Posts Tagged ‘Oscars’

  • Blindspotting: Moonstruck and Fatal Attraction

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    The year was 1987. It was a tumultuous time…A breathless population tried to come to terms with the loss of Shelly Long from Cheers while simultaneously trying to choose sides in the great “Debbie Gibson or Tiffany?” debate. Fortunately Spuds Mackenzie and the announcement of Euro Disney were there to quell the public’s fears (not to mention the arrival of Prozac).

    Side note: there was also the premiere of a little upstart cartoon series called The Simpsons which created an industry of people quoting and borrowing humourous ideas from it – something which continues today unabated.

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    In the movie houses, adultery was on the minds of the American film-goer as two of the year’s biggest releases used it as a central theme. Both Fatal Attraction and Moonstruck had characters cheating on their spouses (and almost-spouses) with varying degrees of consequences – none of which appeared to be lasting. Through different approaches and styles (one a sharply written comedy/drama, the other a consistently paced thriller), they each seem to end up at the same conclusion: infidelities certainly can’t be swept away, but don’t worry since you’ll be forgiven. Since Moonstruck’s main arc really deals with two suffocating people who stumble into each other (and subsequently allow each other to blossom), that’s likely not the fairest assessment of the film. But I’ll get to that later.

    The story opens on Loretta (played by Cher), a tax accountant who seems to have the market cornered on frumpy. She’s unsure about the marriage proposal she’s just received from Johnny (Danny Aiello) because she’s had bad luck before – in fact, very bad luck since her previous husband was killed by a bus. Now she insists that everything be done just right including the actual proposal (she even makes Johnny do it all over again by getting down formally on one knee in the restaurant). When he tells her he has to fly to Italy for his dying mother, her biggest concern seems to be that they set an official date for the wedding. She doesn’t actually want or need him to help, but just agree to the date since all he’ll have to do is show up. It’s quickly established that Loretta isn’t exactly passionately in love with Johnny and even tells her mother (played in Oscar-winning form by Olympia Dukakis) that she doesn’t love him. Her Mom’s response of “Good, when you love them they drive you crazy because they know they can” sets up the issues she has with her own husband (Vincent Gardenia in a possibly too spot-on casting choice). But back to Loretta for the moment…

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  • Mamo #295: Oscar Mystery

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    We cable-knit the nine Oscar night mini-Mamo episodes into a sweater of showness. Jennifer Lawrence! Daniel Day-Lewis! Anne Hathaway’s nipples! They’re all here, except for the nipples.

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo295.mp3

  • Mamo #294: Everybody Into the Pool

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    Bonus Mamo! We sail into your eardrums three days shy of the 85th annual Academy Awards to give you the lowdown on who’s gonna win what, and prep you up for Sunday’s Mamo Oscar night.

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo294.mp3

  • Cinecast Episode 294 – Gennero-ic

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    Matt Gamble makes a brief appearance in this episode where he extols upon the virtues of teen witches (and Emma Thompson.) He is also rather confident he knows something about Oscar. Kurt believes only a fool bets against Abe-Frakkin-Lincoln and Matt can Argo-fuck-himself. Andrew discusses the Teal n’ Orange edition of Officer John McClane and his adventures in Mother Russia as Daddy Car-crusher. Another Take this Waltz debate ensues. Kurt also caught an early screening of Park Chan-Wook’s Stoker and despite being under a gag-order, encourages people to flock to the cinema for this unusually stylish blend of Hollywood and Korean aesthetics. A fun and eclectic Watch List including old school mega-epics (Frankly, my dears, we don’t give a damn), Ricky Jay on Henry David Thoreau and dramatic Steve Martin, early Cameron Crowe flirtations ghetto blasters and the IRS troubles, and ends with Andrew trouble with tribulations in his Blindspotting adventures that lead to just a re-watch of Star Trek II.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


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    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_13/episode_294.mp3

     

    #DieHard #Spon

     
     
    Full show notes are under the seats…
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  • Mamo #287: Oscar Whut

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    The Oscar nominations are out and we nom nom nom our way through lunch while talking about what is and is not headed to the podium on February 24th. Remember: awards don’t mean anything. It’s Mamo.

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo287.mp3

  • Blindspotting #10 – Amadeus and Marty

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    At the time I set out to write this particular blind spot post originally, it was during the Toronto International Film Festival and I found myself without much time left and in a quandry as to what to choose for the Blind Spot. What did I feel like writing about this this time around? I don’t know, what do I feel like writing about? I didn’t just want to slap something mediocre together, but found myself looking for two films that would at least somewhat relate to each other. I ended up choosing two Oscar winning pictures: 1984′s Amadeus and 1955′s Marty. Besides each film taking their titles from the first names of their main characters and each having taken home the Best Picture prize of its year (as well as Best Actor, Director and Screenplay awards), I thought that the 30 year gap between them would add some interesting comparison points. It turns out that the main characters of each film are much more interesting comparison points than I would’ve guessed – especially when it comes to the area of mediocrity.

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    The main character in Amadeus is, in many ways, not actually the famous composer himself, but his rival Salieri (played by F. Murray Abraham in the Oscar winning performance). Though he fancies himself quite the musical genius (and is indeed the court composer for Emperor Joseph II), he is gobsmacked when he encounters the ease with which Mozart creates entire fully-formed pieces (the “voice of God”) within his head. Salieri is not only jealous of Mozart’s skill, but he wonders why God has given these talents to this vulgar character who drinks, carouses and appears to have no manners about him. Salieri vows to block Mozart’s success by working against him behind the scenes and, eventually, to murder him. From the confines of an insane asylum, we learn much of this many years after Mozart’s death as Salieri confesses all to a priest after a botched suicide attempt. From Salieri’s point of view, everything was fine before this young punk showed up on the scene. Not that it necessarily affected his career, but he suddenly couldn’t help but see his own shortcomings. Previously, “everybody liked me…I liked myself.”.

    He can’t help but now see himself as just a mediocre talent, forsaken by God. Even though he secretly attends every Mozart performance and opera, he cannot accept this and continues to work towards crushing Amadeus (e.g. ensuring people don’t hire him for tutoring positions, closing operas in short order, etc.). His only chance to rise above his own mediocrity is to destroy Mozart and triumph over God.

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  • Blindspotting #7 – White Heat and Angels With Dirty Faces

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    This particular blind spot post is easily the most obvious pairing of films I’ve done so far. Though a good 11 years separate the release dates of these two key representations of the gangster genre of the ’30s and ’40s, their commonalities far outweigh their differences. Each pairs characters on opposite sides of the law (the moral kind as well as the criminal code) and are directed by masters of pacing and snappy storytelling. Each suffers from some similar problems as well (minimal use of the tiny set of female cast members, too much time spent with extraneous characters, etc.), but they both rise high above any small potato issues and build to rousing iconic finales.

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    The great James Cagney (who just seems to become greater every time I see him) plays the heavy while a pair of O’Briens take on the respective righteous roles in both 1938′s Angels With Dirty Faces and 1949′s White Heat. While Cagney flexes some of his trademark mannerisms – at least those on which latter day mimics focused like his rolling shoulders in the former and his lower lip biting in the latter – his real life chum Pat O’Brien plays nice as a childhood friend turned priest trying to reform him in “Angels” and then Edmund O’Brien takes on the role of an undercover cop trying to infiltrate his gang and bust him in “Heat”. Both play out as morality tales, though the former bounces a bit more between styles as it hits period comedy and melodrama along with its gangster roots. Fortunately, Michael Curtiz is at the helm and he manages to meld all the styles with relative ease and very few slow moments – which makes sense for a director that has worked in pretty much every genre. Raoul Walsh tackles the duties behind the camera for White Heat and grounds the film in the crime and police procedural form with many Noir touches.

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  • Blindspotting #5 – Kramer vs Kramer and Terms Of Endearment

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    As my tastes have changed and morphed over the years, my willingness to try different things has increased. I now relish, particularly in the universe of film, diving into something heretofore unknown (e.g. I dabbled in some Czech new wave films a little while ago and then couldn’t wait until that Eclipse set rested in my hands). But in my younger days I simply avoided a lot of movies. None with more conviction than the dreaded family drama – especially the ones that were “critical darlings” or multiple Oscar nominees.

    I’m not sure why, but at the time most of them struck me as dull, unlikely to have much visual splendor and probably designed to wrench undeserved emotion from their viewers. In recent years, two such films have moved into my “I’m kinda curious now…” ruminations: Kramer vs. Kramer and Terms Of Endearment, both of which hogged Oscars in their respective years. They’ve been staring balefully at me over the last 30 years constantly reminding me at any opportunity that they remained unwatched like that hole in my fence remains unpatched (I swear I’ll get to it in the Spring). I mention the Oscars mostly to tie back to my young feelings of “it won awards, so it must be boring”, but far more interestingly because each film won almost the exact same 5 statues: Best Picture, Director and Adapted Screenplay plus two acting wins (Kramer won for Best Actor and Supporting Actress, while Terms flipped that to garner Actress and Supporting Actor).

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  • New Bites. Adele’s 007 Theme. Oscar Host selected. Keep on Trollin’.

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    A couple of news tidbits for your discussion.

    Adele’s Theme Song for 007 Adventure, Skyfall leaked online and it is the best Bond Theme since Tina Turner’s Golden Eye tune, at least at first blush.

    Also, AMPAS has selected “Family Guy” creator, and very solid crooner, Seth MacFarlane who earned some serious greenbacks for Universal Studios with TED. Expect a Billy Crystal musical number to open this years Oscars. Expect Neil Patrick Harris to be crying in the cheap seats.

    And in the Trolling Department(tm), Armond White says that Kingdom of The Crystal Skull (Indy IV) is a much better constructed film than Raiders of the Lost Ark, rhythmically and intellectually.

  • Cinecast Episode 248 – Frog Dog

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    A lengthy show today as Kurt and Andrew spend far too much time talking Oscar, not so much who won what, but the details of the TV Broadcast, the nature of award shows and the aging of Billy Crystal. We grade homework assignments, and it is pretty “A”s all around as the listener-ship turns in some fine examples of ‘adult animation.’ Kurt talks about the major face-lift of Toronto’s venerable Bloor Cinema. Gamble pops in to discuss the much lauded Indonesian action film, The Raid. He also offers a mostly positive review of John Carter of Mars, which leads to all sorts of tangents, particularly on the woeful marketing that Disney has done for the film as well as the films long and storied production history. The Watchlist sees everything from extended onscreen equine-death and flying dog-dragons to poliziotteschi to headhunting natives to Korean exercises in style to Jodie Foster busting heads to an Algerian ‘best-teacher-ever’ Oscar nominee to Cate Blanchett modelling period costumes in the boddice-ripping period epic, The Golden Age. Either fast-forward or stay all the way to the end whereupon Gamble lays on one of the strangest homework assignments yet. One that is predicated on the strange and unusual neighbor that is seemingly taunting Gamble with strange goings on. It’s a doozy.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_12/episode_248.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Cinecast Episode 247 – That’s Just The Kind of Pretentious Twaddle I like!

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    Here we are a week before Oscars and there is so little to talk about on that front other than that there is so little to talk about. Gamble gives a run-down on the Best Animated Shorts which are always worth a look. Kurt gives a sparkling review of the latest Studio Ghibli animated feature; a Japanese spin on the classic British children’s novel The Borrowers. Re-titled The Secret World of Arrietty, the film is surprisingly adult in tone and theme and worth looking at on the big screen. We spend a tangent-driven span of time grading the homework assignments (criminal clowns) before diving into The Watch List: Wil Wheaton, Elliot Gould, Alain Delon, Brian DePalma, Michelangelo Antonioni, Billy Bob Thorton and Anna Faris! Andrew goes to town on smashing Tiny Furniture. Matt goes to town on pummeling the seven-year-delayed Margaret (and in the pejorative sense thinks Kurt and Rot will love it).

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_12/episode_247.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Oscar By Ratner

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    Looks like the Academy of Motion Picture Arts and Sciences has their Bad Idea jeans on again. They have selected Brett Ratner to co-produce the show (with usual producer Don Mischer) which will be aired in 2012. Hmmm, so this is what the Mayan calender points to.

    Either way the show will likely be better than that awful looking Tower Heist movie he has coming out. The only silver lining in this is that Ratner may bring back Hugh Jackman, who worked for him in X3: Franchise Killer.

    Moron…er…More on this at the Hollywood Reporter.

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