Linker and Commander

My New Plaid Pants the greatest "which is hotter?" of all time
Pajiba's bitch rankings for the new season of Downton Abbey. So happy it's back. Love Mary so much. 
The Backlot Did Sir Ian McKellen out gay actors who everyone knows are gay even though they're not actually really out even though they're gay? The silliest "controversy" of the weekend. Gay gay gay

Awards Daily seems convinced that American Hustle is going to win Best Picture and everyone knows it. Ummm... we don't even have the nominations yet. I'd say the race is still on.
The Carpetbagger let's ask Siri about Samantha in Her why don't we? Yes, let's.
Variety Judi Dench, Bruce Dern and 12 Years get props from the AARP in their annual "best movies for grownups" list
In Contention oooh, it's BAFTA's rising star nominees! I always forget that they do that.  The nominees are: Dane DeHaan (Kill Your Darlings), George Mackay (How I Live Now), Lupita Nyong'o (12 Years a Slave), Will Poulter (We're the Millers), and Léa Seydoux (Blue is the Warmest Color). They aren't nominated for those specific pictures but I just include them to remind you. Who would you vote for?

Best Read
If you haven't yet read this open letter to James Franco from The Village Voice's Amy Nicholson, titled "do the double dick dude" you absolutely must: hilarious, provocative, and smart.

Today in Randomness...
A happy 25th birthday to actor Max Pirkis. Remember how great he was opposite Paul Bettany and Russell Crowe in Master and Commander: Far Side of the World? I've been meaning to rewatch that for in forever. You never know with child actors if it's merely a great director, a natural gift, or a happy accident. Pirkis later had a supporting role on HBO's Rome as the evil Gaius Octavian (I only saw the first season of that show but I understand it was akin to a King Joffrey part?) but he's been absent from screens for all of his twentysomething years. He's returning to the movies this year in Flying Home (with Jamie Dornan) and the horror flick The Quiet Ones (opening in April) and we wish him well, especially if Master and Commander was indication of his potential. As I was typing this up I realized he was on twitter and twitter accounts from non celebrity actors are a peculiar joy. There you can sometimes spot actual opinions instead of careful PR positivity about everything. For example, he has Oscar opinions, didn't like whatever Jodie Foster was doing in Elysium (but who did, really?). And, this is my favorite, because I never quite understood why people were so gaga for The World's End (which I think is the worst of the Cornetto Trilogy and by a significant margin. 

#TheWorldsEnd old fogeys trying to revive former glories by making a film about old fogeys trying to revive former glories #timepleasegents

— Max Pirkis (@Pirkky) August 1, 2013

Oscar Symposium: The Fifth Spot (Part One)

In which a new Film Experience tradition begins. A pre-nomination mini-symposium about fifth spot battles...

NATHANIEL R: Things that are awesome that come in sets of five: fingers, boy bands, the filmography of John Cazale, golden rings to be used for Olympics or in song, toes, Oscar nominees... It always comes back to the Oscars here at The Film Experience, don't you know?

I never thought of myself as any more averse to change than the average person but when the Academy changed the Best Picture system in 2009 and 2010 to a top ten and then to anything between 5 and 10, the magic number suddenly becoming 9 in both 2011 and 2012, it felt like a direct attack on my sanity. But Oscar categories come in fives!!! I've never stopped internally protesting and whenever anyone suggests that the acting categories should widen as well, a little part of me dies inside or reaches for smelling salts. I've taken solace in recent rule changes that bring Original Song and Visual Effects to a clean five-wide system as well and I pray that Hair and Makeup eventually goes there, too. I need the clarity of that organizing number.

This year we're starting a new mini-symposium tradition at the Film Experience in which we gather to discuss the fifth spot. There's no point in debating the locks but usually at least one spot is up for grabs. Please welcome our panel of five: Kurt Osenlund (The House Next Door), Nathaniel R (The Film Experience, c'est moi), Christopher Rosen (Huffington Post), Sasha Stone (Awards Daily) and You (in the comments). These "what ifs" we're discussing become moot on January 16th when the nominations are announced but they're fun while they last (10 more days!). Eventually each year's acting shortlists take on a feeling of inevitability in retrospect... even the "surprise" nominees that didn't have much support in the precursors.

Are any of you feeling bullish about a surprise nominee that you think will seem inevitable once their name is read on Nomination Morning? [Supporting Categories after the jump...]

Chris, Kurt, Nathaniel, Sasha and You

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WGA Prefers 'Buyers Club' To Llewyn Davis Inside Greenwich Clubs

The Writers Guild of America has spoken, choosing their favorite scripts of the year in film and television. They repeat an interesting move from yesterday's Producers Guild Awards in that they've (somewhat) unexpectedly acknowledged Dallas Buyers Club, which few people thought was a strong contender outside of the male acting categories, while skipping the Coen Bros Inside Llewyn Davis for honors.

The nominations with commentary are after the jump...

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PGA (Barely) Adds Mystery to Best Picture Race

Just when you thought the Best Picture race was solidifying around eight or nine contenders, the Producer's Guild today went and threw a couple of curveballs. Don't get me wrong, their nominees are barely a surprise, but at this stage of the race (with still two months to go!) it's nice to have some mystery evolving in the fringes of the top category.

The nominees are:

• American Hustle (Columbia Pictures)
  Producers: Megan Ellison, Jon Gordon, Charles Roven, Richard Suckle

• Blue Jasmine (Sony Pictures Classics)
  Producers: Letty Aronson, Stephen Tenenbaum

• Captain Phillips (Columbia Pictures)
  Producers: Dana Brunetti, Michael De Luca, Scott Rudin

• Dallas Buyers Club (Focus Features)
  Producers: Robbie Brenner, Rachel Winter

• Gravity (Warner Bros. Pictures)
  Producers: Alfonso Cuarón, David Heyman

• Her (Warner Bros. Pictures)
  Producers: Megan Ellison, Spike Jonze, Vincent Landay

• Nebraska (Paramount Pictures)
  Producers: Albert Berger, Ron Yerxa

• Saving Mr. Banks (Walt Disney Studios Motion Pictures)
  Producers: Ian Collie, Alison Owen, Philip Steuer

• 12 Years a Slave (Fox Searchlight Pictures)
  Producers:  Anthony Katagas, Jeremy Kleiner, Steve McQueen, Brad Pitt & Dede Gardner

• Wolf of Wall Street (Paramount Pictures)
  Producers: Riza Aziz, Emma Koskoff, Joey McFarland

Several of these were rather obvious, and if we still lived in a world of only five Best Picture nominees I have no doubt those five would be American Hustle, Captain Phillips, Gravity, Nebraska and 12 Years a Slave. Alas, we don't live in that world anymore, so here are nine thoughts I had in order of Oscar- relevance.

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The Thing I Ended Up Writing While Trying to Write The Review of "August: Osage County"

They do right by the first scene at least trimming the interminable opening of the Pulitzer and Tony wi. Beginning with the opening, Nathaniel, really? Do you groan audibly when someone says "That scene was so much better in the play / book / original source material" which is the culture snob's version of "FIRST!"  ok you'll need to discuss that effect but awkwwwward... EXT. Weston Family Home, Oklahoma. A car pulls int NO.  Violet Weston is a piece of work. But then, so it August: Ohmygod.. this is so not going to work.

"Eat your fish, bitch. Eat your fish.

... tempting, but where are you going to go from there if you start with Tracy Letts muscular punchy words and move on to your own dumpier nudgy ones? STOP.

You see where I'm going with this? Each time I've attempted to write about John Wells' adaptation of Tracy Lett's stage masterwork August: Osage County, barring a few brief stabs at some element of my discontent or, more likely, some reaction to its Oscar campaign and release strategy no review emergies. Obstacles of time, desire, interest, or non-diegetic usually awards season related materials surge up and scatter my thoughts when I sit down. 

Take this clever piece of FYC swag, a glorified envelope in the shape of a cardboard house.... [more]

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