Much like the somber melodies that float throughout its 105-minute runtime, Inside Llewyn Davis will remain lodged in your head weeks after you and the film first meet. With Oscar Isaac's "Fare thee we-e-ell..." ringing daintily in your ears, you'll shuffle out from the grasp of the Coen Brothers' wonderland of gray, but you won't soon be able to relieve yourself of what is arguable the pair's best film yet. Llewyn's is a story so outstandingly simple — he's a man who's s**t out of luck, and not especially deserving of any. He wakes up, loses his friend's cat, plays some music, and wishes things were better. And yet his is the Coens' most invigorating and deftly human tale yet.
Llewyn Davis makes the bold, but practical, choice of never insisting that we love its hero. He's effectively a jackass, justifying all the waste he has incurred with the rudeness he showers on the majority of those in his acquaintance. But Llewyn Davis isn't the villain here, either. The villain is the industry, and all the uphill battles inherent to its machinations. The villain isn't Llewyn's substantially more successful contacts — an old pal Jim (Justin Timberlake) and new fellow couch-surfer Troy (Stark Sands), but the listening public that prefers their saccharine pop to his dreary drips of misery. The villain isn't Llewyn's resentful old flame Jean (Carey Mulligan), no matter how many volatile admonitions she might shoot his way, but the act of God surrounding their unwitting adherence to one another. And it's not even the cantankerous and foul Roland Turner (a delightfully hammy John Goodman), but the endless, frigid open road of which each man is a prisoner (if the film has one flaw, it's that this segment carries on just a bit too long, but that might very well be the point). The villain is the cold.
Call it all a raw deal. But the real dynamism isn't in the challenges that happen outside Llewyn Davis, but in the determined toxicity brewing inside as he meets each and every one.
But this isn't the Coen Brothers' Murphy's Law comedy A Serious Man — we don't watch a chaotic pileup of every imaginable trick that the devil can manage to pull. Llewyn is steady throughout, not burying Llewyn deeper but keeping him on the ground, with the fruit-bearing branches forever out of his reach. In its narrative, Llewyn Davis is as close to natural life as any of the filmmakers' works to date. Perfectly exhibited in a late scene involving a trip to Akron, Llewyn isn't a cinematic construct, but the sort of person we know, so painfully, that we are very likely to be... on our bad days.
Still, working in such a terrific harmony with the grounded feel of Llewyn himself, we have that Coen whimsy in their delivery of 1960s New York City — rather, a magic kingdom painted in the stellar form of a 1960s New York City. And not the New York City we're given by the likes of Martin Scorsese or Woody Allen. Closer, maybe, to Spike Lee or Sydney Lumet, but still a terrain unique to moviegoers. A New York that's always recovering from a hostile rain, and always promising another 'round the bend. One that flickers like a dying bulb, with its million odd beleaguered moths buzzing around it against the pull of logic. There is something so incredibly alive about the Coens' crying city; this hazy dream world's partnership with half-dead, anchored-to-earth portrait like Llewyn is the product of such sophisticated imagination at play.
And to cap this review of one of the best features 2013 has given us, it's only appropriate to return to the element in which its identity is really cemented: the music. Without the tunes bobbing through the story, we'd still likely find something terrific in Llewyn Davis. But the music, as beautiful as it is, is the reason for the story. As we watch Isaac's hopeless sad sack drag himself through Manhattan's winter, past the helping hands of friends and into the grimaces of strangers, as we struggle with our own handfuls of nihilistic skepticism that any of this yarn is worth the agony (or that our attention to its meandering nature is worth the price of a ticket), we are given the rare treat of an answer. Of course it's all for something. Of course it's all about something. It's about that beautiful, beautiful music.
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Ladies and gentlemen, we're making our final descent towards naming a Best Picture of 2011.
With the Golden Globes behind us and Academy Award nominations hitting next week (with the show arriving at the tail end of February), the limbo week between them is reserved for the coveted BAFTAs, the UK equivalent of the Oscars. After picking up a few statues at the Globes, feel good favorite of the year The Artist leads the pack in the BAFTA nods with a whopping 12 nominations. Behind the silent comedy are the British spy drama Tinker Tailor Solider Spy with 11 noms and Hugo with 9. Can the BAFTAs give a much-needed boost to the latter two films? Only time will tell…The BAFTAs announce their winners February 12.
Tinker Tailor Soldier Spy
Outstanding British Film
My Week With Marilyn
Tinker Tailor Soldier Spy
We Need To Talk About Kevin
Outstanding Debut by a Writer, Director or Producer
Attack The Block - Joe Cornish (Director/Writer)
Black Pond - Will Sharpe (Director/Writer), Tom Kingsley (Director), Sarah Brocklehurst (Producer)
Coriolanus - Ralph Fiennes (Director)
Submarine - Richard Ayoade (Director/Writer)
Tyrannosaur - Paddy Considine (Director), Diarmid Scrimshaw (Producer)
Film Not in the English Language
The Skin I Live In
George Harrison: Living In The Material World
The Adventures Of Tintin: The Secret Of The Unicorn
Michel Hazanavicius - The Artist
Nicolas Winding Refn - Drive
Martin Scorsese - Hugo
Tomas Alfredson - Tinker Tailor Soldier Spy
Lynne Ramsay - We Need To Talk About Kevin
Michel Hazanavicius - The Artist
Annie Mumolo, Kristen Wiig - Bridesmaids
John Michael McDonagh - The Guard
Abi Morgan - The Iron Lady
Woody Allen - Midnight In Paris
Alexander Payne, Nat Faxon, Jim Rash - The Descendants
Tate Taylor - The Help
George Clooney, Grant Heslov, Beau Willimon - The Ides Of March
Steven Zaillian, Aaron Sorkin - Moneyball
Bridget O'Connor, Peter Straughan - Tinker Tailor Soldier Spy
Brad Pitt - Moneyball
Gary Oldman - Tinker Tailor Soldier Spy
George Clooney - The Descendants
Jean Dujardin - The Artist
Michael Fassbender - Shame
Berenice Bejo - The Artist
Meryl Streep - The Iron Lady
Michelle Williams - My Week with Marilyn
Tilda Swinton - We Need to Talk About Kevin
Viola Davis - The Help
Christopher Plummer - Beginners
Jim Broadbent - The Iron Lady
Jonah Hill - Moneyball
Kenneth Branagh - My Week with Marilyn
Philip Seymour Hoffman - The Ides of March
Carey Mulligan - Drive
Jessica Chastain - The Help
Judi Dench - My Week with Marilyn
Melissa McCarthy - Bridesmaids
Octavia Spencer - The Help
The Artist - Ludovic Bource
The Girl With The Dragon Tattoo - Trent Reznor, Atticus Ross
Hugo - Howard Shore
Tinker Tailor Soldier Spy - Alberto Iglesias
War Horse - John Williams
The Artist - Guillaume Schiffman
The Girl With The Dragon Tattoo - Jeff Cronenweth
Hugo - Robert Richardson
Tinker Tailor Soldier Spy - Hoyte van Hoytema
War Horse - Janusz Kaminski
The Artist - Anne-Sophie Bion, Michel Hazanavicius
Drive - Mat Newman
Hugo - Thelma Schoonmaker
Senna - Gregers Sall, Chris King
Tinker Tailor Soldier Spy - Dino Jonsater
The Artist - Laurence Bennett, Robert Gould
Harry Potter And The Deathly Hallows Part 2 - Stuart Craig, Stephenie McMillan
Hugo - Dante Ferretti, Francesca Lo Schiavo
Tinker Tailor Soldier Spy - Maria Djurkovic, Tatiana MacDonald
War Horse - Rick Carter, Lee Sandales
The Artist - Mark Bridges
Hugo - Sandy Powell
Jane Eyre - Michael O'Connor
My Week With Marilyn - Jill Taylor
Tinker Tailor Soldier Spy - Jacqueline Durran
Make Up & Hair
The Artist - Julie Hewett, Cydney Cornell
Harry Potter And The Deathly Hallows Part 2 - Amanda Knight, Lisa Tomblin
Hugo - Morag Ross, Jan Archibald
The Iron Lady - Marese Langan
My Week With Marilyn - Jenny Shircore
The Artist - Nadine Muse, Gérard Lamps, Michael Krikorian
Harry Potter And The Deathly Hallows - Part 2 - James Mather, Stuart Wilson, Stuart Hilliker, Mike Dowson, Adam Scrivener
Hugo - Philip Stockton, Eugene Gearty, Tom Fleischman, John Midgley
Tinker Tailor Soldier Spy - John Casali, Howard Bargroff, Doug Cooper, Stephen Griffiths, Andy Shelley
War Horse - Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Johnson, Richard Hymns
Special Visual Effects
The Adventures Of Tintin: The Secret Of The Unicorn - Joe Letteri
Harry Potter And The Deathly Hallows Part 2 - Tim Burke, John Richardson, Greg Butler, David Vickery
Hugo - Rob Legato, Ben Grossman, Joss Williams
Rise Of The Planet Of The Apes - Joe Letteri, Dan Lemmon, R. Christopher White
War Horse - Ben Morris, Neil Corbould
The Orange Wednesdays Rising Star Award
Ryan Kwanten, Steve Zahn and Danny Pudi will be joining Peter Dinklage in the awesomely-named horror-comedy Knights Of Badassdom. The film, directed by Joe Lynch, will follow the adventures of a group of LARPers (Live Action Role Players) who accidentally summon an actual demon from a spell book they bought on eBay. Kwanten, best known for his role as dim-witted sex god Jason on True Blood, described the film as “sort of a comedy… like Shaun of the Dead meets Role Models.”
I can’t even start to explain how glad I am to hear about an actual original comedy film when all week we’ve been buried in remake news. They’re even assembling a really interesting cast! And I do mean actually “interesting”, not “interesting” like you say when you find out that they’re making a Les Grossman movie or konsidering Kim Kardashian for Tomb Raider. (You see what I’ve been dealing with all week?!) Danny Pudi is consistently the best part of the already hilarious Community, and Steve Zahn has been charming me all season as the buffoonish musician Davis on Treme. And Peter Dinklage can be great, as long as he has a role beyond just being angry and short. As for a downside, a film with a concept this unusual might have a difficult time finding an audience. Let’s hope that the ad department rolls for charisma.
For those who don't know what LARPing is, this video should give you an idea. A sad, sad idea.
Source: Cinema Blend
While the original 1950s sci-fi cult classic pointed to the Cold War and the threat of nuclear war in a timely manner this The Day the Earth Stood Still is just a rehash. Do we really need Keanu Reeves to tell us how we’ve messed up the planet? In any case he plays Klaatu an alien being inside a human body who comes to Earth in a giant sphere to “talk” to our world leaders about our destructive behavior. In fact he’s the deciding factor on whether to destroy the human race in order to preserve Earth OR give us another chance. Of course no one is going to let Klaatu speak to the U.N. which leaves the alien no other choice. Until that is he joins up with a pretty scientist (Jennifer Connelly) and her stepson (Jaden Smith) and sees just exactly how warm and fuzzy humans can be. Oy. It might be too late though since Klaatu’s giant robot friend (“Gort” in the original) is already gearing up for his mission to kill and destroy. At least casting Keanu Reeves was a smart move. Klaatu’s lack of emotion and few words is right up the actor’s alley; he makes it look soooo easy. Connelly on the other hand is making the same mistake she did when she starred in Hulk -- playing a brilliant scientist of some kind who is inevitably wasted onscreen. Jaden Smith is kind of an impertinent little snot through most of the movie who wants Klaatu dead but suddenly changes his mind just at the right moment. And then there’s Kathy Bates as the Secretary of Defense who stonewalls Klaatu’s request to meet the world leaders. She nearly ruins the whole thing! It’s not that The Day the Earth Stood Still is a poorly made film. Director Scott Derrickson sets the right tone and aptly applies the state-of-the-art special effects when it’s needed -- especially when the robot starts to work his particular destructive mojo by unleashing millions of tiny mechanical bugs who eat through everything. The main problem with this remake is bad timing. The original was creepy and quiet and menacing with its alien takeover theme in a way moviegoers had never experienced in 1951; it hit a chord which has carried it through its cult status. But to redo it now when we’ve seen the same kind of movie done in so many better ways doesn’t make any sense. In trying to keep to the original’s spirit this Day comes off as derivative unimaginative and tedious. Should have left it alone folks.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.