"Lights. Camera. Action." This phrase is admittedly somewhat of a cliché, but it is iconic because it captures the feel of making a movie. Interesting that two of the three commands are directed to a film’s camera department. Without a camera, there is no cinema. Cinematography is essential, and when done well, from lighting to camera placement and movement to capturing the mood, there is no purer way to bring the director’s vision to screen.
It’s safe to say that reviews for Bill Condon’s WikiLeaks thriller “The Fifth Estate” were not quite what DreamWorks was hoping for when it opened the Toronto Film Festival last month. It was no embarrassment, and a number of critics had kind words for Benedict Cumberbatch’s performance as Julian Assange, but the middling response meant any opening-night buzz was swiftly subsumed by the prestige films that followed. (In contrast, “Gravity” opened Venice and was still a talking point by the festival’s close.)
The cast of Steve McQueen's acclaimed new drama "12 Years a Slave" is something of a wonder. Whether it's the remarkable work of Chiwetel Ejiofor as kidnapped freeman Solomon Northup or Michael Fassbender as the shockingly inhumane plantation owner Edwin Epps or Best Supporting Actress contender Lupita Nyong'o, the film features some of the most riveting performances of the year. What has gone slightly unheralded, however, are the fantastic smaller turns by the likes of Benedict Cumberbatch, Paul Giamatti, Paul Dano and Alfre Woodard. And, the always wonderful Ms. Sarah Paulson.
We've been teasing a new feature here at In Contention for a few months now and I'm happy that we can finally lift the veil on HitFix Oscar Picks!
Two British (or part-British) films came out on top at the Toronto Film Festival this year -- and they haven't much more in common than what's already in this sentence. Unless you've just returned from an extended meditation retreat in the Hindu Kush, you're probably aware that Steve McQueen's biographical slavery drama "12 Years a Slave" emerged most triumphant all from the fall fests, bearing bushels of critical praise, the much-coveted TIFF Audience Award and a position as Oscar frontrunner that only "Gravity" has seen fit to challenge so far. We have yet to see how it fares in the real world, but it's an impressive run for a film that, by consensus, takes a brutal, unyielding approach to an eternally tough historical subject.
This year's Best Actress race is full of Oscar veterans, but there are also a fair amount of up-and-coming indie hopefuls, outsider foreign film players and fresh faces to the awards scene looking for their first trip to the Dolby Theater.
“Brave” is a word sorely overused by critics when describing any actor taking on a somewhat sexualized character – especially when they take off their clothing in the process. If the sexuality in question is LGBT, so much the “braver,” apparently. It's a word, then, that you may have read applied a few times to Robin Weigert's terrific performance as a dissatisfied lesbian wife and mother in Stacie Passon's sharp, sensual debut feature “Concussion” – released last Friday on the Weinsteins' TWC-Radius label.