Oscars preview 2015 (Reader's Digest 20/02/15)

Another year, another outrage over the year’s Oscar nominations. 2015’s primary column-filling controversy has centred on the predominance of Caucasian males in the major award categories – a reflection of industry status quo, maybe, but taken by some as a particular affront in the year Ava DuVernay’s much-admired Martin Luther King biopic Selma hoped to build on the representational progress of last year’s triumphant 12 Years a Slave. Not for the first time, Hollywood finds itself accused of whitewashing.

These objections are not unfounded, but likely to fall on (in some cases, literally) deaf ears. Academy voters are 94% white and 76% male, with an average age of 63: to moan about the Best Picture shortlist is like asking the most ornery of grandfathers to pick his ten best films, and then questioning why his selections are so stuffy. Change may well be required, though possibly in the form of a rebranding, rather than any quota system: to the squealing Teen Choice awards, the Oscars might, in future, be regarded as a Duffer’s Choice alternative.

Best Picture

American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

Just eight rather than the permitted ten titles, which speaks to a dearth of quality in the year’s major English-language releases. Boyhood remains the odds-on favourite: logistically audacious (filmed in snatches, lest we forget, over a dozen years) yet formally conservative, Richard Linklater’s ingratiating indie hair-ruffler puts the family values of past Academy faves as On Golden Pond into nice new sneakers before leaving voters with the irresistible takehome that, here in America, we raise our kids right. At this stage, only American Sniper, a zeitgeist-catching late-year studio release, has the firepower to take it down.

What should win: Whiplash What will win: Boyhood

Best Actress

Marion Cotillard (Two Days, One Night)
Felicity Jones (The Theory of Everything)
Julianne Moore (Still Alice)
Rosamund Pike (Gone Girl)
Reece Witherspoon (Wild)

A close contest, highlighting strong performances in generally middling films: it’s hard to see voters feeling for the cynical Gone Girl or the splashy Wild – or even, really, for Jones’s measured emoting in the one Best Picture nominee here. The exceptional Cotillard transcends her brand-ambassador status to disappear inside the role of a fragile factory worker – but will the Academy bother to read the subtitles? It’s more likely they’ll reward Moore, for bringing her usual fierce intelligence to bear on the kind of quietly worthwhile indie project she’s been bolstering for 20-odd years.
Who should win: Cotillard Who will win: Moore

Best Actor

Steve Carell (Foxcatcher)
Bradley Cooper (American Sniper)
Benedict Cumberbatch (The Imitation Game)
Michael Keaton (Birdman)
Eddie Redmayne (The Theory of Everything)

You could almost make up a second five of performers unlucky to miss out: Timothy Spall, David Oyelowo, Jake Gyllenhaal, Joaquin Phoenix… If the prize was for Most Improved Actor, then Cooper – nominated three times in three consecutive years upon doing the world the favour of jettisoning his Hangover smirk – would be romping home. As it is, it’s currently neck-and-neck between comeback king (and home favourite) Keaton and the impressively tangled ingenu Redmayne, and not even Carell’s genuinely transformative work in Foxcatcher can compete.

Who should win: Carell Who will win: Keaton or Redmayne

Best Supporting Actress

Patricia Arquette (Boyhood)
Laura Dern (Wild)
Keira Knightley (The Imitation Game)
Emma Stone (Birdman)
Meryl Streep (Into the Woods)

Not the strongest of categories, and if you wanted proof of what US TV offers actresses that movies presently don’t, you might usefully compare Dern’s nothingy two-scene bit-part in Wild with her all-encompassing work on the HBO series Enlightened. Distinguishing herself from a shortlist of coasting Academy favourites, Arquette has picked up every award going this season – as with Best Actress, this category may be a case of handing over a distinguished achievement award for a performer who’d threatened to slip under the radar.

Who should win: Arquette Who will win: Arquette

Best Supporting Actor

Robert Duvall (The Judge)
Ethan Hawke (Boyhood)
Edward Norton (Birdman)
Mark Ruffalo (Foxcatcher)
J.K. Simmons (Whiplash)

By contrast, Supporting Actor makes for as competitive a line-up as any, which is why it’s been somewhat surprising that Simmons’ tremendous, screen-seizing work as the tyrannical drum instructor in Whiplash has so dominated the pre-Oscar chatter. Hawke’s contribution to Boyhood is every bit as committed and valuable as his co-star Arquette’s, while Ruffalo’s usual thoughtful grounding of character helps to give Foxcatcher the punch it finally has – there’s even a case that his onscreen brother-in-arms Channing Tatum (speaking of Most Improved…) was unlucky to miss out here.

Who should win: Simmons Who will win: Simmons

Best Director

Wes Anderson (The Grand Budapest Hotel)
Alejandro González Iñárritu (Birdman)
Richard Linklater (Boyhood)
Bennett Miller (Foxcatcher)
Morten Tyldum (The Imitation Game)

There’s no greater illustration of the Downton effect – that curious malady whereby Americans go a tad doolally around genteel British period drama – than Tyldum’s nomination for his TV-level handling of the Alan Turing story. (Consider, instead, Damien Chazelle’s tautly precise marshalling of image and sound in Whiplash: now there’s direction.) Right now, this category depends on how the Academy’s feeling: spoil Boyhood further, or split the top prizes, as it did last year, by rewarding Iñárritu’s showy backstage Steadicamming?

Who should win: Miller or Linklater Who will win: Linklater

Best Foreign Language Film

Ida
Leviathan
Tangerines
Timbuktu
Wild Tales

UK readers will have to wait for the majority of these – the Argentinian contender Wild Tales opens here in March, Mali’s Timbuktu in May, the Estonian entry Tangerines as yet unknown – but the head-to-head battle suggested by Ida and Leviathan indicates a high quality threshold. Ida’s deserved Best Cinematography nod – and brisk running time, a boon for voters struggling to negotiate a backlog of awards-season screeners – possibly gives it the edge over the heftier Leviathan, currently mired in some controversy over its standing as Russia’s (surprisingly critical) official submission.

What should win: Leviathan What will win: Ida

The 87^th Academy Awards ceremony will be held tomorrow.

For what it's worth...

Top Ten Films at the UK Box Office   
for the weekend of February 13-15, 2015: 
   
1 (new) Fifty Shades of Grey (18)
2 (1) Big Hero 6 (PG)
3 (3) Shaun the Sheep Movie (U) ***
4 (2) Kingsman: The Secret Service (15) *
5 (4) Jupiter Ascending (12A)
6 (new) Peppa Pig: The Golden Boots (U)
7 (5) American Sniper (15) ***
8 (7) The Theory of Everything (12A) ***
9 (6) Selma (15) ****
10 (re) Paddington (PG) ****

(source: theguardian.com)
 
My top five:   
1. The Philadelphia Story
2. Maidan
3. Predestination
4. Love is Strange
5. Snow in Paradise


Top Ten DVD rentals:  
   
1 (new) Teenage Mutant Ninja Turtles (12) **
2 (1) What We Did on Our Holiday (12)
3 (new) The Babadook (15) **** 
4 (3) Before I Go to Sleep (15) **
5 (2) A Walk Among the Tombstones (15) **
6 (5) How to Train Your Dragon 2 (U) ***
7 (9) The Best of Me (12)
8 (6) The Fault in Our Stars (12) **TThe Fault in Our Stars (12) **
9 (4) Dawn of the Planet of the Apes (12) *** 
10 (7) X-Men: Days of Future Past (12) ***

(source: lovefilm.com)
                                   
My top five:  
1. The Babadook
2. Palo Alto
3. Maps to the Stars
4. Serena
5. Coherence


Top five films on terrestrial TV this week:   
1. Wayne's World [above] (Friday, C4, 1am)
2. On the Waterfront (Saturday, BBC2, 2pm)
3. The 40-Year-Old Virgin (Friday, ITV1, 10.40pm)
4. Silver Linings Playbook (Saturday, C4, 9pm)
5. Stand By Me (Sunday, five, 3.20pm)

"Predestination" (DT 20/02/15)

Predestination ****

Dirs: The Spierig Brothers. Starring: Ethan Hawke, Sarah Snook, Noah Taylor. Cert 15, 97 min.

Coherence last week, Kumiko, The Duke of Burgundy and Predestination this: gold stars for anyone who makes it through to The Second Best Exotic Marigold Hotel without having their brain scrambled like an egg. Predestination – the Spierig brothers’ adaptation of Robert A. Heinlein’s short story “All You Zombies” – initially seems straightforward enough: a B-movie reframing of all those “guy walks into a bar” jokes. Caveats, however, apply: the bartender’s a state-trained time traveller, and – biologically speaking – the guy might not be a guy at all.

It is, to say the least, complicated. Beamed back to 1970s New York in the hope of gleaning the whereabouts of a fugitive bomber, the bartender (Ethan Hawke) is, like us, soon distracted by the lengthy sob story shared by an androgynous patron (Sarah Snook) on the lookout for the man who took everything – her child, her internal organs, even her name – from her. Where we’re heading, spoilers lurk, but the barkeep’s mission will become both secondary to and tangled up with hers – or his, as was. Like I said: complicated.

When it needs to, Matthew Putland’s supremely flexible production design zips us from Hawke’s dive bar to crisp, clean Reagan-era NASA hubs and post-War Ohio’s leafy suburbs. Each dateline is decided by the numbers on a battered violin case’s combination lock, probably the priciest time-travel device the Spierigs could afford. Yet there’s rarely any strain on show: as in last year’s choice B Cheap Thrills, a drip-feed script draws us in with the hushed, nocturnal dynamic between lonely barflies before seguing niftily into its anticipated butterfly effects.

Considering these characters are bounced round like pinballs, it’s amazing Hawke and the hitherto unknown Snook gain the emotional traction they do: even those struggling to keep up can’t fail to notice how these two are burnt, figuratively and literally, by their experiences. Future viewings will be required and merited, for towards the centre of this mazy gem, there lies a radical narrative proposal of which the boundary-testing Wachowski siblings would doubtless approve: that the roles of knight in shining armour and damsel in distress may be entirely interchangeable. 

Predestination is now playing in cinemas nationwide.

"Kumiko the Treasure Hunter" (DT 20/02/15)

Kumiko the Treasure Hunter ***

Dir: David Zellner. Starring: Rinko Kikuchi, Nobuyuki Katsube, Shirley Venard, David Zellner, Nathan Zellner. 12A cert, 105 min

Increasingly it seems as though the most valuable legacy of Fargo, that cherished neo-noir of 1996, were the footsteps the Coen brothers left behind in the snow for others to pursue. First came Noah Hawley’s recent TV spin-off, which dug new pathways around this frozen Minnesota backwater, fixing up the Coens’ shoddier plotting en route; there now follows the Zellner brothers’ Kumiko the Treasure Hunter, a thoroughly oddball item of Fargo marginalia that, unlike its inspiration, has its roots in a quantifiably true story.

For Takako Konishi, a Japanese woman found dead in a Minnesotan field in 2001, read Kumiko (Rinko Kikuchi), a bored Tokyo secretary whose obsession with a chanced-upon Fargo VHS leads her to jet off to the New World in search of the spot where Steve Buscemi buried his filthy (and, crucially, fictional) lucre. This Fargo is less a place than a state of mind: where Hawley punched up the connections between the Coens’ universe and the real world, the Zellners push towards long-take abstraction. One woman’s death is transformed into another’s death dream.

Your response to Kumiko may depend on the extent to which you feel it’s examining, rather than merely endorsing, its fragile heroine’s mindset. It’s a funny idea to have the locals – from a Jesus-flogging tourist info team to the deaf taxi driver carrying her into the wilds – feel like refugees from the original movie, certainly. Yet around the time a baffled if good-natured cop (played by the director) enters the picture, the indie-quirk approaches saturation point: you want him to dial out for psychiatric help, not take her to a Chinese restaurant.

Consolations include Sean Porter’s knowing framing – frequently alighting upon a swaddled Kumiko retreating into the snow – which provokes tiny frissons of déjà vu while offering its own distinctively chilly take on this expansive American frontier. And the sheer amount of concentrated trudging inherent to the scenario makes it a strangely effective showcase for the underemployed Kikuchi (Babel). Strange as it sounds – and is – Kumiko comprises a lingering display of empathy for its heroine, marching stridently on through her own peculiar headspace.

Kumiko the Treasure Hunter is now playing in selected cinemas.