Paramount via Everett Collection
With so many different awards organizations announcing their nominations one after the other, it's difficult to remember how heavily to weigh each one's picks when filling out your Oscar pool sheet. Generally speaking, the BAFTAs are a fairly safe guide when it comes to the Best Picture category. Since 2008, the British Academy of Film and Television Arts has accurately predicted the Academy's top winners, with (even more impressively) only two discrepancies in Best Picture nominations throughout those five years (both in 2012, interestingly enough). Looking at this latest batch of BAFTA's chief nominees — which includes...
American Hustle,Captain Phillips,Gravity,Philomena,and 12 Years a Slave
— we're not especially surprised by any of the films included in as much as we are a bit displaced over the absence of one of this past year's biggest titles: The Wolf of Wall Street. By now, everyone with his ear close to the conversation is predicting that Steve McQueen's 12 Years a Slave is a lock for the Best Picture Oscar, but the consideration rarely comes without honorable mention of Martin Scorsese's Wolf. Still, the satirical picture is far from awards fodder. Called far too "extreme" for the Academy's liking, the 3-hour tour de force of mortifying hedonism would be a far cry from an Oscar even without the competition of 12 Years. Instead, as suggested by BAFTA's list of Best Picture nods, organizations are leaning towards the safer, sweeter, more palatable, less controversial, and effectively less good spiritual counterpart to Wolf of Wall Street: American Hustle.
Hustle is a fine movie all its own — it's fun, dynamic, well-acted, and does indeed feel "lived in." But it falls shy of the artistic reach represented by fellow con man epic Wolf, to which comparisons are inevitable (you can hear a terrific discussion on the matter on the latest episode of Fighting in the War Room). While we'd be hard pressed to deny David O. Russell's funny, campy, emotionally charged picture its due recognition of quality, the choice to nominate it for Best Picture over Wolf of Wall Street seems like a statement of fear: "We don't want to nominate that large, messy, outrageous picture that's got everybody all in a huff," mutters a nervous BAFTA. "But what about the one with the hair? That's sorta like Wolf of Wall Street, but cleaner. Jolly good!"
The choice is a scary one, if only that it suggests the possibility that BAFTA has veered away from Wolf of Wall Street due to the volatility associated with the movie rather than due to the quality therein. By this token, would a few more Armond Whites have robbed 12 Years a Slave of its nomination? How about a few more Neil deGrasse Tysons stealing the nod from Gravity?
Hopefully, the Academy will not emulate this aversion to Scorsese's movie — one that more than deserves mention, and would even take home a few trophies in a just system. Peruse the rest of BAFTA's nominations below (which also, obscenely, omit Her in the Original Screenplay category) and share your thoughts on the matter.
BEST FILM12 YEARS A SLAVE Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueenAMERICAN HUSTLE Charles Roven, Richard Suckle, Megan Ellison, Jonathan GordonCAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De LucaGRAVITY Alfonso Cuarón, David HeymanPHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward
DIRECTOR12 YEARS A SLAVE Steve McQueenAMERICAN HUSTLE David O. RussellCAPTAIN PHILLIPS Paul GreengrassGRAVITY Alfonso CuarónTHE WOLF OF WALL STREET Martin Scorsese
ORIGINAL SCREENPLAYAMERICAN HUSTLE Eric Warren Singer, David O. RussellBLUE JASMINE Woody AllenGRAVITY Alfonso Cuarón, Jonás CuarónINSIDE LLEWYN DAVIS Joel Coen, Ethan CoenNEBRASKA Bob Nelson
ADAPTED SCREENPLAY12 YEARS A SLAVE John RidleyBEHIND THE CANDELABRA Richard LaGraveneseCAPTAIN PHILLIPS Billy RayPHILOMENA Steve Coogan, Jeff PopeTHE WOLF OF WALL STREET Terence Winter
LEADING ACTORBRUCE DERN NebraskaCHIWETEL EJIOFOR 12 Years a SlaveCHRISTIAN BALE American HustleLEONARDO DICAPRIO The Wolf of Wall StreetTOM HANKS Captain Phillips
LEADING ACTRESSAMY ADAMS American HustleCATE BLANCHETT Blue JasmineEMMA THOMPSON Saving Mr. BanksJUDI DENCH PhilomenaSANDRA BULLOCK Gravity
SUPPORTING ACTORBARKHAD ABDI Captain PhillipsBRADLEY COOPER American HustleDANIEL BRÜHL RushMATT DAMON Behind the CandelabraMICHAEL FASSBENDER 12 Years a Slave
SUPPORTING ACTRESSJENNIFER LAWRENCE American HustleJULIA ROBERTS August: Osage CountyLUPITA NYONG’O 12 Years a SlaveOPRAH WINFREY The ButlerSALLY HAWKINS Blue Jasmine
OUTSTANDING BRITISH FILMGRAVITY Alfonso Cuarón, David Heyman, Jonás CuarónMANDELA: LONG WALK TO FREEDOM Justin Chadwick, Anant Singh, David M. Thompson, William NicholsonPHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward, Jeff PopeRUSH Ron Howard, Andrew Eaton, Peter MorganSAVING MR. BANKS John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue SmithTHE SELFISH GIANT: Clio Barnard, Tracy O’Riordan
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCERCOLIN CARBERRY (Writer), GLENN PATTERSON (Writer) Good VibrationsKELLY MARCEL (Writer) Saving Mr. BanksKIERAN EVANS (Director/Writer) Kelly + VictorPAUL WRIGHT (Director/Writer), POLLY STOKES (Producer) For Those in PerilSCOTT GRAHAM (Director/Writer) Shell
FILM NOT IN THE ENGLISH LANGUAGETHE ACT OF KILLING Joshua Oppenheimer, Signe Byrge SørensenBLUE IS THE WARMEST COLOUR Abdellatif Kechiche, Brahim Chioua, Vincent MaravalTHE GREAT BEAUTY Paolo Sorrentino, Nicola Giuliano, Francesca CimaMETRO MANILA Sean Ellis, Mathilde CharpentierWADJDA Haifaa Al-Mansour, Gerhard Meixner, Roman Paul
DOCUMENTARYTHE ACT OF KILLING Joshua OppenheimerTHE ARMSTRONG LIE Alex GibneyBLACKFISH Gabriela CowperthwaiteTIM’S VERMEER Teller, Penn Jillette, Farley ZieglerWE STEAL SECRETS: THE STORY OF WIKILEAKS Alex GibneyANIMATED FILMDESPICABLE ME 2 Chris Renaud, Pierre CoffinFROZEN Chris Buck, Jennifer LeeMONSTERS UNIVERSITY Dan Scanlon
ORIGINAL MUSIC12 YEARS A SLAVE Hans ZimmerTHE BOOK THIEF John WilliamsCAPTAIN PHILLIPS Henry JackmanGRAVITY Steven PriceSAVING MR. BANKS Thomas Newman
CINEMATOGRAPHY12 YEARS A SLAVE Sean BobbittCAPTAIN PHILLIPS Barry AckroydGRAVITY Emmanuel LubezkiINSIDE LLEWYN DAVIS Bruno DelbonnelNEBRASKA Phedon Papamichael
EDITING12 YEARS A SLAVE Joe WalkerCAPTAIN PHILLIPS Christopher RouseGRAVITY Alfonso Cuarón, Mark SangerRUSH Dan Hanley, Mike HillTHE WOLF OF WALL STREET Thelma Schoonmaker
PRODUCTION DESIGN12 YEARS A SLAVE Adam Stockhausen, Alice BakerAMERICAN HUSTLE Judy Becker, Heather LoefflerBEHIND THE CANDELABRA Howard CummingsGRAVITY Andy Nicholson, Rosie Goodwin, Joanne WoodlardTHE GREAT GATSBY Catherine Martin, Beverley Dunn
COSTUME DESIGNAMERICAN HUSTLE Michael WilkinsonBEHIND THE CANDELABRA Ellen MirojnickTHE GREAT GATSBY Catherine MartinTHE INVISIBLE WOMAN Michael O’ConnorSAVING MR. BANKS Daniel Orlandi
MAKE UP & HAIRAMERICAN HUSTLE Evelyne Noraz, Lori McCoy-BellBEHIND THE CANDELABRA Kate Biscoe, Marie LarkinTHE BUTLER Debra Denson, Beverly Jo Pryor, Candace NealTHE GREAT GATSBY Maurizio Silvi, Kerry WarnTHE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater
SOUNDALL IS LOST Richard Hymns, Steve Boeddeker, Brandon Proctor, Micah Bloomberg, Gillian ArthurCAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver TarneyGRAVITY Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris MunroINSIDE LLEWYN DAVIS Peter F. Kurland, Skip Lievsay, Greg OrloffRUSH Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse
SPECIAL VISUAL EFFECTSGRAVITY Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki PennyTHE HOBBIT: THE DESOLATION OF SMAUG Joe Letteri, Eric Saindon, David Clayton, Eric ReynoldsIRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan SudickPACIFIC RIM Hal Hickel, John Knoll, Lindy De Quattro, Nigel SumnerSTAR TREK INTO DARKNESS Ben Grossmann, Burt Dalton, Patrick Tubach, Roger Guyett
BRITISH SHORT ANIMATIONEVERYTHING I CAN SEE FROM HERE Bjorn-Erik Aschim, Friederike Nicolaus, Sam TaylorI AM TOM MOODY Ainslie HendersonSLEEPING WITH THE FISHES James Walker, Sarah Woolner, Yousif Al-Khalifa
BRITISH SHORT FILMISLAND QUEEN Ben Mallaby, Nat LuurtsemaKEEPING UP WITH THE JONESES Megan Rubens, Michael Pearce, Selina LimORBIT EVER AFTER Chee-Lan Chan, Jamie Stone, Len RowlesROOM 8 James W. Griffiths, Sophie VennerSEA VIEW Anna Duffield, Jane Linfoot
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.