Ed Harris in A History of Violence
Mickey Rourke in Sin City
Showing posts with label George Clooney. Show all posts
Showing posts with label George Clooney. Show all posts
Best Supporting Actor 2005: Results
Saturday, April 21, 2012
Ed Harris in A History of Violence
Mickey Rourke in Sin City
Best Supporting Actor 2005: George Clooney in Syriana
Friday, April 20, 2012
George Clooney won his Oscar from his first acting nomination for portraying Bob Barnes in Syriana.
Syriana details a group of intersecting stories involving the U.S.'s associations and complications with foreign oil.
George Clooney is an actor who is sometimes criticized for not really investing in his characters and sometimes very bluntly for playing himself. Well here is an attempt by Clooney to completely reject himself and attempt to portray Bob Barnes an over the hill worn out CIA operative. Well even though I will give credit to Clooney for trying I won't give him credit for succeeding. He never becomes believable as the CIA operative who has been working too many different sides for too long, he is no Richard Burton in The Spy Who Came in From the Cold for example.
Clooney doesn't ever really establish the history of his character, he never seems a like a man who has seen too much or been through too many things. He just never conveys the past of the character in his performance. Instead Clooney gives the same slightly frustrated slight sad face throughout the film to attempt to indicate the state of mine of Barnes. Unfortunately he never shows anything underneath the surface with his performance it is always just basically same expression for his entire performance which is very dull to watch, and does not make Bob Barnes into an interesting character.
The problem is Clooney really did not even need to make Barnes into the that much of an intriguing character, he really could have been just an anchor for the audience in the film. Unfortunately Clooney does not even act as a good anchor he never brings us into his world or into his character's troubles. He instead just makes that same old face again that really does not contribute to the effort of making us empathize with Barnes. Clooney never seems to realize that to underplay one must strive hard to find the complexities of their performances inside subtle reactions like say Robert Duvall in Tender Mercies or Gary Oldman in Tinker Tailor Soldier Spy, but Clooney simply is no Oldman or Duvall.
What amazes me is how Clooney stays in his depressed dull manner all the way throughout it does not matter what the context of the scene is whether it is talking with his son, or threatening an oil man he goes about in almost the exact same way. Clooney also shows no development as Barnes uncovers more and more of the film's plot instead he just makes that same old expression again as if he feels he must spends all his time trying to ensure the audience that he is not George Clooney but a downtrodden CIA agent. Clooney though doesn't do the downtrodden part right. There was not a moment in his performance that I cared about his character or his character's story which Clooney failed to ever bring me into it. There is a serious problem with a performance when the thing I remember most about is that his character has the same name as previous nominee Tom Berenger's Sergeant in Platoon.
Syriana details a group of intersecting stories involving the U.S.'s associations and complications with foreign oil.George Clooney is an actor who is sometimes criticized for not really investing in his characters and sometimes very bluntly for playing himself. Well here is an attempt by Clooney to completely reject himself and attempt to portray Bob Barnes an over the hill worn out CIA operative. Well even though I will give credit to Clooney for trying I won't give him credit for succeeding. He never becomes believable as the CIA operative who has been working too many different sides for too long, he is no Richard Burton in The Spy Who Came in From the Cold for example.
Clooney doesn't ever really establish the history of his character, he never seems a like a man who has seen too much or been through too many things. He just never conveys the past of the character in his performance. Instead Clooney gives the same slightly frustrated slight sad face throughout the film to attempt to indicate the state of mine of Barnes. Unfortunately he never shows anything underneath the surface with his performance it is always just basically same expression for his entire performance which is very dull to watch, and does not make Bob Barnes into an interesting character.
The problem is Clooney really did not even need to make Barnes into the that much of an intriguing character, he really could have been just an anchor for the audience in the film. Unfortunately Clooney does not even act as a good anchor he never brings us into his world or into his character's troubles. He instead just makes that same old face again that really does not contribute to the effort of making us empathize with Barnes. Clooney never seems to realize that to underplay one must strive hard to find the complexities of their performances inside subtle reactions like say Robert Duvall in Tender Mercies or Gary Oldman in Tinker Tailor Soldier Spy, but Clooney simply is no Oldman or Duvall.
What amazes me is how Clooney stays in his depressed dull manner all the way throughout it does not matter what the context of the scene is whether it is talking with his son, or threatening an oil man he goes about in almost the exact same way. Clooney also shows no development as Barnes uncovers more and more of the film's plot instead he just makes that same old expression again as if he feels he must spends all his time trying to ensure the audience that he is not George Clooney but a downtrodden CIA agent. Clooney though doesn't do the downtrodden part right. There was not a moment in his performance that I cared about his character or his character's story which Clooney failed to ever bring me into it. There is a serious problem with a performance when the thing I remember most about is that his character has the same name as previous nominee Tom Berenger's Sergeant in Platoon.
Best Supporting Actor 2005
Tuesday, April 17, 2012
William Hurt in A History of Violence
Jack Gyllenhaal in Brokeback Mountain
George Clooney in Syriana
Paul Giamatti in Cinderella Man
Matt Dillon in Crash
Best of Black Sheep: THE DESCENDANTS
Tuesday, March 13, 2012
THE DESCENDANTSWritten by Alexander Payne, Nat Faxon and Jim Rash
Directed by Alexander Payne
Starring George Clooney, Shailene Woodley and Judy Greer
Matt King: I’m the back-up parent, the understudy.
It has been seven years since Alexander Payne’s last feature film, SIDEWAYS, charmed critics and audiences alike. The long gestation period has allowed him to make what I would describe as his most satisfying film to date, THE DESCENDANTS. Considering how much I love his earlier films, like ELECTION and ABOUT SCHMIDT, calling his latest his greatest is not a compliment I extend lightly.
At on point in THE DESCENDANTS, a character refers to Matt King’s (George Clooney) current predicament to be one heck of a “unique dramatic situation” and he is not kidding. Payne’s witty sceenplay finds every single important tie in Matt’s life has been tangled together and he can no longer move forward until he figures out how to loosen the ropes that are tightening around him. As the executor of his family’s estate, he is responsible for deciding what to do with a fine piece of Hawaiian real estate his ancestors left to him in trust, which has drawn much scrutiny from the locals. More importantly though, his wife is in a coma from a speed boating accident and he has two daughters (Amara Miller and breakout, Shailene Woodley) he barely knows to comfort and console. When he learns that his wife was cheating on him before her accident, it becomes pretty clear that the life he knew is now finished.
As particular as THE DESCENDANTS is, Payne infuses it with his special brand of humanity, sensitivity and humour. Payne has an uncanny knack for bringing his audiences right into the troubled minds of his characters, leaving both their pain and their potential exposed for all to see. In this case, all that heart and heartache seeps from every element of Clooney’s fine performance. With so much on his plate, you can constantly see the wheels turning in his head as he drifts off into thought in the gorgeous Hawaiian skyline. He acts as a filter of sorts for everything coming before this moment in his life, now faced with the task of passing on only the best parts to his two beautiful daughters. In doing so, THE DESCENDANTS only passes on the best that contemporary drama has to offer to us.
Best of Black Sheep: THE IDES OF MARCH
Monday, January 30, 2012
THE IDES OF MARCHWritten by George Clooney, Grant Heslov and Beau Willimon
Directed by George Clooney
Starring Ryan Gosling, George Clooney, Philip Seymour Hoffman and Evan Rachel Wood
Stephen Myers: Nothing bad happens when you’re doing the right thing.
Governor Mike Morris: Is that your personal theory because I can poke holes in it.
George Clooney has been mulling making THE IDES OF MARCH for a few years now. When he first wanted to make it in 2008, he decided to put his plans on hold because of the political climate. The United States were on the cusp of a monumental election and a financial crisis and he did not want to take advantage of either. Three years later though, Clooney and his longtime production partner, Grant Heslov (GOOD NIGHT, AND GOOD LUCK) think the timing is now right to unveil their political thriller to the voting public. Apparently, it is acceptable to be critical of their government again.
Clooney plays Governor Mike Morris, a seemingly genuine and upstanding gentleman, who is trying to secure the democratic party nomination for the upcoming presidential race. Naturally, nothing is as it seems and it would appear that no one can get to such great heights without stepping over a few people along the way. To get where he is, you also need a crack team behind you and Governor Morris’ includes actors as diverse and talented as Ryan Gosling, Philip Seymour Hoffman and Evan Rachel Wood. Hoffman is the veteran, Wood is the intern and Gosling is the shiny new guy who is clearly on his way to greater things. In fact, Gosling’s career appears to mirror the position of his character, Stephen Myers. The man is certainly on his own streak and his lead performance here is another that will certainly continue to propel him forward.
THE IDES OF MARCH is a compelling and engaging thriller, despite not bringing much new to the table. Gosling’s Stephen gets caught up in the political crossfire behind the campaign scenes and it becomes a pretty harrowing challenge for him to ensure he still comes out ahead of everyone else. And while Clooney’s execution is smooth and effective, it does cater a little too often to his own political views. Clooney did not want his character to be a republican as he thought the criticism would be too obvious. As a democrat though, he gets the chance to voice all of platforms on topics as heated as gay marriage and tax incentives for the super rich. Everything he says seems so sensible, the film becomes something of a criticism for all politicians, as if to suggest it could be as easy as he claims if they would just get it together. And while Clooney may not be ready to run for president, he earns my vote for being a top notch film director.
Best Actor 2011: Results
Sunday, January 29, 2012
Ryan Gosling in Drive
Brendan Gleeson in The Guard
Best Actor 2011: George Clooney in The Descendants
Tuesday, January 24, 2012
George Clooney received his fourth Oscar nomination for portraying Matt King in The Descendants.
The Descendants deals with Matt King who owns a great deal of real estate in Hawaii due to inheritance. He deals with his wife being in a coma she will not awaken from, a big money land deal, his rebellious daughters, and learning that his wife was having an affair.
The last three films by Alexander Payne have been about older men dealing with some serious problems in their life, and facing a crisis. I should say right away that George Clooney does not at all change his track record with me, and proves that he most certainly is no Paul Giamatti or Jack Nicholson. Clooney as usual never really makes a mark in his part that will ever make me remember Matt King as a notable character, and actually portrays Matt King in a somewhat different way for Clooney but still the same as his other performances in terms of its success.
Clooney firstly does not give his Up in the Air "Hi I'm George Clooney" type of performances that so many believe to be charming, I don't. In fact in the role of Matt King he never really tries to be charming in any way and does indeed attempt to show Matt as more of just a man trying to go through his series of crises. Having said that though his performance is more in line with that of his performance in Michael Clayton, but like his performance in Michael Clayton there is not the required conviction in his performance or characterization to make his performance compelling.
In fact his performance is rather incompetent in many ways as he attempts to be the exasperated husband and father. I simply never bought him in the role as the man who is emotionally bent out of shape, something Jack Nicholson and Paul Giamatti succeeded with very well in their similar roles. Clooney just never seems tired enough, or truly a man who has experienced troubles of Matt King's sort in life, it just not there ever in Clooney's performance as much as he wants it to be. I will give credit that Clooney tries many things in this performance, but this actually just leads to an inconsistency in his performance.
Clooney attempts quite ineffectively to combine drama and comedy in his performance in a rather poorly conceived fashion. For example when he first learns of his wife's affair he goes running for some reason like he is one of his films for the Coen brothers. Than he confronts someone about it with the utmost seriousness. There is not any sort of logic for Clooney to do this in this scene, he does anyway, which causes him never to turn Matt King into a compelling character in any fashion. He truly fails to bring us into Matt's mindset and problems at any point in the film.
I must say much of the time Clooney is just going through the role with the same uncertainty throughout in his performance, there is not a single scene where he really finds a way to make his performance compelling. He fails to ever really brings Matt's problems to life even in the what should be some compelling scenes that one would think would automatically bring it out. That is the scene with his wife's lover, Clooney is bizarrely dull throughout the whole affair, there is not even signs of repression anger or anything like that.
He plays almost all of his scenes with his typical lacking in conviction Clooney fashion. The only scene he really does more is his final scene with his wife where he finally breaks down, and says goodbye. It wants to be the heartbreaking "Oscar" scene, but Clooney is frankly at his worst in this scene. He frankly wants to rush through the scene, and is not convincing for a moment. He is just clearly "acting" during the whole scene and he fails to bring a single genuine emotion into the scene. This is a poor performance by Clooney, and I will be very annoyed if I have to add "won his second Oscar" to this review.
The last three films by Alexander Payne have been about older men dealing with some serious problems in their life, and facing a crisis. I should say right away that George Clooney does not at all change his track record with me, and proves that he most certainly is no Paul Giamatti or Jack Nicholson. Clooney as usual never really makes a mark in his part that will ever make me remember Matt King as a notable character, and actually portrays Matt King in a somewhat different way for Clooney but still the same as his other performances in terms of its success.
Clooney firstly does not give his Up in the Air "Hi I'm George Clooney" type of performances that so many believe to be charming, I don't. In fact in the role of Matt King he never really tries to be charming in any way and does indeed attempt to show Matt as more of just a man trying to go through his series of crises. Having said that though his performance is more in line with that of his performance in Michael Clayton, but like his performance in Michael Clayton there is not the required conviction in his performance or characterization to make his performance compelling.
In fact his performance is rather incompetent in many ways as he attempts to be the exasperated husband and father. I simply never bought him in the role as the man who is emotionally bent out of shape, something Jack Nicholson and Paul Giamatti succeeded with very well in their similar roles. Clooney just never seems tired enough, or truly a man who has experienced troubles of Matt King's sort in life, it just not there ever in Clooney's performance as much as he wants it to be. I will give credit that Clooney tries many things in this performance, but this actually just leads to an inconsistency in his performance.
Clooney attempts quite ineffectively to combine drama and comedy in his performance in a rather poorly conceived fashion. For example when he first learns of his wife's affair he goes running for some reason like he is one of his films for the Coen brothers. Than he confronts someone about it with the utmost seriousness. There is not any sort of logic for Clooney to do this in this scene, he does anyway, which causes him never to turn Matt King into a compelling character in any fashion. He truly fails to bring us into Matt's mindset and problems at any point in the film.
I must say much of the time Clooney is just going through the role with the same uncertainty throughout in his performance, there is not a single scene where he really finds a way to make his performance compelling. He fails to ever really brings Matt's problems to life even in the what should be some compelling scenes that one would think would automatically bring it out. That is the scene with his wife's lover, Clooney is bizarrely dull throughout the whole affair, there is not even signs of repression anger or anything like that.
He plays almost all of his scenes with his typical lacking in conviction Clooney fashion. The only scene he really does more is his final scene with his wife where he finally breaks down, and says goodbye. It wants to be the heartbreaking "Oscar" scene, but Clooney is frankly at his worst in this scene. He frankly wants to rush through the scene, and is not convincing for a moment. He is just clearly "acting" during the whole scene and he fails to bring a single genuine emotion into the scene. This is a poor performance by Clooney, and I will be very annoyed if I have to add "won his second Oscar" to this review.
Best Actor 2011
Brad Pitt in Moneyball
Jean Dujardin in The Artist
George Clooney in The Descendants
Gary Oldman in Tinker Tailor Soldier Spy
Demian Bichir in A Better Life
I break my scheduled reviews of supporting 95 to return once again to Best Actor. I actually did not except to do this yet, and would have held off since I thought Michael Fassbender was going to be nominated, and I have not seen Shame, but now I have seen all of these performances.
Supporting will wait because I have yet to see Extremely Loud, or My Week with Marilyn, but I do think I will probably write a deserving performance for Albert Brooks.
A Look at the Pre-Cursor Oscar Nominations
Friday, December 16, 2011
Hello folks! Just wanted to quickly say, before I get started, thanks for all the international views! It truly means a lot! (:
Anyways, so as you all know, a bunch of Pre-cursor Oscar nominations were released within the last week. We had the Critics Choice Awards, The Screen Actors Guild (SAG) Nominations, and the Golden Globes.
Starting with the Critics Choice Awards, we didn't see too many surprises here. All the Best Picture's were to be expected, and along with all the acting awards. Though one surprise, at least I thought, was the choice for "Bridesmaids" to be nominated for Best Acting Ensemble. I haven't seen this film, knowing it's only some raunchy movie that features women (instead of the usual men) and filled with sex, but other than that, i don't know much about it. Maybe it's not surprised, but to me, it was. Additionally, we saw the nomination of Andy Serkis for his motion capture role in the Rise of the Planet of the Apes. There's been a big lobby going on for his nomination at the Oscars, and it looks like it's starting to head in the right direction.
The SAG Nominations didn't hold all that many surprises, though, again, we saw Bridesmaids for Best Cast in a motion picture. And all the films nominated, at least last year, ended with Best Pictures nods. Could this mean Bridesmaids is going for Oscar Gold? Time will tell! The only surprises we have here is the nomination of Demian Bichir from A Better Life, and Armie Hammer being Nominated for J. Edger and Jonah Hill for Moneyball. Though Gary Oldman and Michael Fassbender both were snubbed in the Best Actor Category.
The Golden Globes, again, not too many surprises. The Descendants, The Help, Hugo, Moneyball, War Horse, The Artist, Bridesmaids, My week with Marilyn, Midnight in Paris, 50/50. You get the idea.
Overall, the Race seems to be on.
So far, leading the nominations are:
The Artist- 19 (6 GG, 3 SAG, 10 CC)
The Help- 17(5 GG, 8CC, 4 SAG)
Hugo- 14 (3GG,11 CC, 0 SAG)
Descendants- 14 (5GG, 7CC, 2 SAG
It looks like these 4 will be the big contenders for Best Picture on Oscar night.
Gary Oldman and Tinker Tailor Solider Spy were snubbed, overall, in general.
Harry Potter (though it's been included in several of the art & tech categories, and should do well come Oscar night) has also been unincluded in any of the Best Picture/Ensemble categories. The elusive Alan Rickman has also not appeared on any nominations list, though his performance was good, I'm frankly not surprised. They should hold out hope for an art/tech award and nomination only
Shame has also received very few nominations, though Fassbender was nominated at the Critics Choice Awards and the Golden Globes .
War Horse has received some but not many nominations, including Speilberg being snubbed for Best Director at the Golden Globes.
And Albert Brooks and Shailene Woodley both were, shockingly, snubbed out of the SAG nominations, though they will both, most likely end up with the Oscar nom.
Needless to say, the race has been shaken up a little, though has solidified many already favourites, and given perspective on what to expect January 24th. Predictions will be updated by tomorrow morning, and happy Christmas and awards season!
Anyways, so as you all know, a bunch of Pre-cursor Oscar nominations were released within the last week. We had the Critics Choice Awards, The Screen Actors Guild (SAG) Nominations, and the Golden Globes.
Starting with the Critics Choice Awards, we didn't see too many surprises here. All the Best Picture's were to be expected, and along with all the acting awards. Though one surprise, at least I thought, was the choice for "Bridesmaids" to be nominated for Best Acting Ensemble. I haven't seen this film, knowing it's only some raunchy movie that features women (instead of the usual men) and filled with sex, but other than that, i don't know much about it. Maybe it's not surprised, but to me, it was. Additionally, we saw the nomination of Andy Serkis for his motion capture role in the Rise of the Planet of the Apes. There's been a big lobby going on for his nomination at the Oscars, and it looks like it's starting to head in the right direction.
The SAG Nominations didn't hold all that many surprises, though, again, we saw Bridesmaids for Best Cast in a motion picture. And all the films nominated, at least last year, ended with Best Pictures nods. Could this mean Bridesmaids is going for Oscar Gold? Time will tell! The only surprises we have here is the nomination of Demian Bichir from A Better Life, and Armie Hammer being Nominated for J. Edger and Jonah Hill for Moneyball. Though Gary Oldman and Michael Fassbender both were snubbed in the Best Actor Category.
The Golden Globes, again, not too many surprises. The Descendants, The Help, Hugo, Moneyball, War Horse, The Artist, Bridesmaids, My week with Marilyn, Midnight in Paris, 50/50. You get the idea.
Overall, the Race seems to be on.
So far, leading the nominations are:
The Artist- 19 (6 GG, 3 SAG, 10 CC)
The Help- 17(5 GG, 8CC, 4 SAG)
Hugo- 14 (3GG,11 CC, 0 SAG)
Descendants- 14 (5GG, 7CC, 2 SAG
It looks like these 4 will be the big contenders for Best Picture on Oscar night.
Gary Oldman and Tinker Tailor Solider Spy were snubbed, overall, in general.
Harry Potter (though it's been included in several of the art & tech categories, and should do well come Oscar night) has also been unincluded in any of the Best Picture/Ensemble categories. The elusive Alan Rickman has also not appeared on any nominations list, though his performance was good, I'm frankly not surprised. They should hold out hope for an art/tech award and nomination only
Shame has also received very few nominations, though Fassbender was nominated at the Critics Choice Awards and the Golden Globes .
War Horse has received some but not many nominations, including Speilberg being snubbed for Best Director at the Golden Globes.
And Albert Brooks and Shailene Woodley both were, shockingly, snubbed out of the SAG nominations, though they will both, most likely end up with the Oscar nom.
Needless to say, the race has been shaken up a little, though has solidified many already favourites, and given perspective on what to expect January 24th. Predictions will be updated by tomorrow morning, and happy Christmas and awards season!
The Descendants
Wednesday, December 7, 2011
<body><!- google_ad_section_start -> The Descendants, 2011Directed by Alexander Payne
Possible Oscar Nominations Include: Best Picture, Best Actor, Best Supporting Actress, Best Director, Best Adapted Screenplay
<!- google_ad_section_end ->Matt King is the "back up parent", as he solely puts it right at the beginning of the film. He is an attorney, an owner of a huge chunk of land of Kauai, and a descendant of Hawaiian Royalty and American Missionaries, a husband, and a father of two (messed up) daughters. Alex, 17, is recovering from drug addictions and drinking problems, while Scottie, 10, is acting way too old for her age, and is completely inappropriate on many occasions. How far they have fallen from the royal status. Matt's wife, Elizabeth was in a boating accident, and he receives news, after about a month of being in a coma, she's won't make it and will be taken off life support. After he tells Alex, who was recently (and currently) fighting with her mom, she reveals that she's been cheating on him. Meanwhile, his family's land on Kauai is going up for sale, and they're trying to decide who to sell it to. So, Matt, Alex, Scottie and Alex's friend Sid, all jet off to Kauai together, firstly to find the man Elizabeth has been seeing, and secondly, surprisingly, they change forever.
Incidentally, I went and saw this R-rated movie with my grandmother and my father. I already found that a little bit funny, and just a little ironic. My grandmother was the one keen on seeing it, so my father and I joined in. Which I was excited about because I wanted to see it, but no one else wanted to go with me.
I was excited to see this film. I'd been hearing lots of good things about it. It's been getting lots of Oscar Buzz, is nominated at the Gotham awards this year, and it's Alexander Payne's first film since 'Sideways'. So I went in with medium expectations (hyped about the movie, but haven't seen anything by Payne, or watched many films with George Clooney in them).
On another acting note, Shailene Woodley (a newcomer to film) also gave quite a good performance. She's messed up, and angry, but we see her transform throughout the film. She did an angsty, potty-mouthed teen well, and really stood her ground beside Clooney. The pair made the film so alive and so real.
Overall, the film was pretty good. The Hawaiian scenery was beautiful, the score was ironic (you'll understand when you watch) but well done. The acting was top notch, and the story itself was complex and interesting. We see the best and worst of humanity, but leaning more towards the worst. What would we do if we found out information about someone we loved, that would forever change our views on them, of what we thought we knew? We see in this film how we're all people, wherever we live, dealing with the crappy stuff, with the bad stuff, and you just gotta get through it, and appreciate what you have. We all make mistakes, and we all get angry and scared, but in the end, you have to make the most of everything you have, before it's gone.
<!- google_ad_section_start ->Will this movie win best picture at this years Academy Awards? Honestly, I don't think so. Will it be nominated? That's pretty much for sure. It was a great film, and really funny AND moving and I really enjoyed it, but I don't see it winning. However, George Clooney is one to be reckoned with for Best Actor. Mr. Pitt had better watch his back.
<!- google_ad_section_end ->Rating: 8/10
</body></html>469. The Descendants
Sunday, November 20, 2011
469. (19 Nov) The Descendants (2011, Alexander Payne)* 44
There are ample opportunities for poignancy in The Descendants, but whenever the film comes close to making an emotional impact it turns into a sitcom. Take for instance a key scene near the film's end where Judy Greer tearfully forgives the comatose woman who tried to steal her husband; at first it's a touching, powerful moment, but before you know it she's somehow playing the scene for laughs. Such jarring, inappropriate moments mar a film that could've been uncomfortable, but relatable in the way Payne's Election and About Schmidt were.
I cannot imagine Payne could've scripted something more amateurish. From the Screenwriting 101 voice-over that introduces the flick to an awful comic relief character named Sid who serves no purpose at all except to offer cheap laughs, it's hard to believe Payne ever wrote Election. To his credit, he gets a very solid performance out of Shailene Woodley. She gives the film whatever humanity it has.
George Clooney is doing what he always does, coasting along and failing whenever presented with a challenge. He has to do some physical comedy when following the man he knows had an affair with his wife. Waddling behind a bush, it's a wonder why anybody lets this man approach acting physically at all. He can't do sight gags to save his life and he sabotages the scene.
A couple veteran performers, Robert Forster and Beau Bridges, are trotted out for no good reason. Both have completely thankless roles. Bridges, for instance, has to be a sounding board during a climactic moment where Clooney makes a major decision that doesn't really impact the plot very much in any direction. The film attempts to balance the two plots of a cheating, comatose wife and a major land deal. They're clumsily connected for convenience's sake, but it's almost astonishing just how little the latter plot matters at all.
By the end, all these characters want to do is eat ice cream and watch March of the Penguins. Sounds decidedly more fun and thought-provoking than a screening of The Descendants.
There are ample opportunities for poignancy in The Descendants, but whenever the film comes close to making an emotional impact it turns into a sitcom. Take for instance a key scene near the film's end where Judy Greer tearfully forgives the comatose woman who tried to steal her husband; at first it's a touching, powerful moment, but before you know it she's somehow playing the scene for laughs. Such jarring, inappropriate moments mar a film that could've been uncomfortable, but relatable in the way Payne's Election and About Schmidt were.
I cannot imagine Payne could've scripted something more amateurish. From the Screenwriting 101 voice-over that introduces the flick to an awful comic relief character named Sid who serves no purpose at all except to offer cheap laughs, it's hard to believe Payne ever wrote Election. To his credit, he gets a very solid performance out of Shailene Woodley. She gives the film whatever humanity it has.
George Clooney is doing what he always does, coasting along and failing whenever presented with a challenge. He has to do some physical comedy when following the man he knows had an affair with his wife. Waddling behind a bush, it's a wonder why anybody lets this man approach acting physically at all. He can't do sight gags to save his life and he sabotages the scene.
A couple veteran performers, Robert Forster and Beau Bridges, are trotted out for no good reason. Both have completely thankless roles. Bridges, for instance, has to be a sounding board during a climactic moment where Clooney makes a major decision that doesn't really impact the plot very much in any direction. The film attempts to balance the two plots of a cheating, comatose wife and a major land deal. They're clumsily connected for convenience's sake, but it's almost astonishing just how little the latter plot matters at all.
By the end, all these characters want to do is eat ice cream and watch March of the Penguins. Sounds decidedly more fun and thought-provoking than a screening of The Descendants.
THE DESCENDANTS
Thursday, November 17, 2011
Written by Alexander Payne, Nat Faxon and Jim Rash
Directed by Alexander Payne
Starring George Clooney, Shailene Woodley and Judy Greer
Matt King: I’m the back-up parent, the understudy.
It has been seven years since Alexander Payne’s last feature film, SIDEWAYS, charmed critics and audiences alike. The long gestation period has allowed him to make what I would describe as his most satisfying film to date, THE DESCENDANTS. Considering how much I love his earlier films, like ELECTION and ABOUT SCHMIDT, calling his latest his greatest is not a compliment I extend lightly.
At one point in THE DESCENDANTS, a character refers to Matt King’s (George Clooney) current predicament to be one heck of a “unique dramatic situation” and he is not kidding. Payne's witty screenplay finds every single important tie in Matt’s life tangled together and he can no longer move forward until he figures out how to loosen the ropes that are tightening around him. As the executor of his family’s estate, he is responsible for deciding what to do with a fine piece of Hawaiian real estate his ancestors left to him in trust, which has drawn much scrutiny from the locals. More importantly though, his wife is in a coma from a speed boating accident and he has two daughters (Amara Miller and breakout, Shailene Woodley) he barely knows to comfort and console. When he learns that his wife was cheating on him before her accident, it becomes pretty clear that the life he knew is now finished.
As particular as THE DESCENDANTS is, Payne infuses it with his special brand of humanity, sensitivity and humour. Payne has an uncanny knack for bringing his audiences right into the troubled minds of his characters, leaving both their pain and their potential exposed for all to see. In this case, all that heart and heartache seeps from every element of Clooney’s fine performance. With so much on his plate, you can constantly see the wheels turning in his head as he drifts off into thought in the gorgeous Hawaiian skyline. He acts as a filter of sorts for everything coming before this moment in his life, now faced with the task of passing on only the best parts to his two beautiful daughters. In doing so, THE DESCENDANTS only passes on the best that contemporary drama has to offer to us.
428. The Ides of March
Friday, October 14, 2011
428. (09 Oct) The Ides of March (2011, George Clooney)* 57
Clooney's on the nose political thriller is glossy and entertaining enough to suggest growth from his pedestrian Good Night, and Good Luck, but the script still lacks character motivation and feels too overeager to crowd please. At the very least, Clooney has something of a knack of assembling a strong ensemble and putting them to good use. While Ryan Gosling looks as vacant as ever, Evan Rachel Wood has rarely been so charming and emotionally affecting. Marisa Tomei is also rather fun in a small role. Philip Seymour Hoffman turns out the kind of noisy, showy performance that seems destined for an unnecessary Supporting Actor nomination.
The twists and turns of the film's third act are relatively weak, even if they are involving. The Ides of March is convinced of its own grittiness and cynicism, even though it's not really either. The idea that you can make anything about the film's plot fresh is a tad absurd. A politician sleeping with an intern? Been there. A campaign manager who has yet to be disillusioned by the politician he's managing? Get real.
Ides just doesn't feel particularly real, which is why whenever it enters dark territory it starts to feel false. When it's more a dopey, enjoyable look behind the scenes of politics, it's at its best.
Clooney's on the nose political thriller is glossy and entertaining enough to suggest growth from his pedestrian Good Night, and Good Luck, but the script still lacks character motivation and feels too overeager to crowd please. At the very least, Clooney has something of a knack of assembling a strong ensemble and putting them to good use. While Ryan Gosling looks as vacant as ever, Evan Rachel Wood has rarely been so charming and emotionally affecting. Marisa Tomei is also rather fun in a small role. Philip Seymour Hoffman turns out the kind of noisy, showy performance that seems destined for an unnecessary Supporting Actor nomination.
The twists and turns of the film's third act are relatively weak, even if they are involving. The Ides of March is convinced of its own grittiness and cynicism, even though it's not really either. The idea that you can make anything about the film's plot fresh is a tad absurd. A politician sleeping with an intern? Been there. A campaign manager who has yet to be disillusioned by the politician he's managing? Get real.
Ides just doesn't feel particularly real, which is why whenever it enters dark territory it starts to feel false. When it's more a dopey, enjoyable look behind the scenes of politics, it's at its best.
428. The Ides of March
Monday, October 10, 2011
428. (09 Oct) The Ides of March (2011, George Clooney)* 57
Black Sheep interviews Max Minghella
Saturday, October 8, 2011
The cast of George Clooney’s THE IDES OF MARCH is practically mammoth. Aside from Clooney himself, you have Ryan Gosling, Philip Seymour Hoffman, Paul Giamatti, Marisa Tomei, Jeffrey Wright and Evan Rachel Wood. If you go one more name down the list though, you’ll come by one Max Minghella, and once you see the film, you’ll know why his name deserves to be included amongst all these others.
 |
| Minghella with Hoffman, Tomei and Gosling |
“It’s an amazing privilege to work with people like that,” the 26-year-old, London native tells me in his charming accent. “It was such a useful experience in terms of education.” Personal benefits aside though, Minghella, who was part of another impressive cast last year in THE SOCIAL NETWORK, hopes the film’s pedigree does not hurt its chances of being seen. “There are so many prestigious actors, I hope it doesn’t turn people or get them to not root for the movie because I think it has a really strong heart.” So why the elaborate casting then? “I don’t think its cast for the sake of casting. It happens to have an extraordinary cast but they’re all the right people for the parts.”
 |
| In The Social Network |
Minghella, the son of the late filmmaker, Anthony Minghella, was “obsessed” with Beau Willimon’s “Farrugut North”, the play this film is based on (“I saw it a lot”). He is happy that Clooney has done such a fine job directing. “All of the things I loved in the play are retained but George has managed to stretch it out on a much bigger canvas,” he states with some relief. And what of Clooney as a director? “He’s very clear. He’s a very pragmatic filmmaker, which makes you feel very safe as an actor. You feel like you have a real boss who knows where he needs to be and knows where he needs to take us.” Incidentally, Minghella and Clooney have worked together before; he played Clooney’s son in Syriana.
 |
| Minghella and Gosling |
“I never thought I was going to be an actor but I always knew I would be in film,” Minghella tells me when I ask if this is always where he saw his life headed. You might suspect that Minghella’s interest in filmmaking came from his Oscar-winning father, but in fact it was his mother who peaked his interest at a very young age. Carolyn Choa is a choreographer now but when Minghella was still a baby, she worked for the British Board of Film Classification, the British equivalent of the MPAA. “When I was a baby, she’d have to watch like five or six movies a day, and she’d tell me the plot summaries for each of these movies as my bedtime stories. So my imagination as a person is totally intwined with film as a medium. I wouldn’t know how to do anything else.”
So while Minghella’s name may not be above the title, he is honoured to have been a part of THE IDES OF MARCH. “I’ve never had this kind of fairy tale experience before of really wanting something, feeling like you’re the right person for it, and then it working out so simply. That’s never been my story before.”
And with that, a new story begins.
THE IDES OF MARCH
Wednesday, October 5, 2011
Written by George Clooney, Grant Heslov and Beau Willimon
Directed by George Clooney
Starring Ryan Gosling, George Clooney, Philip Seymour Hoffman
and Evan Rachel Wood
Stephen Myers: Nothing bad happens when you’re doing the right thing.
Governor Mike Morris: Is that your personal theory because I can poke holes in it.
George Clooney has been mulling making THE IDES OF MARCH for a few years now. When he first wanted to make it in 2008, he decided to put his plans on hold because of the political climate. The United States were on the cusp of a monumental election and a financial crisis and he did not want to take advantage of either. Three years later though, Clooney and his longtime production partner, Grant Heslov (GOOD NIGHT, AND GOOD LUCK) think the timing is now right to unveil their political thriller to the voting public. Apparently, it is acceptable to be critical of their government again.
Clooney plays Governor Mike Morris, a seemingly genuine and upstanding gentleman, who is trying to secure the democratic party nomination for the upcoming presidential race. Naturally, nothing is as it seems and it would appear that no one can get to such great heights without stepping over a few people along the way. To get where he is, you also need a crack team behind you and Governor Morris’ includes actors as diverse and talented as Ryan Gosling, Philip Seymour Hoffman and Evan Rachel Wood. Hoffman is the veteran, Wood is the intern and Gosling is the shiny new guy who is clearly on his way to greater things. In fact, Gosling’s career appears to mirror the position of his character, Stephen Myers. The man is certainly on his own streak and his lead performance here is another that will certainly continue to propel him forward.
THE IDES OF MARCH is a compelling and engaging thriller, despite not bringing much new to the table. Gosling’s Stephen gets caught up in the political crossfire behind the campaign scenes and it becomes a pretty harrowing challenge for him to ensure he still comes out ahead of everyone else. And while Clooney’s execution is smooth and effective, it does cater a little too often to his own political views. Clooney did not want his character to be a republican as he thought the criticism would be too obvious. As a democrat though, he gets the chance to voice all of his platforms on topics as heated as gay marriage and tax incentives for the super rich. Everything he says seems so sensible, the film becomes something of a criticism for all politicians, as if to suggest it could be as easy as he claims if they would just get it together. And while Clooney may not be ready to run for president, he earns my vote for being a top notch film director.
TIFF Review: THE DESCENDANTS
Saturday, September 17, 2011
Written by Alexander Payne, Nat Faxon and Jim Rash
Directed by Alexander Payne
Starring George Clooney, Shailene Woodley and Judy Greer
Matt King: I’m the back-up parent, the understudy.
At one point in THE DESCENDANTS, a character refers to Matt King’s (George Clooney) current predicament to be one heck of a “unique dramatic situation” and he is not kidding. Payne's witty screenplay finds every single important tie in Matt’s life has been tangled together and he can no longer move forward until he figures out how to loosen the ropes that are tightening around him. As the executor of his family’s estate, he is responsible for deciding what to do with a fine piece of Hawaiian real estate his ancestors left to him in trust, which has drawn much scrutiny from the locals. More importantly though, his wife is in a coma from a speed boating accident and he has two daughters (Amara Miller and breakout, Shailene Woodley) he barely knows to comfort and console. When he learns that his wife was cheating on him before her accident, it becomes pretty clear that the life he knew is now finished.
As particular as THE DESCENDANTS is, Payne infuses it with his special brand of humanity, sensitivity and humour. Payne has an uncanny knack for bringing his audiences right into the troubled minds of his characters, leaving both their pain and their potential exposed for all to see. In this case, all that heart and heartache seeps from every element of Clooney’s fine performance. With so much on his plate, you can constantly see the wheels turning in his head as he drifts off into thought in the gorgeous Hawaiian skyline. He acts as a filter of sorts for everything coming before this moment in his life, now faced with the task of passing on only the best parts to his two beautiful daughters. In doing so, THE DESCENDANTS only passes on the best that contemporary drama has to offer to us.
TIFF Review: THE IDES OF MARCH
Friday, September 9, 2011
Written by George Clooney, Grant Heslov and Beau Willimon
Directed by George Clooney
Starring Ryan Gosling, George Clooney, Philip Seymour Hoffman
and Evan Rachel Wood
Stephen Myers: Nothing bad happens when you’re doing the right thing.
Governor Mike Morris: Is that your personal theory because I can poke holes in it.
George Clooney has been mulling making THE IDES OF MARCH for a few years now. When he first wanted to make it in 2008, he decided to put his plans on hold because of the political climate. The United States were on the cusp of a monumental election and a financial crisis and he did not want to take advantage of either. Three years later though, Clooney and his longtime production partner, Grant Heslov (GOOD NIGHT, AND GOOD LUCK) think the timing is now right to unveil their political thriller to the voting public. Apparently, it is acceptable to be critical of their government again.
Clooney plays Governor Mike Morris, a seemingly genuine and upstanding gentleman, who is trying to secure the democratic party nomination for the upcoming presidential race. Naturally, nothing is as it seems and it would appear that no one can get to such great heights without stepping over a few people along the way. To get where he is, you also need a crack team behind you and Governor Morris’ includes actors as diverse and talented as Ryan Gosling, Philip Seymour Hoffman and Evan Rachel Wood. Hoffman is the veteran, Wood is the intern and Gosling is the shiny new guy who is clearly on his way to greater things. In fact, Gosling’s career appears to mirror the position of his character, Stephen Myers. The man is certainly on his own streak and his lead performance here is another that will certainly continue to propel him forward.
THE IDES OF MARCH is a compelling and engaging thriller, despite not bringing much new to the table. Gosling’s Stephen gets caught up in the political crossfire behind the campaign scenes and it becomes a pretty harrowing challenge for him to ensure he still comes out ahead of everyone else. And while Clooney’s execution is smooth and effective, it does cater a little too often to his own political views. Clooney did not want his character to be a republican as he thought the criticism would be too obvious. As a democrat though, he gets the chance to voice all of his platforms on topics as heated as gay marriage and tax incentives for the super rich. Everything he says seems so sensible, the film becomes something of a criticism for all politicians, as if to suggest it could be as easy as he claims if they would just get it together. And while Clooney may not be ready to run for president, he earns my vote for being a top notch film director.
Gary Oldman in Tinker Tailor Soldier Spy
Thursday, June 30, 2011
A few month ago, I formulated a small, crazy theory that, should Tinker Tailor Soldier Spy be good and released, that Gary Oldman would handedly be the man to beat this year in Best Actor at the Oscars. Then the buzz waned slightly, people like Michael Fassbender, George Clooney, Ryan Gosling, and Leonardo DiCaprio became popular names when predicting, and by and large, Oldman was left off most pre-season predictions.
But I'm still banking on him. A veteran actor who's never been nominated and is beyond overdue and looks utterly remarkable in the trailer...what more could you ask for? I love me a good well-written espionage thriller with a Cold War backdrop. Also featuring a stellar supporting cast of Colin Firth, Tom Hardy, Mark Strong, and Benedict Cumberbatch. How do you think it looks? Trailer below.
But I'm still banking on him. A veteran actor who's never been nominated and is beyond overdue and looks utterly remarkable in the trailer...what more could you ask for? I love me a good well-written espionage thriller with a Cold War backdrop. Also featuring a stellar supporting cast of Colin Firth, Tom Hardy, Mark Strong, and Benedict Cumberbatch. How do you think it looks? Trailer below.
Subscribe to:
Posts (Atom)
