It's Top Ten Time! (Not Here, But Elsewhere.)

Setting aside for a moment the personal view that people rush too quickly into naming their favorites every year (usually well before the annum is over) I do love reading a good top ten list. When those  lists are from magazines, they have a long lead excuse so let's enjoy them.

The L Magazine, a local NYC offering ("the L"is a subway), has released their Best Films of 2010 and as usual there's a lot to argue with. For instance, Mark Asche lulled me into a state of hipster foreign-film auteurism before clobbering me by honoring Woody Allen at the end. Did not see that coming given the rest of the list and, what's more, I'd call You Will Meet a Tall Dark Stranger Woody's nadir if I hadn't failed at successfully erasing all memories of The Curse of the Jade Scorpion and Hollywood Ending. Where is Lacuna, Inc when I need them? Nicolas Rapold, like Asche, leads with Carlos but then has to go and throw in Oki's Movie. Someone please point me to a review of this that explains its worth. I remain perplexed that some cinephiles go apeshit for a movie that is so anti-cinematic; it all but refuses visual interest. "I'm just gonna leave this camera here and not for a brilliantly composed one shot either but just because I can't be bothered to think visually. There! Deal with it." And so it goes throughout the lists with the mix of "yes, good point." and "wtf?" but what would Top Ten Season be without that? Dull, that's what.

The most eccentric list belongs to Benjamin Strong who starts with Godard and ends with... Splice? The most surprising list is the most mainstream (they don't often go hand in hand) coming from Jesse Hassenger who mixes geek-causes, Oscar hopefuls, mainstream comedies... and Greenberg. Noah Baumbach's miserable middle-age protagonist is totes the new mascot for L Magazine appearing on five of the six lists. I liked the movie quite a bit, especially Greta Gerwig's deliciously unactressy actressing if you get me, but I'm not sure I follow all the top ten / awards enthusiasm. Not sure it clears those "best" hurdles, though it's definitely a worthy effort.

I Am Love, a succulent dish.

Finally, you should all head over to Anthony Lane's top ten list at The New Yorker. He's long been one of my favorite writers, no matter what he happens to think of any particular movie. He's just so damn readable; an expert at the turn of a phrase, the offhand quip and the skillful resolution. My favorite part is this awesome "divisive/unifying" double feature since I deeply love both of 'em.

There were films that divided, in 2010, like Luca Guadagnino’s “I Am Love,” whose peach-like ripeness of sensation made some recoil, but which to others, a mite less embarrassable, showed with fine, Italianate panache how uncontrollable feelings can be held and sustained by an organizing eye. And there were films that united, like David Fincher’s “The Social Network”; who would not revel in the irony of a movie about smart-ass kids that was suitable for intelligent grownups? People felt moved to feast, in the aftermath, on its many implications—scary or succulent, depending on your taste for the new, endlessly mediated world. And how long, incidentally, has it been since you saw a film that was gripped by great animus and hostility but was not resolved by violent means? Quite the opposite, in fact; when someone raised a hand against Justin Timberlake, he backed away like a kitten.

But go read the whole thing for takes on Winter's Bone, A Prophet, Dogtooth and more.

What? You still want more? You're insatiable with list lust. Here's a few more.

•  rjrucker's "top ten (so far)" I guess I egged him on.
• Awards Daily dissects Peter Travers awards whoring list.

7 Word Reviews: Made in Dagenham, Stone, 127 Hours, Etc...

Can you feel Oscar precursor season gearing up?

Left: Aron Ralson as himself.
Right: James Franco as Aron Ralston

The mountaintops are a-rumbling. To delude myself into thinking I've "caught up" before the avalanche, herewith seven word reviews on a bunch of movies I haven't got around to talking about just yet. More to come on three of them.

127 Hours
In which James Franco plays Aron Ralston who is pinned under boulder in southern Utah.
7WR: Nervously tricked up storytelling, but gripping nonetheless. B/B+


Made in Dagenham
Sally Hawkins leads fellow factory women on a strike for equal pay in late-60s England.
7WR: Engaging nuanced star turn elevates predictable story.  B

Stone
A parole officer who is about to retire (of course!) gets mixed up with an inmate and his wife.
7WR: Weirdly acted, overcooked presentation of undefined 'whatthefuck?'ness. D

Norton: What the fuck are you looking at?
Nathaniel: Honestly, I have no idea. You should tell me since you made it. 

Salt
In which Angelina Jolie is an American spy accused of being a Russian sleeper agent.
7WR (Angelina): An unactable enigma, so Jolie charismas instead. B+
7WR (Movie): Endearingly absurd but sadly disposable. Lame ending. B-

Soul KitchenFatih Akin's comedy about second chances, a flailing restaurant, and two German-Greek brothers.
7WR: Slow burn silliness and lusty adult appetites. B+

Leaving
Kristin Scott Thomas gets the f*** of her life from Sergi Lopez, then loses her cool.
7WR: Feverishly horny portentousness. Somehow Kristin sells it. C+

I Am Love
Tilda is the matriarch of a rich Italian clan whose family business is changing hands.
7WR: Mouthwatering visuals, melodramatic verve, subtextual theme;  Masterpiece?  A/A-

(big article forthcoming now that it's on DVD. Probably in a week's time.)

Mic-Macs
(From the man behind Amélie.) A man with a bullet in his brain seeks revenge on arms dealers.
7WR: Inspired (But Exhausting) Hijinx Setpieces 'R Us B-

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If you've seen any of these, do share your feelings. I lift the restrictions on word counts for the comments. You may use more than 7! (If you're ever in doubt about whether or not to comment try to think of comments as little crumbs and The Film Experience as a zoo. Here you may should feed the animals because they don't eat otherwise.) 
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Halfway Mark: Best Performances (Thus Far)

Hey there 2010. You'd best step it up. Time's a wastin'.

The talk of the 'net right now is Inception but that's not open yet, nor have I seen it. In Contention's Kris Tapley has written a lengthy piece about its Oscar prospects that I'm sure you'll want to read/have already read. You'll recall that I gave Inception a major vote of prediction approval back in April and I shan't be altering that much when I update the rest of the Oscar predictions, since my suspicion was correct that people would love it. Nevertheless, I am confused by some of the buzz for its actors. No matter how good DiCaprio and Marion Cotillard may well be, effects pictures only very very rarely lead to acting nominations (Sigourney Weaver, Jeff Bridges and Ian McKellen are rarities, not the norm) so I haven't suddenly pretended it will move into the Acting categories.

Speaking of acting...

Though the year's films have been somewhat lacking, the following performances did something for this moviegoer so I wanted to give them a glance. They're the performances I'll personally be contemplating from the year's first half when it comes time to whip up awardage for the full year. It goes without saying that most won't be in the Oscar hunt. Oscar has a limited range of flavors they like and a minimum amount of fame that they require but I hope some more adventurous voters will try to see everything that people say... hey there, this performance is good. Since some of these aren't yet released, I've allowed myself 7 contenders in each category. How many of them will be handily trounced by [ominous music] That Which is To Come?

FAVORITE PERFORMANCES THUS FAR
Click on the links to go to the Oscar predix which is an ENTIRELY different conversation.

Best Actor

• Jay Baruchel, The Trotsky
• Anthony Deptula, One Too Many Mornings *not yet released*
• Leonardo DiCaprio Shutter Island
  Robert Duvall, Get Low *not yet released*
• Ryan Gosling, Blue Valentine *not yet released*
• James Rolleston, Boy *not yet released*
• Andy Serkis, sex & drugs & rock & roll
  

There's not much of note so far in theatrical release for the leading men. John C Reilly and Jonah Hill were fun in Cyrus but "Best"? RDJ was his usual charming self but how much of a challenge was a second round with Iron Man? Leo barely held on to the edge of this list. I liked him a lot in certain Shutter Island scenes but that gothic gaullimaufry left me wanting in nearly every way, including within the cast. It's dangerous to assume one's own reaction to a movie is shared by Oscar voters, but combined with the early release date and the lack of true and enduring "this movie is awesome!" hoopla, I sincerely doubt we'll see Shutter Island anywhere near the Oscar competition in the winter.

Unless of course, 2010 keeps offering up blah movies. Then it's anyone's game and some crazy things might start happening.

Best Actress

• Annette Bening, The Kids Are All Right
• Annette Bening, Mother & Child
• Min-Seo Chae, Vegetarian *not yet released*
• Jennifer Lawrence, Winter's Bone
• Paprika Steen, Applaus *not yet released*
• Tilda Swinton, I Am Love
• Michelle Williams, Blue Valentine *not yet released*

While nothing of note has yet happened in the Best Actor category, we may already have three or four of our acting nominees. Jennifer Lawrence in Winter's Bone (if she's lucky), Mark Ruffalo (if he's lucky) and both women from The Kids Are All Right (though one will surely be demoted to supporting). Julianne Moore just missed this top 7. She's fun and endearing in The Kids but it's The Bening who delivers in a career best way or something in the general vicinity -- one of her best at any rate.)

Haven't Yet Seen: Hye-ja Kim in Mother and sex goddesses Amanda & Julianne in Chloe.

Best Supporting Actor

• Joel Edgerton, The Square
• <--- John Hawkes, Winter's Bone
• Shanti Roney, Applaus *not yet released*
• Mickey Rourke, Iron Man 2
  
• Mark Ruffalo, The Kids Are All Right
• Michael Shannon, The Runaways
• Jimmy Smits, Mother & Child
  

I'm already dreading the Oscar campaign / possible make-up win for Bill Murray in Get Low. He's been great before and he's fine if anachronistically modern in this old-timey picture as a funeral director, but I fail to get why anyone thinks it's a career best for him. Seems more like an enjoyable but nothing particularly special star turn. Of course the Supporting Actor category is almost by eight decades of ballot practices the Nothing Particularly Special category (the last few winners excepted).

Haven't yet seen: Michael Fassbender in Fish Tank (long story. I'm still dying too)

Best Supporting Actress

• <--- Marisa Berenson, I Am Love
• Dale Dickey, Winter's Bone
• Ann Guilbert, Please Give
• Rebecca Hall, Please Give
• Anne Marie-Duff, Nowhere Boy
  
• Kristin Scott Thomas, Nowhere Boy
  
• Mia Wasikowska, The Kids Are All Right

A small note of gratitude to Helena Bonham-Carter who singlehandedly got me through Alice in Wonderland. Apologies to Amanda Peet and Ari Graynor who I enjoyed in Please Give and Holy Rollers, respectively. Finally, please don't ask me where Chloe Moretz is for Kick-Ass. She seems to be able to act approximately one thing: smartass. See also (500) Days of Summer. I'll wait for more range before I join the growing chorus of praise.

Haven't yet seen: Jacki Weaver in Animal Kingdom

Are you excited about any of these performances or do you have your own pets from January to June screenings? And how are you feeling about the Acting Oscar races -- my predictions are updated? Do you think we're on our way or we haven't yet begun?
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Halfway Mark 2010: Foreign Films

More halfway mark articles comin at'cha. Just about anywhere you look online you'll see reports about this or that blockbuster and the top ten of the year and how superheroes, franchise/brands and animated films are still all the rage blah blah. You'll hear about the same movies over and over again. Why not look a little deeper? How about the foreign language films? Here's how they've done so far Stateside (box office figures as of July 1st).

Foreign (Box Office) Top Ten

1. The Girl with the Dragon Tattoo (Sweden) $8.8
   Scandinavia doesn't often claim the biggest hit, so good on them. Skål! In our modern marketplace, where more and more people wait for DVDs for anything other than films with 8 figure ad campaigns, 8 million is now a huge gross for a foreign film. The "hits" rarely make the kind of bank that they used to. Amélie's $33 back in 2001 seems like another era altogether. Even Pan's Labyrinth's $37 as recently as 2006 is a miracle. Especially when you stop to consider that Let The Right One In only managed $2 million in 2008 just two years later despite crazy passionate word of mouth.
   
   Incidentally I tried to read The Girl... recently and just couldn't get into it but even just reading a small portion of the bestseller made this Nora Ephron spoof laugh out loud funny to me.
   
2. The Secret in Their Eyes (Argentina) $5.4 Oscar winner
   
3. My Name is Khan (India) $4.0
4. A Prophet (France) $2.0 Oscar nominee
   
5. Kites (India) $1.6
   Interesting that this internationally-minded effort with American setting, Mexican and Indian stars, and even an American "remix" didn't do any better than more traditional Bollywood entries did.
   
   
   
6. Raajneeti (India) $1.4
   
7. Mic-Macs (France) $.7
   The latest from the visually gifted Jean Pierre-Jeunet (Amélie). Fun movie but also a bit exhausting. I suspect audiences will take to it in greater numbers on DVD where you can watch it in (set)pieces.
8. Vincere (Italy) $.6
   A decent gross I suppose but IFC waited way too long after this film's first explosion of buzz to open it. Especially since Italy didn't even submit it for Oscar consideration. There was no use waiting since it couldn't use Oscar as platform anyway. And some films with passionate fans do better if people know that they're not eligible for the foreign film Oscar. People like to be outraged. Why not September or October back in 2009 hot off its Cannes buzz with an attempt to generate faux 'look what Oscar's missing' outrage?
   
9. Ajami (Israel) $.6 Oscar nominee
   
10. Raavan (India) $.5
    Starring the married superstars Abhishek Bachchan and Aishwarya Rai
    

South Korea's Mother just missed this top ten. Arthouse audiences and critics talked it up but Oscar passed. It waited and opened up shortly after the Oscar ceremony.

You'll notice that the top grossers are from Bollywood -- have they usurped France's spot as most reliable in the US market? -- or are Oscar holdovers. A few of these used the Oscars as a platform rather than risking regular release. Secret only showed itself in theaters once it could use the Oscar win as advertisement but that's a risky strategy since you can't guarantee a win. The two rather robust contenders it beat on Oscar night, France's A Prophet and Germany's The White Ribbon, had twin buzz trajectories: hot ticket Cannes debut, Cannes trophies, well regarded auteur at the helm, rave reviews. Ribbon opened with only those things to guide it last December. A Prophet, like Secret, banked on Oscar love for ticket sales, only opening after the expected but not guaranteed nomination. Box office result: Slightly smaller box office for Prophet than Ribbon.

What does it mean? Interpret as you will. I prefer to interpret things as "open when the film is ready" and stop making audiences wait! This is the age of gimme it now and film distribution is lagging compared to tv and music, which both seem to be (slowly) adapting to the instant gratification / 'on my terms' culture.

But then numbers are highly interpretable. It might simply indicate that Oscar means nothing unless you win.


FWIW: The Milk of Sorrow, Peru's first Oscar nominee, is the only 2009 Foreign Film nominee that never opened in the US. Such a shame. Sorrow's director Claudia Llosa was just invited to join AMPAS's directors branch.

My favorite foreign release of 2010?
Italy's I AM LOVE improved remarkably on second viewing and I was fond enough of it the first time. It's just ravishing and my only real concern about it the first time through was what seemed like a sexphobic denouement. On second viewing, I believe I misread the film initially, taking the narrative happenings too literally when the images were the key. Most of the film is shot, designed, scored and acted with a more symbolic, sensual, operatic mindset in mind. I suddenly have a lot of things to say about it but it feels like the kind of movie you only discuss once people have seen it. So I'll wait a bit more.


[box office note: It's currently grossed just under over half a million in limited release but it should end up as one of the top foreign grossers of the year when the year wraps.]

Oscar buzz for 2010?
Those Oscar nominees we've just discussed are ineligible for further honors -- they already had their Oscar year -- so we look to Cannes buzz to guide us in predicting the Best Foreign Language Film Submissions for 2010. As for I Am Love... I think it's probably not so Oscarable (despite exquisite craftsmanship) but if it catches on in theaters, you never know. Oscar likes an arthouse hit.
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Halfway Mark: Screen Hotties of 2010

I blame the heat and nothing good in theaters but for the holdovers from previous weeks (go see Winter's Bone, I Am Love, Toy Story 3 and I Am Love if you haven't. Uh... I Am Love you're required to see twice, apparently -- Freudian typo!) for this week's Towleroad article. After assessing the Andrew Garfield as Spider-Man announcement I obsess over the Year in Screen Hotties (thus far).

Click over!

Since Towleroad is all about the Gay the list is men but since I'm an actressexual and since all the best people are at least bi-curious when it comes to the movies, you know I can't ignore the silver screen sirens. I haven't seen all of these movie but here's an incomplete overview of the year thus far.

The Girlie Show

Jan: Portia Doubleday torments Michael Cera (both of him) in Youth in Revolt. Kristen Bell can't pick a man in When in Rome. Can't pick screenplays either. Niche hotness, GMILF Edition: Helen Mirren wants her man crowing like a cock in The Last Station.

Feb: Amanda Seyfried, Our Lady of Annually Increasing Beauty, stars in Dear John. The Wolfman follows Emily Blunt's scent no matter the consequence; Who wouldn't? Uma Thurman turns men, not just man parts, to stone as Medusa in Percy Jackson.

Mar: Double Team Alert! Amanda Seyfried rocks Julianne Moore's world in more ways than one in Chloe. Plus, Dakota Fanning unleashes her scandalous Cherry Bomb whilst Kristen Stewart works a Bad Reputation in The Runaways. Niche hotness, Macrophile/Microphile division: Mia Wasikowska can't pick a dress size in Alice in Wonderland.

April: Erika Alexander is a boho honey in La Mission. Zoë Saldana holds a hot piece in The Losers. Niche hotness, Gothic division: Christina Ricci gets yet paler (c'est possible?!?) as a perpetually nude corpse in After.Life.

May: Ari Graynor's tongue brings ecstasy, albeit in pill form, to Holy Rollers. Scarlett Johansson wears ringlets and leather for Iron Man 2 and may or may not have speaking lines though no one can recall. Naomie Harris handles the first part of sex & drugs & rock and roll with her usual style. Love the 'fro in that first scene. Niche hotness, The Alex Forrest "I'm Not Going to Be Ignored" New Generations Award to Naomi "seduce & destroy" Watts in Mother and Child.


June: Colin Farrell's little mermaid is full grown Polish beauty Alicja Bachleda in Ondine. Please note how many reviews of Winter's Bone describe Jennifer Lawrence's long tresses and full lips in as much loving detail as her performance, even though the movie is about as far from "sexy" as a movie can be. Marisa Tomei is still working the 'dream girl for losers' track in Cyrus. Can you blame the losers? Tilda Swinton is a prized pale gold Russian collectible in I Am Love. Cameron Diaz in primary colors, yellow bridesmaid, red bikini for Knight and Day. Gina Gershon is a whore! (not a dancer) in Love Ranch... the less said about the rest of the movie, the better.

Which actors and actresses grabbed your eyeballs this year?
It doesn't have to be for, uh, performance reasons.

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Tilda Swinton, Posterized

Art house patrons first saw Tilda Swinton in a series of controversial works from gay British auteur Derek Jarman's in the late 80s and early 90s (he died in 1994). A much larger international audience followed with Orlando (1993). In the past decade, key roles in mainstream Hollywood efforts won the great Swinton plentiful new devotees.

Do you remember the first time you saw her onscreen? My first time was Edward II in 1992 and though I was impressed, I had no idea what marvels awaited in Orlando the next year...

Tilda Swinton in Posters...

Caravaggio (86, debut) | The Last of England (88) | Edward II (91)

Orlando (92) | Female Perversions (96) | Conceiving Ada (97)

The Beach (00)| The Deep End (01) | Teknolust (02)

Young Adam (03) | The Chronicles of Narnia (05) | Stephanie Daley (06)

Michael Clayton (07) | Julia (08) | I Am Love (10)

That's not the complete filmography but the lead roles and a few key / essential supporting gigs. There are many more smaller roles. She's not at all afraid of a crowded ensemble film or a blink and you'll miss her cameo. The best of the latter is probably Love is the Devil. And even if you don't blink you might miss her in that rough trade art biopic (starring Derek Jacobi & Daniel Craig) because she's so shockingly unrecognizable in it.

How many of those 15 have you seen? Which are your favorites?

I AM LOVE is an absolute must see for Tilda fans and art film aficionados in general. The film opened in LA and NYC last weekend and adds more cities today. Did it hit your town yet?

previously on Posterized: Tom Hanks, Will Smith, Angelina Jolie, Viggo Mortensen, Cate Blanchett and Barbra Streisand.

Link Crazy Pt. 2: Randomness

Cinema Blend Katey Rich on Sex & The City 2's wardrobe budget "Marie Antoinette might call it a little much."
As Little As Possible Dan Zak on I Am Love "I kind of love the whole movie, either in spite of or because it is such a bald stab at profound auterism, and an exploitation of the visual mysteries of Swinton."
Peer to Peer an interesting interview piece on the decisions behind promotional materials for Red Cliff and Tilda Swinton's star turn in the glorious I Am Love
Kenneth in the (212) "If I had a gun" post = hilariously succinct evisceration of not one but two summer movies


SLatIFR interesting piece on different types of film buffs and where their limits are in terms of interest and history
The Fug Girls Juliette Binoche in The English Patient and at Cannes 2010
Hollywood Elsewhere Blue Valentine press business. I wonder about this "Cannes bounce" apparently the film is shorter now than when I saw it at Sundance. Seven minutes can make a huge difference in how a film plays. Must see it again

offcinema diversions
izasmile makes funny (well, several of them) with Bill Gates and Steve Jobs
Broadway.com makes a 'top ten stage stars of the decade' list. Unfortunately the list should be titled 'top ten film/tv stars who also do stage'. You can't really do justice to the past decade in theater without mentioning Donna Murphy or Sutton Foster

television
The networks have been busy with "Upfronts" lately which means new shows are announced (Ken Levine has advice for the newbies) and old ones are axed. Did you see that ABC is doing a riff on Pixar's The Incredibles mashed up with The Fantastic Four's origin story? It's called No Ordinary Family and mom, dad, daughter and son get superpowers from some crazyweird accident.



Uh... good luck competing with memories of the incredible The Incredibles... although it shouldn't be too hard to wipe the floor with the awful and finally cancelled Heroes.

Sundance Wrap-Up: Blue Valentine and the "Best Ofs"

Three more movies... But in truth I'm not sure which day we're on. I may have scrambled up the chronology just like Blue Valentine does. I am typing this on Saturday for publication on Sunday about movies from Friday. Where am I? WHEN AM I? I spent today being sick so no more movies. The sickness is why, even though it seemed like i was seeing a bajillion movies, I really wasn't. I worry that I missed a few great pictures and that I saw too many that ended up with or already had distribution deals that I could have seen later. But it's my first Sundance trip. I was doin' it wrong. Better luck next time.

The Romantics
Old college friends gather at a seaside home to celebrate the upcoming wedding of Lila (Anna Paquin) and Tom (Josh Duhamel). Laura (Katie Holmes), their maid of honor, used to be Tom's girl and it's immediately clear that that relationship hasn't fully run its course. The other friends (Malin Akerman, Elijah Wood, Adam Brody, Rebecca Lawrence and Jeremy Strong) know this. Lila even knows it in a way. What follows is a curiously artificial dramedy, with a few diverting moments and a central question that is provocative (do you marry the person you want deeply or the person who you obviously need). I couldn't connect with this movie from the beginning and knew I was in trouble when I started enjoying Malin Akerman more than the other actors. Maybe Rachel Getting Married spoiled me forever but after that film's gloriously complicated conflicting real time wedding awkwardness everything else involving toasts, rehearsal dinners and wedding jitters, excitement just feels pedestrian and canned.

The biggest problem here might be the casting. At first it didn't bother me as these are all adequate to good actors, but I realized midway through that I didn't buy for a second that they had all known each other for years. They're all TV pretty without the movie star soulfulness required to hurtle this type of material or make it sing. When I began to write this I had completely forgotten that Adam Brody was even in the movie. The characters make reference to their past incestuous dating history -- that's where they get their name "The Romantics" -- but none of the performance outside of maybe Lila/Laura/Tom convey anything like past romantic history. The performances convey general horniness for other hotties instead. Where is the backstory textural performance stuff? Worse yet, moody evasive Laura and nearly mute Tom supposedly have a fiery deep sexual connection that we're meant to believe springs from their love of poetry, English lit and deep philosophical conversations. I don't know about you but when I think about Katie Holmes and Josh Duhamel, intellectual all-nighters and poetry recitation aren't the first or even the two-hundred and thirty-first thing that spring to mind. D+

Blue Valentine
Dean (Ryan Gosling) and Cindy (Michelle Williams) have been married for years. The marriage isn't what it used to be. This beautifully rendered film, twelve years in the making, is co-written and directed by one-to-watch Derek Cianfrance. The lived-in feeling of the acting reminded me of Mike Leigh so it didn't surprise me to hear that Williams and Gosling had both been involved with the project for years, and helped shape their characters in substantial ways. We follow Cindy and Dean through two parallel linear chronologies charting both the birth of their relationship and the death of it. In the best moments, this plays less like a conceptual gimmick and more like a revelation, allowing you to see how the past and future are always connected. This reminded me of the brilliant stage musical The Last Five Years. Since I love both Years and Mike Leigh a great deal, trust that these comparison points are enormous compliments.


Michelle Williams proves again why she's one of the best young actresses working and Ryan Gosling is straight up fantastic nailing often daringly conflicted character details: he understands Dean's confidence and inferiority complex as well as both his volatility and gentleness. He's as specific here as he was in Half Nelson but the characterizations don't feel at all alike.

<-- Gosling, Williams and their screen daughter Faith Wladyka at the premiere in Park City

Two hander dramas only sizzle if the actors are in synch and the chemistry is strong here. As an added bonus both young stars are entirely believable in parenting scenes with their screen daughter and that isn't always the case [*cough* Brothers]. Blue Valentine isn't perfect, the ending feels only halfway worked-through and I understand Katey's quibble about the confusing geography (where are we exactly in both past and present?). It's often depressing and I know the movie won't play for everyone. But though it might be a minor achievement, it's definitely an achievement. A must see for fans of either actor and of romantic dramas in general.
B+/A-

happythankyoumoreplease
This is the writing and directing debut for Josh Radnor, better known as "Ted Mosby" on How I Met Your Mother. This is a touch like watching a mumblecore film performed by the cast of Friends. I don't mean to sound mean or glib, since it's a harmless and even optimistic movie. But there's a lot about it, from Malin Akerman's alopecia -- I don't understand how Malin Akerman is an indie actress now? Help me! -- to a huge plot thread involving a little foster care black boy, that plays in an artificial overscripted way rather than lived-in and felt. In short, it's a situation dramedy, that might work better as a TV show.

Best in show: Pablo Schreiber, brother of Liev, who has done a lot of television but who I was unfamiliar with. He plays a late twentysomething man who really loves his commitment-phobe girlfriend (Zoe Kazan) but is aching to take a next step of one sort or another in his life. He provides one of the most endearing, openly emotional reactions to a pregnancy announcement, I've ever seen captured on film.

happythankyoumoreplease was the last film I saw and when it ended I knew I had had enough so perhaps I was just grumpy (no movies for a week!). But I do think it provided welcome takeaway positivity. Whenever you're feeling grateful to the universe, say "thank you" and chase it with "more please." C

If I were passing out prizes

Best Pictures: The Kids Are All Right, I Am Love, Blue Valentine and Please Give
I'm not really sure how much I loved these four movies. I like to let things settle but I'd love to see each of them again as soon as possible. The festival climate sometimes messes with your reactions to movies.
Documentary: Last Train Home (runner up: Catfish)
Screenplay: The Kids Are All Right (runner up: Cyrus or Please Give)
Art Direction: The Runaways (runner up: Nowhere Boy)
Costume Design: The Runaways (runner up: Nowhere Boy)
Best Cinematography: I Am Love (runner up: The Runaways)
Best Editing: I Am Love (runner up: Blue Valentine)
Best Use of Music/Score: Blue Valentine (runner up: I Am Love)

Actress: Annette Bening for Mother & Child and The Kids Are All Right (runner up: Michelle Williams in Blue Valentine)
Actor: Ryan Gosling for Blue Valentine (runner up: James Rollston, Boy)
Supporting Actress: (tie) Kristin Scott Thomas & Anne-Marie Duff in Nowhere Boy (runner up: Rebecca Hall, Please Give)
Supporting Actor: Mark Ruffalo in The Kids Are All Right (runner up: Jonah Hill, Cyrus)
Ensemble: The Kids Are All Right (runner up: Please Give)

Some people's favorite movie moments tend to be centered around action. I am more turned on by musical numbers so I have to shout those out... along with a couple other categories.


Best One Liners: Please Give (runner up: Cyrus)
Best Sex Scene: Tilda Swinton and Edoardo Gabbriellini in I Am Love (runner up: Gosling and Williams in Blue Valentine)
Best Use of Nudity: Body art in Vegetarian
Best Gimmick: Ryan Reynolds in a coffin for the entirety of Buried
Seven Best Musical Moments: "You Always Hurt the Ones You Love" (I think that's the song?) performed by Ryan Gosling (with an assist from Michelle Williams) in Blue Valentine ; "Thriller" performed by the cast of Boy; "Blue" performed by The Bening in The Kids Are All Right; "Cherry Bomb" performed by Dakota Fanning and cast in The Runaways; "Aborigine" performed by Rocky McKenzie and cast in Bran Nue Dae; "Don't You Want Me" performed by John C Reilly (with an assist from Marisa Tomei) in Cyrus. Dancing at the Late Night Lodge performed by Nathaniel and Parker Posey. Sorry, I'll shut up about that now. But can you blame me for obsessing?
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SUNDANCE IS OVER. Now back to your regularly scheduled programming. i.e. Oscar nomination hoopla and this site's own Film Bitch awards.

Tilda Swinton in the Flesh

This weekend I had the opportunity to listen to cinephile actress Tilda Swinton reminisce about her career at the New Yorker Festival. I covered that beat (thrilling, rapid fire... oops, that was my heart) for Tribeca Film. Naturally, wrestling the goodies down to article form was a mite troubling, because she was so candid, interesting and worthy of plunking down money for... though I guess with these new blogging laws I should indicate that my ticket was comped.


I always love hearing Tilda talk about her first collaborator Derek Jarman (which she did, a lot... there wasn't much discussion of her recent forays into mainstream fare) but one of my favorite bits was her story about meeting Eric Zonca, her Julia director, in Cannes. He was drunk and they tried to sneak into a party that they were both turned away from... even though they were both Cannes officials. A brief clip from that film only reminded me that it's practically insane that people aren't screaming "Oscar Number Two!" for her sozzled blabbermouth trainwreck character in that film. You can just about smell the alcohol while watching that performance. No Smell-O-Vision required.

Justin Bond of 'Kiki and Herb' and Shortbus fame, a close friend of Tilda's, came out at the end of the night raving about the new Italian film I Am Love (Io Sono L'Amore)

It's the kind of movie you dream of seeing Tilda in

Hmmm, for me that describes every movie she's in.

I'd like to say you had to be there but that would kind of defeat the purpose of sending you over to read my piece. The New Yorker also has a brief bit on the event.
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