Oscar Season in Full Swing

It would be difficult to characterize 2015 as a banner year in film. Take a look at the top 10 box-office hits of the year and we find sequels, reboots, and superheroes. A box-office list doesn’t necessarily show us the good in film. Most often, it’s quite the opposite. These are major-studio-produced projects that have big budgets, and major dollars in advertising campaigns behind them, most of which are released in the summer months. We’re past that now. October began the season of more serious fare. Indie, art-house, supposedly award-worthy films.

We’ve reached an unfortunate lull in November where nothing has moved the meter in weeks, but let’s break down some of the early hopefuls already in theaters. Perhaps this post helps some of you who aren’t sure what films are worth your time and money this season.

SICARIO – 3.5/4

My favorite of the early awards hopefuls, Sicario is a tense thriller that takes a look at the frightening drug wars on the border of the United States and Mexico. Director Denis Villeneuve (Enemy, Prisoners) has established himself as a man so adept at tension in even the simplest of scenes. Shot beautifully by Roger Deakins (DP – The Shawshank Redemption, Fargo, No Country For Old Men, Skyfall), and led by a quiet, but powerful Emily Blunt, and Benicio Del Toro in his most chilling performance in years, Sicario is an ambitious, and compelling thriller that at times will leave you breathless.

THE MARTIAN – 2.5/4

I couldn’t help but feel disappointed walking out of this one, feeling as marooned as Matt Damon’s character on Mars. While critical praise is almost universal, The Martian left me cold. Damon gives a fine performance, but the rest of the cast—that for whatever reason needed to be someone recognizable in each role—was distracting at best, and annoying at worst. At times, the science is fascinating, and the imagery wonderful, but it was too Hollywood-by-the-books. A neatly wrapped up film where the end is never in doubt.

BRIDGE OF SPIES – 3/4

Steven Spielberg is no stranger to war-time film-making with movies such as Schindler’s List, Saving Private Ryan, Munich, and Lincoln under his belt. While Bridge Of Spies may not be a major Spielberg work, and at times feels like it’s a film more settled than ambitious, it’s well done. With a tight, at times humorous script by the Coen Brothers (of course!), and one of America’s most beloved actors (Tom Hanks) leading the way, it’s a drama about morals. About doing what’s right instead of doing what’s asked or expected. Mark Rylance as Abel, the Russian spy, is scene-stealing.

STEVE JOBS – 2.5/4

It’s another slam-you-over-the-head with quick, witty dialogue Sorkin-fest. Think The Social Network, but not as good (and I didn’t love that, either). There isn’t a lot of revelatory information here. Jobs was a difficult person to work with and be around, but this is known, and there are better sources for that information. The film, and script are more concerned with showing you how bad a guy this was, rather than the visionary who inspired it. This gets the extra half a star for Michael Fassbender’s immersive title performance as Jobs. He’s so good, you forget they look nothing alike.

A bonus pick for those of you who enjoy documentaries:

JUNUN – 3/4

For my money, Paul Thomas Anderson is the greatest working filmmaker today, and of the last 18 or so years. Writing and directing the fabulous Boogie Nights at 26 years old, and creating what I consider to be the only masterpiece of the past decade (There Will Be Blood), PTA is known for his flair behind the camera, his close-ups, and getting the best damn performances of actors a director could dream of. He sets most of that aside here to film his friend, and regular collaborator Jonny Greenwood (lead guitarist of Radiohead) creating an album in India with a group of Indian musicians. There is almost no dialogue, and very few interview moments we’ve become accustomed to seeing in documentaries, but the connection of these musicians, and the feeling conveyed by each shot left an impression on me. It might not be for the average viewer, and maybe you need to be a fan of PTA to get it, but for the wonderful music alone, and that it’s less than an hour, it’s certainly worth the look.

Something to keep an eye on going forward is women in Hollywood taking the lead this season; a refreshing and exciting trend to this year’s films (as well as television). I’ll come back in the coming weeks and post my thoughts on that and more hopefuls including: Spotlight, Carol, Room, The Revenant, Brooklyn, and The Hateful Eight.

Tweet me @BobbyJDaniels!

Paul Thomas Anderson To Write Script for Downey Jr.’s Live-Action Pinnochio

I am on board with literally anything that has Paul Thomas Anderson’s name attached, but I’d be lying if I said I wasn’t surprised by today’s announcement that he will be writing and possibly directing a live-action Pinocchio. Something about Pinnochio doesn’t hit the same chords as say a Dirk Diggler, or Daniel Plainview. Hard to imagine Anderson being a “gun-for-hire” so to speak for a major studio.

I wonder how many people thought of Disney, or Burton (Alice In Wonderland, Charlie and the Chocolate Factory) when they read the news. If Disney remains a limited participant, perhaps we get a darker adaptation. I’m not terribly thrilled by the notion of a PG-13 script regardless of how talented the man is. Anderson’s filmography doesn’t exactly lend itself to a sunny story. Often compared to Robert Altman, this is another indication of Anderson following in his footsteps, though Altman’s foray into this territory didn’t exactly hit the mark with his live-action version of Popeye.

Hollywood is seemingly cashing in on the live-action fad. Alice in Wonderland, Maleficent, and Cinderella all did well at the box office. Beauty and the Beast, Mulan, The Jungle Book, Tinker Bell, Winnie the Pooh, and Fantasia are all currently in production on some level. Downey Jr. has reportedly been trying for years to get this film made, and with PTA on board it seems his Pinocchio is joining that list.

I’m admittedly intrigued by a PTA/Downey Jr. match-up. The duo was originally slated to work together on Inherent Vice before Downey Jr.’s ‘Iron man’ commitments got in the way. As long as Downey Jr. and PTA retain creative control, I’m confident they’ll create something interesting and worth-while. Preferably, Anderson passes on the director’s chair, and just writes the script. Bryan Fuller (Writer and creator of TV’s Hannibal) and Jane Goldman (of recent X-Men fame) are said to have penned earlier drafts of the script. The details beyond this remain scarce, but the film is gaining momentum.

PTA on WTF

This weekend I was finally able to listen to the Paul Thomas Anderson interview on Marc Maron’s WTF podcast. I was THRILLED with this two-hour extended sit down. I’ve read many pieces on PTA, spent hours on YouTube watching interviews or discussions with him, but this was as good as it gets for the hardcore fan.

I watched Punch Drunk Love last week which prompted me, aside from being a mega-fan, to listen to the interview. While not my favorite of his, Punch Drunk Love captures the French New Wave feel of the 60’s. It’s simply, as he puts it, a story about love. That he wanted to work with Adam Sandler, place him in a role different from anything he had done prior, and succeeded is an accomplishment all on it’s own. It’s unlike any other film PTA has created. At the same time, I’ve always felt it was made in exactly the style PTA has become known for – if that makes sense. Just go with it.

I’ve read many accounts of the difficulties of getting his first film, Hard Eight (Sydney) made and distributed. It was great to hear him expand on the problems he had in that process. HE WAS 23 YEARS OLD!!

As I’ve written on this blog, Boogie Nights is one of my all-time favorite films. I’d put it in my personal top 5, so any new thing I learn about it, or any time PTA has an extended chat about it, I’m fascinated. PTA and Maron mention the Rolling Stone article about the Wonderland murders, written by Mike Sager in 1989. I’ve made the link clickable and if you ever get a free hour and want to read an explosive telling of that fateful event, there you go.

Lastly, PTA talking about his love for Philip Seymour Hoffman – one of my favorite actors of all time – was touching. Seeing him for the first time in ‘Scent of a Woman’ and knowing, “I knew what true love is, I knew what love at first sight was….he’s for me and I’m for him.” Many top directors like to work with the same actors. You build a rapport with an actor and enjoy their work enough to keep featuring them. It doesn’t get better than PTA and Seymour-Hoffman together. The working relationship between Joaquin Phoenix and Anderson seems to be mirroring that and it’s worked brilliantly.

I’m not a regular WTF listener. I’m particular about the Maron interviews I listen to, but he has a genuine ability to get the “real” out of people. You can tell Maron is a big PTA fan. He’s clearly excited to have him there and it comes through in their conversation. And it’s exactly that. A conversation more than an interview. Interviews with celebrities are usually the standard fare. Promotion, get in/get out. This was the opposite. Two cinephiles just talking about movies, geeking-out over their passions. Good movies, bad movies, obscure movies. They may have never met before this, but it seemed like they were buddies. There’s an understanding. It’s a refreshing listen.

There’s so much here. I could gush on for another 600 words and still have more to say. We’re lucky to have a someone like Paul Thomas Anderson making films for people who love film. (I sit here wondering if saying film repeatedly makes me sound pretentious, and if I even care). If you haven’t already, give it a listen. I’ve embedded the podcast below. Enjoy!