WARM BODIES

WARM BODIES
Written and Directed by Jonathan Levine
Starring Nicolas Hoult, Theresa Palmer and John Malkovich

R: Why can’t I connect with people? Oh, right. It’s because I’m dead.

Zombie movies have long been an allegory for the despondency of society. We all walk around as if in a trance, going about our business without seemingly giving it any thought whatsoever. We don’t feel anything; we don’t notice anything; we just blindly accept our fates that have numbed our minds into complacency. Plainly put, zombies remind us that being alive is a much better deal than being undead. And with all the chatter about a zombie apocalypse on the horizon, WARM BODIES, Jonathan Levine’s follow-up to 50/50, announces that even if it comes to this, there will always be hope as long as there is love.

In WARM BODIES, zombies already run the world. Well, they don’t so much run it, as that would require thought, but they occupy it. The remaining unaffected human beings live in a city that is protected by a giant, fortified wall, as everyone knows, zombies are not the greatest climbers. On occasion, groups of humans, young attractive humans as it turns out, go on missions outside the city to collect whatever they can find, from medicine to food. On one such outing, a young lady named Julie (Theresa Palmer), the daughter of the human’s leader (John Malkovich) no less, is captured by the zombie who eats her boyfriend’s (Dave Franco) brains. Now, zombies don’t ordinarily spend their time taking humans prisoner but this zombie, whom we will later know as “R”, and who is played by Nicolas Hoult, a boy far too pretty to be caught chowing down on brains, is no ordinary zombie. No, in fact, R is intensely nostalgic and underneath all that dead skin, very sensitive. He collects things from the old world, like records and books, anything that reminds him of what it used to be like to be alive. Bringing a human being back might be overstepping though, or in the case of a zombie, over-shuffling.

WARM BODIES should not work as a movie. And, in all honesty, it doesn’t always come together properly. Zombies don’t move very quickly and they don’t really talk all that much. So having one as your protagonist could make for a very slow experience. So Levine, taking his cue from the Isaac Marion novel, lets us hear R’s thoughts throughout his kidnapping plot. What you hear is a romantic so held back by his own inability to connect with people, what with his being a zombie and all, that the audience, if they have ever felt restrained by their own insecurities surrounding love, should want to root for his success. The trouble is, his success, which Hoult does make as endearing as he possibly can given the circumstances, means that the film has to break more zombie conventions than it can recover from. On the plus side, I did learn that we needn’t worry too much about the aforementioned zombie apocalypse. Apparently, it is no match for true love.

Alternate Best Actor 1988: Results

5. Forest Whitaker in Bird- Whitaker gives a performance that combines the charm and pain of his character well.

4. William Hurt in The Accidental Tourist- Hurt is very strong here by realizing his character's depression while still giving a charming and sometimes humorous performance.

3. John Malkovich in Danger Liaisons- Malkovich takes an unorthodox but effective approach to his womanizer character by stressing the mechanics of the man's method.

2. Bob Hoskins in Who Framed Roger Rabbit- Hoskins is terrific in the lead of this film interacting perfectly with the strange cartoon characters throughout the film as well giving an entertaining and sometimes powerful performance entirely on its own as well.

1. Jeremy Irons in Dead Ringers- Good Prediction Michael Patison, Mark, and Maciej. Well it should be no surprise to anyone that Jeremy Irons wins this year. Although I liked all these performances Irons stands far and above as the best. He is simply incredible in his portrayal of the twins of his film and their interconnected world. Irons here not only gives one but two great characterizations here finding the subtitles that differentiate the two perfectly as well as creating a fascinating connection between them.  

Overall Rank:

1. Jeremy Irons in Dead Ringers
2. Bob Hoskins in Who Framed Roger Rabbit
3. Eric Bogosian in Talk Radio
4. John Malkovich in Dangerous Liaisons
5. William Hurt in The Accidental Tourist
6. Gene Hackman in Mississippi Burning 
7. Bill Murray in Scrooged
8. Robert De Niro in Midnight Run 
9. Charles Grodin in Midnight Run
10. Forest Whitaker in Bird
11. John Cleese in A Fish Called Wanda 
12. Bruce Willis in Die Hard
13. Jeff Bridges in Tucker A Man and His Dream
14. River Phoenix in Running on Empty
15. Leslie Nielsen in Naked Gun 
16. Tom Cruise in Rain Man
17. Eddie Murphy in Coming to America
18. Derek Jacobi in Little Dorrit
19. Edward James Olmos in Stand and Deliver
20. Kevin Costner in Bull Durham
21. Tom Hanks in Big
22. Dustin Hoffman in Rain Man
23. Emilio Estevez in Young Guns
24. Richard Dreyfuss in Moon Over Parador 
25. Alec Baldwin in Beetle Juice
26. Warwick Davis in Willow
27. Matthew Modine in Married to the Mob
28. Roddy Piper in They Live
29. Clint Eastwood in The Dead Pool
30. Jim Varney in Ernest Saves Christmas

Next Year: 1988 Supporting

Alternate Best Actor 1988: John Malkovich in Dangerous Liaisons

John Malkovich did not receive an Oscar nomination for portraying Vicomte de Valmont in Dangerous Liaisons.

Dangerous Liaisons is a well made film about two aristocrats who revel in horrible games of passion and deceit.

John Malkovich's casting here certainly was a point of contention when the film originally came out with his rather unorthodox appearance. The Valmont is a perpetual and successful womanizer, and it seems many would think Valmont would probably look a little less devious to begin with like perhaps Colin Firth in Valmont for example. The same could be said about his charms as well as Malkovich is not especially suave in the role of Valmont either, and one might think he would need to be to be believed in the amount of conquests he partakes in.

The question is though does Malkovich really need to be traditionally handsome and Clark Gable type charming for the role, and the simple answer is no. What Malkovich expresses most with Valmont here is the method in which Valmont goes upon his sexual expeditions. Malkovich instead of really trying to hide the sliminess that really does make up his character he instead portrays Valmont as a man who very much revels in exactly what he is. There is no shame in his performance and Malkovich very much accentuates the mechanics of his seductions more than anything else with his portrayal of Valmont. 

There are many liaisons we see Valmont having but we only see two seductions portrayed in the film a routine one, and more daring one of Madame de Tourvel (Michelle Pfeiffer) who is known for her virtue. In both Malkovich does not show Valmont as attempting really any charm in fact there is always far more of a strategy at play that utilizes both the gender roles of the time as well as the emotions of the woman in both cases. Malkovich is properly calculated as he shows the strategy of Valmont at all times to the audience well at the same time creating the proper ruse that he uses against the women.

Malkovich's makes Valmont's success with both women very convincing actually in the harsh brutality of his seductions. In the first he creates Valmont's method as making himself a bizarre teacher in a most brutal but believable fashion in his success with her through the uncompromising method that Malkovich portrays it all. In the other more difficult one though Malkovich again makes the strategy of Valmont something very clear as Valmont this time makes himself a haunted lost soul who would kill himself if Tourvel does not take his love.

As strange as his seduction method with Tourvel might sound Malkovich brings it to life through his depiction of Valmont who he portrays as throwing himself fully into his demented game. Malkovich makes the "depression" both fake and real enough that it would move Tourvel as it does. It is a difficult trick to pull but one that Malkovich is able to accomplish without any seeming effort. In doing this Malkovich carefully infuses just the slightest bit of moments that suggests that maybe Valmont is not entirely lying about his pledged love for Tourvel. It is in very subtle moments that are very well handled by Malkovich.

One of the most important aspects of Valmont is his relationship with Marquise de Merteuil (Glenn Close). Through most the film both actors portray theirs as a mutual love of their shared despicable nature and the havoc they cause with their games. This does not really change until the end of the film where Merteuil plays her own game against Valmont as she convinces him to brutally reject Tourvel since she sees that he truly loves her. Malkovich and Close are very effective in the scenes as the truly vile nature of both characters are perfectly created by the actors and we see the full extent of their damage that only hurts other but themselves as well.

Malkovich's final scene as Valmont is terrific as he shows him distraught after finally finding some sort of conscious in himself after all. In his final scene Valmont is fatally wounded by a man (Keanu Reeves) he has harmed and reflects on his behavior. The power of the scene is somewhat muted because Reeves might as well say "Uhh sorry dude I did not mean to stab you so hard" and it would have fit his performance. Forgetting about Reeves though Malkovich is quietly moving though as he shows this time finally an honest Valmont for once as he shows the full extent of his depression and self hatred he has created in himself due to his behavior.

This is a strong performance by John Malkovich in both his unique creation of Valmont as well as his execution of his character. He does well in bringing to life every facet of his manipulative character, and never fails to make his conquests believable. He takes a very different approach than many probably would have with the part as he never avoids the sliminess in character, and never really even tries to hide yet he still makes the story work entirely. It quite an achievement that he is able to do this through this method he makes Valmont a compelling as well as properly repulsive character. 

Alternate Best Actor 1988

And the Nominees Were Not:

Jeremy Irons in Dead Ringers

John Malkovich in Dangerous Liaisons

William Hurt in The Accidental Tourist

Bob Hoskins in Who Framed Roger Rabbit?

Forest Whitaker in Bird 

Alternate Best Supporting Actor 1999: Results

6. Laurence Fishburne in The Matrix- Fishburne is mysterious in his first scene, and a fine mentor in the rest of the film.

5. Alan Rickman in Galaxy Quest- Rickman gives a very entertaining deadpan performance that absolutely delivers. 

4. John Malkovich in Being John Malkovich- Malkovich playing Malkovich is truly something enjoyable to watch as he portrays brilliantly every moment of Malkovich no matter who happens to be in his head.

3. Christopher Plummer in The Insider- Christopher Plummer gives a strong performance as Mike Wallace portraying the differences between the performer and the man in the case of a television journalist.

2. Philip Baker Hall in Magnolia- Hall gives a powerful performance as a dying regretful man that stands well among the greatness of his film. 

1. Sam Rockwell in Galaxy Quest-Well no one predicted Rockwell would win so no one wins! Just Kidding. Good Prediction koook160 (Robert MacFarlane). Sam Rockwell actually was easily chosen by me as I loved every moment and every facet of his performance. He makes the most as the former red shirt, who does not want to go as quickly as his character. He is absolutely hilarious in every scene, but even manages to be honestly believable in the fears of his character as well.

Overall Rank:

1. Sam Rockwell in Galaxy Quest
2. Tom Cruise Magnolia
3. Philip Baker Hall in Magnolia
4. Christopher Plummer in The Insider
5. John Malkovich in Being John Malkovich
6. Alan Rickman in Galaxy Quest
7. John C. Reilly in Magnolia 
8. Jude Law in The Talented Mr. Ripley
9. Philip Seymour Hoffman in Magnolia 
10. Michael Clarke Duncan in The Green Mile
11. William H. Macy in Magnolia
12. Gary Cole in Office Space
13. Michael Jeter in The Green Mile
14. Harry Dean Stanton in The Straight Story
15. Sam Rockwell in The Green Mile
16. Jason Robards in Magnolia 
17. Doug Hutchison in The Green Mile
18. Philip Seymour Hoffman in The Talented Mr. Ripley
19. Hugo Weaving in The Matrix
20. Jeremy Blackman in Magnolia
21. William Sadler in The Green Mile 
22. Tony Shalhoub in Galaxy Quest
23. Donnie Wahlberg in The Sixth Sense 
24. Chris Cooper in American Beauty
25. Stephen Root in Office Space
26. James Coburn in Payback 
27. Greg Kinnear in Mystery Men
28. Enrico Colantino in Galaxy Quest
29. Tom Waits in Mystery Men
30. Orson Bean in Being John Malkovich
31. James Cromwell in The Green Mile 
32. Geoffrey Rush in Mystery Men
33. Daryl Mitchell in Galaxy Quest
34. Wes Studi in Mystery Men 
35. Laurence Fishburne in The Matrix
36. Philip Baker Hall in The Talented Mr. Ripley 
37. Chris Cooper in October Sky
38. Paul Giamatti in Man on the Moon
39. Kris Kristofferson in Payback 
40. David Herman in Office Space
41. William Devane in Payback
42. Barry Pepper in The Green Mile
43. Michael Gambon in The Insider
44. Danny Devito in Man on the Moon
45. David Morse in The Green Mile
46. Philip Baker Hall in The Insider
47. Joe Pantoliano in The Matrix
48. Dan Hedaya in The Hurricane
49. Delroy Lindo in The Cider House Rules
50. Ajay Naidu in Office Space
51. Anthony Ray Parker in The Matrix
52. Michael Caine in The Cider House Rules
53. Wes Bentley in American Beauty

Next Year: 1974 Supporting

Alternate Best Supporting Actor 1999: John Malkovich in Being John Malkovich

John Gavin Malkovich did not receive an Oscar nomination or portraying John Horatio Malkovich in Being John Malkovich.

Being John Malkovich which has quite a bit going on it is mainly about a puppeteer (John Cusack) who finds a portal in the mind of John Malkovich. I like parts of the film, but I do think it takes too many indulgences.

Despite getting some recognition for the role it should have been no surprise that John Malkovich was not Oscar nominated for the role of playing John Malkovich. After all a common, usually mistaken, criticism of many performances of certian actors is that they are merely playing themselves and deserve no credit. Well Malkovich seems to play himself, except of course for the fact that this movie John Malkovich has a different middle name from the regular Malkovich. Malkovich is suppose simply be Malkovich though in the film, but that does not mean this is a do nothing performance.

Although the film is certianly does not mind deprecating Malkovich in the way no one seems to know who he is, and do not really think much of him as an actor, as well as the scene where we go into his subconscious, Malkovich still plays the part of himself in a rather straight fashion early in the film. It really should be noted that the actually personal life of this Malkovich really is not gotten into, where only see him really reacting to everything else in the film, and being used by the other character. He really is not a particularly active character.

In the first half or so of the film Malkovich actually goes for playing himself in a rather realistic fashion, and there is not anything strange or out of the ordinary about his portrayal, other than of course he is John Malkovich which means this is a least some degree of strangeness anyways. Malkovich though actually is quite good in being how one would imagine a man in his very bizarre situation might be. Malkovich is not boring in anyway though, and through being a more realistic man standing within the oddness he actually able to effortlessly bring a great deal of humor in his performance.

Malkovich honestly shows a confusion at first as the strangeness goes on around, than slowly morphs into some degree of horror and anger over finding about the portal to his mind. Malkovich does well in portraying in a believable fashion while making it quietly funny, although he does this without ever making any jokes with his performance. It is not obvious comedic performance by Malkovich, but it work extremely well, although later on in the film Malkovich gets to do that sort of performance after the puppeteer takes control of Malkovich's body. 

Malkovich has a lot of fun in the role embodying Cusack's performance from the film, although with one key by very brilliantly handled by Malkovich. The difference from Cusack's is that he is quite enthusiastic where Cusack was consistently depressed although it fits because the puppeteer has reached his dreams within Malkovich. It is an enjoyable and energetic performance by Malkovich playing a lot with the overly pretentious quality within the puppeteer as well as his amusingly emphasizing the pathetic qualities of the character.

Despite being quite tossed around in the role particularly at the end when he goes through three personalities in a matter of minutes, Malkovich makes all of it work out for the best. Although I do feel aspects of the film do go into self indulgence mostly on the part of Charlie Kaufman, but Malkovich despite the fact that he is in fact portraying John Malkovich falls into these problems with his personality. He seamlessly moves between the personalities that Malkovich must undergo, and makes sure to give an engaging performance no matter who happens to be using Malkovich at one time.

Alternate Best Supporting Actor 1999

And the Nominees Were Not:

Alan Rickman in Galaxy Quest

John Malkovich in Being John Malkovich

Christopher Plummer in The Insider

Philip Baker Hall in Magnolia

Laurence Fishburne in The Matrix

198. Shadows and Fog

198. (10 Sep) Shadows and Fog (1991, Woody Allen) 39



Carlo Di Palma was hardly Woody Allen's best cinematographer and he's a definite liability considering Shadows and Fog is so much about composition. One can't help but wonder what Vilmos Zsigmond, Gordon Willis or Sven Nykvist might have accomplished in his stead. Despite an inexplicable $19 million budget, this looks murky and amateurish, matching a frustratingly obscure screenplay. It's all the more annoying that a particularly shrill Mia Farrow gets most of the screentime when Kathy Bates, Lily Tomlin, Madonna, John Cusack and Julie Kavner shine in bit parts.

060. Transformers: Dark of the Moon

060. (19 Feb) Transformers: Dark of the Moon (2011, Michael Bay) 38



Michael Bay's ability to establish space and time is as weak as ever. It's apparent there are a handful of major scripted, loosely connected plot points that have to be tied together by any means necessary. Bay's method is fading to black and using a handful of establishing shots in places where there should've been considerable set-up, most notable in the Chicago-set finale. That's almost completely sprung on us with no clear lead-in.

Plot, of course, is scarcely why Bay's movies are so popular. His action sequences remain exhilirating, particularly a freeway chase and a mind-blowing few minutes in a collapsing skyscraper. In a just world, these would be enough to lock the film down as the Oscar winner for Best Visual Effects. (The first Transformers losing that honor and the second being snubbed altogether is rather shameful.)

Other nominations for Sound Mixing and Sound Editing are clearly well-earned. That Chicago finale has some outright spectacular sound. Incoherent as the story may be, there's a remarkable cohesion in the sound design that ties the films together. Were it not for the noise and glossy appearance, this would be totally intolerable.

Suggesting just how troubled this installment is, Patrick Dempsey is the only performer who comes across at all well. He's a surprisingly accomplished villain and is the first actor I've seen in a Bay movie in quite some time that made any kind of positive impression. Ken Jeong is positively deadly. Josh Duhamel is criminally underused. Shia LaBeouf continues to offer nothing while I'd take Megan Fox over Rosie Huntington-Whiteley any day.