A few words before the 30 Rock finale _ Having not seen the finale yet, I still feel confident saying that this will go down as one of the better seasons of 30 Rock, and that it has cemented its places in the top tier of all-time comedies. The ending can’t tarnish a comedy the same way it can a drama, but considering that last week felt like a series finale and everyone’s stories wrapped up quite nicely, I’m very excited to see what Tina Fey & co do with their final hour tomorrow. Kenneth being promoted to run NBC was a fantastic, if unsurprising twist (Jack in season 1: “in 5 years we’ll all either be working for him or dead by his hand”). However, as with everything this season, the execution was better than we could have hoped for. Not only did we get a Willy Wonka homage, but we also got a genuinely happy Jack ready to accept that he doesn’t know what is best (at least not in the world of network TV). Kenneth has an enthusiasm that even the best of us don’t share, and I can only hope that somewhere, somehow, someone who loves TV that much exists and will be running a network some day. It was a nice call-back, and I’m very excited that we may get at least a little glimpse of what Kenneth will do in his new position. Jack being CEO of GE was also expected, but well-deserved. Liz with kids, again expected, but executed so perfectly with the reveal of little (twins!) Jenna & Tracy. Her immediate reaction of pause and then the giant smile that came across her face made perfect sense. Liz Lemon has been waiting for this moment for the entire series, so it only makes sense that she has been training for it as well. It will be interesting to see where everything goes this week, but I don’t think they can screw it up at this point, since everyone is where they should be. House of Cards is coming this Friday! _ Here is a show that I almost forgot existed, which does reveal a flaw in Netflix’s marketing plans. Admittedly, I don’t watch a ton of commercials (but I’m assuming not many, if any, were run on broadcast networks), but I live in New York City and I don’t remember seeing any billboards or anything about it. Even on the Netflix interface, which I’m sure will be updated the second the episodes are released, has not been promoting it to me, and I have definitely watched plenty of shows that would make me an ideal target. I know they don’t have to worry about ratings, but I haven’t heard anyone discussing it, and the few people I have mentioned it to were either not aware of it, or forgot about it. Perhaps that is the point, and they are hoping word of mouth brings it a long life that will extend to its next season, but if everyone is watching it at a different pace, I am a little worried about how it will do. This isn’t Arrested Development, which has been covered constantly at every little development, and comes with a built-in fan base. If I didn't read about TV frequently, February 1st may have passed me by unnoticed. One thing I am no longer worried about though, is the quality. Reviews have started to trickle out, and although critics have only seen the first two episodes, they are all positive, and mostly glowing. There was not much reason to doubt this show, with director David Fincher, Kevin Spacey, and writer Beau Willamon running things, but it was still a big commitment for Netflix to commit to two full seasons before even seeing a pilot. It appears to have paid off though, since the production at least is on par with an HBO show, and if it wraps up the season well, it should be a big Emmy contender. Also, I can't wait what the luxury of knowing you have 26 episodes and most will be watched in binges will do to the pace of the writing. Either way, I know where my weekend has gone. Trailer here The Office's big change _ 30 Rock is ending tomorrow, as will The Office in a few months, and it seems with the ending of this week’s episode they have set-up their final arc. I kind of loved the moment where boom operator Brian stepped in front of the camera to comfort Pam, as in my mind that meant these last episodes will allow them to create a different feel than the rest and end it in a similar way to the British iteration, where the documentary is released and we see the results of that. I would love it if they just continued down this road, the documentarians hung around, but were more involved and trying to get some satisfactory conclusions to stories, by showing some of what they have filmed over the past 8 years. The fact that Roseanne has just been cast as a talent-agent who agrees to help Andy realize his showbiz dreams only adds to this possibility, as what would make Andy suddenly think he could make it in Hollywood, other than him being an integral part of a suddenly realized documentary (whether it is a film or series)? However, one possibility didn’t immediately cross my mind that apparently a lot of others are worried about. That is the chance that Brian was brought in to make us realize that there has always been a third wheel to Jim & Pam’s relationship, and now he may be inserting himself into it. Yes, it is odd that this would be the moment where they finally decide to shut off the cameras or interfere considering the things they have put up with in the past, but what if Brian interfered because he has a thing for Pam? That didn’t cross my mind because I didn’t think the writers could be that stupid. We can’t watch Jim & Pam be almost separated by some guy whom we have never met before (even if they obviously have had a long relationship). Even as a final test, it doesn’t make sense, since in the first episode of the season the crew admitted that they were just waiting to see what happened to Jim & Pam, and that was the whole reason they have stayed so long. I can see the possibility, but I really hope it is squashed pretty early tomorrow. Would it be possible that Brian really meant he was waiting to try and steal Pam for himself? Sure, but I sincerely hope not. The emotions were running high, and all the actors involved were great as usual, but I don’t think I could stand watching that arc play out. Here’s hoping that they have something up their sleeves that is not as simple as a new love triangle, even though I will admit that, at this point, I’m going to watch it all either way. It's official: How I Met Your Mother will return for a ninth & final season _ Well, here we are: How I Met Your Mother has officially been renewed for its ninth and final season. While I am happy we officially have an end-date for the show, I really hope this does not stretch out the story any further than it already has been. The creators have said that they plan to stick to the timeline that places the wedding of Robin & Barney in May, so I don’t know how they could make the story last until next year. It would make perfect sense for them to wait until the season premiere in the fall to actually show the meeting of the mother, but at this point I can’t imagine the show will stretch it beyond that. The outcry over this has gotten quite loud, and I think we all know a semi-reworking of the series involving Ted dating someone who we actually know he will end up with could be the kick in the ass this show needs to go out great like 30 Rock has this season. I don’t need to watch a show about Ted courting the mother, but I also don’t think I could take another year of putting it off. I’m happy they can end it their way, I just hope they realize how much they have hurt the show by sticking so literally to the title.
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Mad Men returns April 7th _ So “Mad Men” is coming back for season 6 on April 7, 2013 with a two-hour premiere at 9 pm. First let me say, happy birthday to me! I have a few hopes for this season, and my top one is probably everyone else’s: I want Peggy to remain a regular presence on the series despite her leaving SCDP. Matt Weiner has confirmed that she will be a part of the new season, but I really don’t want her to disappear as much as Betty did last year (although I do hope Betty remains marginalized in place of some more Martian Ginsberg). This, ideally, would mean we follow Peggy on her own, and she & Don eventually face off in a big pitch (which could provide some great drama no matter who wins). However, I will admit that this is the obvious route, and who knows, maybe the two will be working together again when we return (which, as usual, Weiner would not confirm). I can’t imagine this show without Peggy as a prominent figure, even if they try to use Megan to showcase some other of the big cultural changes for women. What Weiner would say about the new season, is that he saw season 5 as more of an external view of Don trying to be a different man than he had been and season 6 will be back to taking an ‘internal view.’ We were left to question whether he would return to his previous faults when season 5 ended given Megan’s newfound independence. Frankly, I’m excited to get another ‘internal’ view of Don, whether that means getting to know the man he has become or watching him regress back to his old ways. I'll also be excited to see how Joan is adapting to her new position. No matter what, I now know how I’m spending my birthday night. How I Met Your Mother - "Ring Up" Well, this week we learned that “How I Met Your Mother” can still be funny even when one of the plots has been done a million times on other sitcoms (engagement rings mean attractive women get treated like the rest of us), and the other parts of the episode are still pretty predictable. The particulars of some of the New York jokes did make me feel bad about myself though, since I felt more sympathetic to Ted (a character I hate) than to Barney’s young sister, who is much closer to my age. The Lily and Marshall jokes also worked, just because the two of them and their animal attraction is always funny to me, but that mom joke at the end was a little predictable and sick (though can I really fault them for doing a joke that is too in character?). What a shock that the episode was pretty great and it had nothing to do with meeting the mother, even when 2 of 3 plots still revolved around getting to Robin & Barney’s wedding. But, at least Barney’s growth is sticking. One quick theory about the rest of the season that I think could be interesting and/or funny: I think it is a realistic possibility that this quick fling with a young woman could have Ted replacing Barney as the horn dog of the group for the next few episodes, which I would like to see (especially if he meets the mother at the end of the season – please! - and she is the one to break him out of it). Clearly, Ted did not feel as bad about his fling as his initial caution would make you think (even if they were just messing with Barney, there was more of a connection with Carly than they had before). Plus, I would like to see the sugar coating he would use for his kids if he had more consistently troubling behavior. One last note about the bar scenes: I think “Happy Endings” being around may be hurting this show for me, since them sitting around a bar insulting each other really didn’t seem as well done as it is on that show, or any of the other, newer shows that do it. I would say maybe that just comes with age, but “It’s Always Sunny In Philadelphia” has been on the air for just as many seasons (albeit with fewer episodes), and it is still great when they throw insults at each other; although those characters are held to a very different moral standards than on the broadcast networks. HIMYM used to be a great example of the mean comedy of the 00’s, and now it is a pale imitation in that area. This week also proved that no matter how I feel about the series or episode, HIMYM is the one comedy I always have something to say about. _ Ben & Kate and Don't Trust The B... are gone; Happy Endings and Raising Hope doubled up _ The other big news about shows I watch is that some Tuesday night comedies are being dropped, while others double-up (clearly those conflicting two-hour comedy blocks weren’t a great plan). Both Ben & Kate and “Don’t Trust The B…” will be off the schedule starting next week, and are likely gone for good, even if neither of their fates has been officially decided. Both have episodes left (6 & 8, respectively, I believe) that will most likely air in the summer or just pop up on DVD or Netflix sometime. I liked both shows, but I think “Don’t Trust The B…” got really poor treatment overall. “Ben & Kate” is a decent show that has improved with time, but the ratings were awful and there is no passion for it. It was kept in a single time-slot and given additional episodes, so NBC did give it the opportunity to grow. The same can not be said about ABC with “Don’t Trust The B…” though, as it aired only 6 of 13 episodes last year, and then had some of those remaining episodes from season 1 air interspersed with season 2 episodes this year (including a continuity heavy arc involving Dancing With the Stars that already wrapped up at the beginning of the season and a character that was written out only to pop up again periodically). The season two episodes were better, and I think that given the cast, it really could have been a very good show if given a chance, but now it will just be another forgotten sitcom. At least we got the Busy Phillips cameo done before it was gone… Now, the one thing about this news that is good is that we will be getting two episodes of both “Happy Endings” and “Raising Hope” on Tuesdays for the near future, and I believe those are both better shows than their counterparts. This means the seasons will end earlier, but it’s good they are staying on the air. “Raising Hope,” I’m not very worried about, as Fox has showed loyalty to that show in the past and is giving it a one hour finale after American Idol on March 28th. “Happy Endings” on the other hand, has a lot to worry about. Yes, it’s good they’re not pulling it to air reruns of “Shark Tank” or something else, like they did after the brief experiment of airing episodes on Sundays, but now this means that all the episodes will be gone by the time "Dancing With The Stars" replaces it in March and the total amount will be under 60. This means that it would require at least 1 more full season to even be considered for a lucrative syndication deal, so at this point I’m assuming it’s gone. “Happy Endings” fans, if you want any hope, start finding people with Nielsen boxes now, as I’ve learned firsthand in the past that ABC will not respond to a passionate fan campaign. Alan Sepinwall talks to Mark & Jay Duplass _ This final item is really just a link to the great Alan Sepinwall’s interview with Jay & Mark Duplass. They have been popping up on The Mindy Project lately, but he also discusses the rest of the great year they had. They co-directed and co-wrote “Jeff, Who Lives At Home,” which was a small film starring Jason Segel, Ed Helms, Judy Greer, and Susan Sarandon that you should watch when you get a chance (currently available on Netflix & Amazon watch instantly). Mark, in particular, also had a great year on screen, as in addition to his continuing work on the great series “The League,” he also had a small part in “Zero Dark Thirty” and was one of the stars of “Safety Not Guaranteed,” both of which made my top 10 of last year. A great read for a pair of talented guys that have really hit their stride in the past year.
_ Let me preface this for those who haven't met me: Arrested Development has a very special place in my life. It is odd to say that about a TV show, but it has shaped a lot of my life over the past few years, since it is the show that made me truly appreciate the script writing process. When I first saw it, I didn’t quite get how good it was, but I continued to watch whenever I could find it on the schedule because I enjoyed the characters. I didn’t pay as much attention to TV then, so it wasn’t until I saw it on DVD that it really took hold and I made everyone I knew watch it. Since then, I have followed both TV & movies very closely, and have always been more attracted to the structure, small touches, hidden jokes, and original ideas that come from a well-crafted script more than any other aspect. Obviously, the show is top-notch in all other areas, but clearly the writing is what paved the way for brilliance in other areas. If you look at my top 10 of 2012, my attraction to these types of films becomes very clear. So that is the context in which I am writing this piece. Simply put: no other piece of entertainment will ever be as influential on my life as Arrested Development (yes, that includes Phish), since it was what eventually defined my ultimate career goals. So, with that being said, I was very cautious when they announced it was officially coming back on Netflix. Of course I was always hoping to see more, but as the show didn’t lose any quality with age, and more time passed, I became increasingly cautious (not to mention the later collaborations of cast & crew, primarily “Sit Down, Shut Up” and “Running Wilde”). It was pretty clear creator Mitch Hurwitz caught a special moment with a special cast and special team of writers that changed television comedy forever. I love this show more than any other, but a bad movie adaptation wouldn’t sully the good name, since there was already a great ending and a film could be ignored. A fourth season was never even a viable idea until the rumors began, but I didn’t like that idea. Could the show ever be replicated as it was? No. That is why any worry I had was gone after the recent Television Critics Association Panel for the show. For those who don’t know, the TCA is where most television critics go twice a year for TV networks to show off their new series and get the charming stars of some pretty bad shows great press (and also ask inane questions about the origins of Zooey Deschanel’s name). This was Netflix’s first year there, and they brought together Hurwitz and most of the primary cast (Tony Hale & David Cross couldn’t make it) to discuss the new season. No I was not there, but I followed it very closely, and it was probably the most widely reported of all the panels, so any announcements made, no matter how small, were pretty clear. First, the structure of episodes is different simply because these actors have (rightfully) become very sought after since AD ended, and most were contracted to other projects. Jason Bateman as Michael Bluth is the only one who will appear in every episode, so they made the necessary changes and focused each episode on a single character. This allowed them to truly embrace the Netflix format (all 14 episodes will be released at once) and make what Hurwitz refers to as ‘one giant 700 minute long Arrested Development.’ You will see the same scene from different perspectives in different episodes, and Hurwitz stated that they even tried to figure out a way to jump from episode to episode at one point, making it like a “choose your own adventure” story. This means there is not necessarily a ‘right’ order to view them in, but there will be a recommended order to ‘maximize surprise.’ Another main point they made was that this is not meant to be ‘season 4’ in literal terms. This is a bridge between the original series and the (still planned, but not definite) movie. It will be act 1 of that story. This is also a completely different structure beyond just the anthology format, as the episodes will not be 22 minutes, but around a full half hour (some could be longer, some shorter), which simply means they will be however long Hurwitz wants them to be. Regarding the amount of episodes, he even said that the original announcement of 10 episodes was always low. They knew there would be 14, and just wanted to surprise the audience during production. That is the other key thing I want to mention: they want to surprise the audience and that was the primary goal while writing. They purposefully avoided plot points that seemed like they could have been fan fiction and went in unexpected directions that I can’t wait to see. All of this points clearly to one unifying idea: they are not trying to recreate the show that was. If they simply said they don’t want it to be referred to as season 4, that wouldn’t mean anything beyond the fact that they were nervous about the legacy, but the fact that it is structured differently and continuously needed to work around scheduling complications, I find exciting. You can find a million stories about how a film or show was changed for the better because of something the writer or director had to work around logistically (the go-to example being the fact that the shark never worked properly on Jaws), so I am so happy Hurwitz wasn’t just put in a position with absolute power over the cast and needed to find a unique and creative way to do this series. The other thing primarily getting my hopes back up is the way he has embraced the Netflix format. He knows most viewers watch large chunks of this show at a time, and has tailored it for that experience (the fact that he didn’t –consciously – do that for the original episodes is shocking when you think about it now). I will watch it in the order that is recommended, but I will also be eager to watch it in a different order to see how that works, or watch two specific episodes back-to-back. All this does is make me think that, if this is possible, the rewatchability of these episodes will be equal to the originals, which I have seen dozens of times and still usually find a new joke in most episodes. Am I being too optimistic? Probably. But will these episodes alter the perfect 3 season that already exist? No (it's not Lost). No one is trying to recreate the show that used to be, but they are making something new with the same cast & characters that will be inventive and funny simply because that group is back together writing and playing the best characters they will ever have (sorry Hank Kingsley). It can’t be bad, and who knows, it could even change the fundamental way we think about television… again. _ I didn’t plan on writing anything about How I Met Your Mother. This is a show that I honestly should stop watching because it is more irritating than entertaining at this point, and I don’t want to spend more time with these characters. But then an episode like “The Final Page” comes along before a hiatus and it seems like they are finally willing to take the leap and let the show progress forward. Then there is news that it is most likely going to get renewed for a ninth season, despite the original plan the creators had for this season, and an episode like this airs, which retraces so many steps the show and characters have taken before while not really making any forward movement.
I honestly don’t know if I find this show funny anymore, because as much as I love Marshall & Lily, some of the stuff Barney still does, and occasionally a quick Robin line reading, I am so stuck on how angry the plotting makes me. This is not an uncommon complaint, but I never even used to be concerned with who the mother was because I was enjoying the ride so much. But if I hear the phrase “but we’ll get to that later…” out of Bob Saget’s mouth one more time, I may go crazy. It seems like a crutch now more than ever. Hey guess what, Ted still can’t get over Robin after all they went through in the first half of the season, and he still doesn’t think Barney is worthy of Robin after Ted sent her into Barney’s arms (and ring). We have seen this a million times just with Robin, not to mention the other (mostly) useless girlfriends Ted has had. The writers don’t seem to be able to let anything go, since they appear to be stalling, waiting to hear if they need to stretch out the time until the wedding to next year. Even ideas that they can’t complete, they still feel the need to put in a set-up and say they’ll explain it later. I can no longer feel invested in these characters when we have seen them go through these situations before. Marshall & Lily are parents now, and that seems to have taken a back-seat to everything else (while giving the writers more excuses for poop jokes) with the brief exception of Alyson Hannigan’s great scene on the roof in this episode. There was some positive: at least Barney didn’t want to back out when faced with a little speed bump from Robin & her dad. Plus, giving the rabbit a backstory before having to kill it is not original, but fit Barney well (even if it was wrapped up in another ‘aren’t Canadians crazy’ story). Now onto the ending. OMG you guys! The mother is at the wedding! And she plays bass in the band! And Ted sees her! And Rachel Bilson pops up! Oh wait…there is nothing new there. This is just a useless little scene tacked on to try and give it relevance to the title. I really hope creators Carter Bays & Craig Thomas decide to just have Ted meet the mother at the end of this season (especially considering the wedding is scheduled for May 2013, and this show has been pretty good about sticking somewhat close to real time). They could do one season with him actually dating the mother, but my personal preference would be what they have discussed in the past, which is doing one season of just stories that Ted ‘forgot to tell’ that will let them get out of continuity and just try to be funny. At this point I think that would be best for everyone (aside from there being a miracle and this becoming the last season). Jason Segel is on the cusp of true movie stardom. Neil Patrick Harris can do anything. Cobie Smulders is now involved in one of the biggest franchises ever. Josh Radnor has now becom a confident, and pretty great (if a little pretentious) writer/director. Please let these people go. Apologies to Alyson Hannigan, but another American Pie doesn't yet rate above HIMYM. _ We all know that the only thing that matters tonight is the hosts. With Amy Poehler & Tina Fey together, I really don’t care who wins, since I don’t think the show can go wrong. Since they are both great writers, improvisers, actresses, and physical comedians, they can pull off anything and no one will be thinking about Ricky Gervais’ semi-awkward (but still usually funny) hosting gigs.
Either way, here are my Golden Globes predictions at the last minute. Keep in mind, this is the Globes, so that is why I will take popularity into account much more than quality in some cases. Best picture - Drama Nominees: "Argo" "Django Unchained" "Life of Pi" "Lincoln" "Zero Dark Thirty" Will win: Lincoln. Should win Zero Dark Thirty. This would give Lincoln its first big win, and I think that’s how it will go. It is entirely possible Argo could take this, but Zero Dark Thirty is the best movie in the bunch, even if I liked Django more. Best picture - Comedy Nominees: "The Best Exotic Marigold Hotel" "Les Miserables" "Moonrise Kingdom" "Silver Linings Playbook" "Salmon Fishing in the Yemen" Will win: Silver Linings Playbook. Should Win: Silver Linings Playbook (or Moonrise Kingdom). This is a very close race, but Silver Linings has been gaining momentum and has Harvey Weinstein behind. Even if they usually reward the big musical, I don’t think Les Mis will win because it seems too divisive for a small group to give it the prize even with a cast of big names (which Silver Linings also has). Best Actress - Drama Nominees: Marion Cotillard, "Rust and Bone" Jessica Chastain, "Zero Dark Thirty" Helen Mirren, "Hitchcock" Naomi Watts, "The Impossible" Rachel Weisz, "The Deep Blue Sea" Will win: Jessica Chastain. Should win: Jessica Chastain. Jessica Chastain has to win this. It will be a big prize they can give to a film in the middle of a lot of conversations at the moment. It is also a fantastic performance. Chastain’s biggest competition, Jennifer Lawrence, will also win a best actress prize tonight, while the other possible spoilers at the Oscars, Wallis & Wiva, are not nominated here. Best actor - Drama Nominees: Daniel Day-Lewis, "Lincoln" Richard Gere, "Arbitrage" John Hawkes, "The Sessions" Joaquin Phoenix, "The Master" Denzel Washington, "Flight" Will win: Daniel Day-Lewis. Should win: Joaquin Phoenix. There’s not much to say here, as Day-Lewis probably can’t lose. Joaquin Phoenix gave my favorite performance of the year, and the one that seemed most difficult and original. Best Actress - Comedy Nominees: Emily Blunt, "Salmon Fishing in the Yemen" Jennifer Lawrence, "Silver Linings Playbook" Judi Dench, "Best Exotic Marigold Hotel" Maggie Smith, "Quartet" Meryl Streep, "Hope Springs" Will win: Jennifer Lawrence. Should win: Jennifer Lawrence. With Lawrence and Chastain separated, any doubt goes out the window, as well as any excitement. At least it’s a deserving performance. I wish Aubrey plaza or Anna Kendrick could have been here. Best Actor - Comedy Nominees: Jack Black, "Bernie" Bradley Cooper, "Silver Linings Playbook," Hugh Jackman, "Les Miserables" Ewan McGregor, "Salmon Fishing in the Yemen" Bill Murray, "Hyde Park on Hudson" Will win: Hugh Jackman. Should win: Bradley Cooper. Hmmm. This is the hardest category to predict so far. Cooper, I think, gave the better performance, but they may want to give Jackman an award (most likely his only one). I’ll go with my gut and pick Jackman. Best Animated Feature Nominees: "Brave" "Frankenweenie" "Wreck-it Ralph" "Rise of the Guardians" "Hotel Transylvania" Will win: Frankenweenie. Should win: Wreck-it Ralph. They will probably go with Burton, but I hope Ralph takes it. Best Foreign language Film Nominees: "The Intouchables" "Amour" "A Royal Affair" "Rust and Bone" "Kon-Tiki" Will win: The Intouchables. Should win: Amour. Amour is clearly ahead, but The Intouchables is a great film, and it was a huge worldwide success, so I’ll pick the upset. Best supporting actress Nominees: Anne Hathaway, "Les Miserables" Helen Hunt, "The Sessions" Amy Adams, "The Master" Sally Field, "Lincoln" Nicole Kidman, "The Paperboy" Will win: Anne Hathaway. Should win: Amy Adams. Anne Hathaway all the way. Even if I disliked the film, she gives a great (if brief) performance, but I think Amy Adams would deserve it, she just has no chance. Best supporting actor Nominees: Alan Arkin, "Argo" Philip Seymour Hoffman, "The Master" Christoph Waltz, "Django Unchained" Leonardo DiCaprio, "Django Unchained" Tommy Lee Jones, "Lincoln" Will win: Leonardo DiCaprio. Should win: Christoph Waltz. This is a hard one, but DiCaprio gives a good performance in a great movie, and is a huge star. He doesn’t even give the best performance in his film, but I don’t think Waltz has a real chance. Honestly any one of Hoffman, Jones, and DiCaprio could win. Best director Nominees: Ben Affleck, "Argo" Ang Lee, "Life of Pi" Steven Spielberg, "Lincoln" Quentin Tarantino, "Django Unchained" Kathryn Bigelow, "Zero Dark Thirty" Will win: Ben Affleck. Should win: Kathryn Bigelow. Even if they give Lincoln the big prize, I think there will be a split. Affleck is a popular guy who made a very good film, so I think they will reward him. Bigelow could, and I think should, spoil. Best screenplay Nominees: "Silver Linings Playbook" "Argo" "Django Unchained" "Zero Dark Thirty" "Lincoln" Will win: Lincoln. Should win: Django Unchained. Even with adapted & original combined into one category, I don’t think Lincoln will lose. Best television drama series Nominees: "Boardwalk Empire" "Breaking Bad" "Downton Abbey" "Homeland" "The Newsroom" Will win: Homeland. Should win: Breaking Bad. After its’ recent romp at the Emmy’s, Homeland will win here, since it didn’t last year. Mad men not being here is kind of a joke, but that makes the win for Homeland even easier. Best television comedy series Nominees: "The Big Bang Theory" "Episodes" "Girls" "Modern Family" "Smash" Will win: The Big Bang Theory. Should win: Girls. There are a lot of big omissions in this category, so it doesn’t mean much of anything. Modern Family is the likely winner, but Big Bang is an enormous hit that has not been rewarded with a big prize yet. Best mini-series or made-for-TV movie Nominees: "Game Change" "The Girl" "Hatfields & McCoys" "The Hour" "Political Animals" Will win: Game Change. Should win: Game Change. I’ll admit I ahven’t seen most of these, but Game Change has been the default winner here (plus I saw and liked it). I wouldn’t be shocked to see Hatfields & McCoys win though. Best actor – Drama series Nominees: Steve Buscemi for "Boardwalk Empire" Bryan Cranston for "Breaking Bad" Jeff Daniels for "The Newsroom" Jon Hamm for "Mad Men" Damian Lewis for "Homeland" Will win: Jeff Daniels. Should win: Bryan Cranston. Lewis could win here , but I think the fact that Newsroom is a new HBO drama centered around a movie star gives Daniels the edge, regardless of the quality. As always though, Cranston should walk away with this easily. Best Actress – Drama Series Nominees: Connie Britton for "Nashville" Glenn Close for "Damages" Claire Danes for "Homeland" Michelle Dockery for "Downton Abbey" Julianna Margulies for "The Good Wife" Will win: Claire Danes. Should win: Clair Danes. Have you watched Homeland? Best Actor – Comedy series Nominees: Alec Baldwin for "30 Rock" Don Cheadle for "House of Lies" Louis C.K. for "Louie" Matt LeBlanc for "Episodes" Jim Parsons for "The Big Bang Theory" Will win: Louis C.K. Should win: Louis C.K. I really wish Louis could win here, so I’ll put him down. I have no idea who will win this category, and despite the others being bigger stars, C.K. has the hottest profile at the moment. Best actress – Comedy series Nominees: Zooey Deschanel for "New Girl" Lena Dunham for "Girls" Tina Fey for "30 Rock" Julia Louis-Dreyfus for "Veep" Amy Poehler for "Parks and Recreation" Will win: Julia Louis-Dreyfus. Should win: Amy Poehler. Louis Dreyfus won the Emmy, and she is a popular actress who has an HBO show centered on her character, so I think she’s safe, even if her biggest competition is co-hosting. Best television supporting actor Nominees: Max Greenfield for "New Girl" Ed Harris for "Game Change" Danny Huston for "Magic City" Mandy Patinkin for "Homeland" Eric Stonestreet for "Modern Family" Will win: Mandy Patinkin. Should win: Mandy Patinkin. These categories are impossible, since they combine all series, mini-series and made for TV movies into one category. I think Mandy Patinkin will take it, since that show will presumably have a big night, and there’s no other huge threat here. However, there are so many omissions from Breaking Bad, Parks & Rec, and Community alone that it really doesn’t mean anything if he wins. Best television supporting actress Nominees: Hayden Panettiere for "Nashville" Archie Panjabi for "The Good Wife" Sarah Paulson for "Game Change" Maggie Smith for "Downton Abbey" Sofía Vergara for "Modern Family" Will win: Hayden Panettiere. Should win: Sofia Vergara. Nashville seems to have fans, and Hayden Panettiere is young, hot, and singing. I think voters will not be able to resist that competition, but Vergara has yet to win an award for Modern Family. _ Well, that was surprising. If this Oscar season was not exciting before, it certainly is now, as two of the 3 frontrunners were knocked down a few pegs, while the magic of Harvey Weinstein was proven once again. Beasts of the Southern Wild emerging as a true contender? That’s awesome. Lincoln is the only one that pretty much stayed where it was, which is at the top, but not secure. One note about a category I didn’t predict: I’m not happy with the omission of The Intouchables in foreign film, but I also haven’t seen most of the ones that pushed it out, so I can’t say it really deserved to be there. It is a light comedy after all, but I love that movie and thought it was a lock. The other pleasant surprise was that (Academy Award nominee) Seth MacFarlane and Emma Stone actually made the nominations announcement entertaining, even when MacFarlane did what he always does and went for the easy, quasi-insensitive joke about Hitler. Overall this did get me more excited for the actual show, but I have a feeling Tina Fey and Amy Poehler will set a pretty high bar on Sunday night. I didn’t do too poorly on the predictions front. Out of the 50 predictions I made, I got 40 correct, and only four weren’t in my list of alternates (two of those were in best director, and I’m still shocked I got the other three). Now, the long waiting game until the actual ceremony begins, with the other awards shows starting tonight at the Critics’ Choice Awards. Below are my predictions, the actual nominations, and some specific comments about each category. Enjoy! Best Picture Predictions: Argo Lincoln Zero Dark Thirty Les Miserables Life of Pi Silver Linings Playbook Django Unchained Beasts of the Southern Wild Moonrise Kingdom Amour (Alternates: The Master, Best Exotic Marigold Hotel, The Intouchables) Actual: Beasts of the Southern Wild Silver Linings Playbook Zero Dark Thirty Lincoln Les Miserables Life of Pi Amour Django Unchained Argo Ok, so no huge surprises here. I’m disappointed that Moonrise didn’t get in, but there’s always going to be things that miss, and overall this is a pretty solid lineup. The big story here though, will be on Oscar night, where it now seems to be a showdown between Silver Linings Playbook and Lincoln, with Life of Pi and Amour still being outside contenders (hell, even Beasts or Argo may have a shot). I love this year! So much excitement! Director Predictions: Kathryn Bigelow, Zero Dark Thirty Ben Affleck, Argo Steven Spielberg, Lincoln Ang Lee, Life of Pi Michael Haneke, Amour (Alternates: Tom Hooper, Les Miserables; Quentin Tarantino, Django Unchained) Actual: David O’ Russell, Silver Linings Playbook Ang Lee, Life of Pi Steven Spielberg, Lincoln Michael Haneke, Amour Behn Zeitlin, Beasts of the Southern Wild Here is where all the shock of the morning came from. Only two of the DGA nominees got in. Affleck & Bigelow were both snubbed in favor of Zeitlin and O’ Russell. I really liked beasts, so I’m happy that it seems to be such a strong contender between this nomination and Wallis getting in. Beasts really was such a vision that I’m very happy he is getting a deserved nomination. Silver Linings was in my top 10, so I’m happy for O’ Russell, but in this category I think he should have been replaced by Tarantino, Affleck, or Bigelow, even if that would have been less exciting (and wouldn’t have helped pave the way for Weinstein’s fourth win in a row). Lead Actor Predictions: Daniel Day-Lewis, Lincoln Bradley Cooper, Silver Linings Playbook John Hawkes, The Sessions Denzel Washington, Flight Joaquin Phoenix, The Master (Alternates: Hugh Jackman, Les Miserables) Actual: Daniel Day-Lewis, Lincoln Denzel Washington, Flight Hugh Jackman, Les Miserables Bradley Cooper, Silver Linings Playbook Joaquin Phoenix, The Master I can’t believe they left John Hawkes out. That was such a phenomenal performance in a funny, touching film. I said this about BAFTA yesterday, and I will say it again here: how the hell do you give Helen Hunt a nomination and snub Hawkes? It makes zero sense to me. On the positive side though, I am happy Phoenix got in, and in an ideal world he would have a chance of upsetting DDL, but I don’t see that happening. In the end, I’m just happy that the best performance of the year got in. Lead Actress Predictions: Jennifer Lawrence, Silver Linings Playbook Jessica Chastain, Zero Dark Thrity Emmanuelle Riva, Amour Marion Cotillard, Rust & Bone Naomi Watts, The Impossible (Alternates: Quvenzhane Wallis, Beasts of the Southern Wild; Helen Mirren, Hitchcock) Actual: Naomi Watts, The Impossible Jessica Chastain, Zero Dark Thirty Jennifer Lawrence, Silver Linings Playbook Emmanuelle Riva, Amour Quvenzhane Wallis, Beasts of the Southern Wild Wallis! I am ecstatic that she made the cut, as well as Riva. This now makes them the youngest & oldest lead actress nominees ever, which is a nice way to show the range of female performances this year. The biggest surprise is probably the omission of Cotillard, but I guess I should have known they wouldn’t give two French actresses in foreign language films nominations in the same category. Supporting Actor Predictions: Tommy Lee Jones, Lincoln Philip Seymour Hoffman, The Master Alan Arkin, Argo Robert De Niro, Silver Linings Playbook Christoph Waltz, Django Unchained (Alternates: Javier Bardem, Skyfall; Leonardo Dicaprio, Django unchained) Actual: Christoph Waltz, Django Unchained Philip Seymour Hoffman, The Master Robert De Niro, Silver Linings Playbook Alan Arkin, Argo Tommy Lee Jones, Lincoln Nailed it! Waltz was great, so I’m happy he’s here. This is actually a line-up I’m very happy with overall, and it will keep everyone guessing until the ceremony, since everyone here is a previous winner. Supporting Actress Predictions: Anne Hathaway, Les Miserables Sally Field, Lincoln Helen Hunt, The Sessions Amy Adams, The Master Judi Dench, Skyfall (Alternates: Nicole Kidman, the Paperboy; Ann Dowd, Compliance) Actual: Sally Field, Lincoln Anne Hathaway, Les Miserables Jacki Weaver, Silver Linings Playbook Helen Hunt, The Sessions Amy Adams, The Master Jacki Weaver is the big surprise here, but a welcome one (continuing a trend, these are all previous nominees). Other than that, not much to say since Hathaway will win. Original Screenplay Predictions: Mark Boal, Zero Dark Thirty Wes Anderson & Roman Coppola, Moonrise Kingdom Quentin Tarantino, Django Unchained Paul Thomas Anderson, The Master Rian Johnson, Looper (Alternates: Michale Haneke, Amour; John Gatins, Flight) Actual: John Gatins, Flight Mark Boal, Zero Dark Thirty Quentin Tarantino, Django Unchained Michael Haneke, Amour Wes Anderson & Roman Coppola, Moonrise Kingdom Both my alternates got in over the ones I hoped would for, but I did enjoy both Flight and Amour. Overall, this is a very strong category and may be where they throw either Django or ZD30 a win. I think Haneke will take it though. Adapted Screenplay Predictions Chris Terio , Argo Tony Kushner, Lincoln David O’ Russell, Silver linings Playbook Lucy Alibar and Behn Zeitlin, Beasts of the Southern Wild Steven Chbosky, Perks of Being A Wallflower (Alternates: David Magee, Life of Pi; Ben Lewin, The Sessions) Actual: Lucy Alibar and Behn Zeitlin, Beasts of the Southern Wild Chris Terio , Argo Tony Kushner, Lincoln David O’ Russell, Silver linings Playbook David Magee, Life of Pi Here is where I should have known Life of Pi would get in. Again, I went with my heart over my head, but where would be the fun in following logic for everything? Also worth noting, the best picture winner, as usual, is probably among these nominees. Animated Feature Predictions: Brave Frankenweenie Wreck-it Ralph ParaNorman The Painting Actual: Frankenweenie Pirates! Band of Misfits Wreck-it Paranorman Brave Well, I was right that they wouldn’t nominate Rise of the Guardians, I just forgot Pirates! existed. I remember hearing decent things when it came out, and Aardman is a pretty great studio, so I will definitely check it out soon. As far as winners are concerned, I could see Brave taking it just because I’m sure a lot of voters just default to Pixar, but this is also a chance to give Tim burton an Oscar for his best movie in years. _ Following the Oscar Race is something I do year round. I started 4 or 5 years ago, and I don’t really know why or how it began, but I have found that there are some great writers out there who share their views on movies year round through the lens of the Oscar race, and most of them know not to take it too seriously. It has allowed me to find a lot of films I never would have, and it generates a lot of excitement for me around this time of year due to what is an essentially meaningless event (except for those who actually worked on the films that are honored). It is always nice to see a favorite film or individual that you like get recognition, and it doesn’t really matter if they don’t, since it does not alter the film that you already fell in love with.
This year is far different than any other since I have been following the Oscars. There are only two or three categories that I would actually feel comfortable predicting a winner in now, and usually by this time you know everything (or there are only two competitors left with any chance). Sure, a lot of this is because the nominations window was shorter, and many precursors were not announced before ballots were turned in, but even the critics’ awards have been spread out around a few films, all of which are varying degrees of good to great. It makes me happy that this is the case, since 2012 was such a strong year overall and had almost no disappointments in the pile of expected contenders that came at the end of the year. What follows are my predictions for the nominations that will be announced tomorrow morning by Seth MacFarlane and Emma Stone. I am only doing the main categories, since I feel I need to have seen most of the contenders and have a somewhat informed opinion on the categories. Best sound mixing or best makeup & hairstyling, for example, I would just be putting down everyone else’s predictions. Here, with the race still being fluid, a lot of fourth or fifth slots were decided by my hopes, and not necessarily by what is more likely. So when I’m very wrong about most, take it with a grain of salt. My picks are listed by likelihood of a nomination. Best Picture Usually this is decided by now, and I could not be happier that this race is still open. It is essentially a 3-way race (so happy Les Mis doesn’t seem to have a chance of winning) with Life Of Pi as a potential spoiler. The hardest part here is just deciding how many nominees there will be, and in a year with so much quality, I have to go with 10. Argo Lincoln Zero Dark Thirty Les Miserables Life of Pi Silver Linings Playbook Django Unchained Beasts of the Southern Wild Moonrise Kingdom Amour (Alternates: The Master, Best Exotic Marigold Hotel, The Intouchables) Director So many great, proven directors had movies out that some have to be left in the cold. No matter what, this category will be stacked with talent. Should have been considered (more): Paul Thomas Anderson and Wes Anderson. Kathryn Bigelow, Zero Dark Thirty Ben Affleck, Argo Steven Spielberg, Lincoln Ang Lee, Life of Pi Michael Haneke, Amour (Alternates: Tom Hooper, Les Miserables; Quentin Tarantino, Django Unchained) Lead Actor This category is essentially down to 6 possibilities, but at this point I don’t think Daniel Day-Lewis can lose. Should have been considered: all the Frenchmen; Omar Sy, Denis Lavant and Jean-Louis Trintignant. Daniel Day-Lewis, Lincoln Bradley Cooper, Silver Linings Playbook John Hawkes, The Sessions Denzel Washington, Flight Joaquin Phoenix, The Master (Alternates: Hugh Jackman, Les Miserables) Lead Actress There are many strong performances this year, but only so many are being considered, as is a common problem. Comedy, as always, needs to have more of a chance. I wish Wallis would make it in, but I really don’t think it’s going to happen at this point. Should have been considered: Greta Gerwig and Aubrey Plaza. Jennifer Lawrence, Silver Linings Playbook Jessica Chastain, Zero Dark Thrity Emmanuelle Riva, Amour Marion Cotillard, Rust & Bone Naomi Watts, The Impossible (Alternates: Quvenzhane Wallis, Beasts of the Southern Wild; Helen Mirren, Hitchcock) Supporting Actor As always, this is the most overstuffed category, with a lot of deserving performances. Christoph Waltz should be lead, so I’m worried all three Django guys will cancel themselves out letting Bardem in. But I loved Waltz and had to put him in. No matter what, this is likely to be filled by previous winners. Should have been considered: Ezra miller, Bryan Cranston, and Jason Clarke. Tommy Lee Jones, Lincoln Philip Seymour Hoffman, The Master Alan Arkin, Argo Robert De Niro, Silver Linings Playbook Christoph Waltz, Django Unchained (Alternates: Javier Bardem, Skyfall; Leonardo Dicaprio, Django unchained) Supporting Actress Another field full of familiar names, when I would love to see some new(er) faces recognized. This is another category where the nominations are a formality though, since Anne Hathaway has this in the bag. Should have been considered: Rebel Wilson, Emma Watson, and Emily Blunt. Anne Hathaway, Les Miserables Sally Field, Lincoln Helen Hunt, the Sessions Amy Adams, The Master Judi Dench, Skyfall (Alternates: Nicole Kidman, the Paperboy; Ann Dowd, Compliance) Original Screenplay As usual, this is the category that is most likely to represent some of my favorite films. There were so many great originals this year that it’s a shame the usual names will be tossed around, even if most deserve it. Should have been considered: Damsels In Distress, The Intouchables, and Safety Not Guaranteed Mark Boal, Zero Dark Thirty Wes Anderson, Moonrise Kingdom Quentin Tarantino, Django Unchained Paul Thomas Anderson, the Master Rian Johnson, Looper (Alternates: Michale Haneke, Amour; John Gatins, Flight) Adapted Screenplay As usual, I have less investment in the adapted films, but this is where the expected frontrunners for best picture all show up. Should have been considered: Pitch Perfect and Bernie. Chris Terio , Argo Tony Kushner, Lincoln David O’ Russell, Silver linings Playbook Lucy Alibar and Behn Zeitlin, Beasts of the Southern Wild Steven Chbosky, Perks of being A Wallflower (Alternates: David Magee, Life of Pi; Ben Lewin, The Sessions) Animated Feature This category is tough for me, since I haven’t seen any of the independent fare that is eligible, but I’ll go with the best reviewed of the bunch, plus the usual studio fare. That being said, I can’t see them nominating Rise of the Guardians no matter how good it was technically. I’m just happy Wreck-it Ralph should find a place at the table. Brave Frankenweenie Wreck-it Ralph ParaNorman The Painting I'll be back tomorrow with my reactions to the nominees, and to check up on how poorly I predicted them. Enjoy! _2012 was a great year for film. I saw more movies than in any previous year, only one of the big year end group disappointed, and I still have not seen everything I wanted to. There are a few that could very well make this list after I see them (Seven Psychopaths, Cloud Atlas, Ruby Sparks, Killing Them Softly), but I wanted to publish my thoughts as early in the year as possible. I am not a professional writer, and I’m assuming most people reading this will know me personally, so be nice. I wanted to do 10, but as you’ll see, I have trouble excluding things, so there are 11 and another 10 honorable mentions. These are my favorite films of 2012, but in no way does that mean they were the best films of 2012.
1) Django Unchained · A brutal movie about slavery in the South and the one word to describe it is “fun”; even coming from Tarantino, that’s a surprise. I spent more time in theaters this year than ever before, and this was by far the best experience I had. Tarantino makes everything so ridiculously and perfectly over-the-top, while never taking the subject lightly (in my opinion), and somehow balances the tone. All of the performances are great, especially Waltz and Jackson (although I think Foxx should be getting more credit than he has been). All in all, this was my most anticipated movie of the past few years and it managed not to disappoint, so it found its way to the top. 2) Safety Not Guaranteed · Anyone who knows me probably won’t find it surprising that I loved this movie, as it is a charming little indie starring a bunch of actors from TV, led by Aubrey Plaza! I love her so much, but I was still surprised by how much I loved this movie. It really goes for it whenever it needs to, and is a fun ride the entire time. The ensemble has great chemistry, and all of them get a chance to really shine in different scenes. Mark Duplass gets to do something he never gets to do on The League (but he did in some of his films), which is be sincere, and he’s great at it. Plaza takes her usual snarky character, but there is some legitimate tragedy there, and she actually gets to care a little bit. Heartfelt sincerity is not usually a trademark of my favorite movies, but it works perfectly here. 3) Holy Motors · What to say about Holy Motors? A weird little French film from Leos Carax, with an astonishing lead performance from Denis Lavant. If I have called any other performance versatile then that is a joke compared to this. This movie could be taken as a series of homages, but it is so much more than that, as I believe the focus lies in identity, and what it really means. There are certain ‘scenes’ that work better than others, but once you get into it, it is mesmerizing and never boring. Literally anything can happen, and when Monsieur Oscar is leading a large band of accordions, I don’t think I had a bigger smile on my face all year (at least at the movies). 4) Zero Dark Thirty · Now this is probably the most well made movie of the year but not my favorite, as it doesn’t seem to know the word ‘fun’ exists until Chris Pratt and Joel Edgerton show up. But even then, aside from a few throwaway lines this is a by-the-book procedural made by some of the best in the business that does not pull any punches (literally) to show what parts of our government have (supposedly) been up to for the past 10 years. However you feel about torture, this movie does not persuade you one way or the other, it just presents some of the brutal techniques that are a fact of history. This movie does not hold your hand in any way, and asks you to pay attention, while expecting you to bring in a fair amount of knowledge already. It can be confusing (I immediately felt the need to re-watch it) but all of the richest films are. This one will stand the test of time no matter what Washington has to say about it. 5) The Intouchables · Another French film, but one that is much more familiar, yet executed beautifully. I had heard such good things, but for some reason my expectations were still low going in. I was immediately taken in by the hysterical and fun opening scene/credits, and was fully on-board after that. It seems at any moment it could get sentimental and weepy, but the movie never takes itself too seriously, even when it does take a detour from simply being charming to really diving into the characters. Omar Sy challenges Christoph Waltz for most charming performance of the year, and I think he may take it considering he isn’t – Spoiler Alert! – killing people throughout the entire film. 6) Searching For Sugar Man · In a year of great documentaries (especially considering how many I still need to see), this one stood above the rest for me. It is about an extremely humble and talented man who made music that only got the reception it deserved in South America. He became a mythical figure there, as popular as Elvis or The Beatles, with only an album cover and some confusing credits to serve as a biography. Searching For Sugar Man is exciting, satisfying, and mystifying, all while telling an unbelievably compelling story. Don’t read anything about the artist Rodriguez before you see this movie though, as the journey is half the fun. Plus, if I didn’t make this clear already, the music is fantastic. 7) Silver Linings Playbook · Another formulaic movie that acknowledges that fact, and rises above it. David O’ Russell gets right in the actors’ faces and it actually works because he lets you see when Bradley Cooper is trying so hard not to snap, or trying to ignore that he already has. He and Jennifer Lawrence have a great, but extremely tense, chemistry that the whole movie rests upon, and they’re both fantastic in it. A great supporting cast with Robert De Niro and Jacki Weaver leading the way (plus a surprising return from Chris Tucker) rounds out what is probably the most agreeable movie of the year, which I mean in the best possible way. The biggest surprise for me was Cooper, but it is Lawrence’s acting and Russell’s script, that make this a keeper. 8) Pitch Perfect · This movie has no right to be this funny or rewatchable. It is a formulaic, predictable romantic comedy/underdog story about acapella competitions. Yet somehow it works, primarily because of the script by Kay Cannon (formerly of 30 Rock), and the amount of quick jokes she throws in that are all delivered perfectly. I have made no secret of my love for Anna Kendrick, and she is so charming in this movie (whether it is cowering self-consciously in the shower, or dominating a sing-off in an empty pool), but Rebel Wilson was the real surprise. As self-proclaimed ‘Fat Amy’, everything she says is hysterical and some of the physical comedy strikes just the right note. Give it a chance, even though I know for some of you that’s asking a lot. 9) Cabin In The Woods · Hilarious, inventive, scary, bloody, genius. These are some of the many, many words that could be used to describe Cabin In The Woods, which is probably the most original movie I saw this year, even if it was drowning in clichés. I love “meta” TV and movies, but I can’t say much more about this movie without ruining some of the fun. I don’t typically like horror movies but loved this one, so see it no matter how you feel about the premise, since it is not what you expect. 10) Looper · Sometimes a movie about time-travel impresses you with its ingenuity in execution, which this one does in parts. But at a certain point it just gives up and tells the audience that time travel is complicated but it can be used to tell an interesting story. If you can accept alternate timelines, a villain who is never seen, and other elements that can cause confusion/frustration/anger, then you can enjoy a unique sci-fi story with some love elements thrown in. This is another movie that surprised me greatly, given that I didn’t even know the second half (which contains the two best performances in the film from Emily Blunt & Pierce Gagnon) took such a different tone, but it is executed beautifully and has a great, hard -earned ending in the primary timeline. 11) Damsels In Distress · Heightened reality at 10,000 feet. Damsels in Distress takes place in a unique world where self-awareness and self-editing are largely absent, which allows for a lot of fun conversations. People try to kill themselves jumping off of a building, but they cannot declare them attempted suicides since they may have just been instances of ‘temporary forgetfulness of the laws of gravity.’ There is a character who does not know the colors because he skipped kindergarten. It is bizarre, and it takes some getting used to (it has been divisive), but throughout the whole movie Greta Gerwig is there in all her glory. This role is tailor made for her, and everyone around her acquits themselves well. I didn’t know the work of Whit Stillman before this, but I will definitely be seeking out more. I hope next year everyone can do the Sambola! Honorable Mentions (in no particular order) Alps - Yorgos Lanthimos follows up his earlier Dogtooth with a film that is equally weird, but not nearly as disturbing. A great ending saves some shaky spots, but the biggest detriment to it is that it came out around Holy Motors, which delves into some similar themes. Still a lot of interesting themes, and wonderful performances. Moonrise Kingdom - Wes Anderson, doing his thing. A charming movie with two great lead performances from newcomers in a cast of standouts. Not as funny as some of Anderson’s other films, but it is his strongest in other ways. Argo - An interesting companion piece to Zero Dark Thirty; you can see all of the Hollywood embellishment all over this movie, unlike Zero Dark Thirty, and that is what makes it great. Yes, these characters are presumably funnier than the real people, and there was manufactured tension, but it holds up since Affleck handles it all like a pro. The Sessions - A comedy about a severely disabled man and the people who help him live his life. Who would’ve thought there’d be two in one year? John Hawkes is fantastic in a difficult role, and the whole film handles the subject respectfully but lets the character of Mark O’ Brien be truly funny. Beasts of the Southern Wild - A magical fairy tale with an exceptional performance by the young Quvenzhane Wallis at the center. I didn’t know what I was getting with this one, but was swept away in it. Also features the best score of the year. Perks of Being a Wallflower - Not the same high school coming-of-age movie you expect (and that’s a good thing), with a trio of great performances and a fantastic script holding it all together. The Master - Mesmerizing. I still don’t quite know what to make of this film, but I do know I was consistently enthralled by the fantastic performances (Joaquin Phoenix and Philip Seymour Hoffman give two of the best of the year) and pure beauty on screen. Jeff, Who Lives At Home - A small movie that, like Safety Not Guaranteed just goes for it at the end and executes it beautifully. Jay and Mark Duplass (yes, the same one) have successfully become writer/directors with a great voice that I am eager to see more of in the future. Jason Segel is fantastic. The Imposter - Do not read anything more about it, or even watch a trailer before you see this movie. I can’t imagine how much would have been lost if I had known the story beforehand. An unbelievable main character anchors this truly ridiculous story in another great documentary for the year. Amour - Very depressing, but a celebration of love at the same time. Difficult to watch, mainly because of how realistic the performances are. Michael Haneke just observes this late period in a couple’s life and it is beautiful. Watch out for… Frances Ha - I had nowhere else to put this, since I saw it at the New York Film Festival, but it is another one of my favorite films I saw this year. Noah Baumbach comes back with a funny late coming-of-age tale, again anchored by a great central performance by Greta Gerwig. You’ll hear more about this next year, so seek it out when you can. |
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