Sicario's Hell in Harmony

Chris here. Available this week on DVD/Blu-ray is Denis Villeneuve's Sicario, a controlled descent into the cartel battles being waged between the Mexican and American borders. Like the ongoing war on drugs, Villeneuve's film presents a complex landscape of violence wherein rulebooks have been forsaken - and on both sides. It's a masterful piece of filmmaking (recently nominated by the PGA, ADG, and WGA), and Villeneuve has assembled an intimidating group of craftspeople working harmoniously to create a living hell.

Front and center is Emily Blunt's idealistic and by-the-book agent Kate Macer, straining composure and grasping for opportunity while in over her head. Blunt is ferociously present and flummoxed, giving as much subtlety and nuance as she has in her broader roles like The Devil Wears Prada. She's so believably rattled that you're reaching for fistfuls of cigarettes along with her. It's a performance that deserves to be right in the thick of the Best Actress conversation, even in such a deep field as this. While many have claimed her to be far too passive, her lack of control is just another element of Villeneuve's all-pervasive synthesis.

more after the jump...

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OFCS Falls For Category Fraud

The Online Film Critics Society have released their annual nominations. They're the oldest of the many critics group which sprung up with "online" in the title back in the days when there was more of a clear line between print and web. This year unfortunately they've signed up for Category Fraud endorsing both Alicia Vikander and Rooney Mara's "supporting" campaigns so it's difficult to take them seriously. If we can't defeat the spreading cancer of category fraud this year with so much attention paid to how ridiculous it is to call protagonists in their own films "supporting" -- even among groups who aren't generally eager to "predict" Oscars with their nominations (and OFCS has been blessedly free of that curse in the past) -- than perhaps the war will never be won. It's all so very discouraging because it makes the honors feel cheap and gamed as opposed to fairly won.

the war on drugs will never be won. perhaps the war on category fraud is just as eternal

As such it's difficult to find joy in happy results like Cynthia Nixon nominated for James White (despite a very low profile and only $52,000 in ticket sales to date) and Sicario, which we'd feared would be forgotten coming on strong. In fact Denis Villeneuve's drug war thriller led the nominations alongside Carol. The complete OFCS nominations are at their site if you're interested.

UPDATE: I have heard from a few members of the OFCS expressing their displeasure with the results and/or this post. Like the BFCA (of which I am a member) there were internal discussions about this before they voted. (Full disclosure: at least two of our own contributors are members of the OFCS). There are people within the organization who are against category fraud but voting within all awards bodies is a matter of math and majority rules.  I don't really expect BFCA to self-correct on this next week when the nominations come out but it's good that there's at least been a discussion for once. Internally the BFCA has suggested to members that Rooney Mara should be considered a lead, despite what the campaign says, but they are still free to vote as they will. We'll see.

SAG Ensemble. Which films get the honor of losing to Spotlight?

The Screen Actors Guild nominations are just one week away. Who do you think will be nominated for Best Ensemble? Spotlight is the only sure things since it screams "ENSEMBLE!" Or at least it whispers "Ensemble" with grave concern and sobriety standing with arms akimbo with rolled up sleeves and khakis. The Martian is probably in since it's well liked, hard to avoid, has a big cast, and it's long been speculated that actors sometimes vote for movies that they wish they could have been in (i.e. movies wherein a bunch of people look to be having fun making it)

But that's only two slots. So where do the other three go? More after the jump...

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Box Office: Hit Missions to Mars & Mexico

The Martian is attempting to beat Gravity's October record this weekend. The charts only reflect studio Estimates so we'll see tomorrow for sure. At any rate the all star space adventure (yes, there is much more than Matt Damon therein) is an immediate big hit. Can something this light and fun -- we'll talk about it on the podcast tonight but it doesn't exactly run deep -- make inroads to awards glory? 

In other box office news Sicario continues to perform well surviving its wide expansion with ease. Word of mouth should continue to bolster it because hotdamn it's intense. It's also quite a strange double feature with The Martian (though both are good times at the movies) since  Blunt feels like she's in consistently more danger than Damon even though she's wearing body armor and fully armed and people are rarely firing at her while he's stuck alone on an inhospitable planet without breathable air, lasting supplies, or food.

Finally Grandma, a movie we've been rooting for since January is starting to lose theaters after a totally respectable run. While it never quite crossed over (which is harder and harder to do these days with shorter theatrical windows - see also the similar grossing word of mouth gem I'll See You In My Dreams) it'll end its theatrical run with over $6 million theatrical which is plenty to keep it in play for Best Actress honors (people have been nominated with a lot less) if the campaign is strong and especially if The Globes are there for Lily in Musical or Comedy actress. Do you think they will be?

BOX OFFICE WIDE
800+ screens (Oct 2nd-4th)
01 The Martian $55 NEW Matt's foot-in-mouth tour
02 Hotel Transylvania 2 $33 (cum. $90.5)  Tim on the director Genny Tartakovsky
03 Sicario $12 (cum. $15) Podcast, Emily Blunt
04 The Intern $11.6 (cum. $36.5) Review
05 Maze: Runner: The Scorch Trials $7.6 (cum. $63.2)
06 Black Mass $5.9 (cum. $52.5)
07 Everest $5.5 (cum. $33.1)
08 The Visit $3.9 (cum. $57.6)
09 War Room $2.8 (cum. $60.5)
10 The Perfect Guy $2.4 (cum. $52.6) Review

BOX OFFICE LIMITED
(Oct 2nd-4th)
01 The Walk (448 screens) $1.5 NEW (cum. $1.9) Review
02 Grandma (315 screens) $.4 (cum. $5.8) Poster Blurb, Lily Tomlin's Filmography, Review 
03 Sleeping with Other People (392 screens) $.2 (cum. $.6)  Review
04 Meet the Patels (78 screens) $.1 (cum. $.7) 
05 Talvar (51 screens) $.1 NEW
06 Goodnight Mommy (43 screens) $.4 Interview, Oscar Submission
07 Learning To Drive (115 screens) $.1 (cum. $3.1)
08 99 Homes (19 screens) $.1 (cum. $.1) The return of Andrew Garfield
09 Southpaw (303 screens) Re-Release $.07 (cum. $52.2)
10 Un Gallo con Muchose Huevos (112 screens) $.07 (cum. $8.9)

WHAT DID YOU SEE THIS WEEKEND?

I came down with a brutal cold after waiting in line in the cold for an hour for Steve Jobs (and being turned away roughly 15 people before making it inside) so it looks like I'll be emptying my DVR instead of moviegoing *sniffle* 

Something Link-ed This Way Comes

The Movies
• How does The Intern stack up to previous Nancy Meyers releases at the box office? It's a bit too early to tell but I totally didn't know and was a bit surprised to realize that they were nearly all bigger hits overseas than in the US [Box Office Mojo]
• Sasha Stone comes up with a new sneaky way to define leading roles as supporting. She's calling them "anchors" as in "anchors to the lead," not "the other lead." Hee. Of course she doesn't mean Anchor as Category Fraud but a rose by any other name... [Awards Daily]
• Singing the praises of the Film Society of Lincoln Center and their upcoming slate for cinema-voracious New Yorkers. And really, sing these praises at full volume. [MNPP]
• Not everyone loves the new Macbeth [Shadowplay] 
• "The people behind [Sicario] understand that what makes a great thriller is not the abundance of shootings, murders or jump scares and plot twists - it's the fear that something horrible can happen at any moment." [Cinematic Corner] 

Off Screen
• Oh god. File under totally depressing: If even Meryl Streep doesn't understand what feminism is, the earth is doomed. One of the most successful things conservative thinkers ever did is fooling progressives (and women of any political stripe) into thinking it was a bad word [Refinery 29]
• I mean... Keira Knightley is awesome but shouting marriage proposals at her while she's trying to make her Broadway debut last night. Not cool, drunk stalker! [Playbill]
• "Homophobia unites people of different Christian faiths" - Dan Savage, hero, on the Pope/Kim Davis mishegoss [MSNBC]
• I missed this report last week but The Tony Awards might be leaving their regular home - considering different theaters [NYT]
• "The last time I saw Madonna was on September 6th, 1989, during the live telecast of the MTV Video Music Awards. I was in my parents basement with my mother..."  Love these personal essays about stars when people can pull them off. Must Read. [The Hairpin]

Scream Queens
• Is Nick Jonas too into queerbaiting his fans? [Towleroad]
• Are any of you watching? It's such a mess, strains for laughs and (worst of all) revels in its misogyny (Murphy and his writers really need to stop putting words like "gash" into the girls mouths to demean other girls) to the point where you know it's not parody but just actual feeling disguised as parody. I'm only in it for Jamie Lee Curtis (fun but she's been better) and recent Emmy nominee Niecy Nash (making the very very very most of a small role - what a gift she is!). This quote from Towleroad's recap of the third episode made me LOL:

“Chainsaw” ...crammed in so many obvious red herrings, I think it qualifies as an aquarium.

Image of the Day
Michael Fassbender as MacBeth. I will never for the life of me understand what is taking so long with this movie (remember how long ago we saw the first images -- I swear it was 2013 -- or even why they're going to distribute it like a poor stepchild movie. (sigh).

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"Critics Choice" Ch-ch-changes
It's worth noting that the BFCA, of which I am a member -- yes, I'm still bragging about sitting with Jessica Chastain last year --  is making a major change. They're fusing their fairly new TV arm (which currently holds their ceremony in May each year) with their cinema body for one conjoined show starting in January that's 3 hours long. I don't understand what that will mean for current TV shows (two awards for their favorites in just a seven-month span?) but this will obviously make the Critics Choice Awards far more like their sworn enemy* the Golden Globes. Obviously to make this successful the BFCA will have to axe some of their odder categories from their ever-expanding roster but that was okay because things were getting seriously weird there in their attempts to cover everything but NOT officially categorize anything (resulting in weird 'it's an action movie but it's not... it's a comedy but it's not... it's a drama but... no, scratch that we don't say "drama" about anything --that's the default!') 

I have to admit that it seems odd to have two separate organizations do one event together. Just let us vote on both, and not have to be part of two organizations! Just change the name to Broadcast Critics Choice Awards, dropping the pesky film or tv separations. 

* I'm kidding though for all the heat the Golden Globe take from US journalists, it's perpetually hilarious that US journalists always want to be more like them.