13 Days Til Oscar: Matthew McConaughey... And the 2000 Best Actress Race?

[The Oscar countdown continues with new contributor Matthew Eng - he wrote that popular Jennifer Lawrence piece! -- making a fascinating cross gender lines comparison to 13 years back]

Thirteen years ago, the only acting prize Matthew McConaughey seemed likely to ever win was a Razzie*. Or, you know, at least a Teen Choice Award. And yet, here we are, thirteen years later, all those Wedding Planners and Failure to Launches gone (but not forgotten), and Matthew McConaughey just so happens to be:

1. an Oscar nominee
2. the indisputable frontrunner of the Best Actor race, and
3. a presumable Oscar winner.

It’s the Second Coming of McConaughey, a shockingly successful, rule-breaking career reversal that approximately zero people saw coming. But can you really blame us, especially considering that pre-Magic Mike McConaughey seemed pretty intent on solidifying his status as a Hopeless Hollywood Himbo, continually submerging his skills behind a pair of wide-eyed peepers, a self-satisfied smirk, and a notorious, Southern-fried catchphrase that may have made for one great Matt Damon impression but which can still send even some of the more willing McConaughey converts up the wall?

It’s always nice to see a performer sizably step up their game, to start choosing roles for the challenge, rather than the check. Maybe it’s the nature of the Dallas Buyers Club role or maybe it’s the inconsistent reputation of the genre he spent the better part of the past decade residing in, but McConaughey’s performance and subsequent awards trajectory have been giving me major flashbacks to Julia Roberts and the 2000 Best Actress Race, which culminated with Roberts’ inevitable coronation nearly thirteen years ago. [More...]

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We Can't Wait #1: Carol

[The Film Experience's "We Can't Wait" series, highlighting the most exciting prospects of the 2014 film year concludes with new contributor Matthew Eng (you loved his Jennifer Lawrence piece) on the latest from Todd Haynes, long absent from the big screen. Thank you to Amir for managing this anticipatory series! - Nathaniel]

Carol
Set in 1950s New York City and based on the classic yet long-neglected novel of the same name (originally published under the title "The Price of Salt") by Patricia Highsmith (The Talented Mr Ripley), Carol traces the blossoming lesbian romance between Carol, an older, dissatisfied housewife, and Therese, a young, infatuated shop girl. 

Talent
At long last, that magnificent maverick Todd Haynes makes his long-awaited return to the big screen, a full seven years after I’m Not There, with a sterling cast that includes soon-to-be two-time Oscar winner Cate Blanchett and Rooney Mara (stepping in for Mia Wasikowska) as the film’s central couple, as well as the recently-announced Sarah Paulson as Blanchett’s gal pal. Phyllis Nagy (HBO’s Mrs. Harris) is scripting, and movie maestro Carter Burwell (Fargo, Where the Wild Things Are) is scoring the thing.

Why We Can’t Wait
If only the directors you loved most were the ones who were most prolific. Yes, it’s probably harder for a filmmaker as gloriously provocative and fearlessly risk-taking as Todd Haynes to get a new project off the ground than it is for say, Woody Allen or Tyler Perry to. But the movies need Todd Haynes, who hasn’t exactly been napping in the years since I’m Not There, even though his last buzzed-about effort, the 2011 HBO miniseries adaptation of Mildred Pierce, is likely to be remembered more as a mega-sized Kate Winslet awards-magnet than it is as a feat of occasionally flat but more typically immersive and intelligent filmmaking.

Haynes has assembled a rich, actressexual-pleasing cast of actors for Carol, including his I’m Not There star Blanchett, who, with this and Blue Jasmine, seems poised to have something like a Jennifer Lawrence-year in 2014, with two buzzy, presumably Oscar-friendly performances within only two years of each other; Mara, who I’d like to continue her string of smart and striking work, in projects more deserving of her than unsavory slop like Side Effects; and Paulson, who was so indelibly tense and terrifying in 12 Years a Slave and whose current career surge is a delight to witness. Carol, which caused quite a stir during its initial publication in 1952 for its uninhibited and unashamed depictions of homosexuality and female agency, sounds like a perfect fit for Haynes, who is one of our most groundbreaking gay filmmakers . He's made a commendable career out of wrestling madly and marvelously with explicitly queer ideas of desire, obsession, and identity. Plus, the last time Haynes worked in a fifties milieu...

...need I say more?

But We Do Have to Wait
Filming hasn’t even begun yet, likely due to the fact that Cate Blanchett couldn’t possibly provide us with the most priceless acceptance speeches of this awards season and deliver yet another tremendous performance, right on the designer heels of Jasmine. But have no fear, shooting commences in the spring, in both New York and London, with the Weinsteins distributing and Haynes’ go-to collaborator Christine Vachon and her indie outlet Killer Film producing. A release date is still TBD, but so very highly anticipated. We may never stop having to wait those grueling five, six, or seven years betwen Todd Haynes creations  on the big screen. But when they do arrive, they make you wonder how your moviegoing life ever went on without them. 

The Complete List of "We Can't Wait" Titles
We'll be following all these titles closely this year! Which of your most awaited, didn't make our list?
01 Carol (TBA)
02 The Grand Budapest Hotel (March)
03 Foxcatcher (TBA)
04 Under the Skin (April)
05 Inherent Vice (TBA)
06 Into the Woods (Christmas)
07 Snowpiercer (TBA)
08 Nymphomaniac (March)
09 Boyhood (May)
10 Big Eyes  (TBA)
11 The Last 5 Years (TBA)
12 Gone Girl (Oct)
13 Can a Song Save Your Life (TBA)
14 Veronica Mars (March)
Runners Up:  How to Catch a Monster, Hunger Games: Mockingjay Pt 1,A Most Wanted Man, Godzilla, Untitled Public School Project, Tammy, Magic in the Moonlight, Far From the Madding Crowd, and Interstellar

American Hustle's Jennifer Lawrence Problem

[I am proud to announce that Matthew Eng, who we've heard from twice as a guest columnist, is now an official member of Team Experience. Here he is on a soon-to-be three-time Oscar nominee! -Editor]

By now, Jennifer Lawrence is well on her way to scoring another Oscar nomination for her supporting performance as the unstable, self-dramatizing Reel Housewife of Long Island Rosalyn Rosenfeld in David O. Russell's American Hustle. Despite initially wary expectations regarding role size, divisive reactions towards both film and performance, and a slowly-surging sense of fatigue regarding America's Sarcastic Sweetheart, Lawrence has already been embraced by two major critics groups (NYFCC and NSFC), was the only actor in her prized ensemble to gain individual recognition from SAG, and, depending on how AMPAS feels about Oprah, June Squibb, and Lupita Nyong'o, might very well be on her way to copping yet another golden boy.

I like Lawrence a great deal, have absolutely no qualms about the Silver Linings victory, and think she's often quite good in Hustle. I laughed heartily watching her blame game her way out of that “science oven” debacle and friskily shove her “sweet and sour” nails in Jeremy Renner’s face. She's lovely in that warm, teary-eyed bayside confessional during her lunch date with Jack Huston. And I contemplated dropping out of college and devoting the rest of my life (or, you know, at least a semester or two) to watching her stick it to Amy Adams in that ferocious bathroom kiss-off/actress throwdown.

And yet, if there is any one viewer who can honestly say that they believed -  even for a second - that Jennifer Lawrence was ever really that woman, unhappily married for years to that man, counting the days in that house, and nearly burning down that kitchen, can he/she please stand up? [more...]

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