With the greatest of respect to a beautiful country, Spain's box office doesn't usually rate much of a mention -- but it seem worth mentioning when it addresses at least one question mark hovering over one of this year's Oscar hopefuls. Juan Antonio Bayona's tsunami drama "The Impossible" didn't get quite the level of buzz some expected out of Toronto: many reviews were strong, but others took issue with the filmmakers' decision to turn the true-life story of a Spanish family, the Belons, into one about a fictional British brood, allowing for more Hollywood-friendly casting. As it turns out, Spanish audiences couldn't care less: the film has been a domestic smash, shattering local records with its opening four-day gross. Will it connect with audiences Stateside in a tough holiday release slot? [Variety]
In case the marketing spiel has somehow escaped you, James Bond is 50 years old this year. Well, maybe a bit older – he wasn’t exactly a newborn in “Dr. No” – or a bit younger, if you choose to take only 44-year-old Daniel Craig’s salt-and-pepper-stubbled visage into account. Either way, he’s not young anymore, and boy, does “Skyfall” ever want you to know that.
“Brave new world,” 007 mutters grumpily, after his first encounter with a whizzy new Q (Ben Whishaw) who scarcely needs to shave yet. “Old dog, new tricks,” twinkles Naomie Harris’s sexy MI6 underling, her tone vaguely patronizing, as if teaching an elderly uncle how to send an email.
As such platitudes suggest, clever quippery is not one of the many strengths of Bond’s 23rd feature outing. They aren’t even accurate: the perma-dapper spy isn’t learning any new tricks, but rediscovering ones fallen into disuse, like scuffed Oxfords polished to a high shine. The same goes for “Skyfall,” which endearingly stresses fashionably analog traditionalism at every turn: Bond’s gadgets are restricted to a gun and a radio, the beloved, Connery-era Aston Martin makes a reappearance, while for the bulk of the action, far-flung locales are curbed in favour of the Land of Hope and Glory. (In Britain’s banner year of Jubilee and Olympic celebration, that can’t be an accident.) Another old-school touch, Adele’s Bassey-aping title ballad, is pretty splendid, but they may as well have gone with a big-band cover of “Everything Old Is New Again.”
NEW YORK -- The modest similarities between Robert Zemeckis's last live action film, 2000's "Cast Away," and his latest, "Flight," are interesting. Both begin with a plane crash that changes a man's life, a man who goes on a journey of finding himself and restarting his life anew. Both are films about rebirth. One chooses a tale of a company guy stranded on a desert island to convey the theme. The other chooses that of a pilot caught up in a malfeasance nightmare.
Each commits to film one of the most harrowing plane crashes ever seen*, but while Tom Hanks's time-obsessed protagonist in "Cast Away" learns to take his time through life, Denzel Washington's addiction-afflicted hero in "Flight" learns to admit his problem to the one person he's still fooling: himself.
And that's what the film is about. It may have elements of action filmmaking and courtroom drama, but it is, ultimately, a character study about the sickness of addiction. It captures the embarrassment, the denial, the rage and, crucially, the chronic fallibility that comes with it. The screenplay, from writer John Gatins, pulses with an authenticity that suggests personal experience, but married to a narrative that all but asks whether impairment might have sparked the inspiration to save a hundred lives in a bold way, it becomes something more complex.
LONDON - At no other festival I've attended is the faintly absurd bubble we film critics live in made more apparent than the BFI London Film Festival -- a buffet far more concerned with serving the public the best world cinema has to offer, whether or not another festival got to it first, than with providing media outlets with grabby exclusives and world premieres.
For me and many of my colleagues, a Cannes-premiered film like "Rust and Bone" is already old news, despite not having officially opened yet; for London cineastes in the real world, tonight's gala screening, with Marion Cotillard in attendance, is an eagerly anticipated event. That is as it should be: one of the things I love about my hometown festival is that it re-sparks thoughts and conversations about such films in a much more lively public context.
The Best Original Song race is starting to fill out. We've added a few more to our contenders page in recent days, including tracks from "Celeste & Jesse Forever" and "West of Memphis," but today comes the news that DreamWorks Animation's "Rise of the Guardians" will feature a tune from acclaimed soprano Renée Fleming
One of the things we've been looking to get confirmation on regarding Warner Bros. Pictures' Oscar campaigns this year is just where Tom Hanks and Halle Berry would be pushed for Tom Tykwer and the Wachowskis' "Cloud Atlas." Lead seemed to be the obvious call (both are the movie stars and have the most screen time across the various stories in which they appear and the characters they play), but it's always possible something like this puts everyone up for supporting.
It turns out the two will indeed go lead for the film. I suppose you can consider them contenders in our Best Actor and Best Actress galleries, then. The real surprise from the studio, however, is the decision to place "The Dark Knight Rises" star Anne Hathaway in the lead actress category as opposed to supporting. Is that indicative of a serious rallying or simply a smart decision to get out of the way of another film?
Interview: Andrea Arnold on 'Wuthering Heights,' crying to Mumford & Sons and having faith in a face
In an era of filmmaking where producers and moneymen seem shyer than ever of original screenplays, hungry for the built-in audience of a known quantity, “This again?” is a question we seem to find ourselves asking on a weekly basis. That may most frequently be in response to high-concept Hollywood franchises and superhero movies, but it's no less applicable to the classic literary adaptation. This autumn alone has brought us new versions of oft-filmed chestnuts in “Anna Karenina” and “Great Expectations,” with Baz Luhrmann's “The Great Gatsby” narrowly scuttling out of the fray; each one invites a fresh round of comparisons, with varying assertions of redundancy or reinvention.
It's all the more impressive, then, that British director Andrea Arnold's pared-back, wind-whipped and wholly remarkable adaptation of Emily Brontë's “Wuthering Heights” – which itself premiered only months after Cary Fukunaga's fresh take on another standard from the Brontë family canon, “Jane Eyre” – feels both very new and very necessary indeed. If Arnold's film, already on release in New York and opening today in Los Angeles, feels to some extent like the first true version of this dog-eared Yorkshire romance, that could be because it's the first film to realize that the story of farmgirl Cathy and founding Heathcliff's unfettered, ultimately damaging passion isn't really a romance at all.
I've been high on Ben Affleck's "Argo" since way back at Telluride over a month ago. It is, I feel, the current Best Picture frontrunner. We've sussed out its zeitgeist potential, talked to Affleck, Alan Arkin and Bryan Cranston and pretty much covered all bases on the way to release, which is finally here. So if you make it out to see the film this weekend (and you should), hustle on back here and tell us what you thought. It's time for a wider audience to chime in. And feel free to rate the film via the tool above.
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
With a stacked -- and rather rewarding -- slate of films on my plate yesterday, I didn't get to see Harvey Weinstein's keynote speech at the London Film Festival. But no matter: Screen helpfully provides a transcript. It would appear that preservation and piracy were the two chief issues on his mind: he laid into Hollywood film execs for their limited knowledge of their film heritage ("I began to wonder if any of them had even heard of John Ford") and celebrated the French for their hard line on illegal content-sharing, which he claims has bolstered the local film industry, allowing them to finance such grown-up hits as -- and here come two wholly impartial examples -- "The Artist" and "The Intouchables." [Screen Daily]