptional Young Ladies. Here are the candidates for the next Supreme and possible reasons why they might just end up being Mary Wilson. (Note for non-Motown heads: She was famous for being a founding member of The Supremes but had a high-profile feud with Diana Ross and was briefly poor for a while.)
Why She’s The Supreme: Misty (Lily Rabe) has the power of resurgence. Resurrecting the dead is one of the mysterious seven wonders. Unlike everyone she has resurrected, she is in near perfect condition. Why She’s Mary Wilson: It’s too early in the season and she might be a red herring. Also, she’s Myrtle Snow’s pick for Supreme and as gifted a witch as Myrtle is, she’s a little cuckoo for Coco Puffs.
Why She’s The Supreme: Zoe (Taissa Farmiga) has a killer nether region, which seems like a unique power. Also, she was able to break a spell by Marie Laveau (Angela Bassett) remotely and knock her on her butt. She rematerialized The Axeman and he seems to be back to life. That, technically, could be considered a 7th wonder resurrection. Also, the first episode began with her so she’s a major protagonist in the story. Why She’s Mary Wilson: It’s a little obvious. The audience will see it coming. She also isn’t the most adept at magic. Her spells never really work out the way she wants.
Why She’s The Supreme: Madison (Emma Roberts) has telekinesis which is Fiona’s primary power. She also developed pyrokinesis and Fiona suddenly got sicker. Fiona also took a spell when Madison was resurrected. Also, after being resurrected, despite advanced rotting, she seems in fairly decent condition. Now that she’s back to life she’s still in the running for America’s Next Top Witch Ruler. Why She’s Mary Wilson: She did die ... pretty easily. Also, while she was dead, she didn’t have any magical protection from becoming a plaything for a necrophiliac with a doll fetish.
Why She’s The Supreme: Queenie (Gabourey Sidibe) bridges the two worlds of witchcraft and voodoo. She also isn’t the most likely choice. The fact that Marie Laveau wants to use her to destroy the coven of witches could be a hint. Also, when she learns of Marie’s betrayal it’d be an awesome smackdown if she had Supreme power. Why She’s Mary Wilson: She isn’t a series regular on the show so she may not survive joining the voodoo clan. Also, Fiona healed her with magic. If that happened wouldn’t she, via magic physics, get sicker on the spot if one Supreme healed another?
Why She’s The Supreme: Nan (Jamie Brewer) is the least likely choice. She has stayed in the sidelines and hasn’t had much of a role in the major storylines. It would be the penultimate WTF moment. Also, Ryan Murphy does like to give actors with Down Syndrome a voice. On Glee, Becky (Lauren Potter) was at the center of some major reveals as well. Why She’s Mary Wilson: Despite a strong grasp on her own magic, she hasn’t really shown any prominent magical skill outside her own ability.
Remember that firestarter that had freak nasty sex with Hank Foxx (Josh Hamilton) then got shot? Her name was Kaylee (Alexandra Breckenridge). Why She’s The Supreme: If we are not discounting anyone resurrected like Misty and Madison, there’s no reason why Kaylee couldn’t be The Supreme. Also, she was such a scene-stealer when she played the younger Moira the maid in American Horror Story: Murder House. It also looks like she will be resurrected in the episode “Head.” Why She’s Mary Wilson: It would be a huge leap to upgrade such a minor character to The Supreme. We just want to cover our bases.
Why She’s The Supreme: Cordelia (Sarah Paulson) is the daughter of The Supreme. To date, we haven’t seen any of her abilities to know if she has had the power all along. Also, she’s repressed a lot of her power until now. When she went blind, she was instantly given a second sight. Could that be a forced manifestation of her supremeness? Why She’s Mary Wilson: It might be too much of a leap for her to be the Supreme all this time and not kill Fiona. It also would be a little misguided to make her the Supreme. However, the writers of American Horror Story have done crazier things. Remember the aliens last year?
Sometimes a director has a favorite actor that they jibe with whom they cast in a whole whack of movies in a row. Think Scorsese and DiCaprio Wes Anderson and Bill Murray or Sofia Coppola and Kirsten Dunst. It's a sort of professional infatuation that can serve a project well but it can also lull them into self-indulgence. Although this is only the second time that Killing Them Softly's writer/director Andrew Dominik has worked with Brad Pitt it feels like they have a certain camaraderie. The symbiosis previously worked in their favor in 2007's The Assassination of Jesse James by the Coward Robert Ford. This time around they never quite find the same rhythm.
Of course Killing Them Softly has an entirely difference cadence than that golden-hued meditative Western; it's stylishly violent and blackly hilarious. After all the catalyst for this whole affair is a half-cocked scheme cooked up by a wanna-be gangster nicknamed Squirrel (Vincent Curatola) and carried out by a desperate ex-con (Scoot McNairy) and a scummy Australian junkie (Ben Mendelsohn) who steals and sells purebred dogs for cash. Their plan to knock over a mobbed-up card game is air tight (or so it seems): the game runner Markie (Ray Liotta) has confessed to setting up a heist of his own game in the past. The knuckleheads think the card-players will blame him again.
Unfortunately for them Jackie Cogan (Pitt) is called in to investigate the matter. His record is impeccable his glasses mirror-slick and his hands steady. His technique is of course to kill his victims "softly " from a distance. "It's so embarrassing " he comments to a middleman played by Richard Jenkins to watch his targets plead and cry and lose control of their bodily functions. It's just as embarrassing to see his colleagues lose their mettle like Mickey (James Gandolfini) a gangster he called in to help out. Mickey is a dogged drunk and a womanizer who's given to rapturous platitudes about a prostitute he knew in Florida. "There's no ass in the whole world like a young Jewish girl who's hooking " he tells an increasingly frustrated Jackie. Grossly funny scenes like this the scatological problems one encounters while driving dog-napped pups across country and an explosion gone awry are outweighed by a weirdly bloated narrative that makes pits stops so characters can loll in junkie nods to the tunes of the Velvet Underground.
The changing political climate of the era is used as a clumsy foil for this underground economy. At first it's interesting and makes you feel a bit clever to notice the TV in the background playing an old clip of George W. Bush droning on about the economy or a huge political ad on a billboard looming over a desolate area. As time goes on Bush is replaced by Obama (first as senator later as president) on TV but nothing really changes for these people or their situations. Midway through it's obvious and by the end overbearing especially as Jackie lectures Jenkins's lawyer (and us) about why the system is as screwed as the characters. "America's not a country it's a business. Now f**king pay me " he tells Jenkins's Driver in an echo of the classic Goodfellas line uttered by Liotta.
Dominik has only made three films but he's a formidable writer and director with a keen eye for assembling ensemble casts. It's possible that time and multiple viewings will treat Killing Them Softly as well as it has The Assassination of Jesse James or Chopper but for now it works better as a character study or perhaps a showpiece for its talented performers than an overall experience.
And then there was 12. The Oscar camp has announced the dozen second-round qualifiers for the Best Documentary prize. And judging by the lineup, it doesn't look like the deciding committee is experiencing its usual "forgetfulness" when it comes to potential nominees.
The list is a virtual hit parade, including some of the year's most talked-about films -- from the absurd ("Mr. Death" ) to the sublime ("Buena Vista Social Club") and the farcical ("American Movie") to the serious "On The Ropes."
The following is the complete list:
"Amargosa" "American Movie" "Beyond the Mat" "Buena Vista Social Club" "Genghis Blues" "Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr." "On the Ropes" "One Day in September" "Pop & Me" "Smoke and Mirrors: A History of Denial" "The Source" "Speaking in Strings"
A committee of Academy members selected the docs. Final voting is currently taking place in Beverly Hills, New York and San Francisco where voters will screen the flicks before voting for five that'll earn official nominations. Overall, 55 feature-length docs were eligible for the 1999 competition.
Nominees for all 22 Academy Award categories - including Best Documentary -- will be announced Feb. 15 at 5:30 a.m. PST.
ALL HAIL NERDS: The unsung heroes of the movie business - tech heads, hardware geniuses, overworked engineers, etc. -- are getting their moment in the so-called limelight, too.
The Academy Awards folks are set to honor the behind-the-sceners for outstanding scientific and technical achievement in ceremonies March 4 in Beverly Hills. (Of course, unlike the movie-star types, the nerds will receive plaques and certificates, not shiny statues.)
Also, unlike the movie-star types, the nerds won't have to wait to find out if they've won. The Academy released its list of 12 techie awards Tuesday.
The following is a list of the recipients and their achievements.
Scientific and Engineering Awards:
Nick Phillips, for the design and development of the three-axis Libra III remote control camera head.
Fritz Gabriel Bauer, for the concept, design and engineering of the Moviecam Superlight 35mm Motion Picture Camera.
Iain Neil, Rick Gelbard and Panavision Inc., respectively, for the optical design, mechanical design and development of the Millennium Camera System viewfinder.
Huw Gwilym, Karl Lynch and Mark Crabtree, for the design and development of the AMS/Neve-Logic Digital Film Film Console for motion picture sound mixing.
James Moultrie, Mike Salter and Mark Craig Gerchman, for the mechanical design of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm motion picture photography.
Marlowe A. Pichel, for development of the process for manufacturing Electro-Formed Metal Reflectors.
L. Ron Schmidt, for the concept, design and engineering of the Linear Loop Film Projectors.
Nat Tiffen of Tiffen Manufacturing Corporation, for the production of high-quality, durable, laminated color filters for motion picture photography.
Technical Achievement Awards:
Vivienne Dyer and Chris Woolf, for the design and development of the Rycote Microphone Windshield Modular System.
Leslie Drever, for the design and development of the Light Wave microphone windscreens and isolation mounts from Light Wave Systems.
Richard C. Sehlin, Dr. Mitchell J. Bogdanowicz and Mary L. Schmoeger of the Eastman Kodak Co., respectively for the concept, design and development of the Eastman Lamphouse Modification Filters.
Hoyt H. Yeatman Jr. of Dream Quest Images and John C. Brewer of the Eastman Kodak Company, for the identification and diagnosis leading to the elimination of the "red fringe" artifact in traveling matte composite photography.
NEW LOOK: The official poster for this year's Oscars has been unveiled -- and its so-called "exciting new look for the year 2000" is not as forward-thinking as one might expect.
The millennium-themed poster, designed by filmmaker/graphic artist Arnold Schwartzman for the fourth consecutive year, is based on the 1926 Fritz Lang classic "Metropolis," a flick set in the dystopian future (translation: bad days) of the 2000.
The inspiration for the poster (the encircling numerals, to be exact) can apparently be traced back to a sequence in the silent classic where a robot is brought to life by circles of electricity. No word from Schwartzman if the anti-authoritarian values of the Lang's film also informed his design.
Audiences can judge for themselves when 50,000 posters hit theaters and video retailers this week.