Posts Tagged ‘Oscarpalooza’

Oscarpalooza: Previews and Predictions

Even though Cablevision’s dispute with ABC means that I, along with several other million people in the NY-NJ area, will not be able to watch the Oscars, NPI’s Oscarpalooza carries on with previews and predictions. Of course, I am not a movie critic and, thus, have not seen all the movies nominated. Nor do I care about the majority of awards. So much of what makes the Academy Awards interesting to casual movie fans, though, is how a cottage industry of diviners and predictive pseudo-sciences has sprung up in response to the awards. Thanks to innumerable “Best Of” lists and predictive “secondary” awards like the SAGs or the Golden Globes, most people feel like they have a good idea of, say, Meryl Streep’s performance in Julie & Julia, whether or not they have seen it. Sifting through the critical white noise has become something of an art, and I’m offering my services so that those of you who would rather not watch Alec Baldwin and Steve Martin chaperone a four-hour self-congratulatory love-fest (or those of you who have Cablevision and simply have no choice), don’t have to watch to see who wins the eight major awards.

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Oscarpalooza: Avatar: Different Planet, Same Story

In honor of Oscar weekend, NPI is rerunning its reviews of the Best Picture nominees. Here, John S doesn’t buy into the Avatar hype:

The first 20-30 minutes of Avatar are unlike anything I’ve ever seen in a movie theater. The entire movie takes place on a planet, Pandora, that James Cameron essentially built from scratch and special effects. The closest analog I can come up with for this type of visual creation is the island part of King Kong, but Merian C. Cooper was working with slightly less technology. And even in Peter Jackson’s recent remake, with its gripping use of CGI, we were still dealing with large gorillas and dinosaurs… you know, things that are real.

Pandora’s not like that. Everything is made up, from the plant life to the small animals to the large predators to the indigenous population of humanoids, called the Na’vi. This also doesn’t include the human technologies portrayed in the film, which run from typical “this-is-taking-place-in-the-future” signifiers like extensive use of holograms and things that hover, to more extreme modifications of aircrafts and weaponry. In short, Cameron has done an excellent job creating an entire world. The visual elements of this world, thanks both to their natural richness and the 3-D enhancements, are stunning, and the first act’s introduction of Pandora and its inhabitants is engrossing.

After that, though, you might as well walk out, because there isn’t much story to speak of. Cameron, in his first film since the overwhelmingly successful Titanic, showcases his juvenile sense of dialogue, character, and story over and over again. Continue reading

Oscarpalooza: Not So Up in the Air

In honor of Oscar weekend, NPI is rerunning its reviews of the Best Picture nominees. Here, Josh shares his disappointment with Up in the Air:

I was very excited to see Up in the Air. I like George Clooney. As a reader of View From the Wing and a (quite inactive) member of FlyerTalk, I’m intrigued by the whole frequent-flier culture: I’m almost on my second free flight through Southwest Rapid Rewards, although I’m a little irked that they terminated their very lucrative double credit College Rapid Rewards Program. And, I thought writer/director Jason Reitman’s two previous films, Juno and Thank You For Smoking, were both excellent. Plus, 91 percent of the top critics at Rotten Tomatoes approve of Up in the Air and it’s been nominated for six Golden Globes, including Best Picture.

In his review, Roger Ebert explains: “This isn’t a comedy. If it were, it would be hard to laugh in these last days of 2009. Nor is it a tragedy. It’s an observant look at how a man does a job.” Ebert’s mostly right: Everything gets called a comedy, but this certainly isn’t one: Even Zach Galifianakis’s scene isn’t really that funny. However, I think it’s a little more than a look at how Ryan Bingham (George Clooney), a “career transition” counselor (in other words, a professional firer) and frequent-flier, does his job. There’s significant focus on the character development of Alex Goran (Vera Farmiga), a fellow frequent-flier and lady-of-the-sky for Ryan, and Natalie Keener (Anna Kendrick), a brainy and super-organized Cornell grad who moves to Omaha (where Ryan’s company is centered) with her boyfriend and brings new ideas with her to the company. Continue reading

Oscarpalooza: Inglourious Basterds

In honor of Oscar weekend, NPI will be rerunning its reviews of the Best Picture nominees. Here, John S praises Quentin Tarantino’s Inglourious Basterds:

inglourious basterds

Of all directors currently making movies, Quentin Tarantino is by far the most interested in movies themselves. All of his films include specific allusions, both in subject and style, to obscure movies, and they often work within the conventions of very refined genres. His latest work, Inglourious Basterds, is supposedly both a war movie (sorry, Josh and Tim) and a “spaghetti western,” as well as Tarantino’s homage to The Dirty Dozen. Whatever that means, it is really, really good.

Given Tarantino’s infatuation with cinema, it comes as no surprise that the climax of Basterds takes place in a movie theater. The “Basterds” of Basterds—a ragtag group of American Jews who (in case you haven’t seen the previews) like to kill “gnatzees” for their leader Brad Pitt—have chosen this spot for an attempted assassination of the crème de la crème of the Third Reich as they gather to watch Joseph Goebbels’ latest propaganda flick, A Nation’s Pride. Continue reading

Oscarpalooza: A Serious Look at A Serious Man

In honor of Oscar weekend, NPI will be rerunning its reviews of the Best Picture nominees. Here, John S champions A Serious Man:

“[The Heisenberg Uncertainty Principle] proves that we can’t ever know what’s going on….But even if you can’t figure anything out, you’re still responsible for this on the midterm.”

So Larry Gopnik, the physics professor at the heart of A Serious Man, tells his class about midway through the new film from the Coen brothers, basically summing up the entire movie.

Most of the Coen brothers’ films follow an Everyman caught up in morally questionable dealings, butA Serious Man deals with moral uncertainty more directly than films such as Fargo or even No Country For Old Men. Part of this comes from the fact that Gopnik (played by Michael Stuhlbarg) may be the Coen brothers’ most innocent protagonist—unlike Jerry Lundegaard, Llewelyn Moss, or even the Dude, Gopnick doesn’t do anything (as he repeatedly insists throughout the movie) to bring on an onslaught of crises. Life merely seems to happen to him, and he spends most of the film trying to figure out why. Continue reading

Oscarpalooza: Why is “Up” getting such good reviews?

In honor of Oscar weekend, NPI will be rerunning our reviews of the Best Picture nominees. Here, Josh wonders what all the fuss over Up is about:

I like Pixar movies as much as anyone else, but Up simply isn’t that good. It’s not that witty, the storyline is pretty basic, and the characters are fairly simple. Much of the interaction between characters—especially in the middle of the movie—is dull. Up is a decent adventure movie with very good animation and cute-looking characters. I could see how this is appealing for children, but I don’t understand the logic behind the reviews praising this movie as excellent for people of all ages: It has a 98 percent rating on Rotten Tomatoes and is currently number 16 (of all time!) on IMDB.  (Admittedly, new movies tend to get a boost, but this movie shouldn’t even be in the top 200.)

After the movie, I was a bit confused about what elicited the rave reviews. Stephanie Zacharek of Salon (one of the very few critics who wrote a negative review) helped me understand what sparked them in her claim: Continue reading