Wednesday, February 3, 2010

2009 Year in Review: The Best Documentaries of the Year

For the second year in a row, I have to say that I was disappointed by the documentary films that came out this year. That’s not to say that there were no good docs this year, but I do not think that there were any truly greats ones either. Of course, I missed some of the more acclaimed docs this year - most notably The Beaches of Agnes, but also several others. It’s too bad that docs don’t seem to get very wide releases, and even in Toronto, I often find that docs don’t get much play. The exception this year was Kenny Ortega’s Michael Jackson’s This is It, but was that even really a film? I did enjoy, at least slightly, Pete McCormack’s Facing Ali a fascinating doc about the legendary boxer through the eyes of his opponents. Under Our Skin was a surprisingly involving doc about Lyme disease, and how the medical establishment seems to be completely ignoring the massive effect the illness has on its victims. The recent Oscar nominated doc Which Way Home is a fascinating, real life Sin Nombre – yet the film is somewhat hurt my that comparison (look for a full length review of the film either today or tomorrow). I know that a lot of critics loved Terence Davies’ Of Time and the City, but although I think it was a great looking film, it was also dull. Valentino: The Last Emperor was an audience favorite as much as a doc can be anyway, but I didn’t find it very illuminating. I was also disappointed in Youssou Ndour: I Bring What I Love, which should have been fascinating, but was actually rather dull. The Michael Moore tactic of documentary filmmaking reached a new low with The Yes Men Fix the World a doc about two clueless idiots with none of Moore's talent or charm, who think they are doing something clever – spoiler alert, they’re not. Nevertheless, these 10 docs were actually worthy of a look.

10. In a Dream (Jeremiah Zagar)
One of the rare “family” documentaries that is actually insightful and enlightening. Zagar documents his father’s artistic work all over the city of Philadelphia, where he has create murals on the walls of his neighborhood that document his life and his family. The art is interesting, but it takes on a darker tone when it is revealed that the father is having an affair, and his mental demons are coming back to haunt him once again. Most films about a family made by one of their own are not very involving or interesting – this is the exception.

9. Every Little Step (Adam Del Deo & James D. Stern)
A Chorus Line is one of the biggest shows in Broadway history, and is beloved by the dancers, singers and actors who actually work on Broadway, because it tells their story of grueling auditions and personal pain and triumph. When they decided to do a revival of the show on Broadway a few years ago, they opened up the audition process to these documentarians, who I think have created a movie that is going to be as loved by Broadway actors as the original show was. You go along with these actors for the entire, grueling 8 month audition process, and feel their joy and most particularly their pain (I felt really bad for the one woman who was told in the final round of auditions to “do what you did last summer”, when last summer was 6 months ago, and she had no idea what the hell it was she did). One of those rare documentaries that could actually be called a crowd pleaser.

8. Good Hair (Jeff Stilson)
Chris Rock is a funny guy, and his documentary Good Hair is without a doubt the funniest documentary of the year. Rock questions why black people, especially women, have such an obsession with their hair, and specifically making their hair look long, luxurious and straight – or more specifically like white women’s hair. Rock goes from place to place talking to people – celebrities to just regular people, and finds out their opinions, and then follows the money to see where it all goes. Black hair is worth millions upon millions every year. Yes, it takes a few missteps along the way, but overall, Good Hair is just downright fun to watch.

7. Capitalism: A Love Story (Michael Moore)
Michael Moore has become the biggest name in documentary films with his own brand of rabble rousing with his movies, which are more like filmed essays than an objective documentary. But really, who says documentaries need to be objective? In Capitalism: A Love Story, Moore takes direct aim at the economic system that let America down, and sent them spiraling into a recession in the first place. When Moore is playing his pranks and focusing on the real people who were hurt by this recession, and contrasting it to the banks which got bailed out, his film is strong. When he tries to look at capitalism itself, and prove its inherent flaws, he is on shakier ground. Capitalism: A Love Story is perhaps the weakest documentary of Moore’s career (it’s kind of a tie with The Big One), but it is still a fine film.

6. Anvil: The Story of Anvil! (Sacha Gervasi)
In the early-1980s, Toronto based heavy metal band Anvil was poised to breakout big time. Their album, Metal on Metal, had influence such bands as Metallica, and a tour of with Bon Jovi made them huge – at least they thought it would. Now 25 years later, the success never came, but the boys in the band are still struggling, still believing in their rock star dreams. Perhaps the most critically acclaimed doc of the year caused mixed feelings in me – yes the friendship between the two guys at the heart of the movie is sweet, and it is kind of inspiring to see two guys who will not give up on their dreams. But they also struck me as kind of pathetic – at what point are you supposed to give up on your dreams and face reality? Still, the movie is involving and entertaining from beginning to end. But I’m still not going to go out and buy an Anvil album.

5. Food Inc. (Robert Kenner)
Our food system likes to keep us fat. That is why food that is horrible for you is so cheap, while healthy food is so expensive. Well, that and the fact that farmers get huge subsidies for growing corn, so “agricultural” companies purchase large quantities of it and make high fructose corn syrup that is in pretty much everything we eat, despite the fact that it is terrible for you. Profit trumps everything else, and farmers who want to grow healthier food are singled out and picked on by the government, who receive massive contributions for the giant agricultural companies. There really is nothing new here – if you’ve done any reading on this subject, what the movie has to say will not shock you – yet it is still important to get the information out there, and director Robert Kenner does so in a fascinating and entertaining way.

4. Burma VJ (Anders Ostergaard)
Anders Ostergaard’s film is made up of real footage caught by on the ground video journalists during the protests in Burma in August and September 2007. Because foreign journalists are banned from the country, and the major networks in the country are just pawns for the government, the only way the Burmese people – and the rest of the world – got to see what was actually happening was through the cameras of these brave journalists who were risking their freedom and lives in order to capture it all. The film is gripping in its imagery, and the story it tells.

3. Tyson (James Toback)
Mike Tyson is one of the more controversial figures in America. From his huge success and fame in the boxing ring at a young age, to his conviction for rape, to his marriage to Robin Givens, to his eat biting episode and everything in between, it seems like everyone has an opinion on Mike Tyson – and very few of those opinions are positive. James Toback’s Tyson is a chance for Tyson to tell his side of the story in full. Toback is a trusted friend of Tyson’s, and he gets Iron Mike to open up about his childhood, his legal problems and everything else. No, this is not an objective view of Tyson – Toback and Tyson have the objective of trying to cleanse his image. Yet, this is perhaps the best movie we are going to see where Tyson tells his story the way he sees it. It may not all be true, and you could walk out of the film hating Iron Mike as much as you did going in, but it is a fascinating movie, and Mike Tyson is a fascinating person.

2. Collapse (Chris Smith)
Michael Ruppert is a former LAPD officer, who has made his modest living for the last three decades as an investigative journalist, uncovering conspiracies and stories that the “mainstream” media has left alone. Now, he is talking about the inevitable collapse that is going to hit the world when we run out of oil. He believes that there is no viable alternative to oil, and that we are on the down slope of what there is left in the world, and that soon we will all be living in some sort of Mad Max like world. I didn’t agree with everything that Ruppert had to say – hell, I didn’t agree with most of it – but he is a fascinating person to make a documentary about, and he a great speaker. Chris Smith, best known for his great comedic doc American Movie, steps into Errol Morris territory here, and makes a fascinating doc.

1. The Cove (Louis Pishoyoas)
Easily the best documentary in this weak year was Louis Pishoyoas devastating film The Cove. The movie is about an isolated cove in Japan where fishermen lure dolphins in by the hundreds to try and sell them to people from zoos the world over. They need a constant supply of dolphins, because in captivity and forced to perform, dolphins become depressed easily, and are miserable enough that they commit suicide. The even bigger tragedy however is that after the zoo people go home, the fishermen slaughter the dolphins, and then sell the meat to supermarkets, passing it off as a different kind of meat. The movie is a meticulously made film, with undercover cameras exposing the dirty little secret Japan denied was even happening at all. The movie is a powerful, devastating film that left me shaken.

Tuesday, February 2, 2010

2009 Year in Review: Animated Films

This has been a wonderful year for animation. Normally, the Oscars only nominate three movies for best animated film, but this year, they are going to nominate five as there were so many animated films released. The pleasant surprise for me is that while I sometimes struggle to find three quality nominees for this category, this year I would be happy for any of the top nine animated films on the list below getting a nomination (although, one sadly, is not eligible). In addition to these 10 there were other animated films that I saw - but they were mostly disappointing like Robert Zemeckis’ A Christmas Carol, Phil Lord and Chris Miller’s Cloudy with a Chance of Meatballs and the opening of anime epic Evangelion 1.0. I would have loved to have seen A Town Called Panic before the deadline, but alas, it was not in the cards.

10. Monsters vs. Aliens (Rob Letterman & Conrad Vernon)
Monsters vs. Aliens is just straight ahead, fun family filmmaking. A group of aliens come to attack the world, and all human weapons are useless against them. So the American government unleashes a group of monsters to attack them – including their newest member a giant woman (with the voice of Reese Witherspoon). The real reason to see the film is the entertaining byplay between the other three monsters – with the voices of Seth Rogen, Hugh Laurie and Will Arnett, and of course the hilarious vocal styling of Stephen Colbert as the inept President. The 3-D animation is also top notch. Not a great film by any means, but it sure as hell is entertaining.

9. 9 (Shane Acker)
This is certainly among the best looking animated films of the year – a stylish, futuristic movie where people have been wiped off the face of the earth, and the only things left are a group of rag dolls created by a mad scientist and the machines that wiped out humanity in the first place. There is not a frame of this film that is not breathtaking and gorgeous. If only the story, which is a little too pat and predictable, had been better, this easily could have been much higher on the list.

8. Mary and Max (Adam Eliot)
Another one of those movie that barely secured a release, this melancholy, black and white stop motion animated film is decidedly not for children – even though the main character Mary is a child for most of the movie. She is an overweight kid in Australia with no friends, a distant father and an alcoholic mother, who finds an interesting name in the book down at the post office for a guy in New York City and decides to write him a letter. Max has mental problems of his own. There pen pal friendship lasts for years and keeps both of them going through hard times. Philip Seymour Hoffman delivers a wonderful vocal performance as Max. This is an intelligent, thoughtful animated film, and while it is a little drawn out (I think perhaps a short would have been better), it is still a wonderful animated film.

7. Sita Sings the Blues (Nina Palfrey)
This movie, only available online because of copyright issues, is one of the most joyous do-it-yourself movies I can ever recall seeing. Reeling for a breakup, director Nina Palfrey decided to make this wonderfully absurd animated take on the Hindu story the Ramayana, about God Rama, and his long suffering wife Sita. The result is a movie that mixes animation styles, modern storytelling and wonderful jazz music from the 1920s (hence the copyright issues) into a hybrid of movie that is simply a joy to behold. I cannot wait to see what Palfrey does with a real budget.

6. The Secret of Kells (Tomm Moore)
This barely released Irish animated film surprised many by getting a best picture nod at the Annie Awards this year. But if you had seen the film, you wouldn’t be surprised. It is a charming, classically animated story of a little boy in Kells whose strict Uncle will not allow him outside the walls of their town, and is busy trying to prepare for an invasion by the Vikings. Then a new man arrives in town, with a secret book, and asks the boy to help him with it. The Secrets of Kells is a grand adventure story, very well animated with charming voice work. I hope this finds an audience on DVD – it deserves one (and its shocking Oscar nomination this morning should help it get one!).

5. Ponyo (Hayao Miyazaki)
Hayao Miyazaki is one of the greatest animators in cinema history. His previous films include at least two masterpieces – Princess Monoke and Spirited Away. His most recent film, Ponyo, does not reach those heights. It is a little too cutesy and predictable for that. Yet, it is still a wonderfully animated film about a little girl from the sea who wants to become human and be with her friend forever. The film is magical for kids, and a wondrous visual experience for adults.

4. The Princess and the Frog ( Ron Clements & John Musker)
It had been over five years since Disney made one of their classically animated movies – and almost 10 since they did one properly. But The Princess and the Frog brings Disney animation back in a marvelous way. Set in New Orleans, the movie is about an industrious young woman who works hard to make her dreams come true – that is until she kisses a Prince who has been turned into a frog, and turns into one herself. The movie is animated in the classic Disney style – which is wonderful to see again – the music by Randy Newman, which recalls some of his old music – works wonderfully well. Cinematic comfort food of the highest order.

3. Coraline (Henry Selick)
Henry Selick is finally out of Tim Burton’s shadow with this wonderfully dark, creepy kids movie from Neil Gaiman’s novel. Coraline is a little girl stuck in a big old house with no friends or siblings to play with, and parents that ignore her. She enters a dark mirror world where everything is like she dreamed, but there is something decidedly off about the whole thing. The film has a wonderful look – the 3-D is among the best I have seen in a theater so far – and the movie doesn’t try to lighten Gaiman’s dark original. The director of Tim Burton’s Nightmare Before Christmas is finally getting his due.

2. Fantastic Mr. Fox (Wes Anderson)
Wes Anderson’s films have always been so closely controlled by the director, so colorful and intricately detailed, that the move to animation seems to have been preordained from the beginning of his career. Finally, he can have absolute control over every aspect of the visual look of his films, making the characters move just how he wants them to. The film is brilliantly well detailed – the different animal and human characters all have a distinct look and way of moving – yet the film is more than just a visual delight (although, it must be said, it is one of the most delightful visual films of the year), but also a touching, bittersweet family drama. Just because the family at the center of the film are foxes, that doesn’t mean they are any less human.

1. Up (Pete Docter)
Pixar seemingly always makes the best animated film of the year. The reason is simple – they spend as much time and effort on writing their films as they do in making them the best looking animated films, so the result are emotionally powerful films that stick in your mind (and your heart) long after they movie is over. Up is a movie about a widow who wants to go on an adventure – by himself – and he finds that without friends and family around him, it is all meaningless. The movie switches gears from emotional tearjerker, to soaring adventure, to gripping action, and never loses sight of its goal. This ranks among the best movies that Pixar has ever made.

Oscar Nominations!

So at long last, we finally have this year's Oscar nominations. It is somewhat appropriate that The Hurt Locker and Avatar led the way with 9 nominations each, as these are the two films that will really be fighting it out for the Best Picture win this year. My personal favorite, Inglorious Basterds, was right behind them with 8 nominations - this in spite of the fact that it missed two noms I thought were sure things - costume design and art direction. Anyway, overall, I went 81 for 104 in my predictions (I didn't pick any of the short categories), which was 78% which is right around my average (I usually get between 75-80% in the nominating round). Fuller commentary for each category below. I will do a much more detailed analysis in the coming weeks when I make my winner predictions.

Best Picture
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious
A Serious Man
Up
Up in the Air

I went 9/10 here, thinking that the prestige sports drama Invictus would beat out the populist sports drama The Blind Side. I cannot say I'm shocked, since I did list The Blind Side as my 11th man on my final predictions. What is key here is that I think that nomination pretty much locks in Sandra Bullock for the win. I couldn't be happier that the Coen's A Serious Man snuck in here - definitely one of the most divisive films of the year, I thought it would hold on, but wasn't sure.

Best Director
Kathryn Bigelow, The Hurt Locker
James Cameron, Avatar
Lee Daniels, Precious
Jason Reitman, Up in the Air
Quentin Tarantino, Inglourious Basterds

I went 4/5, thinking that as normal, the nominees wouldn't match up with the DGA noms exactly, and thinking that the Precious backlash would keep Daniels out in favor of Blomkamp. Again, I'm not shocked here - this was the safe lineup. I was hoping for a left field choice like Haneke, but apparently the directors had no imagination here.

Best Actor
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker

Went 5/5 in this category. These were the five that kept showing up all season, and despite Invictus falling a little in the last few weeks, we knew this was coming. Solid, if boring, choices.

Best Actress
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabourey Sidibe, Precious
Meryl Streep, Julie & Julia

Again, 5/5. The most predictable lineup of the day.

Best Supporting Actor
Matt Damon, Invictus
Woody Harrelon, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds

Went 4/5 here, thinking that the Invictus backlash would hurt Damon's chances to get in, and that one of the two An Education men would sneak in. I still think that Molina and Sarsgaard split their own vote too much, meaning the weaker Damon was able to hoble into the line-up.

Best Supporting Actress
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Maggie Gyllenhaal, Crazy Heart
Anna Kendrick, Up in the Air
Mo’Nique, Precious

Went 4/5 here, thinking that Oscar favorite Julianne Moore would get instead of Gyllenhaal. This is the biggest surprise of the major nominations today, as Gyllenhaal didn't really show up in any precursors, and had a muddled campaign that first put her in lead, then moved to supporting. Cruz, it seems, is the only cast of Nine that was able to overcome the fact that the film underwhelmed many.

Best Adapted Screenplay
District 9 – Neil Blomkamp & Terri Tatchell
An Education – Nick Hornby
In the Loop – Jesse Armstrong/Simon Blackwell/Armando Iannucci/Tony Roche
Precious – Geoffrey Fletcher
Up in the Air – Jason Reitman & Sheldon Turner

Went 4/5 here, but I am happy to be proven wrong, since the one I didn't predict was In the Loop, which was clearly one of the best screenplays of the year. A little sad that neither kids films - Where the Wild Things Are or Fantastic Mr. Fox broke through though.

Best Original Screenplay
The Hurt Locker – Mark Boal
Inglourious Basterds – Quentin Tarantino
The Messenger – Oren Moverman & Allesandro Camon
A Serious Man – Joel & Ethan Coen
Up – Pete Docter & Bob Peterson & Tom McCarthy

Went 4/5 here, thinking that the popular indie comedy 500 Days of Summer would beat the somber indie drama The Messenger. Am happy to be proven wrong.

Best Animated Feature Film
Coraline
Fantastic Mr. Fox
The Princess and the Frog
The Secret of Kells
Up

Went 4/5 here, and to me, this is the biggest shocker of the day - although upon reflection it shouldn't have been. The Secret of Kells is the film no one was predicting, but after it got nominates at the Annies, perhaps we should have paid more attention. The fifth spot was always in flux. Hopefully, now more people will see Secret of Kells which is a wonderful little film.

Documentary (Feature)
Burma VJ
The Cove
Food, Inc.
The Most Dangerous Man in America
Which Way Home

Went 3/5 here, and I'm happy with that as you never know where the hell this category is going. I have seen three of the nominees, and will do my damnedest to see The Most Dangerous Man in America and Which Way Home by Oscar night - but I have no idea if I'll manage it.

Best Foreign Language Film
Ajami (Israel)
The Milk of Sorrow (Peru)
A Prophet (France)
The Secret in Their Eyes (Argentina)
The White Ribbon (Germany)

Went 4/5 here, which is my best showing ever. I thought that the WWII drama Winter in Wartime would get in (there always seems to be a WWII film nominated here), instead of Ajami. Again, I have only seen three, but I will catch up with The Milk of Sorrow soon, and hope to have a chance to see Ajami before Oscar night. Am thrilled, that for once, these morons didn't overlook the two obvious masterpieces - A Prophet and The White Ribbon - the hard part for me is telling which one is better.

Best Art Direction
Avatar
The Imaginarium of Doctor Parnassus
Nine
Sherlock Holmes
The Young Victoria

My weakest category at 2/5. How did they not nominate Inglorious Basterds? Am not nearly as surprised that they didn't go with two of my other choices - Public Enemies, which I think they forgot about and A Serious Man, which was probably too subtle for them. Am I not really shocked by any of their choices (okay, maybe a little for Doctor Parnassus), but this branch always goes its own way.

Best Cinematography
Avatar – Mauro Fiore
Inglourious Basterds – Robert Richardson
Harry Potter and the Half-Blood Prince – Bruno Delbonnel
The Hurt Locker – Barry Ackroyd
The White Ribbon – Christen Berger

Went 4/5 here, and I all I have to say is Harry Potter and the Half Blood Prince? Really?

Best Costume Design
Bright Star
Coco Before Chanel
The Imaginarium of Doctor Parnassus
Nine
The Young Victoria

Went 3/5 here, and feel pretty stupid about one of my non-predictions: Bright Star. Of course it got nominated, because just like Coco Avant Chanel (which I did predict), the films were ABOUT designers, and the clothing was talked about quite a bit. Why I didn't predict it, I don't know. But again, no Inglorious Basterds? Why?

Best Film Editing
Avatar
District 9
The Hurt Locker
Inglourious Basterds
Precious

Went 3/5 here, thinking that the editing snub at the guilds for Inglorious Basterds would carry forward here, and that Precious wouldn't make it either. Am happy though, at at least about the first one.

Best Makeup
District 9
Il Divo
Star Trek

A perfect 3/3 and I'm proud of this one. Not many were going with the Italian film Il Divo, but I knew the voters would see it.

Best Music (Original Score)
Avatar – James Horner
Fantastic Mr. Fox – Alexandre Desplat
The Hurt Locker – Marco Beltrami & Buck Sanders
Sherlock Holmes – Hans Zimmer
Up – Michael Giacchino

Went 3/5 here, and am happy with that, since this branch is loony and you never know where they're going to go. Up and Fantastic Mr. Fox had the two best scores of the year, so I'm happy they got in, and Avatar's was inevitable. Should have probably seen Sherlock Holmes coming, but I did think that Marvin Hamlisch's return would be too big to pass up. The Hurt Locker had a great score, but who saw that nomination coming? No one.

Best Music (Original Song)
Crazy Heart – The Weary Kind
Nine - Take it All
Paris 36 - Loin de Paname
The Princess and the Frog - Almost There
The Princess and the Frog - Down in New Orleans

Went 3/5 here. If The Weary Kind doesn't win, I'll throw something at the TV. Am happy that they recognized that Take It All was really the best original song in Nine (now do your best to best Marion to perform it), and you knew at least one song for The Princess and the Frog would get in. What the hell is Paris 36? No idea, but I will try and track it down before Oscar night.

Best Sound Editing
Avatar
The Hurt Locker
Inglourious Basterds
Star Trek
Up

Best Sound Mixing
Avatar
The Hurt Locker
Inglourious Basterds
Star Trek
Transformers: Revenge of the Fallen

I went 4/5 in Sound Editing and 3/5 in Sound mixing, but really, this branch continues to confuse me with some of their choices. Perhaps I don't understand them as much as I think I do.

Best Visual Effects
Avatar
District 9
Star Trek

3/3. This one was fairly obvious.

Documentary (Short Subject)
China’s Unnatural Disaster: The Tears of Sichuan Province
The Last Campaign of Governor Booth Gardner
The Last Truck: Closing of a GM Plant
Music by Prudence
Rabbit à la Berlin

Didn't do any predictions here, but I will for the winning round. Have only seen one of the nominees (The Last Truck), and will try and see the others before Oscar night, but I'm not sure if I'll be able to, as unlike the other short categories, these don't get released in an omnibus type format.

Short Film (Animated)
French Roast
Granny O’Grimm’s Sleeping Beauty
The Lady and the Reaper
Logorama
A Matter of Loaf and Death

Short Film (Live Action)
The Door
Instead of Abracadabra
Kavi
Miracle Fish
The New Tenants

I have not seen any of the nominees in either of these categories, but will head up to Waterloo the last two weekends in February to catch all 10 of these shorts. Am looking forward to it. If you want a little heads up, I would assume that A Matter of Loaf and Death in the animation category has the edge, as it is directed by Nick Park - one of the Wallace and Gromitt boys.

Monday, February 1, 2010

Movie Review: The Yes Men Fix the World

The Yes Men Fix the World **
Directed By:
Andy Bichlbaum & Michael Bonnaro.

Although it seems easy, no one else has ever really been able to pull off the liberal muck raking ways of Michael Moore. Moore is fearless is his confrontations with corporate America, and the government, accusing them of greed, criminal activity and over all just being poor citizens that are ruining his country. You may not agree with him, but he is excellent at what he does. And based on the evidence supplied in The Yes Men Fix the World, it isn’t easy. These two bozos don’t have a clue in what they’re doing.

What the Yes Men do is set up phony websites for big corporations they want to humiliate, and then wait to be invited somewhere to speak. When they do so, they say things that the corporation would not want them to say. For example, they pose as representatives for Dow Chemical, whose subsidiary Union Carbide, was responsible for the largest industrial accident in history. In 1985, their plant in Bhopal, India had a spill that killed 8,000 people, and has adversely affected the area ever since – causing deformities and birth defects that last to this day. So what do these guys do? They go on BBC and announce that Dow Chemical is going to pay $12 billion to fix Bhopal – to finally clean up the mess they made properly, and then provide medical care for the people affected. The result is that Down’s Stock drops in value by almost $2 billion almost immediately, but regains that value when Dow announces that it was a hoax. The only thing this stunt accomplished was to temporarily embarrass Dow Chemical and temporarily affect its stock price. No lasting impact was felt, no changes actually made. Nothing really accomplished.

Most of their other stunts don’t even accomplish that much. They like going to trade shows and posing as big companies to announce a new product or service. For instance, they go to one trade show and announce that they have created a new risk calculator – what it will do is calculate the risk that a corporations action will cause people’s deaths, and then compares it to how much money they are going to make off of the idea. Or, they pose as executives from Exxon and say they have found a new energy source – dead humans. Or, they pose as representatives from Halliburton to promote their new protective suit, that looks like one of those sumo wrestler costume, that are apparently built to withstand any natural or manmade disaster. Or they pose as representatives from HUD and announce at a press conference that they are reopening some of the public housing in New Orleans. Or, they put together some money to print off 100,000 copies of a fake issue of the New York Times, that tells people what the future could be like if they work at it (the headlines include “Iraq War Ends”, “Bush Charged with War Crimes” and “Maximum Wage Law Passed”.

Some of these ideas are clever – others not so much. But they all have one thing in common – they accomplish nothing. They don’t even seem to be able to piss people off as much as Moore does, perhaps because everyone knows when their hoax ends, that no one will actually hear about what they did. What these guys are essentially doing is a corporate version of Punk’d and I have to wonder – what the hell is the point?

Movie Review: Edge of Darkness

Edge of Darkness ***
Directed By:
Martin Campbell.
Written By: William Monahan & Andrew Bovell based on the BBC Miniseries.
Starring: Mel Gibson (Thomas Craven), Ray Winstone (Jedburgh), Danny Huston (Jack Bennett), Bojana Novakovic (Emma Craven), Shawn Roberts (Burnham), David Aaron Baker (Millroy), Jay O. Sanders (Whitehouse), Denis O'Hare (Moore), Damian Young (Senator Jim Pine), Caterina Scorsone (Melissa), Frank Grillo (Agent One), Wayne Duvall (Chief of Police), Gbenga Akinnagbe (Detective Darcy Jones).

Greedy Corporations have become the new catch all villain in America movies – following Nazis, Communists and Islamic Terrorists, who at one point were the go to villains for thrillers like this. Corporations make excellent villains – they do not care about people, only profits, and all one has to do is look at the newspaper on any given day to discover that one. So Hollywood has just taken it another step farther, and made them even more evil then they really are. Apparently the British were ahead of the curve on this one, since Edge of Darkness is based on a 1985 BBC miniseries (which, it must be said, is a better, richer experience than this movie). If a thriller is only as good as its villain, than Edge of Darkness has a great villain.

In the film, Mel Gibson plays Thomas Craven, a detective with the Boston Police who gets a surprise visit for his daughter Emma (Bojana Novakovic). He is happy to see his daughter, but there is obviously something wrong with her – something he cannot ignore when she starts throwing up blood. He rushes her to the door, and waiting for them is a car, and a man with a shotgun yells out “Craven” and guns her down brutally. Everyone assumes that the shot was meant for Thomas – a cop would have enemies – but there are no viable suspects. Craven starts investigating the murder himself, and he doesn’t like what he finds. All roads lead by to Northmoor, the chemical company that Emma worked for before her death.

I won’t say anything else about the plot, because one of the pleasures of the movie is to watch everything unfold, the web of the conspiracy getting bigger and bigger. Gibson is excellent in his first acting role in a few years – proving that when it comes to action movies like this, he can still pull it off. Yes, his Boston accent is a little inconsistent at times, but the heart of the performance – his anger and pain about the death of his daughter, he does very well. He is supported by an excellent cast as well. I especially liked Danny Huston as the slimy CEO of his daughter’s company. Huston seems to have inherited his father’s ability to play evil, untrustworthy men, and he plays a great one here. Even better is Ray Winstone as the mysterious Jedburgh, a fixer brought in by the higher ups to try and conceal what exactly happened. He shows up at Craven’s door to have a talk with him, but it doesn’t go the way we expect it to. Jedburgh has been doing this for years, but just this once it seems, he is willing to stand aside and give the little guy a chance. If it didn’t, then most likely Craven would never be able to put the pieces together.

The movie is directed by Martin Campbell (Casino Royale), who also directed the original BBC series 25 years ago. I missed the extra detail that the series was able to provide to the story. The extra twists, yes, but mainly the extra bits of character development that were afforded each character. Of course, considering that this movie is less than a third of the running time of the original series, cuts are necessary and to be expected. What writers William Monahan and Andrew Bovell do is distill the story down to its essentials, and craft a very interesting little thriller. It is intelligent for almost its entire running time – suspenseful, thought provoking and well detailed. The film ends with not just one, but two shootouts, and yet for once, the shootouts appear to be necessary. Considering how far we have seen the corruption spread over the course of the movie, perhaps the only logical thing to do is to pick up a gun and start shooting.

Final Oscar Nomination Prediction

So, tomorrow, bright and early, the Oscar nomination come out. I am quite looking forward to them this year, as I think with 10 nominees, we are going to get an interesting mixture of films. Below, I make my final Oscar Predictions before the nominations are announced, along with some I think is just missing the cut. Check back tomorrow to see how I did. I have a feeling that this year, I won't do very well. I have a feeling we're going to see a shocker or two in the Best Picture category, and perhaps some surprises for Actor, Supporting Actor and Supporting Actress. But, at this point, this is how I see it shaking down.

Picture
1. The Hurt Locker
2. Avatar
3. Up in the Air
4. Inglorious Basterds
5. Precious
6. Up
7. An Education
8. District 9
9. Invictus
10. A Serious Man
The 11th Man: The Blind Side

Director
1. Kathryn Bigelow, The Hurt Locker
2. James Cameron, Avatar
3. Jason Reitman, Up in the Air
4. Quentin Tarantino, Inglourious Basterds
5. Neil Blomkamp, District 9
The 6th Man: Lee Daniels, Precious

Actor
1. George Clooney, Up in the Air
2. Jeff Bridges, Crazy Heart
3. Colin Firth, A Single Man
4. Jeremy Renner, The Hurt Locker
5. Morgan Freeman, Invictus
The 6th Man: Matt Damon, The Informant!

Actress
1. Carey Mulligan, An Education
2. Meryl Streep, Julie & Julia
3. Sandra Bullock, The Blind Side
4. Gabourey Sidibe, Precious: Based on the Novel ‘Push’ by Sapphire
5. Helen Mirren, The Last Station
The 6th Man: Abbie Cornish, Bright Star

Supporting Actor
1. Christoph Waltz, Inglourious Basterds
2. Stanley Tucci, The Lovely Bones
3. Woody Harrelson, The Messenger
4. Christopher Plummer, The Last Station
5. Alfred Molina, An Education
The 6th Man: Peter Sarsgaard, An Education

Supporting Actress
1. Mo’Nique, Precious: Based on the Novel ‘Push’ by Sapphire
2. Anna Kendrick, Up in the Air
3. Vera Farmiga, Up in the Air
4. Julianne Moore, A Single Man
5. Penélope Cruz, Nine
The 6th Man: Samantha Morton, The Messenger

Adapted Screenplay
1. Up in the Air (Jason Reitman)
2. An Education (Nick Hornby)
3. Precious (Damien Paul)
4. District 9 (Neil Blomkamp)
5. The Fantastic Mr. Fox (Wes Anderson)
The 6th Man: In the Loop

Original Screenplay
1. Inglorious Basterds (Quentin Tarantino)
2. Up (Bob Peterson)
3. The Hurt Locker (Mark Boal)
4. A Serious Man (Joel & Ethan Coen)
5. 500 Days of Summer (Marc Webb)
The 6th Man: The Hangover

Animated
1. Up
2. The Fantastic Mr. Fox
3. Coraline
4. The Princess and the Frog
5. Ponyo
The 6th Man: Cloudy with a Chance of Meatballs

Foreign
1. The White Ribbon (Germany)
2. A Prophet (France)
3. The Secret of Her Eyes (Argentina)
4. The Milk of Sorrow (Peru)
5. Winter in Wartime (The Netherlands)
The 6th Man: Ajami (Israel)

Documentary
1. The Cove
2. Food, Inc.
3. Every Little Step
4. Mugabe and the White African
5. Burma VJ
The 6th Man: The Beaches of Agnes

Cinematography
1. The Hurt Locker (Barry Ackroyd)
2. Avatar (Mauro Fiore)
3. Inglourious Basterds (Robert Richardson)
4. Nine (Dion Beebe)
5. The White Ribbon (Christain Berger)
The 6th Man: Roger Deakins, A Serious Man

Art Direction
1. Inglorious Basterds
2. Avatar
3. Public Enemies
4. A Serious Man
5. Sherlock Holmes
The 6th Man: Star Trek

Costume Design
1. The Young Victoria
2. Nine
3. Coco Avant Chanel
4. Sherlock Holmes
5. Inglorious Basterds
The 6th Man: Bright Star

FILM EDITING
1. The Hurt Locker
2. Avatar
3. Up in the Air
4. District 9
5. Star Trek
The 6th Man: Inglorious Basterds

MAKEUP
1. District 9
2. Star Trek
3. Il Divo
The 4th Man: The Imaginarium of Dr. Parnassus

MUSIC (ORIGINAL SCORE)
1. Up (Michael Giacchino)
2. Avatar (James Horner)
3. The Informant (Marvin Hamlisch)
4. Public Enemies (Elliot Goldenthal)
5. Fantastic Mr. Fox (Alexander Desplat)
The 6th Man: Sherlock Holmes (Hans Zimmer)

BEST MUSIC (ORIGINAL SONG)
1. Crazy Heart - The Weary Kind
2. Nine - Cinema Italiano
3. Avatar – I See You
4. Nine - Take it All
5. The Princess and the Frog - Almost There
The 6th Man: Everybody’s Fine (I Want to) Come Home

SOUND EDITING
1. Avatar
2. Transformers: Revenge of the Fallen
3. District 9
4. The Hurt Locker
5. Star Trek
The 6th Man: Up

SOUND MIXING
1. Avatar
2. The Hurt Locker
3. District 9
4. Transformers: Revenge of the Fallen
5. Star Trek
The 6th Man: Inglorious Basterds

VISUAL EFFECTS
1. Avatar
2. District 9
3. Star Trek
The 4th Man: 2012

2009 Year in Review: Foreign Language Films

2009 was not the best year for foreign films. At the beginning of the year, Yojiro Takita’s Departures surprised everyone by winning the Oscar for best foreign language film, so I was anxiously awaited the film, but when I finally saw it, I was shocked by just how poor the film was. Yet, there are quite a few foreign films this year that I did like. Aside from the top 10, I admired the action movie, combines with politics in Uli Edel’s The Baader Meinhoff Complex, had a blast with the Nazi-Zombie comedy and gore fest by Tommy Wirkola Dead Snow. I was engrossed and entertaining by the lovely Audrey Tautou in Coco Avant Chanel, one of the few foreign films this year that could rightly be called an audience pleaser. Legendry Swedish director Jan Troell made one of his best recent films in the family epic Everlasting Moments. Anne Fontaine’s The Girl from Monaco was fun and sexy, even if it took a strange turn at the end. John Woo returned to Hong Kong and made one of his best films in Red Cliff. Yolande Moreau delivers a wonderful performance as a famed artist in Marcel Provost’s Seraphine. Russian director Aleksandr Sokurov made a wonderful film about the dying days of WWII through the eyes of Hirohito in The Sun. Although Nuri Blige Ceylon’s Three Monkeys is not quite as good as his other recent films (Distant, Climates), it was still a wonderful modern film noir. Claire Denis’ 35 Shots of Rum was a typically slow moving, beautiful mood piece that plays like great jazz music. Who would have guessed there was more juice to get from the old 12 Angry Men story, but Nikita Mikhalkov proved there was in his excellent film 12. I would have loved an opportunity to see Still Walking and You the Living, but those are the breaks sometimes. For the record, since most of these films will not be eligible for the Oscars (idiotic rules), I want to put in a few good words for A Prophet and Mother, two films that will not be released until 2010, but are eligible for the Oscars this year. These easily would have been numbers 2 and 3 (perhaps even 1 and 3) on this list otherwise.

10. Lorna’s Silence (Jean Luc & Pierre Dardenne, Belgium)
While Lorna’s Silence may not be among the best films the Dardenne brothers have made (that would still be The Son for me, followed by L’Enfant), this is still a meticulously detailed, engaging slice of neo-realism from the Belgian brothers. Lorna (Arta Dobroshi) is a recent immigrant from Eastern Europe, who has an arranged marriage with a drug addict (Jeremie Rennier) so she can get her citizenship, and then marry someone else so they can get theres as well. Things take a strange turn when she finds she actually cares for Rennier, and doesn’t want to see him killed. Combing elements of film noir, Hitchcock and Bresson together, the Dardenne brothers have made one of the most penetrating character studies of the year.

9. Broken Embraces (Pedro Almodovar, Spain)
Like the Dardenne’s film this year, Broken Embraces is nowhere near the caliber of most of Almodovar’s recent output (Talk to Her and Bad Education being my personal favorites). But this lush, colorful movie is still a thing of beauty. Penelope Cruz stars as a sexy secretary who starts daring her millionaire boss to help get her father the care he needs – but then falls in love with a movie director who casts her in the lead of his movie. Almodovar’s film is part Hitchcock, part Sirk and all style – and I enjoyed every minute of it.

8. Thirst (Chan-wook Park, Korea)
The director of Oldboy, Chan-wook Park has finally put the subject of vengeance out of his mind, and returned with this vampire movie that functions as kind of the anti-Twilight. A priest travels to a remote location to volunteer himself as a guinea pig for treatment of a new form leprosy, but comes back a vampire instead. He hates the new cravings he has – both sexual and for the need for blood – but cannot control himself for either. He manages not to hurt anyone by drinking the blood of coma patients, but he cannot resist the allure of his friend’s wife – brilliantly played by Ok-vin Kim, who comes across as sad, before revealing just how twisted she really is. This is far from the romantic, naïve teenage vampire love of Twilight, and is instead a twisted, dark, bloody, over the top horror film that is more complex than most people gave it credit for. A wonderful film, and one of the best of all recent vampire movies.

7. Revanche (Gotz Spielman, Austria)
Revanche, a nominee at last year’s Oscars for Foreign Language Film, is a character study disguised as a thriller. An ex-convict working as a handyman in a brothel falls in love with one of the hookers, a recent illegal immigrant from Eastern Europe, and comes up with a plan on how to get them both out of their miserable lives – he’ll rob a bank. Things don’t go as planned, and soon he is staying with his grandfather out in the middle of nowhere, where his closest neighbors are the cop who tried to stop the robbery, with tragic consequences, and his wife. A meticulously crafted movie, that is quietly absorbing and features great performances by its cast. While it is quite at the level of The Class or Waltz with Bashir, also nominated last year, it is infinitely better than Departures, which won the Oscar. Austria’s best kept secret in Speilman (who has been making films for 25 years) is not a secret anymore.

6. Summer Hours (Olivier Assayas, France)
It’s become extremely hard to get a read on director Assayas, who goes from very strange movies like demonlover and Boarding Gate, to this sublime family drama. Three siblings come back to their family home one last time to see their mother, who has spent her life maintaining it. When she dies, they need to decide what to do with the house. This drama – a surprise winner of the Indiewire poll for 2009 – is a meticulously observed movie about the dynamics in a family where everyone is an adult with their own problems. The cast is uniformly excellent, and the ending is just about perfect. A gorgeous film, and one that proves that Assayas can do just about anything he wants to.

5. The Headless Woman (Lucrecia Martel, Argentina)
Argentina’s Lucrecia Martel has become one of the most interesting directors in the world. With just three films under her belt, she has already created quite a body of work. The Headless Woman is perhaps her best film yet – a movie about a woman who hits something in the road, and then just drives on. After this act, she gets a convenient case of amnesia, and lets the men in her life take over – her lover, her husband and her brother – all work to cover up the accident. Did she hit a dog, or a poor child? Does it matter? Not to these people. The Headless is a fascinating movie about the class system, and a patriarchal society that still allows women to play the helpless victim whenever it is convenient for them. It is also a rather entrancing movie.

4. Il Divo (Paolo Sorrentino, Italy)
Italy has long since had one of the best film industries in the world, and they have often turned the camera towards themselves and examined the hard truth about their own country. Director Paolo Sorrentino’s Il Divo is no different. The film focuses on Giulo Andreotti, who was elected Prime Minister of Italy 8 times over a 30 year span (the fact that he lost several elections in that time shows you just how often Italians go to the polls – they make us Canadians look like amateurs).Toni Servillo is amazing as Andreotti, a small, hunchbacked little dwarf of a man in Henry Kissinger glasses, Andreotti was corrupt to the core, with Mafia ties that helped to leave a trail of political rivals dead in the gutter. The scope of the movie is dizzying – good luck trying to keep up if you know nothing about Italian politics – as it weaves it web for more than two hours. But Il Divo is not just a look back at corruption in Italy’s past, but it looks directly at the corruption they are facing today under Berlusconi. A mesmerizing film.

3. Police, Adjective (Corneliu Porumboiu, Romania)
Romania has become one of the best countries in Europe for filmmaking in the past few years, and Corneliu Porumboiu is one of its leading, young filmmakers. Police Adjective is leaps and bounds better than his first film, 12:08 East of Bucharest (which was still quite good). This film is about a police officer assigned to a case he doesn’t want – determining if a teenage kid is selling pot. He follows the kid, and while he does see him smoke pot, and give the joint to his friends, he doesn’t seem to be distributing it. He doesn’t want to ruin a kid’s life by sending him to jail for 7 years over something he doesn’t even see as a crime. Porumboiu’s films is a hybrid of neo-realism, and wonderful black comedy (the cop analyzing a pop song for its meaning, his endless struggle with bureaucracy) and is yet more proof that Romania is a country whose films are getting stronger – too bad the Academy hasn’t noticed yet.

2. Tokyo Sonata (Kiyoshi Kurosawa, Japan)
Kiyoshi Kurosawa (no relation to the great Akira) has made a name for himself in film mainly by doing horror films, that are much more intelligent and creepy than most American ones (even when they remake them here). But Tokyo Sonata is a somewhat different film for him – a drama about a family coming apart at the seams because they cannot communicate with each other. Each member of the family is holding back crucial information from everyone else. In a way, this sounds like a modern Ozu movie, and it is up to a point. But Kurosawa imbues the film which a feeling of dread from the beginning of the film, and the film’s final act twist comes out of nowhere, blindsides the audience, and yet somehow perfectly fits in with the rest of the movie. This is Kurosawa’s best film to date – and really much better than Departures which won the Oscar last year for Japan, when they should have selected this one.

1. The White Ribbon (Michael Haneke, Germany)
I feel like I’ve already written about this movie so much, that I feel like I should keep this one brief. Haneke’s films is a masterful examination of life in small town Germany right before WWI, where the adults impose their strict moral code on the kids, and then are shocked when the kids try to hold them to the same code. The movie shows the roots of how something like Nazism, or fundamentalist terrorism, get started. The scope of Haneke’s film is massive – showing multiple families in this small town, all ruled by a patriarch who is defined by his job, and the kids who at some points look like they belong in Children of the Corn. But this film is much deeper than that simple level – a dense, disturbing masterwork by one of the greatest directors in the world right now.