Chicago Critics: Collegiate Men and Serious Little Girls Dominate.

The Chicago Film Critics are the latest critics association to announce their awards and they've gone, like virtually everyone else, with The Social Network.

 These 52 critics love Sorkin & Fincher's warring young entrepeneurs. They also like their actresses real young and their prizes spread out.




Best Picture The Social Network
Best Director David Fincher, The Social Network
Best Actress Natalie Portman, Black Swan
Best Actor  Colin Firth, The King's Speech
Best Supporting Actress Hailee Steinfeld, True Grit

Mattie Ross (Hailee Steinfeld), the captain of True Grit's ship.

• If you assume that Helena Bonham-Carter, and The Fighter girls are safe in the Supporting Actress race, does this rush of Hailee Steinfeld wins prophecy that she'll be stealing Jacki Weaver's spot? If so how will we ever forgive these (and other critics) who inexplicably ruled in Hailee's favor? Or will Hailee take Mila Kunis's spot? Or does it signify only that True Grit was the last film to screen for critics groups and they tend to love Coen Bros movies more than just about anybody? Your verdict please in the comments.

Best Supporting Actor Christian Bale, The Fighter

• Since I was taken to task for only bitching about Hailee's category fraud I should note here again that I think this is a lead role too. More bitching! Wheeee. (still and all... Hailee's is the single most fraudulent categorization this year with Bale & Rush doing the Jeff Bridges co-lead thing in their movies. Notice how no one thinks Jeff Bridges is "supporting" in True Grit.)

Best Screenplay Aaron Sorkin, The Social Network
Best Documentary Exit Through The Gift Shop
Best Foreign Film A Prophet
Best Animated Film Toy Story 3
Best Cinematography Wally Pfister, Inception
Best Original Score Clint Mansell, Black Swan
Most Promising Performer Jennifer Lawrence, Winter's Bone
Most Promising Filmmaker Derek Cianfrance, Blue Valentine

The Blue Valentine trio.

A few observations...

• The median age of the female actress winners is 21. (The median personality is humorless. Seriously... Hailee, Natalie and Jennifer are allergic to smiling in those movies.) Those Chicago critics sure do like 'em young. At least they have for the past four years (each year the youngest nominee has won). For what it's worth, I do promise to stop talking about age biases for at least a couple of weeks but there's one more comprehensive Oscar trivia post about it coming tonight which covers the men, too so it's stuck in me brain.
• Hmmm. How is Jennifer Lawrence "more promising" than Hailee Steinfeld but can't defeat her in direct battle? Maybe Jennifer slipped like Sugar Ray Leonard in the ring with Christian Bale? Oh no wait, that's right... they demoted Hailee to supporting. Argh. I honestly keep forgetting because it's so ridonculous.
• Chicago tends to stick with presumed Oscar categories, even if it looks ridiculous; they also named Kate Winslet "Best Supporting Actress" for The Reader.
• Happy to see an honor for Derek Cianfrance for Blue Valentine. The first step in getting great performances is to cast great actors but you do still have to direct them afterwards. That he did with a confident hand.



Can Rapunzel fend off challengers?

• Toy Story 3 has all but won the animated Oscar even before nominations are announced, but it's getting hard to suss out what it's ostensible competition will be isn't it? How To Train Your Dragon, The Illusionist and Tangled all have devoted fans so which of those three films gets the snub? It becomes really hard to say when one film dominates the discussion to such a degree that you hear of little else.

 And finally, thanks to In Contention for pointing this out but it's so brilliant.

Links: Dorff, Franco, Hendricks, Robyn

My Life as a Blog "Why I Want a Golden Globe" satiric piece on the greatest awards show gong of all.
Vulture I'm not sure how I missed this enjoyable interview with Stephen Dorff but...
My New Plaid Pants quotes all the funny bits about working on Tarsem Singh's Immortals Movie "abs, abs, abs, abs, abs."
Self Styled Siren another look back at Blake Edwards, and three personal favorites.
Cinema Blend Christina Hendricks will play friend to Sarah Jessica Parker in romcom I Don't Know How She Does It. Sigh. Can we talk about Hollywood's refusal to give Hendricks her own romcom? I don't understand why she has to keep playing second fiddle. Give her a chance to bloom, Hollywood.
Your Movie Buddy offers up 'things to love about The Social Network' a great reminder list should you be feeling a touch put out by its total dominance of precursor season. A damn good movie it is.
In Contention interviews Coen Bros' costumed designer Mary Zophres

Year in Review Goodies
Slant Magazine chooses its (collective) Top 25 of 2010
Movie|Line the most ridiculous controversies
Movie|Line the ten best James Franco stories. Seriously, that man needs a vacation in 2011.
Popcorn For Dinner details favorite movie posters
Uproxx "the least fascinating people of 2010" bitchy but amusing. And we entirely undersign the notion that famous ≠ fascinating.
AV Club looks at the 25 best TV series
Criticial Condition best songs of the year

SAG Injustice: When a Nomination is Still a Snub

In the afterglow of the SAG nominations, when publicists, stars and pundits are all aglow with congratulatory messaging of every sort and critics are bemoaning the fate of talented but snubbed performances, one annual dismaying group of snubs always slips through the cracks. I'm talking about the people who contributed to the movies nominated as Best Ensemble but weren't actually included when the nomination was awarded.  The nominated ensemble casts of The Fighter, The King's Speech, Black Swan, The Social Network and The Kids Are All Right do not, in all cases, fully represent the acting achievements within the film.

The following actors were not nominated in "ensemble"

Black Swan ~ This nomination includes all those demented raven-haired beauties: Natalie Portman, Barbara Hershey, Mila Kunis, Winona Ryder and the man fucking with their pretty heads: Vincent Cassell. Noticeably absent: Benjamin Millepied, the principle male dancer should have also been listed. While it's true he doesn't have a lot of "acting" to do, he gets some in, and actors sometimes get nominated for a lot less; he is one of the chief contributors to the film being its choreographer as well.

The Fighter ~ This nomination includes only the principle Oscar seeking cast: Wahlberg, Bale, Adams and Leo and one more for good measure. That's Jack McGee who plays Melissa Leo's husband so beautifully. Noticeably absent: cameo players like Sugar Ray Leonard (remember that Gwen Stefani got nominated for dressing up like Jean Harlow in The Aviator), the entire gaggle of big haired comic relief sisters, Mickey O'Keefe, the cop/trainer who Bale loves to mock (name?) and everyone else who contributed to the film's invaluable local color and weird but hugely enjoyable tragicomic bent.

The Kids Are All Right ~This nomination includes only the immediate family: Moms Bening & Moore and kids Mia Wasikowska & Josh Hutcherson and "Interloper" Mark Ruffalo. Noticeably absent: Yaya daCosta, who so deliciously handles her role of Ruffalo's fuckbuddy and employee. Seriously now, she delivers fantastic line readings in this movie and underlines some of the movie's more subtle points about Ruffalo's character as well as contributing to its randy high spirits. I consider it an egregious omission. Also absent are Mia & Josh's friends and the gardener who Julianne fires who each get more than one scene.

The King's Speech ~ This nomination includes the three principles plus Anthony Andrews, Jennifer Ehle, Michael Gambon, Derek Jacobi, Guy Pearce and Timothy Spall. It's arguably the most inclusive of all the nominated cast lists but it still manages to diss one key player. Noticeably absent: Eve Best (from Nurse Jackie) who plays the controversial and plot-relevant Wallis Simpson.The royals didn't want her around and treated her like shit. So... did the Weinstein Co decide to follow suit and do the same? 

The Social Network ~ The Facebook movie has the most bizarre and confusing case of the internal snubbings. Obviously the triumvirate of Eisenberg, Garfield and Timberlake are accounted for as are the Winklevi (both played by Armie Hammer) and their business partner (Max Minghella). But what's most curious is that the body actor Josh Pence who helped to play the Winklevi but whose face does not appear in the film was nominated but the following six actors were not. Noticeably absent: Rooney Mara's soulful portrayal of Erica kicks off the entire successful dynamic of the film's rapid-fire dialogue which in turn reveals, comments on and delights in every badly managed personal relationship within the film. The film is smart enough to return to Mara on three key occasions but she was not nominated. All of the lawyers, officials and interns are also absent. You can't include everyone of course but a few people's contributions are very noticeable including Douglas Urbanski's audience-beloved cameo as Larry Summers, John Getz and Rashida Jones as Zuckerberg's council, Denise Grayson as Eduardo's lawyer (great write up of her work at Nick's Flick Picks) and Brenda Song as Eduardo's terrifying girlfriend?

Can someone please explain how these people are not an intrinsic part of the acting network within The Social Network? 

From my understanding, the nominating committee does not pick and choose which members of a cast receive the official title of SAG nominee, they merely vote on the film titles. The studios themselves also sometimes submit For Your Consideration cast lists that already do the omissions (The Fighter's FYC screener, f.e., lists only the five names). Or perhaps the problem is the SAG rules which go like so

"The Cast of a Motion Picture includes all performers whose names appear in the cast credits of the final release print. Motion Picture casts shall be represented by those actors billed on separate cards in the main titles, wherever those titles appear. In cases of special, unusual or non-billing or credit, eligibility shall be at the sole discretion of the Screen Actors Guild Awards Committee. Members of the cast who are not single billed but are credited in the cast crawl of the motion picture announced as the recipient of the Outstanding Performance by the Cast of a Theatrical Motion Picture shall each receive a certificate."

So by this rule, no matter how great you are in a movie, no matter how large your role, if your agent can't get you single billing, you can't be nominated.
Every year there are glaring examples of actors adding to the texture, tone and overall success of their movie, that are kicked to the curb when it comes time to say "Great Ensemble!"  We think, in a prize meant to honor the whole being greater than the individual parts, that this is a terrible and avoidable injustice. So here's to those snubbed actors inexplicably dropped from the honor bestowed to their co-workers! We salute you one and all.
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The Kick-Off! NBR Favors "The Social Network", Shuns "127 Hours"

God, they get us every time! The National Board of Review has haters all over the internet but despite endless attacks on their legitimacy claiming that their choices are nothing but studio banquet-table-buying driven ... we (collectively speaking) still always let them kick it off.

Sometimes we get a kick out of it. Sometimes we just get kicked in the gut. It's totally an S&M relationship. But through it all we admire the way they've maintained their enviable kick-off mythos well despite the growth of movie awards in which they can no longer shouting "first!" like monosyllabic screen-refreshing trolls. (Gotham, EFA, BIFA, Satellite and Spirit Awards nominations have already come and gone after all... though most of them are not dealing with the whole pool of Oscar hopefuls the way the NBR does.)

The NBR prizes are usually a mix of "awesome! well done" and "aren't you embarrassed to publicly state that?" ...and this year? There's arguably more "awesome!" than "wtf" this time 'round including major boosts for Another Year, Animal Kingdom and The Social Network.

BEST PICTURE
The Social Network
BEST DIRECTOR
David Fincher, The Social Network

• Four major prizes to The Social Network undoubtedly marks this as the film to beat for Oscar. I know that people are saying "The King's Speech!" But I believe that in the end, that film's appeal will be shorter-lived. Just my hunch as to how it plays out (though I expect the Globes and the BFCA will give The King's Speech a major boost very soon) There's still nearly two months before Oscar nominations let alone the time of full stop campaigning after that. Contrary to popular belief, the NBR Best Picture prize does not doom your Oscar chances. It's not totally correlative either but so what. To each (group) their own.

BEST ACTRESS
Lesley Manville, Another Year
BEST ACTOR
Jesse Eisenberg, The Social Network (performance review)
BEST SUPPORTING ACTRESS
Jacki Weaver, Animal Kingdom (performance review)
BEST SUPPORTING ACTOR
Christian Bale, The Fighter

• Of the acting prizes the NBR favor provides a major boost for Eisenberg and Weaver who are both difficult sells for traditional Oscar choices in some ways: Eisenberg because he's young for the category and the character is abrasive, Weaver because she's in a small film from overseas. But great choices by the NBR here. May this push at least a few dozen more AMPAS members towards careful consideration of these star turns.

BEST ORIGINAL SCREENPLAY
Chris Sparling, Buried

• This will have to count as the biggest shock, yes?

BEST ADAPTED SCREENPLAY
Aaron Sorkin, The Social Network
FOREIGN FILM
Of Gods and Men, France
DOCUMENTARY
Waiting For Superman 
ANIMATED FEATURE
Toy Story 3


ENSEMBLE CAST
The Town

• I enjoyed this movie alot and it's just the type that wins these "ensemble" prizes, given that it's a big cast of recognizable faces. But I prefer movies with more group interaction for these prizes -- a personal thing. This film has mostly one-on-one scenes other than what is for me the standout scene: that great accidental lunch meeting between Rebecca Hall, Jeremy Renner and Ben Affleck. Awkkkkkwward.

BREAKTHROUGH PERFORMANCE
Jennifer Lawrence, Winter's Bone
SPOTLIGHT AWARD (DIRECTORIAL DEBUT)
Sebastian Junger and Tim Hetherington Restrepo
SPECIAL FILMMAKING ACHIEVEMENT (writing, directing and producing)
Sofia Coppola, Somewhere
WILLIAM K EVERSON FILM HISTORY AWARD
Leonard Maltin
NBR FREEDOM OF EXPRESSION
Fair Game, Conviction, Howl

And finally... the Lists.

Top Eleven Films (because a top ten isn't good enough for the NBR!)
(alpha order): 
Another Year
, The Fighter
, Hereafter, Inception
, The King’s Speech
, Shutter Island, 
The Social Network, 
The Town
, Toy Story 3, True Grit and 
Winter’s Bone

• Tolda that Hereafter would be here, though it wasn't a difficult call at all. Despite the film's tepid reviews, NBR voters are ever faithful to their Eastwood. This is his 8th consecutive film to be so honored.

Top Ten Independent Films
(alpha order): 
Animal Kingdom, 
Buried
, Fish Tank, 
The Ghost Writer
, Greenberg, 
Let Me In
, Monsters
Please Give, 
Somewhere
 and Youth in Revolt

• Another snub for Blue Valentine, which is having a rough week given the lack of Spirit Awards love, too. Either they withheld the film too long, the stupid MPAA rating scared people off or the film is just too brutal emotionally for ballot love. Shame. It's such a good movie.

Top Six Foreign Films
(alpha order): 
I Am Love, 
Incendies, 
Life Above All
, Of Gods And Men
, Soul Kitchen
 and White Material

• The buzz on Incendies is still just a low hum but the humming is fiercely tuneful. I keep hearing words like "astounding." So perhaps it's the film to beat for Oscar's foreign film competition. Note that Biutiful did not make their list.

Top Six Documentary Films
(alpha order): 
A Film Unfinished, 
Inside Job, 
Joan Rivers: A Piece of Work, 
Restrepo
, The Tillman Story and 
Waiting For “Superman”.

BIGGEST SNUB STORY: Black Swan, 127 Hours and The Kids Are All Right, which have all been winning major attention, were completely shut out. No prizes for any of them. Other films that maybe weren't destroyed but certainly weren't boosted by today's announcement were Rabbit Hole, Blue Valentine and all of those one week qualifying releases that were hoping for last minute attention (The Way Back, Barney's Version, Biutiful, Frankie & Alice).


BIGGEST BOOSTS: The Social Network (which was a gimme anyway), but more importantly Mike Leigh's Another Year (1 prize, 1 list) and David Michôd's Animal Kingdom (1 prize, 1 list)


MOST BORING DEVELOPMENT: The endless fawning over Waiting For 'Superman'. With so many fine documentaries this year, why that one? The Lottery, on the very same topic, is more focused and convincing (though it comes without any bells and whistles), if you must reward this topic.
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Social Network Typography (and Screenplay Structuring)

Saw this at Rope of Silicon and just loved it. The mind boggles at the complex architecture / spacial relation skills? required to pull this off...



...of course it wouldn't be that special if it didn't have the platform of Aaron Sorkin's amazing dialogue and/or Zuckerberg's wit (from transcripts presumably), now would it?

Best Screenplay. Having recently rewatched both The Kids Are All Right and The Social Network the screenplays for both play even stronger than they initially did. Sturdy blueprints for potentially great movies they were. Both screenplays are so witty, well constructed and filled with engaging character-specific details. There's just very little that's generic about either film and there's so much that's generic about the bulk of movies released in any given year, you know? But maybe Kids has the more graceful structure arcing as it does from kids (son) to parents back to kids (daughter) without feeling too deterministic or purposefully symmetrical but still smartly pinpointed (one summer). Social employs the more traditional continual flashback frame structure but perhaps its more ambitious in scope and it's hard to top some of its killer lines. My point is: They'd both better be Oscar nominated. I love both of them but I like to weigh these things for a good long while before I name my nominees or medalists.

 FWIW the writer's branch used to be my favorite Oscar branch but I don't trust them at all anymore after the finger they gave Rachel Getting Married in 2008. Whatthehell?

Which screenplays are you enamored with this year?
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Lunk. Subgenius. Monster.

awwww, poor Frankenstein Monster. Always so pathetically lonely. Hit refresh ya big lug! I'm sure someone will cozy up. If you're lucky she'll have a huge skunk inspired beehive. [Note: This illustration is brought to you from the wonderful imagination of Mr Hipp.... click over and see other illustrated wonders.]

Linkenstein

What follows is a strange amalgam of old and new links. It's a frankenstein roundup, stitched together over the past four days from aborted link posts that were accidentally unposted... until now. "IT'S ALIVE!"


/Film Jon Hamm as Superman?
Movie|Line's failed/jokey photoshop attempt at the same thing utterly delights me (pictured left)
I Just Want to Be Perfect Black Swan website devoted to Nina's (Natalie Portman) psyche.
Cinema Blend a look at the newly announced cast of The Hobbit. With pics. Why do I feel that this movie is going to be such a disaster when I love the LotR trilogy? I guess I've lost faith in Peter Jackson given that the beauty of King Kong was smothered by a lack of self-editing and then we got the disastrous The Lovely Bones.

ONTD Rachel McAdams and Michael Sheen. I must have slept through this pairing. This is news to me.
Cinematical Pixar gives its first female director the book (Brenda Chapman was to helm The Brave previously due out in 2012...but you know, I assume this could delay the movie). Boo.
Montages (in Norwegian) a look at what's coming up very soon in Norwegian film. The writer is most excited for The King of  Bastøy starring Stellan Skarsgard, Kristoffer Joner and Benjamin Helstad. The film takes place in 1915 and is based on a true story about a youth prison. Hmmm. Could it be next year's Oscar submission? It's never too early to start thinking about that given that the Oscar eligibility calendar is already in the 2011 film year now when it comes to Best Foreign Language Film.

(Partially) Off Cinema
Tiger Beatdown "No One is Ever On Your Side" excellent, excellent article on Mad Men's Betty Draper Francis. A must read for fans of the show in case you missed it.
Benefit of the Doubt on Metroid, feminism and the Aliens franchise (if you're curious as to why that's suddenly in the air again, it's due to the box set's release Alien Anthology.)
Moby Lives on literature's problems in reflecting our internet ruled new world: timeliness or timelessness?
The Faster Times a list of all the new shows coming to Broadway in the spring.
The Oatmeal How to Pet a Cat. Hee

Something That's Really Bothering Me
Did you read the NY Times piece about the shortage of memorable lines in the movies these days? I suppose it's only helping them that everyone has been talking about the piece and linking to it (like me) for a couple of days but I do not understand the response. I've only read a couple of "in response" articles but they seemed to join in the lament. The article cites 90s films like Terminator 2, Forrest Gump and Jerry Maguire as among the last mammoth 'quotables.' Some response articles are saying things like "yeah, it's sad that movies aren't literate anymore..." I'm sorry but Forrest F'in Gump and Jerry Maguire are not literate movies. They just had fun simple catchphrases. Why are people equating catchphrase-making with great screenwriting and extrapolating that into a lament for the state of modern cinema? Does that mean that Arnold Schwarzenegger movies deserved Best Screenplay Oscars?  A lack of catchphrases does not a poor screenplay make. The article makes a vague statement indicating that these things can take time,  citing "Plastics" from The Graduate as a line that percolated before boiling. But then it blames The Social Network for not having a great lines (um, excuse me? It has hundreds of great lines... it'll just take awhile for a few  of them to rise to the top) Meanwhile The Big Lebowski is praised for "The Dude abides." Listen. The Coen Bros write great dialogue. But I was around in 1998 when The Big Lebowski premiered. It was received with pockets of enthusiasm (as their pictures usually are) but mostly a shrug, and some considered it a small setback after Fargo (which had been nearly as popular as Raising Arizona, their first mainstream breakthrough. Lebowski wasn't.) It was only years later after obsessive fandom had successfully added several fresh coats of "classic" paint on Lebowski that people were incessantly quoting its dialogue and acting like it was this huge hit and of the best films of the 90s.

The article does suddenly remember that "I drink your milkshake" (There Will Be Blood) permeated pop culture but completely forgets about "I wish I knew how to quit you" (Brokeback Mountain) which was quoted just about as often as movie lines ever get quoted. And then there are any number of lines from Mean Girls (Best Shot subject this week!) as reader Dom pointed out a few days ago. You or someone you know quotes that movie every day. I know, right. 

I guarantee you that "milkshake" and "quit you"will never disappear. And that 5 years from now, some line from The Social Network will still be in the public vernacular. One day people might not even remember where they first heard the line they end up using from The Social Network it may dig so deep down into the bone marrow of everyday conversation. You think everyone who has ever said "fasten your seatbelts. It's going to be a bumpy night" was thinking of All About Eve (or had even seen All About Eve) when they first said it?

Eisenberg vs. Damon? The Youngest Best Actor Nominees!

"Do I have your full attention?"

Whilst continuing my "Best in Show" column for Tribeca Film, I decided it was high time to highlight Jesse Eisenberg from The Social Network and this is why. Here at The Film Experience though, it's time for Oscar trivia! Though I would love to see Eisenberg win traction for Best Actor, he has something else working against him besides the subdued performance: his age.

Youngest Best Actor Nominees

And where Eisenberg would fit in, were he to be nominated.
Disclaimer/Bragging: You won't find info this extensive elsewhere! The Official Oscar site / Wikipedia only offer top tens. However the following info is approximate. Though the Academy's top ten is down to the day of the actual nominations, they don't provide official nomination dates only ceremony dates. Inside Oscar and Wikipedia also only list the ceremony dates so we're just using February 1st, ∞ as a general calculation date for when nominations happened for given years.

1. Jackie Cooper, Skippy (1931) was 9 years old.
   Nine, Guido, Nine! Kind of strange that he was nominated, wasn't it, since back then they were giving people "junior" Oscars. Why wasn't he handed one of those instead? Or perhaps they started those in the wake of this nomination.
2. Mickey Rooney, Babes in Arms (1939) was 19 years old.
3. Mickey Rooney, again, The Human Comedy (1943). He was 23.
   Bonus Trivia Note: Rooney is not the youngest actor to receive two Oscar nominations. If you include supporting work, the record holder is Sal Mineo who by the age of 22 had been nominated twice: Rebel Without a Cause (1955) and Exodus (1960). If you include actors, male or female, Angela Lansbury holds the record of fastest to "two-time nominee" status: she had two nominations for Supporting Actress by the time she was 20 (The Picture of Dorian Gray and Gaslight).
   
   
   
   Mickey & Sal: fast-start careers, quick industry respect.
   
   
4. John Travolta, Saturday Night Fever (1977) was 24.
5. James Dean, East of Eden (1955) was 24 years old when he died. This nomination came posthumously when he would have just turned 25.
6. James Dean again for Giant (1956). He would have just turned 26.
7. Ryan Gosling, Half Nelson (2006) was 26 years old.
8. Orson Welles, Citizen Kane (1941) was also 26.
9. Heath Ledger, Brokeback Mountain (2005) was 26 going on 27.
   ****If Jesse Eisenberg is nominated for The Social Network he will boot Matt Damon out of the top ten by a hair (it's a matter of approximately 14 days).
10. Matt Damon, Good Will Hunting (1997) was 27 years and 125 days old.
    
11. Tom Cruise, Born on the 4th of July (1989) was 27½
12. Albert Finney, Tom Jones was also 27 going on 28.
13. Marlon Brando, A Streetcar Named Desire was 27 but rapidly approaching 28.
14. Montgomery Clift, my favorite actor, for The Search (1948) when he was 28.
15. Marlon Brando again for Viva Zapata! (1952) when he was almost 29.
16. Chester Morris, Alibi (1929) was turning 29 probably within a week or two of the nominations.  But I can't find the date that the Academy announced the nomination in 1930 for the films of 1928/1929.  
17. Kenneth Branagh, Henry V (1989) was newly 29 as well.
18. Anthony Franciosa, A Hatful of Rain (1957) was 29.
19. Edward Norton, American History X (1998) was 29½.
    From here on out it gets dubious/tricky. I can't vouch for the following order without official nomination dates since all of these men were born in the month of April and the nominations usually arrive in February but dates vary quite a lot.
20. Adrien Brody, The Pianist (2002) was almost 30.
    
21. Marlon Brando again for Julius Caesar (1953) when he was almost 30.
22. Ryan O'Neal, Love Story (1970) was almost 30.

Once actors have hit 30 the leading roles start coming. Though Rooney and Dean are near the top of "youngest ever" charts I think it would be best to consider Brando the patron saint of all the future young guns given his instant impact and fascinating longevity, despite many career twists and turns.

 Brando from '51 to '54: Four consecutive nods by the time he was 30 for
A Streetcar Named Desire, Viva Zapata!, Julius Caesar and On the Waterfront.

He was nominated in four consecutive years starting at the age of 27 with his history-altering performance as Stanley Kowalski (Streetcar Named Desire, 1951) and ended that insane run with a golden boy win (On the Waterfront, 1954) just 4 days shy of his 31st birthday ...which is about the time most people just start being considered for good roles let alone prizes.  

Excessive Trivia Alert! Brando snatched that youngest winner title from James Stewart (who was 32 when he won for The Philadelphia Story besting Clark Gable's win for It Happened One Night at age 34). The Godfather held onto the title for two decades until Richard Dreyfuss won at 30 (The Goodbye Girl, 1977). Dreyfuss was dethroned a quarter century later by Adrien Brody (The Pianist, 2002) who won three weeks shy of his 30th birthday. Are you loving this trivia or are you begging for it to stop? I can't stop once I get started. But I must. I must!

The only other nominees at the age of 30? That'd be Warren Beatty -Bonnie & Clyde, Richard Todd -The Hasty Heart, Franchot Tone - Mutiny on the Bounty, Dustin Hoffman -The Graduate, Sylvester Stallone -Rocky, and Leonardo DiCaprio - The Aviator.

31 Up and the men become too numerous to list. But in the past decade the men who achieved a lead nomination by 31 were Javier Bardem in Before Night Falls (2000), Jude Law in Cold Mountain (2003) and Joaquin Phoenix in Walk the Line... though few noticed the latter's youth at the time since Heath Ledger was making more noticeable history at 26 years of age. Together they made 2005's lineup one of the youngest skewing ever.

Here's the ten youngest best actor nominees of the past decade from youngest to oldest. (DiCaprio is the biggie here having rung up his 3rd Oscar nomination before he was 33. Still hasn't won yet, though.)

Youngest Lead Nominees of the Aughts

I promise I'll stop now!!!
What do you make of all this and do you think Jesse Eisenberg has a shot at all, given the super early frontrunner status of The Social Network minus their resistance to subdued performances and young men?

If you are over 30 reading this list I apologize. It makes me feel unaccomplished, too. If you are under 30 and an actor, take note. There's still plenty of time for you; nail your next audition!

Companion Articles / Related Reading
Best in Show: Jesse Eisenberg
Familiar Faces: Actors David Fincher Uses Frequently 
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10 Links for 10/10/10

Since we won't have another repetitive day like this until 3010 and since I will be well into my 1000somethings when that day arrives (yes, I plan to live as long as Gandalf... though without the scraggly beard) and possibly too senile to blog, I was going to post this great picture of a certain actress in a t-shirt that read "10" that I screencapped a year ago and I cannot find it. Sadness. You get a link roundup instead.

Film School Rejects funny list of "10" themed movies.
Kino London today in film history. 10/10 means both Ed Wood and Orson Welles.
TOH I don't wanna say 'told ya so' given what I wrote a few days ago when I changed my Best Picture charts and bitched about people bitching about The Social Network's box office but a 30% drop only in the second weekend... told ya so! Add a few 10s of millions to your final box office projections.
New York Daily News the 10 guest stars to watch in this TV season. Gwyneth Paltrow on Glee among them.
Show Tracker 10 best moments of the TV year thus far.
LA Times 10 best movies of the year that you might have missed. Go Animal Kingdom!
New York Press 'Top 10 Latin American Movies of the Aughts' to screen in NYC. I've seen 6 of them (all good) but I've always meant to see La Cineaga so I should go. What do you think shoulda been on this list that's not?

 /Film Perfect 10 Tom Hardy should find a big movie quick. The way I see star ascendance trajectories, Bronson was the perfect 'look at me!' move, Inception was the ideal 'gotcha' for the mainstream moviegoers who hadn't been paying attention and the next picture is supposed to be the slam dunk 'I'm a superstar' move. It's no time to vanish from screens! But Mad Max: Fury Road has halted production until maybe 2012? Poor Tommy.
Empire David O. Russell's 10th directorial project (if you include the continually troubled Nailed and his short films) will either be Old St. Louis with Vince Vaughn or Drake's Fortune, a video game adaptation.
Cinematical Reasons why you should be excited for Saoirse Ronan as Hanna. But wait, this list only goes up to 7, not 10. Call the blog police!
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Links: Special "Social Network" Edition.

All Too Flat I haven't said anything about the score to The Social Network but this article says plenty. You know, I agree with pretty much everything in this article -- I also thought that gambit of playing the music so loudly in the club scene that you had to strain to hear their conversation was not annoying like it is in movies with poor sound mixing but actually interesting and important -- but I did have a moment where I wondered if the score would eventually date the movie. And then just as quickly, I realized it probably didn't matter; the song score to The Graduate instantly dates it but that's  not a hindrance and it's maybe even a help.

The Film Doctor has 12 notes about the movie. Too many for me to go into right here but I like the 10th note about the twins a lot. Speaking of...

Awards Daily Armie Hammer as "The Winklevi" in The Social Network. I guess I'll just say this right here: I don't get the fuss over his performance. Certainly capable and will justifiably lead to new opportunities but Oscar worthy? Uhhhhh. Oscar worthy is supposed to be performances that are truly special, somehow elevating their material... not performances that do the job well.

 The Winklevoss Twins

Salon and Jezebel both have articles about the sexism in The Social Network. This reminds me of the complaints about the lack of black characters on Mad Men. It's what we call intentionally "missing the point"... to a degree I must quickly add. It's not like the articles don't make a few valid point.  But I wonder. Salon cites women in high positions at Facebook and Jezebel comments on Zuckeberg's diverse inner cirlce, but neither articles delineates when these omitted people began their relationship with Facebook. It would help the arguments if they were there right from the beginning but so far I haven't read anyone stating that they were. But about the liberties taken and the type of relationships depicted. Like it or not, some men do surround themselves with women that reinforce negative stereotypes about women just like some women go for men who fit neatly into certain easily reductive male types. If what you want is a trophy girlfriend, you're not necessarily going to stumble upon the fully dimensional type. You're going to get the girls who are looking to be trophies and who themselves are not looking for three-dimensional men. You know? That said, Fincher's filmography is a guy's guy filmography... so I understand the frustration. (If what Jezebel says is true about Zuckerberg having gay men and women in his inner circle... or rather if that was true in the time frame dramatized, it is disappointing that it was written out. But one final note in defense of David Fincher in this equation. At least he's got a few classic female characters in his resume, unlike a few other guy's guy directors who aren't often called out for their completely male world view. Between Two Gigs also has a detailed response to these sexism charges.

One of the things that's most fascinating about the movie is that it's so open to interpretation, never truly taking sides. You quickly glean that the movie is not interested in anything like an absolute truth -- which is what makes articles about what's true and what's not kind of beside the point though they're interesting to read -- (and movies that worry about that too much often end up dead as dramatic entertainments). You can listen to the legal arguments and agree that all parties are correct in their own ways. What's your take on all this... we still haven't heard from very many of you about your reaction to the movie?

NYFF: A Summary

The 48th New York Film Festival screenings begin with a promo reel in which a graphic animated map of the world is formed. Famous director names are paired with their countries of origin in rapid succession until the entire globe is lit up as if powered by the cinema itself! It’s a simple—even subtly clever—way to remind us that cinema is a global artform and that the NYFF in dependably international in breadth and focus.

True to form, NYFF’s 2010 lineup comes from all over the globe, and opinionated movie fans—and what other kind are there in New York City?—are finding plentiful opportunities to rave, kvetch and argue over subject and execution throughout. Quibbling and instantaneous opinion wars are part of the informed collective joy of any film festival experience.

Read the rest @ Tribeca Film

To get a sense of my basic feelings on this year's fest (me likey) and a bit more on The Social Network, Tempest, My Joy, and whatnot... More full length write-ups are coming if I can eke out the time.

Facebook Go Boom

"Dating you is like dating a stairmaster," Erica Albright (Rooney Mara) says, exasperated, in the opening sequence of THE SOCIAL NETWORK. Her personal stairmaster is Harvard student Mark Zuckerberg (Jesse Eisenberg) and you're witness to a car wreck of a break-up in progress. It's emotionally gorey but there will be rubbernecking; you can't look away. If the hilarious stairmaster line doesn't hook you, something else in the screwball sharp rat-a-tat-tat of Aaron Sorkin's screenplay will. Not many movies open with five unbroken minutes of conversation but not many movies are as confidently verbal and as exhilarating made as this one. The instantly classic opening scene works like a gunshot and the movie is off.

Read the rest of this short review @ Towleroad

P.S. I didn't go on and on (though I well could have) because I figure we'll have lots of opportunities to discuss this movie over the next few months, in all of its varied parts, as its totally in the game for Oscar. Go see it this weekend!

Modern Maestros: David Fincher

Robert here, continuing my series on important contemporary directors.  As Nathaniel has mentioned, the series is coming to an end.  This will be the third-to-last entry.  Enjoy!


Maestro: David Fincher
Known For: dark, suspenseful, psychological thrillers.
Influences: Hitchcock, all kinds of noir, Welles, Kubrick, Ridley Scott

Masterpieces: Seven
Disasters: Alien³
Better than you remember: some of his films like Fight Club or Benjamin Button get considerable hype blowback.  But looking at them as works of direction they're very very impressive.
Box Office: 127 million for The Curious Case of Benjamin Button

"Tales of the strange and unusual" might be a fitting title to David Fincher's filmography.  But don't be mislead.  His "strange and unusual" isn't the same as other such directors'.  It's not the surrealism of Lynch or the benign fantastical of Burton or the sterile other-worldliness of Kubrick.  David Fincher's films are set right here in our reality, featuring characters who reflect you and I.  Only through the slow process of plot development do we (and they) realize that they're inhabiting a darker, stranger, often more sinister version of what they considered to be their world.  And it's how they face that, that primarily interests Fincher.  Not all of Fincher's films may have as obvious a revelation as, say, Fight Club.  But each character is forced to confront and understand the mysteries that have uprooted their lives.  It's a matter of psychology, a butting of the heads of the normal and abnormal, and Fincher wants to know which wins out.  To his credit, Fincher provides us with stories that lack such clear answers.  Killers are never found (or they are with mixed results), evil is vanquished too late, or the promise of answers (by, for example, a life lived backwards) is not fulfilled.  All dark endings necessary to enlighten the complexities of characters.

Since Fincher is primarily interested in his characters his often-noted stylish direction takes on expressionist flourishes meant to place us, the viewer, into the swirling minds of our heroes.  His low angles, dark lighting, wide shots and flashy editing are occasionally dismissed as needlessly excessive.  But they add to his reality, but taking the setting of our world and creating the unreality felt by his characters.  Fincher makes mood pieces that mimic the moods of his subjects.

Fincher has noted what he considers two distinct types of filmaking.  The cold technical Kubrick style and the personal sentimental Spielberg style.  While he may not have the resume to compete with those men quite yet, Fincher's own style is an interesting marriage of the two.  Like Kubrick his interest in his characters more of the clinical variety.  He cares not for developing warm and fuzzy sympathies.  Yet it is essential to his work that the audience becomes the character.  In this way he is very Spielbergian.  We must empathize, and inhabit the character.  We must know them emotionally or the cold clinical reality will be utterly pointless.

It's been much written that The Social Network is a serious departure for Fincher.  I've not had the fortune of seeing that film quite yet, but I think that assessment is most likely true and false.  The film still presents a unique psychological case study and a character faced with a redefined reality.  It still features dueling psyches and ambiguous resolutions I'm guessing [Editor's note: Your guess is right on the money].  Yet it is tied so distinctly to our modern world, it's hard to see how the encompassing darkness of Fincher will present itself.  Fincher has said that he was attracted to the project because it was a departure and it seems to be winning him the best notices of his career.  It's a career that's going strong and will hit next with a film that shouldn't be too much of a departure for Fincher (although remakes are new territory): The Girl With the Dragon Tattoo.  Fincher fans will be anticipating how this exciting filmmaker stretches himself into new strange and unusual realities for years to come.
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The Links Are Alive...

In Contention Tapley's review of Conviction.
New York Magazine Mark Harris great piece on The Social Network in case you haven't read it yet. "I poked Aaron Sorkin..."
Cinema Styles "Coming Home to Tango" a look back at two seminal 70s films and how they age when you age. Interesting stuff. For the record I love Coming Home and don't care for Last Tango in Paris but saw them both in my early 30s.
MUBI remembers Arthur Penn (RIP) We've lost another film great. Time to watch Bonnie & Clyde again.

 Flames... on the Side of My Face pays tribute to the late Madeline Kahn, for whom the blog is titled, on her birthday. "Taffeta, darling"
Ruchome Obrazki late addition to the 'Best Shot' party featuring David Fincher's Se7en (1995). Check it out.
Some Came Running has a wonderfut bit on Sally Menke's eye for shots juxtaposed.
Movie | Line offers up my favorite title about the Star Wars in 3D news.
Serious Film 8 voice performances that were worthy of acting nominations.
IGN offers up some mainstream "summer movie awards" as we head into fall.

And finally, Playbill delivers Holy Playclothes-Made-of-Curtains shocking news. The cast of The Sound of Music is reuniting next month on Oprah !!! This will be epic even if we have to hear Ms. Winfrey screaming...

"Julieeeeeeeee AaahNDROOOOOOoosss"

...over and over again. Are you dying out there?  Now I'm going to have "The Lonely Goatherd" stuck in my head for the rest of the day because this is always what happens to me when someone mentions The Sound of Music.

Links: Social Networks, Hulk Bulges and Zombie Pornos

Just Jared more pics from the set of Captain America. Chris Evans with prosthetic feet. I always did wonder how they filmed barefoot chase scenes.
The Evening Class a defense of Bruce LaBruce's porno/horror hybrid LA Zombie.
Freaking Awesome ...speaking of zombies, this poster is created from zombie movie titles. Sick.
The Playlist Stanley Tucci shopping a sports biopic to direct and star in? At least it's not a traditional sports star biopic.
Vulture Mark Ruffalo will actually be playing the Hulk in his monster 3D form (i.e. motion capture) "I hope I don't bulge in anyone's face."

In Contention "I'm just here for the movies" I'm glad I have Guy Lodge with me on this. While it's true that some Oscar pundits care about the race first, with the cinema being but a happy-accident side dish, that's not true of all of us.
Boy Culture Remember when I got to meet Michelle Pfeiffer and Julianne Moore? Good times. Matthew Rettemund, who wrote my favorite book on the icon (Encyclopedia Madonna), finally got to meet her. Here's his story - with video!
LA Times Lindsay Lohan wins more jail drama. I am going to valiantly try to never mention her again on the blog. I'm not sure why I'm doing so now. It'll be hard for me but I feel embarrassed, actually, that I've been rooting for her and intermittently defending her talent for 12 years. What so many millions of people would do with the breaks, beauty and talent she was gifted.
LA Rag Mag Adam Levine wants you to know that Jake Gyllenhaal is not gay.
Noh Way in the wake of the release of Easy A, looks at Hester Prynne throughout movie history

Finally, here's the first bit of the NYFF press conference after our screening of The Social Network yesterday.



I love this bit from Aarron Sorkin...

I didn't think it was a movie about Facebook. I thought it was a movie that had themes as old as storytelling itself: friendship and loyalty, class, jealousy, power -- these things that Aeschylus would write about or Shakespeare would write about or Paddy Chayefsky would write about. Luckily none of those people were available so I got to write about it.

I don't know if I quite buy into the "it'll win Best Picture!" mania that's spreading (it's only September 25th, after all. We don't even know how it will fare with the public) but I 100% believe that Sorkin has a very strong shot at taking home whichever Screenplay category he ends up in.

7 Word Review: The Social Network

Screwball sharp dialogue meets riveting bad behavior.
(A-?)

I'll get to a fuller review soon. Screened it at 9 AM this morning and I'm already desperate to see it again. The film has its big premiere tonight at the NYFF. Expect another torrent of crazed "buzz" to follow. That word is often used interchangeably with "hype" in Oscar punditry and online discourse -- I use it incorrectly myself I freely admit. But "buzz" is the real thing whereas "hype" is like buzz in vitro, carefully created. Buzz is uncontrollable and what results when something (pre-hyped or not) actually delivers. And The Social Network most definitely does.

 About the sordid topic of Oscar... Before seeing it, I had predicted The Social Network for five nominations: Picture, Director, Supporting Actor (Justin Timberlake), Adapted Screenplay and Editing. I have probably underestimated it slightly since Cinematography and Sound could well be in the cards, too. The performances are quite strong across the board but I fear it's the type of work that the acting branch will be the most resistant too, since most of the characters are "unlikeable" without being showy, and showy is the key modifier in clearing the unlikeable hurdle for awards voters... generally speaking of course.

I link through all this... before you wake up... so I can be happier

to be linked again with you... ♫

Kenneth in the (212) Fun couples at the Emmys. I hadn't seen some of these photos. Cute!
Just Jared The new cast of Dancing with the Stars. I don't watch it but I do find it amusing in a meta way that Jennifer Grey of Dirty Dancing fame will compete.
/Film Dozens of new photos from The Social Network


popbytes I so wish I was in Venice right now for Black Swan.* (yes more on this later today) In a perverse way I hope that Darren Aronofsky does take that X-Men Origins: Wolverine sequel.
The Playlist I forgot to mention that someone finally gave primo scene-stealer Ari Graynor a lead role. That someone was David Gordon Green. I guess he's just smarter than other directors.
USA Today Lindsay Lohan talking to Vanity Fair. She claims she's still a "damn good actress." You always were Linds so prove it again. You can't keep resting on 1998-2004.
Pop Eater Sofía Vergara's boyfriend is in politics? Huh, who knew.
Movie|Line ewwww. the bedbug epidemic has reached Toronto. Will it hurt the Film Festival?

Late tonight... the next episode of Hit Me With Your Best Shot features A Face in the Crowd. Are you joining in?

Robyn doing Björk whilst Björk watches. No pressure or anything.



"Hyperballad" is such a goodie.