Henry forwarded this link, and I simply had to post it.

2010 Oscar-Nominated Scripts by Raindance

This page provides links to all of the 2010 Oscar-Nominated screenplays that are currently available to read online.

Enjoy!

If New York, I Love You is a love letter to the city, one can only assume that it was written by Hollywood in an attempt to prove that New York is even more depraved, tasteless and full of pretentious douchebags than LA is.

The film begins much in the same way as its predecessor, with short films by different directors. Desperately seeking to portray the diversity and universal importance of the city, this commences with an amiable conversation between a Muslim diamond salesman and a Hasidic Jewish woman (Natalie Portman) comparing their religious views, ribbing catholics, and sharing a moment. It's over-polished and self-indulgent, which sets the tone perfectly for the rest of the film. The few interesting characters who miraculously surface in this sea of vapidity are present for one 5-minute segment and never reappear.

The dialogue is an absolute affront to the written word, with speech so crass and unbelievably unrealistic that it is insulting that the filmmakers expect anyone to believe that any person on earth actually speaks that way. From Ethan Hawkes' rambling chat-up-cum-tirade to the interior monologues that ring about as true as the term "friendly fire", it's hard to decide what is more crude: every word uttered in this 2-hour mess of a movie or the mishmash way it has been clumped together like cheap mascara on false eyelashes.

If the aim was to emulate the grace and beauty of Paris Je T'aime, New York I Love You is New York's latest marketable stench by Paris Hilton to the city of Paris' inimitable and timeless Chanel Number 5.

It's crass, it's boring, and its lack of structure makes you wonder how the city and its skyscrapers are still standing. I heart New York, but New York, I Love You? I loathe you.

James Mottern’s latest picture, Trucker, stars Michelle Monaghan as a solitary female long-haul truck driver. A challenge, to be sure, as it is easy to rely on gender stereotypes when dealing with unconventional gender roles. The film handles this well, though, with Monaghan’s Diane as a tough, independent, and very self-assured woman living in a man’s world. Her work is her life - she’s early for every delivery, makes all of her on-time bonuses, and is in many ways stronger than her male counterparts. She assumes a male role in many ways, but retains subtle touches of femininity that make her believable while, for the most part, avoiding the butch female archetype.

Her life changes rather quickly, however, when her ex-husband reveals that he is terminally ill and she must take care of the 11 year-old son who she left when he was less than a year old. Peter, played by the young Jimmy Bennett (Shorts), captures bitter resentment perfectly in a performance that is imbued with nuance beyond his years. Like his mother, he is headstrong and doesn’t take shit from anyone, which culminates in an inability to connect with his passions in the same way that Diane struggles to forge and maintain relationships.

Trucker begins slowly, taking time to give details of situations, the depth of story released gradually and in good time. We learn the characters’ histories as the narrative progresses, deepening our understanding of the relationships that inform their behaviour.

The relationship between Diane and her son is never sentimentalised. Both have a lot of growing up to do. They are afraid of each other and the expectations attached to mother-son relationships. Struggling to find their own rhythm, Diane has a tendency to run away from commitment and be tied down by expectations, while Peter tries to reconcile the resentment he feels with the maternal love and affection that he desires.

Overall, Trucker introduces a great concept. Monaghan is strong, bold, and feminine in a nuanced performance that contrasts physical strength with emotional weakness and vice-versa. Trucker is an excellent achievement in gender-aware filmmaking.

In That Evening Sun, Hal Halbrook stars as Abner Meecham, a curmudgeonly elder man from Tenessee. Having been unwillingly placed in a retirement home, Meecham decides to make the long balmy journey to his former place of residence, only to find that his son has rented it to a family of ne'er-do-wells. In protest, he shacks up in the outhouse with the intention to rid his home of the white trash Choat family for good.

By moving into the house on a 3-month lease with the intention to buy, the Choats have been granted a new start. As such, Lonzo Choat (Ray McKinnon, O Brother Where Art Thou) - an alcoholic living on disability - is less than thrilled about the new arrangement. Meecham's sudden attempt at repossession creates a sharp tension between the two men, which soon develops into a series of confrontations and increasingly violent counter-attacks. Meanwhile Lonzo's wife, Ludie, and daughter, Pamela, are powerless in the struggle and live in fear of what might happen next.

The script is tight and well-structured, with a steady stream of hilarious remarks and a great sense of timing. The story does not carry enough weight, though, so it does feel long. My main qualm is with the characters, who were a cynical bunch of crude and unlikable bastards. From the revenge-seeking Hal to naive and antagonistic little Pamela. My favourite character in the whole film was Meecham's friend Thurl Chessor, played by Barry Corbin, who did not earn nearly enough screen time.

Set in Tennessee with its plush green surroundings, the cinematography is beautiful from the outset. At some points, however, it became a little too experimental. During one scene between Hal and his son, for example, the close-ups are shot with the faces on the inner edge of the screen, leaving the empty space on the outsides of the frame. An odd concept, since the reason for the actor's face to be on the outside of the frame allows "talking space". As one might expect, using this unconventional technique the scene seemed unintentionally clunky and unevenly weighted. The intended effect was lost, and the odd set-up was most distracting. There are, however, some beautiful camera movements and dream-like sequences that are wonderful to watch.

Overall, a lot of great concepts that are poorer in execution. It's good, but it's not great.

Against The Current is an American independent film directed by Peter Callahan. The film stars Joseph Fiennes (Shakespeare in Love, FlashForward) as a financial writer in his early thirties who is struggling with grief over the loss of a loved one. Desperate to do something meaningful with his life, he enlists the help of his best friend Jeff (Justin Kirk of Weeds). Paul plans to swim the length of the Hudson River (150 miles), while Jeff drives a boat alongside him. Jeff's former workmate Liz (Elizabeth Reaser, Grey's Anatomy) joins them in order to keep Jeff company and escape a long, lonely summer in New York.

The use of 3 primarily TV-actors complements the film well, adding a great depth of character. Their performances are relaxed, with a real sense of friendship that is not over-dramatised or self-important. When Liz confronts Paul about his decision to kill himself after the swim, it seems to come from a real curiosity, and she proceeds with respect for his boundaries. She begins to ply him with questions from a logical perspective, making him explain his choices rather than defend himself. It is this tactful way of questioning that allows us to get to know Paul and the way his mind works. These are all things that Jeff already knows or is afraid to ask, and in many cases Liz's questions are the ones we might ask ourselves. We get to know Paul along with - but not through the eyes of - Liz. Liz and Jeff attempt to talk him around and push him by testing his resolve. Ultimately, they know that they are fighting a losing battle with Paul, but their hope resonates throughout the film.

Against the Current is a deeply emotional film. Like Paul's journey, it is calm and evenly paced, with a sense of urgency that simmers beneath the surface, boiling over when tensions peak. The music and steady movement of the water move us along and we learn more of Paul's emotional struggle along the way. There is a real sense of his long, patient wait, and this journey marks the home straight.

Against the Current is a good, heartfelt indie drama. It strikes an excellent balance, with a tenderness that draws you in and plenty of funny moments that mimic real life. A beautiful film and a touching look at life, love, and friendship.

I’m Glad That My Mother Is Still Alive (Je Suis Heureux Que Ma Mere Soit Vivante)

Co-directed by Claude Miller and his son Nathan, I’m Glad That My Mother is Still Alive is a drama inspired by a true incident. Based on a newspaper article about a similar situation, the film is an adaptation of the original screenplay by Jacques Audiard (A Prophet).

The story follows two young boys - Thomas, 5, and Patrick, 2, whose troubled mother Julie lacks maternal instinct and struggles to make ends meet. Leaving the boys alone to fend for themselves as she goes off to work, the children end up in a care home and are adopted by Annie and Yves Jouvet. By the time he is 14, Thomas struggles with the knowledge that he is adopted and acts out on his school friends, his brother, and his adoptive parents. He is put in a boarding school and coerces a state official into finding his real mother’s address. When he pays Julie a visit, he finds she is married and pregnant, and writes her a letter to say that he never wants to see her again.

The film shifts back and forth in time between Thomas aged 5, 14, and 20. When adopted, Patrick was renamed Francois by their new parents, and the happy-go-lucky 17 year-old has no desire to see or meet his biological mother, especially when he sees how much Julie’s influence in Thomas' life tortures him. Aged 20, Thomas finds Julie again and befriends his younger brother, Fred, now aged 5. He becomes increasingly tense and frustrated with Julie’s lack of parental ability, and ultimately seeks his revenge.

Though the title should be the pivotal line in the film, since it is repeated constantly between checking the film listings, purchasing a ticket, telling your friends what you are going to watch, and having it introduced, it loses all meaning. It gives away the ending and does not resonate in the way that it should when spoken at the end of the film.

Like the title, the film itself drones on without hitting any real points of tension. The scene in which Thomas stabs his mother is uncomfortable rather than shocking, and Thomas’ consistently hard face does not ever soften. Every scene in which Thomas argues with a friend or one of his parents is fraught and sharp, and since there is no love with which to contrast his anger, it never lends any real emotion to the scenes. Some issues furtively sneak into view, such as some undecided sexual tension between Thomas and Julie, and adoptive father Yves’ mental illness. Though they appear, they are never addressed or developed, leaving the audience confused rather than moved or confronted. It all feels unfinished.

The acting of the young children is superb, and much of the cinematography is a joy to watch. The editing is unnecessarily complicated, however, and the story does not engage or emote as dramatically as it deigns to. A disappointment. Or, should I say, I’m Glad That I Did Not Pay For This Ticket.

American: The Bill Hicks story is the biography of Bill Hicks and the career that spanned almost his entire life. The film traces his life through the memories and stories of his family and closest friends from his schooldays ‘til his final days. From as early as age 13, Hicks was certain that stand-up comedy was a form of expression of great importance, and a worthwhile profession. This conviction led him directly to a life on stage. From the early days of sneaking out of his bedroom window to perform at a local comedy club, through his tumultuous years of alcoholism and drug abuse, all the way to the days when he truly found his voice and became a huge star in the UK; he kept his friends close and his family closer.

Watching this film is like flipping through a commemorative scrapbook. Featuring snippets from those closest to him, their stories are artfully knit together by directors Matt Harlock and Paul Thomas. What sets it apart from other documentary biographies is not only the impressive amount of research and incredible interviews, but the delicate presentation. The animation technique used to bring the photos to life is at once groundbreaking and engaging. We see literally hundreds of pictures of our supporting characters, not to mention a lifetime of images of the hero of our story: Mr Hicks himself. The typical on-camera interview documentary style is eschewed until the pivotal moment of the film: Hicks’ diagnosis of the pancreatic cancer that claimed his life. This switch in aesthetic is seamless and gently moves us from a world of imagination, ambition, and dreams, into the cold realisation that greatness cannot last forever. This humanises Hicks and his friends and relatives, adding a bittersweet hint of mourning without becoming melodramatic or derailing the tone of the film.

American: The Bill Hicks Story is a moving and respectful biography. Like all biographies, there are elements missing, such as Hicks’ romantic relationships and his thoughts on religion. Despite this, Matt Harlock and Paul Thomas have succeeded in creating a multidimensional world that seeks to understand a complex and deeply intelligent man. Questions will always be left unanswered, and director Paul understands this, but continues in his quest for more knowledge, more experiences, and more perspectives through which he can attempt to piece together the jigsaw that is Bill Hicks. His curiosity is endless, and his great respect - above all else - resonates throughout the film. American: The Bill Hicks Story is an investigative and beautiful piece of work that truly brings Bill Hicks to life. A great achievement.

In this stoic yet fluid drama, renowned actor Otto Kullberg's love of drinking and eccentric behaviour stalls the production of his latest film. When the producer decides that the best way to proceed is to make two versions of the film - one starring Otto and another using a replacement - the feature is thrown into turmoil. Set on location (both the film and film-within-the-film) on the Baltic sea, it mirrors the tides with its slow and deliberate pace and steady erosion of relationships. With elements of Wenders, it is a character-driven affair that explores the complex relationships that take place on the film set. Anyone who has worked in film (professional or otherwise) will recognise the power-struggles and drama that result.

The two stars Otto and Bettina describe the film-within-the-film's cast as "a big family". A dangerous statement, as sex is the currency by which relationships are negotiated and the hierarchy of cast and crew are established. From the shy assistant director's crush on the camera operator to Bettina's affair with Otto (despite being married to the director, Telleck), no-one is immune to the need for acceptance in this incestuous family affair. Bettina and Otto establish themselves atop the hierarchy as Otto's replacement Arno flounders at the bottom, making passes at every actress on set, desperately clinging onto that bottom rung as he shamelessly attempts to gain a foothold... and a contract.

Otto is not immune to paranoia, though, and tensions arise between Otto and Arno as they play the same poorly-drawn character in Telleck's mediocre film. The funniest moments arise from this rivalry, from their alpha male attempts to out-act one another to Otto's eventual taking Arno under his wing and getting him rip-roaring drunk.

Despite the tensions, Whisky & Vodka is full of heart. When the relationships thrive, they shine with a realistic warmth. Despite his playboy tendencies and unpredictable behaviour, there is a certain wisdom about Otto that warms you to him. This is particularly true during the wrap party, when he makes a speech about the ways in which the studio has mistreated him. Try as you might, it is impossible not to forgive Otto his misgivings.

With excellent pacing, great characters, and hilarious moments, Whisky & Vodka is a fantastic way to get through any sober evening.

Glasgow Film Festival kicked off yesterday with its Opening Gala: a screening of Jean-Pierre Jeunet's (Amélie, A Very Long Engagement) new release, Micmacs. The film screened in both of the Glasgow Film Theatre's auditoriums to packed audiences -- sold-out mere days after the tickets went on sale. Though I missed the screening myself, everyone I spoke to were jovial and hadn't a bad word to say about feature. I even managed to nab myself a bag of freebies from one convivial young man. So much for missing out!



Prior to the festival's grand opening, the Cary Grant retrospective eased us into the festival mood with a screening of Bringing Up Baby -- an hilarious comedy starring Katherine Hepburn alongside the charming leading man. One of the great comedies of the 1930s, it is everything Gilmore Girls aspires to be: a farcical romp, a wild goose chase, and hijinks aplenty wrapped into one classic rom-com flick.

The party really started after the screenings of Micmacs wrapped up. Filmgoers in their hundreds flooded into Glasgow Film Theatre's Café Cosmo, upstairs bar, and GFT1. Replete with that intangible film festival spirit and rounded off with a free bar, there was not a scowl to be found. How often do you find yourself pleasantly intoxicated in a cinema auditorium? It was quite an experience.

If you missed Bringing Up Baby, an additional screening takes place at Grosvenor cinema on Ashton Lane on Sunday 21st February at 6pm.

Micmacs is due for UK-wide cinematic release on Friday 26th February.

2010 marks the 82nd anniversary of the Academy Awards. Predictions are not my forte, but it'd be curmudgeonly of me not to join in. Some categories have been excluded due to my inability to make decisions. My favourites will be italicised, and predicted winners are in bold.

Best Picture:
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious
A Serious Man
Up
Up in the Air

• Big competition! I haven't seen Avatar, The Blind Side, or Precious yet. I enjoyed all of Up in the Air, Up, A Serious Man, and Inglourious Basterds. However, I hated District 9, and have mixed feelings about The Hurt Locker. An Education is possibly my favourite film of the year, and therefore the one I'd most like to see win. While it's a fantastic achievement for Up to have been nominated, I'd rather see Pete Docter with the statuette for Best Animation. My prediction? I'm with Mark Kermode: it will go to Avatar. Self-congratulation and all that.
  
  

Actor in a Leading Role
Jeff Bridges - Crazy Heart
George Clooney - Up in the Air
Colin Firth - A Single Man
Morgan Freeman - Invictus
Jeremy Renner - The Hurt Locker

• Since Clooney has succumbed to the Michael Cain school of acting, it's a surprise he has even been nominated. Since Colin Firth is such a surprise nominaiton, and seems to be garnering the most media attention, I reckon he's truly in the running.
  
  

Actor in a Supporting Role
Matt Damon - Invictus
Woody Harrelson - The Messenger
Christopher Plummer - The Last Station
Stanley Tucci - The Lovely Bones
Christoph Waltz - Inglourious Basterds

• Call me a band-wagon jumper, but it was an amazing performance, and I didn't even hate him!
  
  

Actress in a Leading Role
Sandra Bullock - The Blind Side
Helen Mirren - The Last Station
Carey Mulligan - An Education
Gabourey Sidibe - Precious
Meryl Streep - Julie & Julia

• I'm going to stick my neck out here and give it to Carey Mulligan. Yes, she's up against Mirren and Streep, but here's hoping she might just clinch it. To me, Meryl Streep as Julia Child was only highlighted as a great performance when contrasted with Amy Adam's poor job in this film. Those are the only two I've seen, and The Last Station looks pretty intense but… yeah, I love Carey.
  
  

Actress in a Supporting Role
Penelope Cruz - Nine
Vera Farmiga - Up in the Air
Maggie Gyllenhaal - Crazy Heart
Anna Kendrick - Up in the Air
Mo'Nique - Precious

• Mo'Nique seems to have garnered the most acclaim, so let's go with it!
  
  

Animated Feature Film
Coraline - Henry Selick
Fantastic Mr. Fox - Wes Anderson
The Princess & the Frog - John Musker & Ron Clements
The Secret of Kells - Tomm Moore
Up - Pete Docter

• As I mentioned above, I want to see Pete Docter win a statuette. I'm pretty ashamed to say that Up is the only one of these that I've seen so far (despite much bitching and whining at friends and boyfriend to accompany me!) In this category, it's all about being an unabashed Pixar fangirl.
  
  

Directing
Avatar - James Cameron
The Hurt Locker - Kathryn Bigelow
Inglourious Basterds - Quentin Tarantino
Precious - Lee Daniels
Up in the Air - Jason Reitman

• While I didn't love the Hurt Locker, there are reasons aplenty to choose Bigelow. The Hurt Locker is a great achievement, especially when you consider that the only other big Iraq war film was Stop-Loss in 2008, the marketing campaign for which had to be completely reinvented, before it eventually flopped. I thought that Basterds was air-tight, but there's something about putting Tarantino forward for an Oscar that doesn't quite feel right. Jason Reitman certainly has not yet earned his place on this list.
  
  

Film Editing
Avatar
District 9
The Hurt Locker
Inglourious Basterds
Precious

• I really loved the editing in Inglourious Basterds. I doubt that that will matter much to the academy, though. I'm putting my money on District 9 as some kind of we-still-love-you-Peter redemption. It's a close call!
  
  

Visual Effects
Avatar
District 9
Star Trek

• … there were other options?
  
  

Writing (Adapted Screenplay)
District 9
An Education
In the Loop
Precious
Up in the Air

• This is a toughie. Although I haven't seen In the Loop, it seems to be getting a lot of hype. I imagine that contention for this category gets greater each year. None of these would be a surprise winner, though, so I'm going to go ahead and hope for the best - An Education to win, please!
  
  

Writing (Original Screenplay)
The Hurt Locker - Mark Boal
Inglourious Basterds - Quentin Tarantino
The Messenger - Alessandro Camon & Oren Moverman
A Serious Man - Joel Coen & Ethan Coen
Up - Bob Peterson, Pete Docter, Tom McCarthy

• While I can't comment on The Messenger, this is quite a category. Inglourious Basterds and A Serious Man are my top contenders. A Serious Man is quite unconventional, but possibly serious enough (for the Coen's, that is: no pun intended) for a win. The beauty of Up is all in the exposition, and The Hurt Locker seems to have been heavily edited towards the end. Since I've no fear of being wrong; let's go with A Serious Man.

Oscar night takes place on Sunday, March 7th at 5pm PST, or 1am GMT.

For a comprehensive history of previous Academy Award nominees and winners, visit http://www.filmsite.org/

[Image from Oscars website.]

Beginning its sixth year, the Glasgow Film Festival is one fast-growing festival. Taking place over 10 days at 17 Glasgow venues, GFF10 aims to mirror the uniqueness of Glasgow's cultural scene.

The rich and diverse programming incorporates 15 strands, including The Best of British, European Cinema, FrightFest, Stranger than Fiction, and The State of Independents. From contemporary Japanese cinema to newly restored classics, Glasgow Film Festival has it covered. They also host an annual retrospective to celebrate a famous Hollywood star. Previous years have celebrated Bette Davis and Audrey Hepburn. Cary Grant is the subject of this year's retrospective, which will include screenings of films such as Bringing Up Baby, North By Northwest, and Notorious.

The festival incorporates premiers, special screenings, events, and a number of special guests. It also features some minor festivals, or "festivals within the festival": the Youth Film Festival (which is already under way), the Short Film Festival, and the Music and Film Festival.  Special guests at Glasgow Film Festival will include the inimitable James Earl-Jones, fellow actors Emma Thompson and Joe Dempsie, and directors Jean-Pierre Jeunet (Amélie) and Kevin MacDonald (The Last King of Scotland).

I will be in attendance, bringing you as many film reviews and as much up to the minute news as humanly possible. If there is anything in particular you want to see covered, drop us a comment and I'll see what I can do. If you're joining the festivities, perhaps I'll see you there (I'll be the one sitting on the floor with a netbook and spilling coffee)!

Glasgow Film Festival runs from Thursday 18th to Sunday 28th February.

For more information, visit the official website at http://www.glasgowfilmfestival.org.uk

You will find all of my coverage of the film festival at http://www.obsessedwithfilm.com

Swingles is a screenplay that is currently in development. Zach Braff has announced that he is to direct and star (in a supporting role) in the film alongside Cameron Diaz. These are my thoughts on the spec script.


Hats off to Duncan Birmingham, as he has truly outdone himself with this one. It's He's Just Not That Into You with a dash of I Hope They Serve Beer in Hell (I don't even have to watch that one), wrapped up in the fuzzy blanket that is the safe and predictable rom-com formula. Pepper in the words, "Sexy", "Cute", and "Awesome" every time you introduce a nameless caricature of a character -- all in various stages of undress -- and what do you get? The recipe for a dinner-and-a-movie date film.

The idea behind this film is that you can treat your audience in the same way as you do your female lead. Introduce Max and his wingman Nathan, who love to barhop and pick up chicks. Enter Jessica and Sophie, a pair of New York thirty-somethings complete with shrinks, unfavourable relationship histories and insecurities by the bucketload. It's not long till their worlds collide, and Nathan and Sophie hit it off. In classic rom-com style, the two wingfolk are left to a match of "who can detest and outwit the other more in the space of five minutes?"

When Nathan and Sophie unexpectedly get together, decide to marry within 4 months, then announce that Sophie is pregnant, Jessica and Max are left to play the field alone. Or are they? Max quickly transforms into Justin Long's character in He's Just Not That Into You, and Jessica returns the favour. Realising that they make great wingmates, Jessica and Max play the field, shapeshifting their personalities to fit their prospective partners. Hence, Swingles. They soon come to learn much more about each other, and themselves, than they could ever have imagined. Can you guess what happens next?

Swingles is your typical Hollywood fluff, replete with dude-bro gay jokes, misogynistic trash-talking, and cheesy… pardon me, "romantic" quotations of The Accidental Tourist. Duncan Birmingham has clearly taken a great deal from his multiple viewings of When Harry Met Sally and re-runs of Entourage.

With Zach Braff on board, I have no doubt that it will be a massive hit.

[Image from slashfilm website.]

The Classic: Duck Soup (1933)
Director: Leo McCary
Starring: Groucho, Harpo, Chico, & Zeppo Marx

The Excuse: I didn't pay any attention to black & white comedies until I took a Silent Film Comedies class at UCSB. The focus was, of course, the silent clowns. For some reason, after watching a great deal of Buster Keaton, Charlie Chaplin, and Harold Lloyd, I didn't graduate on to Laurel & Hardy and the Marx Brothers. Well, now I'm making those first steps into the world of 1930s comedy.

The Review:
Did I miss something? Perhaps my expectations screwed me over. I had always imagined the Marx Brothers would be somewhere between Chaplin and Keaton's balletic and stylised physical comedy, and Gene Kelly and Donald O'Connor's chemistry and facial expressions. After watching Duck Soup, I can't help but conclude the same thing that many film historians have deduced over the years. Physical comedy died with the silent era. Expecting balletic comedy and ending up with prop humour, Duck Soup was a disappointment.

While I feel like I must be alone in this admission, upon reading the Wikipedia page, I found that Duck Soup was "a box office disappointment, although it was not a 'flop' as is sometimes reported." While this is no measure of quality, perhaps Duck Soup wasn't the best place to start. It seems that criticism about this film evolved, and as opinion became increasingly positive, culminated into the definitions of "classic" and "Marx Brothers masterpiece" that are ubiquitous today.

For those of you who haven't seen it or need a refresher, Duck Soup is about the fictional nation of Freedonia. Before agreeing to donate more money to the bankrupt nation, the wealthy Mrs Teasdale insists upon the appointment of Rufus T. Firefly (Groucho Marx). Meanwhile, Trentino, ambassador of rival nation Sylvania, hatches a plan to woo Mrs Teasdale and invade Freedonia. Chicolini and Pinky (Chico & Harpo Marx) attempt to infiltrate the government and generally cause a lot of mayhem. In a nutshell, all of the double-crossing and general confusion result in a war between Freedonia and Sylvania.

My negativity does not go to say that this is a bad film in its entirety. It had some redeeming moments, like the  rivalry between Pinky and the lemonade merchant, and the timeless mirror scene. Overall, though... I just Don't Get It.

Favourite Quote: 
Bob: Your Excellency, you're shooting your own men!
Rufus T. Firefly: Here's five dollars. Keep it under your hat. Wait, never mind. I'll keep it under my hat.

The Verdict: "Well, what can I say? Everybody is different. It doesn't make you a bad person." -- My Dad. I fear that what this really means is, "Nicola, you're crazy, and entirely alone in this whacky opinion. But you're my daughter, so I won't hold it against you." Thanks, Dad.

Further Viewing for Experts:


The mirror scene. What else?


[Image from LoveFilm website.]

The Classic: Singin' in the Rain (1952)
Director: Gene Kelly, Stanley Donen
Starring: Gene Kelly, Donald O'Connor, Debbie Reynolds

The Excuse: Would you believe me if I said that I didn't realise Singin' in the Rain was a classic? Everyone knows the song, and that iconic scene (don't make me describe it!); but how often does anyone actually recommend this film? If you're me, once, about 6 months ago. Graham is responsible for this one. I also vied to see it at the cinema last month (it was January's Monday Classic) -- but sadly I discovered it had been playing after it had already finished.

The Review:
So the wonderful folk at LoveFilm have finally bestowed upon me the technicolour classic Singin' in the Rain… and good gosh is it cheerful! They sure don't make them like this anymore. Just think, the early 1950s audience got this, and we get… a remake of Fame?! Ludicrous.

I don't know about you, but I didn't know the story until now, so let's begin there. Set right on the cusp of the sound era, the film takes place in Hollywood. The protagonist, Don Lockwood (Gene Kelly) is  the industry's latest heartthrob - the biggest new movie star who plays opposite lead starlet Lina Lamont (Jean Hagen) in all the big pictures.  Donald O'Conner is Cosmo, Don's best friend and would-be double act partner. With the coming of sound, Lina's terrible voice and inability to work under the new conditions throw their latest picture into turmoil. To save the film, Cosmo hatches a plan to use Don's girlfriend Kathy's (Debbie Reynolds) voice dubbed over Lina's.  As with any musical, pepper in some catchy numbers and you've got a hit.

If you're one of those people who dislike characters bursting into song and miraculously performing identical choreography, this film is not for you. If that's your thing, though, they've struck gold. Gene Kelly and Donald O'Connor's performances are unrivalled: never missing a beat, their steps perfectly in sync. If you could stick them in 1906 you'd have had the greatest vaudeville show imaginable. It's colourful, it's quick, and it's plain good fun. It does slow a little in the middle - I can't say I was a fan of the film-within-the-film musical number - but the rest of the songs make up for the lag.

When you're watching it, take a look at the dancer in Gotta Dance. Is it just me or she the absolute spitting image of Elizabeth Banks?

The Verdict:
I already knew what I was missing with the musical numbers, having watched them online over and over again. Put it all together, though, and you've got the perfect rainy day movie. Classic!

Favourite Quote: "I cyaaan't staaan' 'im!"



Further Viewing for Experts: The obvious choice here was Joseph Gordon-Levitt's opening monologue on SNL, where he recreated the Make 'Em Laugh scene on set. Unfortunately, NBC have their evil copyright spies all over YouTube, and there is n'ery a clip of it to be found. Wump wump!

[Image from LoveFilm website.]

An AS Level art project by English student Jamie Bell. I stumbled across this on Fark, and thought it was worthy of your attention! It's a flip-book animation, using only biro pens. Make sure you watch with sound-- it's pretty damn excellent.

You can find Jamie's YouTube channel .

The Classic: Twelve Angry Men (1957)
Director: Sidney Lumet
Starring: Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall, Jack Warden, Martin Balsam, Jack Klugman

My reason for watching any classic film is generally many months of having been pestered and prodded to see it. As such, each of these reviews will begin with my excuses for not having seen them before.

The Excuse: Gosh, where do I begin? As far as the unwritten rules of film graduate-ism go, to never have watched this film is a mortal sin. I continue to placate myself with the knowledge that non-film lovers (or film-lovers in the contemporary, let's-go-to-the-cinema-and-eat-popcorn! sense of the term) tended not to chastise me for not having seen this film. Fellow film students would acknowledge my ignorance with a sigh or a shake of the head and dismiss it entirely. Come to think of it, there was that one incident with the Sidney Lumet book… but we won't go there.

Favourite quote: "I have perfect vision, twenty-twenty!" (A quote that righteously sticks in my mind, having had it chanted to me several hundred times whilst I missed the point -- and therefore an elementary film reference -- entirely.)

The Review:
While Twelve Angry Men didn't become an instant favourite of mine, it has most certainly earned its place atop of the A-List, 1950s Classic movie pile.

A testament to excellent post-post-war filmmaking, with Twelve Angry Men Sidney Lumet essentially wrote the textbook for contemporary American film. Reginald Rose's script is timeless and unshakable - a perfect measure of pace. Setting, encroaching claustrophobia, and tension are key elements that never falter, rendered seamlessly and with expert timing. The performances enhance this further, with an excellent give-and-take, shifting of focus, and asides between characters that create subtle exchanges and develop character seamlessly and without pretence.

The story takes place in a courthouse, where a young African-American, accused of killing his father, is to have his fate decided by an all-white jury of - you guessed it - twelve men. The jury retires to the back room, where eleven out of twelve declare that they have heard all of the evidence, and have determined that the defendant is incontestably guilty. Mr Fonda's character, juror number 7, is not so sure. He convinces the other eleven to stay and reconsider the evidence, culminating in a fraught and suspenseful journey between twelve men (two of whom can most certainly be described as angry, though I'm not so sure of the rest!).

The Verdict:
A classic! A most indisputable classic indeed.

Further Viewing for Experts:

Twelve Andry Men, remade in 60 seconds. Directed by my good friend Graham for Empire's Done in 60 Seconds contest. Enjoy!
[Image from LoveFilm website.]

Last night I took my second trip to the Glasgow Film Theatre this week, this time to bear witness to Part 2 of 3 of the British Animation Awards nominees.

While I would have loved to have seen all 3 programmes, at £6.50 per show (oh student concessions, how I miss thee!) it simply wasn't feasible. Having said that, though, I honestly never turn my nose up the opportunity to spend every night at the GFT. You wouldn't even have to pay me.

The screening double as a chance to see a third of the BAA shortlist, as well as to vote on the night's selections. There were approximately 10 short animated films, 3 or 4 music videos, and several advertisements; some of which you may have seen before. Our duty was to score each film on a scale of 1-5.

Without further ado, here are some of my personal favourites from the night, as featured on YouTube.

Text Island
Short Film.
Director: Chris Gavin
Description: TXT ISLAND is a typographic tale of epic misadventure. The film was shot as stop-motion animation of plastic sign board letters by animation director Chris Gavin and completed in May 2009 after a production period of around 9 months.




Heartstrings Short film.
Director: Rhiannon Evans
Description: A graduation film by Rhiannon Evans made at the University of Wales, Newport. Unfortunately I can't seem to find the complete film online, but the excerpt is excellent nonetheless.



Coldplay - Strawberry Swing
Music video.
Director: Shynola
Description: A stop-motion music video, featuring Coldplay lead vocalist Chris Martin in the midst of an elaborate moving background. Waking up to discover that a woman is being held hostage by a huge evil squirrel, he turns into a superhero and sets off to save her.
Video: Since the video is owned by EMI, embedding has been disabled. You can find the full video .


Dog Judo
Short Film.
Director: 12Foot6 Productions
Rexley and Roy are two dogs who try to do Judo. Invariably they fail.
You can find this video by selecting the episode entitled "Judo Fan" here.

Glover
Short Film
Director: Jo Lawrence, Picasso Pictures
Description: Glover travels to the edge of the world after a mysterious map arrives which transforms his monochromatic existence.
Unfortunately, I couldn't find this one online. It was amazing, though, so keep an eye out for it!


If this was enough to whet your appetite for some awesome animation, you can find a list of the 27 UK venues where the BAA awards will be screened throughout February in the Public Choice section of the British Animation Awards website.

If you are in London, you can book tickets for the all three programmes at the National Film Theatre here.


 [Images from British Animation Awards website.]

Tuesday 9th February, 2010

The best way I can think to describe Mark Kermode is the Jeremy Clarkson of film criticism. Depending on whether or not you have a penchant for said Top Gear presenter, you may call that high praise or an unjust slander. Take it as you will. What I mean to say is that his ranting, arm-waving, anecdotal impressions and hyperbole are all in the Clarkson school of presentation. And that is in no way a bad thing.

Mr Kermode was introduced and we, the audience, were told that he was to “Speak briefly, then open the floor to questions and answers.” No stranger to blurting out contradictions, he informed us otherwise. He was to speak for quite a while, actually, and then, if he managed it, save a little time for our input. Excellent.

The talk began, ostensibly, with his now well-rehearsed rant about 3D films. He went about this by waving around some soft-toy Smurfs attached to a hanger, then - using a pole - extending them out over the audience and waggling them in audience members’ faces to illustrate his point. I have to say that I found this argument most compelling. One of those, “I knew I didn’t like it for a reason -- so that’s why it‘s so annoying!” Or perhaps I’m just gullible. Rather than recapitulate his entire argumentation, you can hear it for yourself here.

Mr Quiff then went on to share some background about how he started, and his path to becoming one of Britain’s best-known film critics. From his persistent door-knocking at Time Out in London to his (alarming) first couple of attempts at radio, his advice on how to get started as a film critic has fallen out of fashion; however it was interesting to hear a little history from the man himself.

A couple of anecdotes followed, including a great tale about his experience interviewing Bavarian (not German!) filmmaker Werner Herzog. I can’t say I would do the story justice, so if you’d like to hear it, I suggest you buy his book.

After a brief Q&A session, the night wrapped up with a signing of his book, fresh off the paperback press, entitled . (It’s only £5.39 on Amazon, less than half the cover price of £11.99).

Coming up next: British Animation Awards

[Photograph from the BBC website.]