Throughout this Awards Season every time a film I loved lost in an Award Show, I always ran to this website to read what this woman had to say about. Much like myself, she loves The Social Network and knows exactly why it is a perfect film. She was disappointed by last night’s Oscars much like I was/am, but her words on the matter have made me feel a bit better about this whole situation.
What she is basically saying in this article is how the Best Picture of the year isn’t just The King’s Speech. That film made have won the Oscar, the BAFTA and the SAG, but The Social Network won the rest of awards. So in that respect, The Social Network should also be seen as the Best Picture of the year, which if you already do if you love The Social Network as much as I do.
Lastly, she also brings an interesting point about Oscar voters and how much we, the public, seem to be influenced and dependent on their decisions.
“The heartbreak only comes in when you expect more from them, or hope for them to be different. Why does it matter what they think? Why indeed.”
“In a moment, one of these ten movies will join a list that includes On The Waterfront, Midnight Cowboy, The Godfather and The Deer Hunter. The other nine will join a list that includes The Grapes Of Wrath, Citizen Kane, The Graduate and Raging Bull.”—STEVEN SPIELBERG, introducing the nominees for the Best Picture Oscar, and reminding us it ain’t such a bad thing to lose. (via inothernews)
I know Kirk Douglas is legend and whatever, but he needed to get his old ass off that stage. Not to be rude, but the dude couldn’t even form a sentence. He is too old to be presenting an award and too creepy as well. Imagine if Hailee Steinfeld would’ve won?
I officially dislike Melissa Leo. Scratch that, I want to punch her right in the face. I understand that you knew you were going to win, but did you seriously need to fake your surprise THAT much? Thank God that happened earlier in the show. Shit, she was annoying.
Anne Hathaway was amazing as the host. She was actually very funny and charming. James Franco was okay. The funny thing about him is you could totally tell that he didn’t give a FUCK.
There were no surprises in the show, which is kind of disappointing. Everything happened as expected with the exception that probably no one thought Inception was going to win so many things. Speaking of Inception, I’m still shocked that it won best cinematography over True Grit. What the actual fuck?
Even with all the love for Inception, Christopher Nolan was still given the finger.
Natalie Portman, I love you but your speech was long. You practically read the whole credits of the film. Having said that, I’m really interesting in finding out exactly how did Michelle Rodriguez helped you with Black Swan.
Colin Firth, you charming bastard… You made me cry. I’m so glad he won, especially since I’ve decided that from now on I will consider this win for A Single Man and not for The King’s Speech.
The less we talk about David Fincher losing the better.
The absolute best moment of the show besides the beautiful Best Picture montage, was the moment Trent Reznor and Atticus Ross’ names were called. You don’t understand, I literally jumped out of my sofa and run all over my apartment screaming like psychotic person. I still can’t get over it. I’m so glad Trent Reznor, who is a genius/god to me, has an Oscar for one of the best score I’ve ever heard.
Overall, pretty good ending to this year’s Awards Season.
OSCARS tonight! Are you ready? I’m so ready! So far I’ve been spending the day just counting the minutes until the red carpet starts. A bit obsessive non? Can you really blame though, especially now that I feel like The Social Network could pull a major upset.
There’s this Oscar specialist/analyst that I follow and she is saying that if David Fincher wins for directing then TSN will also for Best Picture. While I would love to see this happen, I highly doubt it will. I don’t think there’s any way The King’s Speech could lose Best Picture. But who knows?
Also, she’s been talking about how there might be an even bigger Best Picture upset this year. Because of the preferential ballot and the 10 nominees, votes could split between TSN and TKS. What does that mean? It means that it is possible for the third favorite film to pull a win. If that happens, which I don’t think it will, I really hope Toy Story 3 wins. Could you imagine that? It would be so awesome and rightly deserved. Actually now that I think about it, if How To Train A Dragon wins for Best Animated Feature then that could be a hint that Toy Story 3 will win Best Picture. That would really fuck everyone’s predictions. Also I’m hoping for a tie in the acting categories, but that’s dreaming too big.
Anyway, hope you are as excited as I am. Only a few hours to GO!
P.S. If you miss my predictions, click here for a somewhat quick read.
I think this album by Tricky is one of the absolute best albums ever. Every song is filled with compelling, intricate, interesting and haunting orchestration that gets better with each new listen. But the best thing about these songs are the twisted, funny and off lyrics. Just pure brilliance over here.
can i just say after reading your blurb about the oscars... i love your page. you dont want to make me back hand you or make me want to slit my wrists like every other thingi read about them... love it! thats all.
Thank you, I’m glad you had a positive reaction towards it.
As you all know by now, The Oscars are this sunday and this guy right here wants The Social Network to win. I hear you, The Social Network winning seems as unlikely as Javier Bardem winning over Colin Firth. But the great thing about award shows is the suspense, the feeling of uncertainty, the anticipation and the fact that anything can happen. This is ranking up to be one of the most special Oscars in recent memory and for me it is also pretty special. For the first time I’ve actually seen every single Best Picture nominee and am fully knowledge in most categories. While my beloved Social Network might not win, I’m still very much excited to see what happens. Plus, this year’s hosts are utterly awesome. Are you ready? Predictions time!
Nominees: Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone.
Who Will Win: The King’s Speech. After much deliberation I’ve finally discovered exactly why people respond better to The King’s Speech than The Social Network: the simple fact of the matter is that The King’s Speech leaves the viewer with a much better impression after the very first viewing. You leave the cinema rejuvenated, filled with hope and ultimately very happy. That is why it has so much momentum, why everyone loves it and why it will win.
Who Should Win: The Social Network. In contrast to the wonderful first impression The King’s Speech leaves on the audience, The Social Network leaves a very mixed impression. Not many people think is that great, not many people identify and like the characters, and lot of people are turned off the overly huge hype. Having said that, the only way one can fully understand why this film is so great and so perfect is if they watch it at least 3 times. Then you’ll notice how all of it’s elements: directing, writing, performance, editing, score and cinematography align perfectly with each other to create a flawless film experience. Not many people have seen it more than once and as a result they only have their first mixed impression to judge it with. There’s also the fact that the film has won too many critics awards and that turns people off. The Social Network is the best film of the year, make no mistake about that, but it will not win.
Nominees: Darren Aronofsky for Black Swan, David O. Russell for The Fighter, Tom Hooper for The King’s Speech, David Fincher for The Social Network, Joel Coen and Ethan Coen for True Grit.
Who Will Win: Tom Hooper for The King’s Speech. If there is one great thing about this film besides Colin Firth’s performance, is the brilliant direction by Tom Hooper. When I reviewed this film a while back, I said that my absolute favorite thing about it was the direction. I prefer David Fincher, but I can’t speak badly about Tom Hooper because he truly did a great job. Besides, he already won the DGA (Director’s Guild Award) so it’s pretty much a done deal.
Who Should Win: David Fincher for The Social Network. Whereas Tom Hooper’s direction is excellent, Fincher’s direction is masterful. Fincher is known for his specificity and obsessive attention to even the most miniscule detail and he hits every note in the most splendid fashion. The great thing about his direction is that at no point does it get in the way of the material, instead it actually complements all the other elements within the film. But this probably won’t be Fincher’s year yet again.
BEST ACTOR IN A LEADING ROLE.
Nominees: Javier Bardem for Biutiful, Jeff Bridges for True Grit, Jesse Eisenberg for The Social Network, Colin Firth for The King’s Speech, James Franco for 127 Hours.
Who Will Win: Colin Firth for The King’s Speech. This award has been a done deal since the film first premiered. This is Colin Firth’s year and he more than deserves it, especially since he was snubbed last year for his performance in A Single Man. Some people are saying that his performance here is a career best, I prefer him in A Single Man but to each is own.
BEST ACTRESS IN A LEADING ROLE.
Nominees: Annette Benning for The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawerence for Winter’s Bone, Natalie Portman for Black Swan, Michelle Williams for Blue Valentine.
Who Will Win: Natalie Portman for Black Swan. For a couple of months it seemed like Portman’s win was in danger from being taken by Annette Benning. I will never understand what’s so Oscar-worthy about Benning’s performance, but I’m glad that she is no longer a threat. Natalie Portman has won all the major best actress awards and she will surely win the Oscar. Let’s face it, her performance was the absolute greatest performance of 2010.
BEST ACTOR IN A SUPPORTING ROLE.
Nominees: Christian Bale for The Fighter, John Hawkes for Winter’s Bone, Jeremy Renner for The Town, Mark Ruffalo for The Kids Are All Right, Geoffrey Rush for The King’s Speech.
Who Will Win: Christian Bale for The Fighter. Even though Jesus Bale has cut some of his holy hair, he is still sort of the frontrunner in this category. Much like Natalie Portman, he transformed himself to produce what is easily one of the best performances in recent years. Having said that…
Possible Upset: Geoffrey Rush for The King’s Speech. I still don’t see this happening, but who knows anymore? If Snookie can be a best-selling author, then Geoffrey Rush can very well win this. Was that too insulting? To put things simply, The King’s Speech has so much momentum and Geoffrey Rush was so key in making this film that him winning is a huge possibility.
BEST ACTRESS IN A SUPPORTING ROLE.
Nominees: Amy Adams for The Fighter, Helena Bonham Carter for The King’s Speech, Melissa Leo for The Fighter, Hailee Steinfeld for True Grit, Jackie Weaver for Animal Kingdom.
Who Will Win: Melissa Leo for The Fighter. Just like Colin Firth and Natalie Portman, she has won almost all of the awards for supporting actress so the Oscars is practically hers. I don’t think her performance was the strongest, but she achieves what a supporting character is suppose to achieve, which is to steal the scenes from everyone else.
Possible Upset: Hailee Steinfeld for True Grit. I’m putting her here not only because I think her performance was the strongest, but also because something similar occurred within this category before. In 1994, Rosie Perez and Emma Thompson were the favorites to win and everyone was surprised when 11-year-old Anna Paquin was announced as the winner. Anna Paquin won for The Piano a film loved by many, just like True Grit, and that was the first time she acted in a feature film, just like Hailee Steinfeld. In my opinion, do not rule out Steinfeld just yet. She still has a chance at beating Leo.
BEST ANIMATED PICTURE.
Nominees: How To Train You Dragon, The Illusionist, Toy Story 3.
Who Will Win: Toy Story 3. There’s really nothing more to say about this, Toy Story 3 is winning this no matter what. The film has literally no competition.
BEST ORIGINAL SCORE.
Nominees: John Powell for How To Train Your Dragon, Hans Zimmer for Inception, Alexandre Desplat for The King’s Speech, A.R. Rahman for 127 Hours, Trent Reznor & Atticus Ross for The Social Network.
Who Will Win: Alexandre Desplat for The King’s Speech. I don’t even know why, because in my opinion that score is as average and as predictable as they come. There’s nothing extraordinary about this score, but the film has a lot of momentum so him winning is a huge possibility. In all seriousness though, should they really award a guy who scored the overly generic scores of New Moon and Deathly Hallows, Part 1?
Who Should Win: Trent Reznor & Atticus Ross for The Social Network. This score, along with Daft Punk’s score for Tron: Legacy, are the absolute best scores of 2010. The purpose of a score is to complement and enhance the overall feel and mood of a film, and this score does so with perfection. You think about certain scenes in the film and you remember the hypnotic and at times eerie sounds of this score. It would be totally unfair and criminal if it loses to that damn King.
Possible Upset: Hans Zimmer for Inception. Before The Social Network and The King’s Speech came to play, the score for Inception was the definite frontrunner to win. It seems odd and unfair that such a mind-bending, awesome, unique and totally epic score like this one is currently getting sidetracked by the above scores. If The Social Network does not win, then this score you definitely takes its place. Hans Zimmer’s score for Inception is more deserving of an Oscar than The King’s Speech.
Nominees: Danny Boyle & Simon Beaufoy for 127 Hours, Aaron Sorkin for The Social Network, Michael Arndt for Toy Story 3, Joel Coen & Ethan Coen for True Grit, Debra Granik & Anne Rosellini for Winter’s Bone.
Who Will Win: Aaron Sorkin for The Social Network. If there’s one award we know The Social Network is sure to take then it is this one. Aaron Sorkin’s screenplay is, and I’m not exaggerating here, one of the best screenplays in film history.
Nominees: Mike Leigh for Another Year, Scott Silver and Paul Tamasy & Eric Johnson for The Fighter, Christopher Nolan for Inception, Lisa Cholodenko & Stuart Blumberg for The Kids Are All Right, David Seidler for The King’s Speech.
Who Will Win: David Seidler for The King’s Speech. Again, this will only happen because The King’s Speech is an unnatural force that will sweep everything and not because it deserves it.
Who Should Win: Christopher Nolan for Inception. After robbing him of his much deserved Best Director nomination, I think it’s only fair to award him in category where his work is truly the best. As far as originality goes, Inception is easily the most original screenplay to come in 2010. Not only original, but also exciting and loved by the general public. But then again, Nolan also lost when his screenplay for Memento was nominated. If something as unique as Memento loses, then Inception will also probably lose.
Possible Upset: Lisa Cholodenko & Stuart Blumberg for The Kids Are All Right. If there is one other great element in this film besides the acting is the script. The script is air-tight, profound, poetic, hilarious and filled with compelling characters. This script also has an advantage over the above two, because it winning would be a desirable political move from the Oscars. Political how? Because they are awarding a script with two lead lesbian characters and this will further decrease the notion that the Oscars are homophobic.
ACHIEVEMENT IN CINEMATOGRAPHY.
Nominees: Matthew Libatique for Black Swan, Wally Pfister for Inception, Danny Cohen for The King’s Speech, Jeff Croneweth for The Social Network, Roger Deakins for True Grit
Who Will Win: Roger Deakins for True Grit. I think this is the only category where The King’s Speech will definitely lose. Because to say that The King’s Speech's cinematography is better than True Grit's, is to say that White Chicks is a better film than Gone With The Wind. See how insulting that sounds? True Grit will win, it’s cinematography is one of the best elements that film has and it is easily the best of the year.
Possible Upset: Matthew Libatique for Black Swan. First of all, I really want Black Swan to win something besides Best Actress and the film has a good chance at winning here. Thanks to Libatique’s masterful cinematography, the scenes in Black Swan felt moody, eerie, haunting and ultimately very frightening. The King’s Speech will probably win if True Grit loses though.
ACHIEVEMENT IN VISUAL EFFECTS.
Nominees: Alice in Wonderland, Harry Potter and The Deathly Hallows, Part 1, Hereafter, Inception, Iron Man 2.
Who Will Win: Inception. While Inception doesn’t have the most showy visual effects like Alice In Wonderland and Iron Man 2, it does however have the most effective and awe-inspiring visual effects. The rest of the nominees feature visual effects we’ve come to see and expect from a film, but Inception does something truly different and it deserves to be awarded. (I just want to take this moment and ask how the fuck does a film like Hereafter beat Tron: Legacy for visual effects? That right there makes absolutely no sense to me).
And that is it for my predictions. I know, I left out a bunch of categories like, Documentary, Foreign Films, Editing, Sound Mixing, etc. The reason why I don’t predict those is because my knowledge of those categories is fairly slim, and I haven’t seem most of the nominated foreign films and documentaries. What I can say is that I hope Exit Through The Gift Shop and Dogtooth win in their respective categories.
The monday after I shall write my reactions of the show and the winners. I’m still hoping The Social Network wins, at least David Fincher should win. If he doesn’t then that’s okay, we can add him to the list of great directors who never won a Oscar like Alfred Hitchcock and Stanley Kubrick. That’s not a bad company at all.
For me, there are two kinds of action films: great action films and mindless action films. While the former are obviously always good, the latter kind has the possibility of either being good or bad. Like for example, Transformers, or basically any film by Michael Bay except for The Island, can be categorized as good mindless action films. These are the films that are fairly straight forward and aren’t trying to be anything but good entertainment. Sometimes we get a mindless action film that tries desperately to be a great action film, which at times can work while other times it hurts the film considerably. In the case of Faster, the film gets hurt… a lot.
Faster follows recently released convict Driver (Dwayne Johnson) as he rapidly starts killing the people who did him wrong. In his journey of retribution, he crosses paths with a hired assassin appropriately known as Killer (Oliver Jackson-Cohen) and a heroin addict detective known as Cop (Billy Bob Thornton). These two man are dead-set on stopping Driver from taking full revenge of the people who killed his brother.
There are a variety of things that work in Faster from the sleek direction to Clint Mansell’s score to Dwayne Johnson. It is so nice to see Johnson back doing what he does best and in here he delivers a flawless badass motherfucker. You would think that after doing dumb family films he would’ve lost his magic, but thankfully that is not the case. He has such an eerie and threatening presence that I would totally run away screaming like a little girl if he was standing 10 feet a away from me.
What brings Faster down is that it is trying to really hard to be a great action film. Too much time is spent on characters no one cares about and the film is constantly trying to make us relate with everyone involved. I personally did not give a shit about anyone except for Dwayne Johnson and Jennifer Carpenter who has a very short cameo. Also, the film keeps trying to send a message that revenge is bad but at the same time is good. In all honesty, if I wanted to watch a film with a message then I wouldn’t be watching this one.
Faster has great action scenes and that’s pretty much it. As far as revenge films go Faster is definitely one of the bad ones. The only positive thing I can get from this film is the fact that Dwayne Johnson is back doing action films. Here hoping he stays with stuff like this, because seriously the less Tooth Fairy bullshit we can get the better.
“Every shot is rethinking cinema, rethinking narrative – how to tell a story with a picture. Now, I’m not saying we have to keep throwing javelins at the camera, I’m not saying we use it as a gimmick, but it’s liberating. It’s literally a Rubik’s Cube every time you go out to design a shot, and work out a camera move, or a crane move. But it has a beauty to it also. People look like… like moving statues. They move like sculpture, as if sculpture is moving in a way. Like dancers.”—Martin Scorsese, on filming in 3D (via lina-lamont)
When I first saw the trailer for Devil my immediate reaction was that intrigue, then the name M. Night Shyamalan popped up and I just started laughing along with the rest of the people in the cinema. M. Night Shyamalan has made so many bad films recently that he has become a joke, a hoax and disliked throughout. In the case of Devil, he did not direct it or wrote the screenplay but he did come up with the concept for it. If I can say one positive thing about M. Night Shyamalan is that his stories are always intriguing, even if their endings sometimes ruin what came before.
The premise for Devil is pretty straight forward, five people are trapped in an elevator and crazy shit starts happening. As it turns out, the Devil itself is actually one of the people in the elevator. While this is going on, Detective Bowden (Chris Messina) is attempting to find out exactly why these terrible things are happening and he slowly discovers that everyone in that elevator has a dark secret.
This may sound surprising and trust me that I was surprised myself, but Devil is easily one of the most effective thrillers to come in recent memory. I’m always impressed with films that take place in a small confined space and still manage to create an eerie, scary and tension-filled experience. You think you know who is the devil in the elevator, but as things start to happen what you originally thought turns out to be wrong. That’s one of he aspects an effective thriller needs, a high level of unpredictability and uncertainty. We the audience are at the edge as much as the people in that elevator, and when those lights go out and the screen turns black things get ever more scary. I’m one of those people who really like when the screen just turns black and you rely only on sound. The sound of people screaming and saying crazy shit is at times much more effective than a visual.
M. Night Shyamalan has redeemed himself somewhat with this film. Devil is by far one of the most awesome thrillers I’ve seen in a long time and that is very uncommon. Every year we get numerous thrillers and most of them end up being uninspiring and boring. While Devil isn’t a groundbreaking film by any means, it’s greatness does give us hope that actually good thrillers aren’t a lost art.
I know what you are thinking: why the hell did I even watch this film? I was placed in a situation where the person who I was with wanted to watch this and I didn’t want to be a bitch and say no. Given the circumstances, I don’t relly regret watching The Last Song which is not to say that it is a good film. This film is bad on numerous levels, but it has open my eyes to a recurring notion that the general population experiences when watching a film like this. Which is what exactly? I’ll get to that in a second.
In The Last Song, teenage rebel Ronnie (Miley Cyrus) and her younger brother Scott go to their father house on the beach for the summer. Ronnie doesn’t get along with her father, Steve (Greg Kinnear), and avoids him at all cost. During her stay there, she meets Will and sparks start flying everywhere between them. She falls for him and eventually learns to be less rebellious and a better daughter.
Before we go further let me just say that I don’t hate Miley Cyrus. Okay, scratch that I hate her as a human baing but not as an artist. No matter what you think of her or how annoyed/sucidal her voice might make you, you can’t deny that she is indeed a good singer. As an actress she between the lines of horrible and decent, and in this film she is decent.
Anyway, the thing that I discovered with this film is that the general population has this notion that if there’s a lot of melodrama in a film then it is immediately good. Films such as The Last Song create melodramatic situations to force an emotional reaction on the audience, and when the audience cries and feels all warm inside they tend to say that the film was good. However, what people don’t seem to realize is that melodrama created for the sole purpose of being melodramatic is not good. Without giving too much away, The Last Song constantly presents dramatic situations that come out of nowhere. They not only feel completely forced, but it also feels like a cheat. If you are going to tell me that a character in the film has cancer, without so much of hint, then you are create a moment where the audience goes like: “What the fuck? Where did that come from?” At least that is how I felt and as result I ended up disliking the film even more.
I guess if you didn’t question things then you would think The Last Song is a good film. But for the those people who tend to use their brain while watching a film, they will notice how the film’s attempt at eliciting emotional reactions is nothing more than a fake ploy. The Last Song is a melodramatic cheat that doesn’t need to be watched.
Last summer I saw the beginning of Get Him To The Greek and I hated it for a couple of reasons, all of which had absolutely nothing to do with the film itself. You have to understand that I saw the film in one of the most worst cinemas I’ve ever gone too. The sound was bad, the seats were more uncomfortable than watching two hobos making out, and as a result I left after about 15 minutes. Fast forward to now and I decided that since everyone seems to say that Get Him To The Greek is hilarious, why not give the film a proper viewing. The film focuses on Aaron Green (Jonah Hill) as he attempts to take rockstar Aldous Snow (Russell Brand) to give a concert at the Greek Theater. Snow has been in seclusion after the racist and unanimously hated record African Child that not only destroyed his music life, but also his personal life. Bringing Snow on time to the concert turns up to be a huge challenge for Aaron as he has to manage the crazy demands and negligence of this has-been rockstar.
I’ve never liked Jonah Hill, I’ve always found him to be quite annoying. This is no different here, but with all the hilarious and crazy stuff happening around him at the end I ended up liking his character a bit. My main problem with him is that he was the least funny character in the whole film, whereas everyone else is absolutely hilarious. In all honesty, while I loved Russell Brand I ended up loving all the supporting characters more. One of the reasons why I kept watching the film was specifically to see what the already introduced and new supporting characters would do. From Rose Byrne absolutely genius Jackie Q, who for me is the absolute best thing of the film, to Diddy’s Sergio whose every line of dialogue gets progressively funnier to Elisabeth Moss calm but awesome Daphne Binks. All of these funny characters with the addition of cameos by Pharrell, Tom Felton and Meredith Vieria make Get Him To The Greek one of the funniest films I’ve seen in a very long time.
P.S. And the threesome scene near the end of the film is the most awkward most hilarious scene I’ve seen all year. Throughout that scene I just kept laughing and yelling “what the fuck is this?”
I’m returning to Montreal from my much deserved hiatus. My apologies for the lack of posts since friday. Today things will resume. I noticed I have a few new followers. Welcome! And I hope you find my posts entertaining or at least interesting.
The Oscars are this sunday. Are you excited? I’m excited. I feel like there will some really good surprises on sunday, which is just another of way of saying that I hope The King’s Speech loses. Hey! I’ll keep saying that until the winner is announced. Yeah, I’m in denial. What of it?
On other news, Radiohead’s new album The King of Limbs is pretty good. For me, In Rainbows will forever be their best, but I’m starting to warm to The King of Limbs. The album has a different vibe from In Rainbows that I’m really liking. If you haven’t heard it yet, shame on you. Go download it asap!
Let me start off with a confession: I have only seen two Spike Jonze films. I absolutely loved Where The Wild Things Are and I absolutely hated Adaptation, but I blame Charlie Kaufman for that one. One of things that I noticed right away about his films is their level of originality, melancholy and odd sense of humor. Much like Wes Anderson, Spike Jonze has a very distinct filmmaking style that is instantly recognizable. Jonze is also one of the few directors whose short films create as much anticipation and excitement as his feature length films.
I’m Here takes place in an L.A. where robots live among humans. Sheldon (Andrew Garfield) is a robot library assistant who lives an ordinary and uneventful life, until by chance he meets another robot named Francesca (Sienna Guillory). They start hanging out and an attraction quickly sparks between them. Francesca brings new life to Sheldon, but through a series of unfortunate events Sheldon is forced to make some difficult decisions.
The story the film presents is not new, we’ve seen in it countless of times. However, what makes the story so special and feel new is the way it is presented. There’s a common misconception that humanity is only present within humans, but in the world this film takes place that is not the case. Sheldon may be a robot, but he does have a soul and his love towards Francesca is both compelling and devastating. Even though we never see his face, I think this is one of the best performances Andrew Garfield has ever given in a film. His face may be a spare part from an old computer, but through his body movements and intonations he conveys every single emotions and thought.
I’m Here is the definition of a bittersweet story, it will make you feel warm inside and probably bring you to tears. As far as love stories go, this is one of the most beautifully presented love stories I’ve ever seen. And like most of Spike Jonze’s films, it stays with you long after the credits end.
It is completely insane the amount of sequels, threequels, prequels, fourquels, fithquels, etc that will be coming out in 2011. Some I knew of (Transformers 3, Pirates 4), some I didn’t (Hoodwinked Too! Hood vs. Evil, Happy Feet 2) and some seem totally unnecessary (Alvin and the Chipmunks: Chipwrecked).
Check the link for a full break down and for further proof of how originality doesn’t exist anymore in Hollywood.
When viewing Wall Street 2, I am faced with two problems: one, my powerful hatred towards the director Oliver Stone and two, the fact that I know absolutely nothing about Wall Street. I can easily overlook the first problem, but as this film progresses the second problem became more and more predominant. This is not to say that I wasn’t able to follow the story of the film, but every time there was talk about insurances, deficits, checks, currency decreases and other business terms I was very much lost. To be honest, there is a reason why I didn’t become a stock broker (even though all my teachers told me I would be excellent at it) and it is because I simply do not give a fuck.
There are so many things happening in Wall Street 2 that it is hopeless for me to give a clear description of the plot. But suffice to say, Shia Lebouf (I don’t remember his character’s name or anyone else’s for that matter, and I just saw the film) is a young and ambitious Wall Street businessman who is engaged to Carey Mulligan, the daughter of recently prison released Michael Douglas. Mulligan hates his dad for tearing apart her life, while Lebouf becomes sort of the protege of Michael Douglas. Also, the events of this film occur during the fall of Wall Street and everyone in Wall Street is pretty much going crazy trying to maintain themselves rich. Some other shit happens but who cares?
I was really, really, really bored by this film. I mean, the only reason why I even watched it was because of Carey Mulligan and she was great as I expected her to be. Although, it was really odd to hear her speak without her British accent. At some points it felt like someone else was speaking. There is a scene between her and Michael Douglas where they both try to come to terms with their conflicting problems that is absolutely great. That scene is the best moment of the film and the only moment where Michael Douglas actually appears human. But everything else about the film is really uninteresting and even though I tried to care about the characters, at the end I really didn’t.
You can say that I am bias towards the subject matter this film deals with and you would be correct. Having said that, if the film had tried to make things more interesting and understandable then I might’ve enjoyed it. Wall Street 2 is not a terrible film, every actor gives a great performance and Oliver Stone’s direction is pretty cool. I generally like Shia Lebouf but his presence in the film felt really out of place, he just looked too young to involved with all these people. Furthermore, is it odd that I didn’t particularly see any chemistry between him and Mulligan? Anyway, I suppose if you’ve seen the original film you might like this one, but if you haven’t and you don’t really want to see 2 hours of greedy people talking about money then skip this film.