Archive for March 7th, 2010

Just a reminder, the complete round-up of all the nominee reviews and ceremonial predictions from Sam Juliano, Bob Clark, Dee Dee, Jamie Uhler, and me (Joel) is active at “The Academy Awards on Wonders in the Dark”. Since Friday, the post has been updated to include Bob’s review of Avatar, Sam’s picks for Best Picture and Dee Dee’s round-up of all his predictions, and my own reviews of Bright Star and Inglourious Basterds. (I’ve also added Sam’s pick for Best Picture, which I didn’t realize was forthcoming, and bumped this post back up to the top of the page at Dee Dee’s request.)


Read Full Post »

Please Check Out The Winners Here…Thanks,
Oscar@ Statues

All of Sam Juliano’s Oscars@ Predictions…
Picture: The Hurt Locker
Director: Kathryn Bigelow (The Hurt Locker)
Actor: Jeff Bridges (Crazy Heart)
Actress: Sandra Bullock (The Blind Side)
Supporting Actor: Christoph Waltz (Inglorious Basterds)
Supporting Actress: Mo’Nique (Precious)
Original Screenplay: The Hurt Locker
Adapted Screenplay: Up in the Air
Editing: The Hurt Locker
Cinematography: The White Ribbon
Foreign Film: The Secret in Their Eyes (Argentina)
Animated Film: Up
Documentary Feature: The Cove
Original Score: Up
Original Song: The Weary Kind (Crazy Heart)
Art Direction: Avatar
Visual Effects: Avatar
Costumes: The Young Victoria
Make-up: Star Trek
Sound Editing: Avatar
Sound Mixing: The Hurt Locker
Animated Short: The Lady and the Reaper
Live Action Short: Instead of Abracadabra
Documentary Short: China’s Unnatural Disaster: The Tears of Sichuan (more…)

Read Full Post »

According to Sam Juliano, The Best Director’s race this year, brings together the helmers of the five strongest films of the ten nominated in the Best Picture category. Hence, the five nominees are:
Kathryn Bigelow, The Hurt Locker
James Cameron, Avatar
Quentin Tarantino, Inglourious Basterds
Jason Reitman, Up in the Air
Lee Daniels, Precious

Not a single choice here was unexpected when nominations were announced, and it’s almost a sure bet that these five films would have been the exact ones named if the category was still restricted to five. Of course there is little doubt that Kathryn Bigelow, will be bring home the gold this year for her vigorous direction of The Hurt Locker, which will make her the first woman ever to cop the prestigious prize. Even if for some reason The Hurt Locker fails to cop Best Picture, it is a foregone conclusion that Ms. Bigelow is a lock in this category.

Personally I believe that The Hurt Locker will be carried in to the winners circle in the biggest category, largely as a result of Bigelow’s popularity and certain win. James Cameron’s Avatar could still win Best Picture, but Cameron can’t win Best Director, as he’s won once before, and his big ego has always been a turn off to voters, despite his considerable talent and ability to pump life into the industry with big box-office. Similarly, Tarantino, Reitman and Daniels are just here for the ride, though of the three, it now appears Tarantino is probably the strongest.

Sam Juliano’s Prediction: Kathryn Bigelow, The Hurt Locker
Sam Juliano’s Personal Choice: James Cameron, Avatar

Note: If you like you can partake in the Oscar@ poll(s)…
[The Polling Will End This Evening at 6:25pm]

Best Director and Best Actress

Best Actress in a Leading Role…
Sam Juliano’s Choice To Win…
Sandra Bullock in “The Blind Side”
Sam Juliano’s Personal Favorite…
Helen Mirren in “The Last Station”
Carey Mulligan in “An Education”
Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
Meryl Streep in “Julie & Julia

Read Full Post »

by Allan Fish

(USA 1925 72m/85m) DVD1/2

T’Aint a Fit Night Out for Man or Beast!

p/d/w  Charles Chaplin  ph  Rollie Totheroh  ed  Harold McGhean  m  Charles Chaplin  md  (1942 version) Max Terr (including N.Rimsky-Korsakov, P.I.Tchaikovsky)   art  Charles D.Hall 

Charles Chaplin (the tramp), Georgia Hale (Georgia), Mack Swain (Big Jim McKay), Tom Murray (Black Larson), Henry Bergman (Hank Curtis), Malcolm White (Jack),

So the line quoted above is not even a Chaplin line, but rather the immortal catchphrase of W.C.Fields in his classic short The Fatal Glass of Beer which, likewise, is set in a snowy cabin in the middle of nowhere.  But much as though Fields was hardly a fan of Chaplin (“the son of a bitch is nothing but a ballet dancer”), he was also astute enough to know the comical situations that could arise from such a setting.

            The story of what would become Chaplin’s first classic feature film (no disrespect to The Kid in 1921, but that was more of an extended mini-feature, and A Woman of Paris – in which he didn’t appear – was a failure with the public which, though critically admired in various quarters, was not a mistake he was going to repeat) is simple; a lone prospector in the Yukon hooks up with another lone prospector (played by Chaplin’s regular partner in crime, the great Mack Swain) in their attempts to find gold, during which time Charlie falls for a music hall girl.  It is in essence quintessential Chaplin, displaying all of his virtues and some of his faults.  Sure, it’s ripe with sentimental pathos and has a Victorian view of romance. (To watch Chaplin plead love is so indicative of the times, and also very reminiscent of his friend Douglas Fairbanks in Robin Hood and The Three Musketeers, all wild arm gesticulation, holding of hands to chest, pointing into the distant blue or grey yonder, like he’s paying homage to a queen rather than making romantic allusions.)  Indeed it’s more a series of great set pieces than a great whole.  But what set pieces! – the cliff-hanging cabin, the gourmet shoe eating, the chicken shoot, the waltz to Tchaikovsky tied to a dog, the dance of the bread rolls, the list is endless.  Trying to pick a favourite moment is hard, because there are so many, but for me it has to be the cliff hanger on the cabin, if only because its style is not really typical of Chaplin, it’s the sort of thing more associated with Buster Keaton or, in particular, Harold Lloyd.  It’s comparable to the best hair-raisers Lloyd ever did, even if Chaplin didn’t quite risk as much personal injury as Lloyd did in the likes of Safety Last and Speedy(more…)

Read Full Post »