Spirit Awards: "Take Shelter" & "The Artist" Lead the Nominees

The New York Film Critics Circle isn't even finished with its announcements yet and now we've got The Spirit Award nominations. They have the longest lag time between nominations and ceremony since they aren't even held until the day before the Oscars. Like the NYFCC they've been swerving ever closer to Oscar over the years, often championing a runner-up type of candidate like, say, Sideways or Black Swan. That could be good news for The Artist or The Descendants this year depending on which takes the lead in the Oscar race. Though if you believe the nomination tallies here this could be a very big night for Take Shelter.

BEST FEATURE
50/50 (3 noms total) -review
Beginners (4 noms total) -review
Drive (3 noms total) -review
Take Shelter (5 noms total)
The Artist (5 noms total) -review
The Descendants (4 noms total)

I'm super fond of ½ of this lineup and whenever you're super fond of ½ a lineup you should smile. Perhaps unsurprisingly, given the way awards season is aiming to go, The Descendants is my least favorite from their preferred lineup.  

FULL LIST OF NOMINEES AFTER THE JUMP

Click to read more ...

Yes, No, Maybe So: "Albert Nobbs"

It's our tradition here at the Film Experience to manage our expectations for new movies by forcing ourselves into yes, no, maybe so breakdowns of trailers. Since we're obviously a yes on Albert Nobbs  --"Glenn Close is not going to be ignored, Fan"-- for reasons of genesis, Oscar, LGBT loyalty, and its Glennderful nature and since we've talked about the movie enough without yet seeing it, let's do things differently. This Trailer begs for a different sort of compartmentalization. It's almost like a trailer in four acts. Is it purposefully channelling its own internal identity crisis?

They had personal trainers in 19th century? Aaron Johnson is comfortable naked...

It starts out like a frothy period comedy 0:01-0:41 (oh haha!. Remember how much you love Downton Abbey and Gosford Park?!)

Glenn isn't nearly as willing to take her clothes off!

...moves into identity crisis drama 0:42-1:12 (Mr. Albert Nobbs is actually a woman named 5 time Oscar nominee Glenn Close and Mr. Hubert Page is actually a woman named Oscar nominee Janet McTeer!)

Jane Eyre clearly thinks Rochester's a better kisser than Nobbs.

...and then tips over the edge into total chaos 1:13-2:09 like it's an uncomfortable mashup between a dreamy sentimental An American Tail style musical immigrant drama (Sinead O'Connor lullaby!) and Yentl style dramedy of convenient marriages turned totally inconvenient (!) 

... before settling into its rightful place as a For Your Consideration Oscar Ad 2:10-2:30 intended to win Glenn Close that Oscar she deserved back in 1982 (The World According to Garp), 1987 (Fatal Attraction) or 1988 (Dangerous Liaisons) or all three times depending on your point of view.

the full trailer...

How would you describe your desire to see it now?

poll by twiigs.com

How about its Oscar chances in multiple categories? 
I'm currently thinking...  

Yes - Actress (Close), Supporting Actress (McTeer)
Maybe So - a fighting longshot chance at  "Original Song", Costumes, Adapted Screenplay (this would be another way to honor Glenn Close if they're really feeling it since she co-wrote), and Art Direction.
No - Everything else. 

Links: Funny Girl's Man, SJP's Moves, Shame's Triumph

BlogStage Nicky Arnstein Nicky Arnstein what a beautiful beautiful name ♫ Broadway's upcoming revival of Funny Girl has its leading man. Film, tv, and stage actor Bobby Cannavale will star opposite the previously reported Lauren Ambrose (Six Feet Under) who'll be filling those legendary Fanny Brice shoes. 
Stale Popcorn Without Sandra Bernhard You Are Nothing! 
Movie|Line A Guide to Exactly How Sarah Jessica Parker Does it In Every Chick Flick
In Contention Kris Tapley and team are moving to HitFix. Go and congratulate them.
Popbytes Anderson Cooper goes tanning. Noooo. Pasty forever! (although it's funny that they paint muscles on. I didn't know this!)
IndieWire Steve McQueen's Shame is leading the critical assessment of TIFF's abundant selection of films.
IndieWire interviews Glenn Close and Janet McTeer on Albert Nobbs 

Finally, this comic from PHD Comics goes out to all of my friends and maybe some of you readers still struggling through projects in the weird and wonderful world of Academia.

Whenever I want to dive into some totally obscure film topic and spend 100s of hours writing an article only 10 people would ever want to read or realize that my own personal obsessions are just not mainstream enough for the enormous success I'd definitely enjoy, I think of all of you. Whenever I remember that time an editor looked at me like I was insane when I pitched a Norma Shearer book ("do you want more than 500 people to read it?") I think of you. Keep your head up. Research the hell out of whatever it is you're researching. Write the hell out of it.

TIFF: Ludivigne, Fassy and Glenn

Paolo again. Despite some minor screw-ups and nervous breakdowns, here I am to report on TIFF Day 4, which brought more polished kind of movies than the ones that I've seen in the past three days.

I saw Christopher Honore's Beloved as a recommendation by the TIFF Twitter account because I said that my two favourite movies were A Streetcar Named Desire and Do the Right Thing. Now I wonder what they would have said if I wrote that my top two are The Conformist and The Big Sleep.

Beloved begins with a sequence of a Roger Vivier boutique where its customers try out the heels that the shop sells. Different colours, skins, anything a girl wants. A young shop employee named Madeleine (Ludivigne Sagnier, recently interviewed right here) steals a pair and by wearing it she's mistaken for a prostitute. That's only one of the things that are difficult to swallow here, prostitution treated as something that Madeleine can get in and out of. Also incredulous is her daughter Vera (Chiara Mastroianni) turning a gay man (Paul Schenider) straight, the opposite of what happens in Honore's Love Songs where a straight man turns gay. Honore  tackles the fluidity of human sexuality in his films, as characters deal with being guilty of or the victims of infidelity. It's very open to, say, the Freudian nature of love where parents see their lovers within their children. Madeleine embodies that ambivalence and, since this is an Honore film, she occasionally sings these issues out.

The joke, of course, is that the adult version of Madeleine has to played by Mastroianni's real life mother, Catherine Deneuve and thus the younger Madeleine has to copy the older actress's younger self. The scenes set in 1964 make the comparison slightly unconvincing, but the non-linear film fast forwards into the late 70's to better results. It's scary how Sagnier nails Deneuve's essence, and it's not just the former's hair doing all the work. There's this snark that both have, this sexy cynicism that mirrors one with the other. Now if anyone can explain to me what the Prague Spring and 9/11 really have to do with these women's love lives...

Now there's my favourite movie forever this day, Steve McQueen's Shame. His previous work Hunger succeeds in making its audience marvel at his aesthetics in those film's first few minutes. Shame doesn't do this (at first) making the shots and the characters' actions within the frame more cyclical. It almost scares us into thinking that the movie will just be protagonist Brandon (Michael Fassbender) waking up and ignoring his sister Sissy's (Carey Mulligan) needy voice messages for a hundred or so minutes.

It's not until the entrance of the supporting cast that the film is humanized. Shame & Albert Nobbs after the jump.

Click to read more ...

Current Worry: Glenn Close as "Albert Nobbs"

You may have noticed -- and perhaps been aggrieved by -- the fact that The Film Experience rarely posts those abundantly released clips from upcoming movies. I'm okay with trailers and enjoy writing about them but I tend not to enjoy seeing film scenes out of context unless I've already seen the film. There's a lot of them floating around now for Drive, for example, which I would caution everyone NOT to watch if by chance you've held out this long. For me, one of the absolute greatest pleasures of seeing that particular movie the first time was the sense of discovery I felt at literally every moment. I had successfully only looked at posters, nothing else (not even reviews or the trailer), before seeing it so everything was a surprise. It was a wondrous experience to fully soak in a film's tone and structure and performances with absolutely no preconceived notions about what those things would be look, sound, feel or play out like.

Now, admittedly Drive is a special movie and not many movies would be that much of a revelation if you went in cold. The only other movie this year I've successfully refused any and all knowledge of beyond the super basics is The Skin I Live In. I'm crossing my fingers there, too.

But I couldn't resist seeing Glenn in drag in Albert Nobbs (which I just saw at Awards Daily) since stills and the like have been so scarce and we've been talking about it Oscar-wise for so long.

But curses! Again I'm experiencing the danger of disappointment in seeing scenes out of context. This scene plays as... nothing. It plays so flat. Visually drab, muted to the point of dull performances. Perhaps in the moment within the film, it'll be an interesting, compelling, funny or moving scene. But on its own... not sold.

My only observation: Glenn is very quiet, her Mr. Nobbs a meek meek man. My biggest fear for the film involved the director Rodrigo García. He is admirably committed to actresses (genuine points for that) but he tends to wrap his films in warm narcotized blankets as if he didn't want anything vivid or unruly to wiggle out. Even Naomi Watt's sexual provocations and Annette Bening's thorny social forcefield in Mother and Child, both of which would have felt like shocks to the system with certain directors behind the wheel, felt a smidge drowsy. If Close's whole performance is this restrained can she really make a Best Actress Oscar-win play out of it?

New Readers Note: Why is this post titled "worry"? If you're just joining us I worry because I've been rooting for Glenn Close to win an Oscar since 1987. I want this to be great.