Like any “awards” program based on so-called subjective judgments, The Golden Globes’ track record is all over the place. Yet a quick glance at this year’s nominees for "Best Motion Picture — Drama" reveals a list that will likely align nicely with the Academy Awards' more predictable, prestige-laden fare.
Our largely lackluster fall movie season trudges on with five more tepidly received efforts despite the presence of some big-named veteran directors like Clint Eastwood, Barry Levinson, Kevin Smith and the newly single Guy Ritchie.
The new trailer for the next Batman movie is two minutes of pure excitement for fans of the Christopher Nolan trilogy. The Dark Knight Rises will be the last in the Nolan trilogy, and by judging from how the stakes were continuously raised on Gotham City in his first two films, this one should be a beautiful ending to Bruce Wayne’s Batman. That is, until someone else gets a hold of the cash cow franchise.
[Read tt stern-enzi's take on The Avengers here.]
Despite releasing the trailer, DC is taking a back seat to Marvel. For
years Marvel has had better movies than DC, with the exception of Nolan’s
Batman, and recently the former has had a string of successful hits. This past
year along saw Thor and Captain America: The First Avenger, two
widely popular characters that Marvel needed to establish before going ahead
with The Avengers.
DC has tried to branch out from Batman and Superman, but most of their efforts have resulted in ridiculed movies. The last Superman movie was terrible, but a new one is still in the works. Last year Green Lantern came out to mixed emotions from fans. Ryan Reynolds was surprisingly good; it was everything else that fell short in the movie. Weak villains and missed opportunities were the downfall of Green Lantern, but that is a whole other story. I will say that it was a decent attempt to start the push toward a Justice League movie.
In a way, Marvel wins the movie race because they are the first to release a movie based on their group of high profile characters. According to MovieTickets.com the pre-sale ticket numbers suggest that this movie is going to be bigger than the two Iron Man movies, Thor and Captain America. With sequels in line for the Captain, Thor and Iron Man, Marvel is going to be sitting pretty for the next few years.
This summer is going to be a great one for comic book fans. Not only is The Avengers opening up the summer blockbuster season, but The Dark Knight Rises releases July 20 and The Amazing Spider-Man on July 3. The third Men in Black movie comes out in a few weeks on May 25.
There were plenty of local mentions throughout the interview. Clooney briefly talked about his time at Augusta High School, where he played basketball (he claimed that the team was 1-25 his senior year) and was generally a great student. Just like myself growing up, every student who got As at his school received Reds tickets. Gotta love that Carl Lindner.
If you’re puzzled as to why or how we continue to let our national debt skyrocket out of control, the new documentary I.O.U.S.A is worth checking out as a 90-minute primer on a topic that gets woefully little attention given its impact on the future of our nation.
Just in time to rescue us from another week of safe, reheated Hollywood product (yes, I'm referring to you, Sex and the City 2), a locally produced film gets its local debut at 8 p.m. tonight at Cincinnati State's ATLC Auditorium (3520 Central Pwky., Clifton).
Meth, the latest short from Cincinnati filmmaker Michael Maney, centers its fast-paced 20-minute story on a meth addict (played by CCM-trained local actress Stephanie Brait) who, in an effort to score her habit of choice, crosses paths with a tweaked-out drug dealer (Dan Davidson), a pawn-shop operator (Nick Rose), a talking mannequin (voiced by Robert Pavlovich) and a guy who might be the victim of a conspiracy to exterminate wrongdoers via vigilante justice.
The winning streak continues this week. In fact, it's shaping up to be the best slate of opening films in recent memory.
Now that Sunday night’s Oscars are over, the Internet is full of catty stories and tweets parsing every last second of televised coverage, from Angelina Jolie’s exposed leg to Adam Sandler’s participation in a taped segment in which actors discussed why they love movies. (If he really loved movies, he’d stop making them, some have said.)
It’s both understandable and sad that the Oscars — and movie-award season in general — ends like this, with far more interest in the telecast’s trivia than in the movies that win awards. Arguably, the news value of this year’s show peaked before it even officially started, when Sacha Baron Cohen, in costume as “The Dictator” for an upcoming movie, spilled an urn of faux human ashes (ostensibly Kim Jong-il’s) on interviewer Ryan Seacrest.
It’s getting worse, too, now that the Internet and 200+-channel cable television have educated us ad nauseam to the nature and inner workings of the Oscar campaign season. We carefully learn how a film builds momentum by moving through all the secondary award ceremonies from critics groups and the Hollywood professional guilds and associations.
As a result, the Academy Awards themselves have become anticlimactic, which partially explains the media devotion to dissecting the telecast. And the attempts by the Motion Picture Academy to build false enthusiasm by allowing up to ten Best Picture nominees have been a disaster, since we all now know how to “read” the nominations to distinguish the real ones (they also have Best Director nods) from the padding. Not all that long ago, few outside Hollywood insiders even knew there was a well-orchestrated “campaign season,” much less how to follow and handicap it.
Convention wisdom, and you hear a lot of it these days, would be to revive the Oscar telecast by de-emphasizing the importance of the awards, themselves. Reduce the number given out on TV, especially the more esoteric or niche ones, in favor of increasing the glitz, spectacle, star power and big production numbers. Do like the Grammys have done, where classical, jazz, folk, blues, opera, international and more are rarely ever presented on the show.
But I think the Academy should go the other way and try to increase public awareness of the importance of Oscar nominations. But maybe not for the Big Four categories – Best Picture, Director, Actor and Actress, which probably do suffer from overexposure by the time the telecast comes around (although The Artist, this year’s big winner, could use the help since many people have been scared off by the fact it’s a black-and-white silent film).
Click the jump for more on ways the Academy could draw more attention to deserving films such as A Separation, In Darkness, Footnote and Bullhead.