I'm through bitching about how clueless the Academy is for overlooking my favorite films in favor of "geriatric coffeetable dogshit" (aka The Reader), as Christian Slater put it in True Romance. (To be fair, The Reader is slightly better than dogshit, mostly due to the presence of Kate Winslet.) Yes, I've finally accepted the Oscars for what it is: an industry wank-fest punctuated by a few moments of genuine spontaneity and/or emotion. Look for Slumdog Millionaire to clean up tonight despite not garnering a single acting nomination, which is almost unheard of for a Best Picture nominee. And look for an elaborately coiffed, sunglasses- and chain wallet-clad Mickey Rourke do something wonderfully eccentric while accepting the Best Actor Oscar.
The worst summer movie season in memory gets a kick in the ass this week with the opening of a pair of small-scale, Sundance-approved art-house gems: the Duplass brothers' Cyrus, an unexpectedly touching, hilariously awkward comedy featuring John C. Reilly, Marisa Tomei and Jonah Hill in an odd love triangle of sorts, and Debra Granik's Winter's Bone, a tension-laced thriller that is likely to stand as young actress Jennifer Lawrence's breakout role.
The 82nd Academy Awards telecast is Sunday night. Will you be watching?
Yes, I will again succumb to its guilty pleasures, no doubt groaning every 10 minutes or so at the lavish, self-important nature of it all (please don’t let James Cameron win — the only thing worse than his creepy, flowing gray hair is the inevitably pompous speech that will spill from his lips if Avatar wins him a Best Director or Best Picture Oscar, which it likely will).
Why can't Sam Rockwell find a movie that fully takes advantage of his singular talents?
Long one of our most expressive, instinctual and interesting actors, the 42-year-old Rockwell has added spice as a supporting player in a string of high-profile studios movies (Iron Man 2, Everybody's Fine, Frost/Nixon, Matchstick Men, Charlie's Angels and The Green Mile, among others) and has been compelling as a central figure in a handful of smaller films (Choke, Joshua, Confessions of a Dangerous Mind, Lawn Dogs and Box of Moon Light).
This week’s new releases are a curious hodgepodge ranging from a big-budget studio retread (Fast & Furious) to an experimental feature by a 79-year-old enfant terrible (Pere Portabella's The Silence Before Bach, which opened in New York City more than a year ago). Lodged in-between is a pair of movies that debuted to mixed responses at the Sundance Film Festival (Sunshine Cleaning in 2008, Adventureland earlier this year), both of which feature strong casts and capable directors.
There’s no denying that Terry Gilliam has a vast imagination. But is that a good thing for his films and those who have to watch them?
The fall movie season has gotten off to a pretty mediocre start, and this week’s slate of new multiplex offerings does little to reverse the trend: a pair of ho-hum-looking sci-fi thrillers, Pandorum and Surrogates, and what looks to be a glossy remake of Fame, the 1980 movie musical that would serve as the senior play for yours truly many years later (I played Ralph Garcy.) Not coincidently, all three screened after our print deadline, typically a sign that they’re not ripe for much critical love.
Can we just have Pixar make every movie? The animation studio is at it again with Toy Story 3, yet another creative triumph that offers everything the rest of the summer's big-budget extravaganzas do not: multifaceted characters, adventurous filmmaking and an emotionally involving story that is surprisingly dark and intense.
As planet Earth drew closer and closer to the new millennium, the American cinema scene started to see a decline in a genre that was born here: The Western. That’s not to say there haven’t been any new Western films released — there have been quite a few. Clint Eastwood’s Unforgiven was a hit in 1992 and even won Best Picture at the Oscars that year. But before that, in 1985, Lawrence Kasdan directed, co-wrote and produced a Western that deserves to be viewed in celebration of its 30th anniversary. That movie is Silverado.
Some of you are probably tilting your head at the name Lawrence Kasdan and wondering who he is. Well, he is responsible for movies like The Big Chill, The Accidental Tourist and for co-writing the screenplays for a couple films you might know of, like The Empire Strikes Back and Raiders of the Lost Ark. He is also the co-writer of the upcoming seventh Star Wars film. Basically, this man’s work should be a delight for anyone to watch.
Silverado tells the story of four roaming misfits who come together to battle elements of each other’s past in the small Western town of — you guessed it — Silverado. There’s the mysterious gunslinger Paden (Kevin Kline) trying to escape his past; Mal (Danny Glover), a prodigal son trying to rebuild his family’s farm; and Emmett and Jake (Scott Glenn and Kevin Costner, respectively), two brothers who do what it takes to protect their loved ones from a cattle baron (Ray Baker) that’s avenging the death of his father at the hands of Emmett.
While each plotline works wonderfully and ties perfectly into one other, for me the strongest of them is the one involving Paden. While it doesn’t fully expose everything about Paden and his past, you get just the right amount of information to stay invested in him, and you want to continue with him and see where he goes.
When Paden is first introduced, he’s left for dead with nothing but his long johns. As the film progresses, you get clues to his past and what may have happened to him. The biggest hints are in the form of an acquaintance of Paden and Silverado’s corrupt Sheriff Cobb (Brian Dennehy). Cobb tries to lure Paden into joining his posse and every time he rejects or tries to stop the wrongdoing, Cobb knows what buttons to push. He continually makes threats regarding Paden’s new friend Stella (Linda Hunt), the owner of the local saloon.
Stella is also an incredibly strong aspect of the film. She’s a strong and fierce woman who helps Paden on his journey to redemption. One of her best moments is when she becomes fully aware of Cobb using her, and she hates it. “So good people are being hurt because of me,” she says. “That makes me mad. Some people think because they're stronger or meaner, that they can push you around. I've seen a lot of that. But it's only true if you let it be.”
This film is also a real spectacle when it comes technical aspects. It features marvelous cinematography with gives the audience shots that add so much more to the story and offer great symbolism. It also features a great music score by Bruce Broughton that is very reminiscent of the works of Elmer Bernstein and the stuff he composed for Westerns.
The film was only nominated for two Academy Awards: Best Original Score and Best Sound. The sound work done for the film is brilliant. The one thing that stands out is the sound design for the guns’ sound effects. Each gun is given a distinct sound that is only associated with that particular piece. Mal’s Henry rifle sounds booming and powerful over the regular rifles of the villains. And Jake’s dual nickel-plated pistol’s sound is quick and short to show how fast he is on the draw.
Silverado is a real treat full of great characters, great set pieces and a great sense of adventure. And if none of this sold you on the film, then maybe this will: Monty Python’s John Cleese plays a Western Sheriff. Yes, you read that correctly.