Author Archives: Keith Garlington

The 2012 Oscar Nominees Announced…

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The 2012 Academy Award nominations have been announced and, just as expected, there is plenty to talk about. This year’s list features several snubs, several surprises, and several Academy misfires. But then again, isn’t that what we’ve come to expect? And isn’t that just one of the things that makes the Oscar conversation that much better? Here is the list of the nominees for “The Big 5” categories. My prediction (not my personal favorite) will be in bold print but as always, it’s subject to change. There will be a lots of interviews and promotions over the next few weeks but here is how I think things will turn out:

Actress In A Supporting Role

THE NOMINEES:

Bérénice Bejo (The Artist)
Jessica Chastain (The Help)
Melissa McCarthy (Bridesmaids)
Janet McTeer (Albert Nobbs)
Octavia Spencer (The Help)

I know we all like mystery and surprises when it comes to Oscar night but I don’t see there being any here. Octavia Spencer has dominated this category in the pre-Oscar awards shows and I don’t see this as being any different. Of this group I would have a hard time voting against her. I felt Jessica Chastain had the best female supporting performance of the year but it wasn’t for “The Help”. Her work in “The Tree of Life” was better but her very best work was in the underappreciated film “Take Shelter”. That was the best female supporting performance. But for Oscar night, expect it to be Octavia Spencer.

Actor In A Supporting Role

THE NOMINEES:

Kenneth Branagh (My Week with Marilyn)
Jonah Hill (Moneyball)
Nick Nolte (Warrior)
Christopher Plummer (Beginners)
Max von Sydow (Extremely Loud & Incredibly Close)

I LOVED seeing Nick Nolte get a nod for his work in “Warrior”. It was my favorite male supporting performance of the year and it was the best work Nolte has done in years. Unfortunately Plummer has this category all but locked. Everything has pointed to Plummer and there is nothing about this list of nominees that would make me think otherwise. That being said, I’ll still be rooting for Nolte.

Actress In A Leading Role

THE NOMINEES:

Glenn Close (Albert Nobbs)
Viola Davis (The Help)
Rooney Mara (The Girl with the Dragon Tattoo)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)

This is one of the most intriguing categories of the night. Meryl Streep has gotten all of the pre-Oscar awards show buzz but don’t count out Viola Davis. Many are trying to hype up the two person race but I think for good reason. Streep may be hurt by the fact that “The Iron Lady” is a very sub par movie and while “The Help” had its flaws, it’s a better picture. My personal favorite performance of the year was from Juliette Binoche for “Certified Copy” but out of this group I would prefer Davis. But my gut tells me Streep is the favorite.

Actor In A Leading Role

THE NOMINEES:

Demián Bichir (A Better Life)
George Clooney (The Descendants)
Jean Dujardin (The Artist)
Gary Oldman (Tinker Tailor Soldier Spy)
Brad Pitt (Moneyball)

Once again my personal favorite of the year is left out. I thought Michael Shannon was nothing short of brilliant for “Take Shelter” but there are some really strong performances in this group. I love seeing Bichir nominated but he has no shot. Oldman was fantastic but he has no chance. Brad Pitt gave the second best performance of his career and his second best performance of the year in “Moneyball” but he won’t win. It all comes down to Clooney and Dujardin. While Shannon was my favorite male performance of the year, Dujardin was a close second. Clooney was fantastic even though “The Descendants” wasn’t as polished as many think. Of this group I would love to see Dujardin take home the gold. But I think Clooney carried his movie and has enough charm in Hollywood to win on Oscar night.

Best Picture

THE NOMINEES:

The Artist (Thomas Langmann, Producer)
The Descendants (Jim Burke, Alexander Payne and Jim Taylor, Producers)
Extremely Loud & Incredibly Close (Scott Rudin, Producer)
The Help (Brunson Green, Chris Columbus and Michael Barnathan, Producers)
Hugo (Graham King and Martin Scorsese, Producers)
Midnight in Paris (Letty Aronson and Stephen Tenenbaum, Producers)
Moneyball (Michael De Luca, Rachael Horovitz and Brad Pitt, Producers)
The Tree of Life (Nominees to be determined)
War Horse (Steven Spielberg and Kathleen Kennedy, Producers)

My favorite film of 2011 was “The Tree of Life” but “The Artist” was right behind it. Michel Hazanavicius creates a gorgeous film from start to finish and I think it will win on Oscar night. But it’s not a done deal just yet. “The Descendants” is high on many lists and has a good shot at winning. While I loved many of the other movies (specifically “Midnight in Paris”, “Hugo”, “Moneyball”, and of course “The Tree of Life”), this is a two-horse race and at the end of the day I feel “The Artist” will win Best Picture and I’m fine with that.

TOP 10 MOVIES of 2011

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Keith & the Movies: The Top 10 Movies of 2011

2011 wasn’t the best year for movies at the theaters but there were several films that certainly left a lasting impression. As always, here is my Top 10 list of the year’s best films:

#10. “MISSION IMPOSSIBLE – GHOST PROTOCOL” – The latest installment in the Mission Impossible series is also one of the biggest surprises of the movie year. Straightfoward and unashamed, “Ghost Protocol” moves at a lightning fast pace and features it’s most polished cast yet. Tom Cruise is perfectly comfortable with his character and the addition of Jeremy Renner gives the movie more weight. But “Ghost Protocol” doesn’t pretend to be anything other than a fun, pedal-to-the-floor, action picture. It succeeds and it does so without the usual pretenses of most of the action films generated out of Hollywood.

#9. “MONEYBALL” – A baseball movie based more on sabermetrics that world championships doesn’t sound like a winning formula. But thanks to Steven Zaillian and Aaron Sorkin’s masterful screenplay and one of the best performances of Brad Pitt’s career, “Moneyball” turns the story of Billy Bean and the 2002 Oakland Athletics into one of the better films of 2011. The movie stays away from the normal sports movie cliches and deals more with the unique personalities and even more unique approach to team building by Bean. It never lulls or misses a beat. “Moneyball” isn’t just a film for sports fans, it’s a film for movie fans.

#8. “CONTAGION” – Steven Soderbergh’s clinical, viral outbreak thriller is one of the only movies that made me squirm in my comfy theater seat (and I mean in a good way). Fast-paced and exceptionally written, “Contagion” never feels forced or fake. The film features a wonderful cast and it’s not afraid to turn any of them into one of the many viral casualties. It draws you in and will have you doubling your supply of hand sanitizer. Soderbergh’s direction is top-notch and this is one of the best thrillers to hit theaters this year.

#7. “CERTIFIED COPY” – Kiarostami’s “Certified Copy” is small in scope but huge on substance. Led by two pitch perfect performances from Juliette Binoche and William Shimell, “Certified Copy” had me questioning everything about these two fascinating lead characters. It’s ambiguity may turn off some but the razor sharp script, tight direction, and impeccable performances help make this one of the best films of 2011.

#6. “WARRIOR” – I’m no fan of mixed martial arts but “Warrior” nicely uses it as a backdrop to a riveting story of a shattered family. Both Tom Hardy and Joel Edgerton are fantastic but it’s Nick Nolte who delivers the best supporting performance of the year. While it does end up using several common sports movies cliches, “Warrior” is still a stirring family drama about consequences and reconciliation. There’s plenty of testosterone but there’s also plenty of heart and “Warrior” is a film I can watch over and over again.

#5. “HUGO” – Martin Scorsese’s love letter to cinema is also one of the best films of the year. Whether it’s the beautiful story of Georges Melies or the tender story of young Hugo Cabret, “Hugo” delivers two heartfelt stories and brings them together for a wonderful motion picture experience. “Hugo” is one of the few movies to make great use of 3-D and Scorsese’s visual style is present in every scene. “Hugo” reminds us of the artistry and power of cinema and once again puts the talents of a movie making master on display.

#4. “MIDNIGHT IN PARIS” – Few movies have grabbed me and pulled me in like Woody Allen’s “Midnight in Paris”. It incorporates the perfect amount of romance, humor, and magic while showing just how wonderful a romantic comedy can be. Allen beautifully captures Paris, makes it the main character, and causes us to fall in love with it. Sure, it’s a tad predictable, but I didn’t want it to end and it’s easily one of the year’s best pictures.

#3. “TAKE SHELTER” –  Jeff Nichols’ near flawless examination of mental illness is both devastating and heart-wrenching. Michael Shannon delivers the very best performance of the year and Jessica Chastain is magnetic. But it’s the genuineness and relatability of these fantastic characters that drive the film. While the ending has been a subject of much debate, it does nothing to undermine this griping movie.  Micheal Shannon is brilliant and so is “Take Shelter”.

#2. “THE ARTIST” – Part moving love story and part celebration of the joy of cinema, “The Artist” is a glorious piece of motion picture entertainment. This gorgeous French film, written and directed by Michel Hazanavicius, captures all of the glory of the black and white silent picture era while offering genius storytelling at it’s finest. Jean Dujardin gives one of the year’s best performances and it’s impossible not to be drawn in by his charm and overall command of the screen. This is a brilliant film and a monumental accomplishment.

 #1. “THE TREE OF LIFE” – This deeply personal picture from director Terrence Malick is both beautiful and crushing and provided one of the most mesmerizing movie experience I had in 2011. The film is filled with tender family moments and emotional gut-punches. From the gorgeous cinematography of Emmanuel Lubezki to the best performance of Brad Pitt’s career, everything clicks in this stunning piece of cinematic poetry. While ”The Tree of Life” requires thought and patience, the end result is an emotionally satisfying picture regardless of your interpretation. This was my favorite film of the year.

“HAYWIRE” – 4 STARS

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One the surface, a movie advertised as an action film starring a female MMA fighter and one time American Gladiator doesn’t exactly raise my anticipation level. But seeing the name Steven Soderbergh attached to the movie changed that. Many moviegoers who are unfamiliar with Soderbergh and who go see “Haywire” strictly due to the movie trailer may go away a little disappointed. I found the movie to be an entertaining and stylistic action thriller tightly wrapped in a snug 90 minute package.

Soderbergh’s fingerprints are all over “Haywire” and that’s one of the main reasons the movie works so well. Not only did he direct and shoot the picture but he also edited it and it doesn’t take long to notice his sharp visual style. While Lem Dobbs’ story is smart and concise, it’s Soderbergh who engages the audience with clever camera angles, several tension-filled long takes, and his strategic use of music and sound. He tells the story without many of the contrived devices we see in most modern action pictures. There aren’t loads of blood and constant gunfire. But there are some great hand-to-hand fight scenes where the camera pulls back, the music stops, and the audience is allowed to take it all in. It’s the perfect approach.

Another huge plus is the impressive and memorable lead acting debut of Gina Carano. Her character is pretty straightforward and doesn’t require a lot of range, but Carano holds her own with the strong supporting cast featuring Michael Fassbender, Michael Douglas, Ewan McGregor, Antonio Banderas, Channing Tatum, and Bill Paxton. She plays Mallory Kane, an ex-Marine who does contract black-ops work for Kenneth Jay (McGregor) a slimey character with government contacts. Kenneth teams her up with a suave British Agent (Fassbender) for a mission in Dublin. It would spoil things to go much more into detail but let’s just say things don’t go as planned.

The supporting cast is strong and polished, just as you would expect. But it’s Carano who gets the bulk of the screen time and she nails it. One of the best things is that she actually sells her character. Unlike many of the fashion show runway models we often see in lead roles, I had no trouble believing the more full-formed Carano was an ex-Marine or that she could kick some serious butt. And while she is larger than life in many respects, there are certain touches that made her more believable. There is one particular chase scene where she is running on the rooftops and she actually gets turn around. She doesn’t know which way to go and has to backtrack. It’s a small and subtle detail but the film is filled with them.

“Haywire” isn’t your typical January release. Often times January and February movies are those that get pushed back after awards season. But this a really fun and well crafted picture. It’s a film that causes the audience to think and stay focused from start to finish, yet it’s a thrilling and fun ride that uses style over cliche. It’s a fast moving and compact story and Soderbergh’s direction keeps everything running smooth. I enjoyed “Haywire” and it’s a really good way to start the movie year.

REVIEW: “The Artist”

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Many modern moviegoers may be tempted to skip a new black and white silent movie. That’s a shame because to do so would be to miss a near motion picture masterpiece that is one part celebration of cinema and another part exercise in masterful storytelling. Michel Hazanavicius wrote and directed this gorgeous film that exudes nostalgia and imagination in every scene. His willingness to tackle the handicaps that accompany a black and white silent picture is admirable but I must admit I was a little worried. Could Hazanavicius recreate a believable bygone era of filmmaking or would the results be a well-intended mess? A large grin spread across my face after seeing the classic-styled opening credits and I immediately knew I was in for something special.

“The Artist” reminds us of everything that is magical about movies. It reminds us of a time when creativity trumped huge elaborate effects and million dollar set pieces. It uses black and white to it’s advantage and even though there are times that you can tell it’s intentionally being nostalgic, I never doubted it’s sincerity or integrity. Making this a silent picture was a risky approach but it works perfectly here. From Harold Lloyd to Nosferatu, I’ve been a fan of silent cinema and “The Artist” could blend right in with the best of those films. It may be a flashback to an earlier style of filmmaking but this silent movie speaks louder and says more than most of what we see coming out of Hollywood.

One of the key ingredients to the success of “The Artist” can be found in the brilliant performance of Jean Dujardin. He plays George Valentin, a popular silent movie star with the world in his hands. He revels in the attention and limelight that he gets from the starry-eyed public, an obsessed media, and the head of Kinograph Studios, Al Zimmer (John Goodman). But when the studio makes the shift from silent pictures to talkies, George finds himself pushed out and replaced by younger, fresher faces, most notably an energetic and beautiful actress named Peppy Miller (Berenice Bejo). George’s world crumbles around him but it’s his pride that may be his ultimate undoing. Dujardin loses himself in his character and captures the essence of a silent movie performance. But as the film progresses he draws you in with his crushing and deeply moving work. Expression is essential to his performance and Dujardin nails every grin, wink, head tilt, or mannerism. It’s beautifully expressive and his charm and command of every scene makes it unforgettable.

Bejo’s performance lives up to her character’s name. She’s spirited and lively and while it could be said that she over does it in a few scenes, she encapsulates what you would expect from a young aspiring actress from that era. And her chemistry with Dujardin is magnetic. It’s also fun to see such a wonderful supporting cast many of which have small roles. The great James Cromwell, Ed Lauter, and Malcolm McDowell each have small but entertaining roles in the film. Hazanavicius uses them perfectly. And how could I not mention one of the best animal performance in movie history from Uggie the dog?

“The Artist” is a phenomenal cinematic accomplishment and Hazanavicius’ vision is rendered brilliantly through sparkling black and white and sharp direction of his incredible cast. I genuinely felt that I had traveled back in time to a more authentic and purer period of movie making. But “The Artist” isn’t all about nostalgia. At it’s core it’s a simple but beautiful drama laced with humor and romance. “The Artist” is a wonderful package from it’s visual style to it’s perfect score, from it’s razor sharp direction to it’s captivating leading man. In a year of love letters to cinema, none are better than this and it’s certainly worth all of the awards it’s sure to get.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

REVIEW: “Another Year” (2010)

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British director Mike Leigh’s latest project “Another Year” is a classic example of what you get when you create good characters and then just let great actors act. It isn’t a film that depends on an intricate or multi-layered plot, nor does it ever pretend to be something it’s not. In many ways this film is an observation.

As it’s title suggests, the movie follows a year in the life of Tom (Jim Broadbent) and Gerri Hepple (Ruth Sheen), an older couple who have been married for years and still have a relationship rooted in their unwavering love for one another. On the surface watching an older married couple for a year may not sound all that entertaining, but as we are introduced to some of Tom and Gerri’s friends and family, Leigh quickly shows us the power of the couple’s stability.

Mary (Lesley Manville) is a middle-aged divorcee and co-worker of Gerri’s. She’s impulsive, overly chatty, a bit neurotic, and her life seems to have no direction. Ken (Peter Wight) is an old school friend of Tom’s who is a compulsive eater, an alcoholic, and is unhappy with how his life has turned out. Ronnie (David Bradley) is Tom’s introverted brother who is dealing with the recent death of his wife as well as his fractured relationship with his self-absorbed son. Each of these people with their own set of problems but who find an almost cathartic peace in the Hepple’s home.

I found this film to be a mesmerizing study of family and a testemant to the influence of love, compassion, and devotion. It’s a film centered around a firm and stable marriage, a rare thing to see in movies these days, that doesn’t depict it as stuffy or old-fashioned. While their wonderful relationship in many ways accentuates the flaws in the other characters, Leigh does a fantastic job portraying the Hepple’s as caring and sympathetic. They are impossible to dislike and their marriage is seen as something the audience and characters should envy.

Leigh really lets his actors go and the result is a film that feels genuine and authentic. Leigh’s unique style of character development employs dedicated one-on-one time with the actors and plenty of improvisation prior to the completion of the script. This approach seems to really connect the actors to the characters and it shows throughout the film. The dialogue is fluid and natural and it’s almost impossible not to be drawn in by the numerous kitchen table and back yard discussions. In fact at times I felt as if I was sitting at the table with them listening as each actor lose themselves in their character.

It’s hard to find many flaws in this movie. I did think it was a tad too long and it seemed to get just a little sluggish in the middle of the film. I was also a little frustrated at the ending. Granted, it allows the viewer to come up with their own conclusions and develop for themselves where one particular character is heading. But I had become so completely invested in these people that I didn’t want it to end on such a quick and abrupt note. Is that really a reasonable gripe or is it the byproduct of a great director selling his characters perfectly?

There is so much more that could be said about this picture. I could mention Leigh’s subtle but effective camera work or I could talk more of the great individual performances (I didn’t even mention Oliver Maltman who brilliantly plays the Hepple’s 30 year old son). But instead I’ll just say “Another Year” is a great film. It won’t resonate with those who restrict their movie tastes to fast paced action pictures or contrived and unfunny modern comedies. But I found “Another Year” to be intelligent, witty, touching, and most importantly real. I’ll take that from my movies any day.

VERDICT – 4.5 STARS

“SUPER 8” – 2 1/2 STARS

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“Super 8″ is a film that does so many things right. That’s why it was so disheartening to see it’s numerous flaws which are just too glaring to overlook. Crafted from the collaborative minds of J.J. Abrams and Steven Spielberg, “Super 8″ is a small town sci-fi picture that starts off strong but eventually squanders it’s momentum by turning into a run-of-the-mill monster movie that loses any sense of originality.

The story is fairly simple. Set in 1979 small town Ohio, “Super 8″ follows a group of kids who witness a massive train derailment while out late at night filming a zombie movie on Super 8 film. It turns out the train belongs to the United States Air Force who go to great lengths to suppress any inquiries about what the train was carrying. Strange things begin to happen around town and it’s soon revealed that the military was hiding a mysterious and dangerous creature which is now on the loose. Now it may not sound like it but there is enough material there for a good movie and the first half of the film does a nice job developing the tension and mystery. But the second half of the movie goes off the rails (pun completely intended). Abrams puts more effort into being a nostalgic homage to the Spielberg pictures of old than he does into sustaining an original and unpredictable story.

Clearly Abrams is tipping his hat to a style of films that many of us grew up on. In many ways, especially in the first half of the film, he does a nice job of recreating that tone and feel. He also wonderfully captures that late 70s to early 80s period through the wardrobes, vehicles, haircuts, and some genuinely funny jokes. At times “Super 8″ also feels like a movie about making movies. Some of the best parts of the picture deals with the kids and their love and dedication to creating their own film. I also felt the movie was stronger when it was dealing with the kids, their friendships, and their family struggles at home. Once the movie concentrates on the creature story, it loses a great deal of it’s charm and interest. The creature isn’t that frightening and much of what was happens in the second half seems contrived while the ending packed little to no punch whatsoever.

“Super 8″ may be about a bunch of kids but it certainly didn’t seem aimed at kids. Personally I was a bit turned off by the pointless profanity, much of which came from the kids. It added nothing to the picture and served as more of a distraction. The kids do deliver some genuinely strong performances, especially Joel Courtney and Elle Fanning. Their characters develop a friendship and fledgling romance that feels genuine and natural. Like everything else in the film, they are at their best in the first half of the picture.

There’s no denying that “Super 8″ has a high production value. There is some fantastic camera work and the special effects, not counting the creature, are quite good. There are tons of cool references back to 1979 and the film does feel like a picture from that time. But at the midway point it transforms into a conventional monster flick featuring potty-mouthed kids and a rather bland finale. As I said at the start of the review, “Super 8″ does many things right. I only wish the entire movie could have captured the magic that we see in it’s first 40 minutes.