Let's Discuss All The Movies That Are Up For Awards, or Should Have Been by Randi / February 28, 2014
My dog Oscar chewing on an Oscar
It’s the most wonderful tiiiime of the year!!! Yes here we are again, the Academy Awards, the greatest achievement in popularity in all of entertainment, the source of agita to end all agita. What do you think will happen come Sunday night? Will “12 Years a Slave” win the big one? Will idiots who want to seem in the know award “American Hustle” the best original screenplay award for absolutely no discernible reason? Will Lupita Nyong’o cap off her incredible red carpet season with the best gown of the night, or will Cate Blanchett continue her reign as queen of everything? Here’s what I think will happen, what I want to happen, and what better not happen. Let me know what you think in the comments.
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BEST PICTURE
BEST DIRECTOR
BEST ACTOR
BEST ACTRESS
“Do you think I give two shits? I’m the coolest person there is regardless of silly awards.” 
“I am perfection.” BEST SUPPORTING ACTOR
BEST SUPPORTING ACTRESS
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BEST ORIGINAL SCREENPLAY
BEST ANIMATED FEATURE
BEST ORIGINAL SONG
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As I said in my review of all the movies in contention, “12 Years A Slave” is the most deserving film. “Gravity” is coming in at a close second according to predictors like Nate Silver and his friends, but it wouldn’t be as deserving. The real shame here is that absence of “Saving Mr. Banks”, which was one of the best of the year, and definitely better than 7 of the 9 nominees.
Although “Gravity” is not the best picture of the year, Cuaron’s direction is a big achievement in a new phase of special effects technology. He should win this one, so long as “12 Years” wins the big one.
There were so so many great male performances this year, so someone worthy had to be snubbed. However, one of the major snubbees, like Redford, whom people said was going to win at one point for chrissakes, should have been nominated over Bale, who is always great but nothing special in “Hustle”. McConaughey surprised many by sweeping all the major awards leading up to this weekend, but so many people want to reward him for his comeback, so that’s understandable. It just sucks that his parade runs over what should have been Chiwetel’s celebration. Not that Matthew wasn’t fantastic or hell maybe even the best of the year. It just shouldn’t have been such a landslide.
While this list of leading ladies is extremely impressive (Amy Adams’s great performance is the one thing I’m willing to commend “Hustle” on, that and hairdos), Emma Thompson’s snub is atrocious. Many thought her performance was one for the ages and a strong contender for the winner, yet she’s not on this list. It could be because the category is so strong, but the overall snubbery of “Banks” is so awful that it all seems connected. Like voters got sick of people saying during recent years how the most awarded films, like “The Artist” and “Argo”, were about the industry and how the industry just likes to reward itself and pat itself on the back, so this year voters were like, “Hey, let’s not let those critics say that this year; let’s not reward this movie about the industry even though it’s one of the best of the year.” And so Emma Thompson was a casualty of that, which blows. But it doesn’t really matter, because as I said in my recap, Blanchett’s performance is SICKMAZING.
Jared Leto has so many things in his favor going into Sunday night: He’s been away from acting for freaking years, focusing on his music instead, and his first shot out of the gate is this incredible performance in a heavily lauded movie. He’s also playing a tragic, kindhearted transgender woman named Rayon, a part up there with Holocaust roles for the most likely to win Oscars. He was incredible, too, so it’s all good.
Lupita was incredible in her first major film role, and really better win. If Jennifer Lawrence wins another award this year just because people want to be her friend and want her to think they’re cool for thinking she’s cool, I’ma be real mad. Last year was her year! Not this year! Argh! Lupita! I love you!
I hope “12 Years” will take this one, but I’d be thrilled with an upset by “Before Midnight”, which had a sensational, genius script, or “Philomena”, because I’d love a Steve Coogan acceptance speech.
I loved loved “Her”, and if it’s going to win any award, best original screenplay is the one, because damn if it wasn’t the best original screenplay in years. You know what shouldn’t win? “Hustle”, which had great performances but damn if it wasn’t the most disappointing script in years.
Best movie everrrr!
HERE I STAAAAND AND HERE I’LL STAYYYY! |
Other things that should happen:
- “Gravity” should win all the visual and technical awards
- Idina Menzel should get a standing ovation
- Kerry Washington, presenter and fixer, should say something about everything being handled
- “Blackfish” should win Best Documentary on a write-in vote because it was inexplicably snubbed
- John Williams should win best score, for “The Book Thief”, for the first time in more than 20 years
- Some really drunk winner should say how the Oscars don’t really mean anything
- Host Ellen DeGeneres will make everyone laugh at good-natured, well-meaning, completely nonthreatening and non-harmful jokes
HAPPY OSCARS!!!!!!!!!!!!!!!!!!!!!!!!!!!
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Thoughts on: Murder Ballad, Off-Broadway
Every single review of this show says it’s ‘sexy’ and ‘the actors are so hot’, and that refrain is really annoying and unoriginal.
But this show is sexy and the actors are so hot.
It’s true. I felt like I was breaking some kind of law sitting in the Union Square Theatre, with fellow audience members wrapping around the bar set in the middle of the room. The beginning especially, with the fantastic Rebecca Naomi Jones opening the show with her gloriously raspy voice, felt dangerous. (As it should; it’s about murder. “I googled murder.”)
This excitement continues through most of the show, but starts to wane when the focus shifts way too much to the hard-to-believe relationship between Michael and Sara. I just didn’t buy their chemistry. Maybe the audience isn’t supposed to fully buy it, but then don’t spend so much time focusing on their domestic life.
But this show is sexy and the actors are so hot.
It’s true. I felt like I was breaking some kind of law sitting in the Union Square Theatre, with fellow audience members wrapping around the bar set in the middle of the room. The beginning especially, with the fantastic Rebecca Naomi Jones opening the show with her gloriously raspy voice, felt dangerous. (As it should; it’s about murder. “I googled murder.”)
This excitement continues through most of the show, but starts to wane when the focus shifts way too much to the hard-to-believe relationship between Michael and Sara. I just didn’t buy their chemistry. Maybe the audience isn’t supposed to fully buy it, but then don’t spend so much time focusing on their domestic life.
Despite the problems with the story, the heavy rock concert-vibe of the show coupled with the actors’ fearlessness drive the show forward and render it a very enjoyable evening. Will Swenson, who stood on my seat during the remarkably exciting 2009 revival of Hair, does a lot more standing on furniture and generally being insanely hot. However, his crazy good voice doesn’t really get a chance to shine through. The rock score forces him to be belt gravel-voiced shouts that don’t show off what this incredibly talented man can do.
Caissie Levy does get to shine vocally, but her character’s quick trip to motherhood seems very odd and out of place. Maybe that helps you feel even more for John Ellison Conlee’s character, who has the best diction. But Jones steals the show. I never appreciated her skills in previous shows, but this is definitely her showcase. The sexy rock score is perfect for her perfectly raspy yet strong voice. Her hilariously mocking faces made just for the audience’s pleasure lighten up the drama and get laughs, from those who can see them in this theatre in the round. I walked away definitely wanting to buy at least 80% of the songs, and wanting to see Jones in whatever she does.
While it was overall a great experience, the show has a few major missteps. In addition to the aforementioned issues with chemistry and story focus, my biggest problem with it is that, while so many smart lyrics go unheard (due to really quick rhythms or really poor diction), the one lyric that sticks out like a sore thumb is the worst thing I’ve ever heard – “Your kiss is like a mouth tattoo.” I mean really. Who says that. What does that mean. I can guess what it means but it is odd, and it’s not good that that’s the one lyric that stuck with me (and other audience members I spoke with).
Luckily, the good outweighs the bad, and I’m really glad I saw this show. It’s a great time, with insanely talented actors and some really kick ass music.
Caissie Levy does get to shine vocally, but her character’s quick trip to motherhood seems very odd and out of place. Maybe that helps you feel even more for John Ellison Conlee’s character, who has the best diction. But Jones steals the show. I never appreciated her skills in previous shows, but this is definitely her showcase. The sexy rock score is perfect for her perfectly raspy yet strong voice. Her hilariously mocking faces made just for the audience’s pleasure lighten up the drama and get laughs, from those who can see them in this theatre in the round. I walked away definitely wanting to buy at least 80% of the songs, and wanting to see Jones in whatever she does.
While it was overall a great experience, the show has a few major missteps. In addition to the aforementioned issues with chemistry and story focus, my biggest problem with it is that, while so many smart lyrics go unheard (due to really quick rhythms or really poor diction), the one lyric that sticks out like a sore thumb is the worst thing I’ve ever heard – “Your kiss is like a mouth tattoo.” I mean really. Who says that. What does that mean. I can guess what it means but it is odd, and it’s not good that that’s the one lyric that stuck with me (and other audience members I spoke with).
Luckily, the good outweighs the bad, and I’m really glad I saw this show. It’s a great time, with insanely talented actors and some really kick ass music.
London’s In the Height of the Storm: Jonathan Pryce & Eileen Atkins Break Your Hearts
It’s Theatre Thursday! Today’s show is In the Height of the Storm, which plays Wyndham’s Theatre in London until December 1.
Although a play about two old white married people and their mysterious behavior and all their emotions is like Play 101 material, Florian Zeller’s play In the Height of the Storm feels exciting and surprisingly original. This is because the characters are so specific and so fascinating while the truth about their lives (or deaths) is so perplexing. Ostensibly a family drama, this play feels more like a mystery, as things you accepted as fact quickly get turned on their heads, and, more critically, people you accepted as alive or dead seem the opposite.
Although a play about two old white married people and their mysterious behavior and all their emotions is like Play 101 material, Florian Zeller’s play In the Height of the Storm feels exciting and surprisingly original. This is because the characters are so specific and so fascinating while the truth about their lives (or deaths) is so perplexing. Ostensibly a family drama, this play feels more like a mystery, as things you accepted as fact quickly get turned on their heads, and, more critically, people you accepted as alive or dead seem the opposite.
I’m not going to lie – the main reason I saw this new play was to see if the world would explode when two actors with the same exact face do a play together. Seriously look at this picture:
I mean come on! I’m a fan of Jonathan Pryce (who isn’t? even though his playing the og Engineer is a hilarious case study in old-fashioned racism and ‘it was a product of the era!’ kinds of excuses (it’s true though)), but the first thing I proclaimed when I saw the announcement of this production was not “Hey I love Jonathan Pryce!” or “Hey I wanna see him onstage again!” but “WOW these two actors have THE SAME FACE. Is that what it’s about??” Reader, that is not what it’s about.
ITHOTS (omg it’s like a British baby trying to say ‘it hurts’ omg cutest), instead, is about a family in mourning. We meet the ordinary, average family early in the grieving process. There’s Andre (Pryce), the elderly patriarch who stares out the window for time on end as he loses a firm grip on his mind; there’s Madeleine (Dame Eileen Atkins I mean hello cast), his beloved wife who, in true British old lady form, is stern and austere but hilariously so (as long as she’s not your mum); and there’s the two grown daughters, Anne (Amanda Drew) the elder seemingly always forced by her sister’s immaturity (and her own comfort in the role) to be the more responsible one, and Elise (Anna Madeley), pregnant and single but completely unfussed about it.
The only problem is, we don’t know who they’re grieving, and neither does Andre. When we meet Andre and his one daughter, it’s clear that Andre’s beloved Madeleine has passed and the girls came in for the funeral. Friends are sending flowers constantly (so we hear – weird that there were none on set except the one bouquet we see delivered) and the pain and sadness is fresh. Except…a minute after the audience figures out who must have died, Madeleine herself waltzes in, strong and full of life, and changes the narrative we thought we figured out. Thank goodness, I guess? Andre and Madeleine seem fine and happy as they talk about lunch and share old stories.
Those stories are more than they initially seem, however. Names of old friends or people who were in the news come back later to add to the mystery of what’s real and what’s not. Or, considering Andre’s mental capacities, what’s real and what’s a product of his mind trying to deal with reality when it has trouble distinguishing between it and memory, and possibly fantasy. And considering how quickly we go from thinking “Oh it’s Madeleine who is dead…no wait both of these same-facers are alive?” to “no waiiiit, Andre is the one who died!”, we are quickly and effectively made to feel like Andre, or anyone suffering with loss of mental acuity. Efficiently, with just a few words or movements, the play flips existence as we know it on its head. The facts of the story remained incessantly vague and always changing, so that you couldn’t be sure of anything. But the feelings and emotions of the characters rang true, consistently clear.
Just as quickly as your guess as to who they’re mourning changes, so do actual characters sometimes. Andre’s confusion as to what’s going on becomes much more poignant when it seems as if he’s the one who’s died, and suddenly no one can hear him but us. And, when Madeleine meets a woman in the market who gives her condolences for Andre’s passing, the two meet for tea and discuss how this mysterious woman actually knew Andre, and how well. The conversation quickly turns from polite to disrespectful and almost vulgar. But then the same woman is having her tea with Andre and we’re mourning Madeleine, and her name is different, recalling one of the stories the couple had lightheartedly shared earlier. And just when you find it frustrating that you can’t get a handle on what’s real and what’s happening, one of the characters says something brilliant that breaks your heart, a musing on how sometimes you can’t tell the different between what’s really happening and what you are just remembering, or wanting to remember.
Suddenly, everything mysterious and confusing about this play makes sense. You’re left in wonderment that almost nothing said on that stage was certain, we’re not sure what if anything was facts, yet what the characters were feeling was what was real and concrete. And it feels entirely accurate that the person whose mind was sharing all the action with us would be confusing reality and memory and maybe even false memories, or things they wanted to have happened but never would. Regardless of what facts were real, the heartbreak was real and undeniable. It’s a powerful play that lets you connect so whole-heartedly with characters and situations even when they are this obscured, because the simplest things, like love and pain, are the easiest to understand.
INFORMATION
In the Height of the Storm plays the Wyndham’s Theatre until December 1. The theatre royalty starring in the show is scheduled to play all performances.
The show runs 90 minutes with no interval.
$25 rush tickets are easy to obtain via the TodayTix app, and at least from my experience the rush tickets will be in the front row (front row dead center if you get the 4th-from-last ticket available).
ITHOTS (omg it’s like a British baby trying to say ‘it hurts’ omg cutest), instead, is about a family in mourning. We meet the ordinary, average family early in the grieving process. There’s Andre (Pryce), the elderly patriarch who stares out the window for time on end as he loses a firm grip on his mind; there’s Madeleine (Dame Eileen Atkins I mean hello cast), his beloved wife who, in true British old lady form, is stern and austere but hilariously so (as long as she’s not your mum); and there’s the two grown daughters, Anne (Amanda Drew) the elder seemingly always forced by her sister’s immaturity (and her own comfort in the role) to be the more responsible one, and Elise (Anna Madeley), pregnant and single but completely unfussed about it.
The only problem is, we don’t know who they’re grieving, and neither does Andre. When we meet Andre and his one daughter, it’s clear that Andre’s beloved Madeleine has passed and the girls came in for the funeral. Friends are sending flowers constantly (so we hear – weird that there were none on set except the one bouquet we see delivered) and the pain and sadness is fresh. Except…a minute after the audience figures out who must have died, Madeleine herself waltzes in, strong and full of life, and changes the narrative we thought we figured out. Thank goodness, I guess? Andre and Madeleine seem fine and happy as they talk about lunch and share old stories.
Those stories are more than they initially seem, however. Names of old friends or people who were in the news come back later to add to the mystery of what’s real and what’s not. Or, considering Andre’s mental capacities, what’s real and what’s a product of his mind trying to deal with reality when it has trouble distinguishing between it and memory, and possibly fantasy. And considering how quickly we go from thinking “Oh it’s Madeleine who is dead…no wait both of these same-facers are alive?” to “no waiiiit, Andre is the one who died!”, we are quickly and effectively made to feel like Andre, or anyone suffering with loss of mental acuity. Efficiently, with just a few words or movements, the play flips existence as we know it on its head. The facts of the story remained incessantly vague and always changing, so that you couldn’t be sure of anything. But the feelings and emotions of the characters rang true, consistently clear.
Just as quickly as your guess as to who they’re mourning changes, so do actual characters sometimes. Andre’s confusion as to what’s going on becomes much more poignant when it seems as if he’s the one who’s died, and suddenly no one can hear him but us. And, when Madeleine meets a woman in the market who gives her condolences for Andre’s passing, the two meet for tea and discuss how this mysterious woman actually knew Andre, and how well. The conversation quickly turns from polite to disrespectful and almost vulgar. But then the same woman is having her tea with Andre and we’re mourning Madeleine, and her name is different, recalling one of the stories the couple had lightheartedly shared earlier. And just when you find it frustrating that you can’t get a handle on what’s real and what’s happening, one of the characters says something brilliant that breaks your heart, a musing on how sometimes you can’t tell the different between what’s really happening and what you are just remembering, or wanting to remember.
Suddenly, everything mysterious and confusing about this play makes sense. You’re left in wonderment that almost nothing said on that stage was certain, we’re not sure what if anything was facts, yet what the characters were feeling was what was real and concrete. And it feels entirely accurate that the person whose mind was sharing all the action with us would be confusing reality and memory and maybe even false memories, or things they wanted to have happened but never would. Regardless of what facts were real, the heartbreak was real and undeniable. It’s a powerful play that lets you connect so whole-heartedly with characters and situations even when they are this obscured, because the simplest things, like love and pain, are the easiest to understand.
INFORMATION
In the Height of the Storm plays the Wyndham’s Theatre until December 1. The theatre royalty starring in the show is scheduled to play all performances.
The show runs 90 minutes with no interval.
$25 rush tickets are easy to obtain via the TodayTix app, and at least from my experience the rush tickets will be in the front row (front row dead center if you get the 4th-from-last ticket available).
