The 2010 Mouton d'Or Awards

Welcome to the 2010 Mouton d'Or Awards, brought to you by Black Sheep Reviews for the sixth and, as it turns out, final time. This is not the end of the Mouton d'Or Awards, but rather just the last time they will be presented on this website. Sometime in the weeks to come, Black Sheep Reviews will go dark. When I first started this blog, I had no intention of doing anything with it other than pass the time. As Black Sheep grew though, I started to see where it could go and that was further than I had ever really anticipated. And so, Black Sheep Reviews will be reborn as a new site, one that is more professional and focused and that should (technically) make my job easier and your reading experience even better. And don't worry! Sheldon will not be left behind. Details to follow ...

And now, on with the awards! This year's five Best Picture nominees all find their way to shine in some way amongst the Mouton d'Or winners, but only one gets to claim the honour of a big, gold, digital sheep to print out and stick on their fridge. Will it be the one about the ballerina who ties her shoes too tight, loses her mind and sprouts wings? Or the one with that boxer who has like 18 sisters with huge hair and even bigger mouths? Maybe it will be the one with the annoying little computer geek who taught us all that we don't need friends in real life if we have lots of virtual ones. Perhaps Woody and Buzz will finally go to infinity and beyond! Or maybe, just maybe, it will be the one you all expected to be crowned king. You'll just have to read on to find out.

And now, ladies and gentlemen, here are the winners of the 2010 Mouton d'Or Awards ... (Scroll over any film title for the full Black Sheep review.)

NOMINEES

EASY A

INCEPTION

SCOTT PILGRIM VS. THE WORLD

SHUTTER ISLAND

TOY STORY 3

Although it might be hard to see at times, films are inherently designed to entertain you. Of all the films I saw this year, these were the five that provided me with the best times and there was certainly no better time to be had at the movies this year than at TOY STORY 3. What was originally expected to be an unnecessary sequel ended up capping the series so perfectly and inspiring big laughs, incredible tension and a ton of tears as we all said goodbye to our toys of yesteryear.

NOMINEES

ANOTHER YEAR

CATFISH

I AM LOVE

THE KIDS ARE ALL RIGHT

WINTER'S BONE

As a film critic, I see a lot of movies and some of the smaller ones inevitably get missed from time to time. There is no better experience for me than when I sit down to a movie, knowing very little about it, expecting just as little, and then being floored. All five of these films had varying degrees of this effect on me but none more than I AM LOVE. This Italian film by Luca Guadagnino is breathaking and unabashedly romantic, in both imagery and content. It is a grand experience and one that I want to get lost in again and again.

NOMINEES

CLASH OF THE TITANS

GREEN ZONE

JACK GOES BOATING

SCORE: A HOCKEY MUSICAL

WILD GRASS

Obviously, I do not see everything that is released each year. I try to avoid whatever I think will be dreadful but some crap always manages to get past my filter, either because I have to see it to review it or because I make a horrible judgment call. Though it may be considered rude to spit on a home team player, Michael McGowan's SCORE: A HOCKEY MUSICAL is as insipid as the title suggests it will be. If you're going to make such a ludicrous movie than do it right, man. Instead, what we have here is a bunch of forgettable, meandering songs, and a lot of crude, fumbling dancing on ice. There isn't even any great hockey playing in it! I left before the last number. I couldn't have cared less to see who won the big game if it meant having to watch them sing again.

NOMINEES

BLACK SWAN

INCEPTION

I AM LOVE

THE SOCIAL NETWORK

TOY STORY 3

After a four-week voting session, the Black Sheep readers have chosen wisely. Although I did not love INCEPTION when it was first released, I have since seen it two more times and I am now a firm believer. And I am happy to get in line with my readers on this one as each year they choose a great winner amongst a stellar list of nominees. Thank you to all who participated in the survey and I'd like to extend that thanks further to all who read Black Sheep regularly. This one's for you!

NOMINEES

HOW TO TRAIN YOUR DRAGON

THE ILLUSIONIST

TOY STORY 3

As it already picked up Best Big Movie, it is not a big surprise to see TOY STORY 3 take the Animated Feature category. I do truly love and admire the other two nominees for their passionate artistry but I consider TOY STORY 3 to be a near perfect film.

NOMINEES

BIUTIFUL

BLACK SWAN

I AM LOVE

INCEPTION

THE SOCIAL NETWORK

There are always a few categories I get stuck on each year and this was certainly one of them. I love getting lost in the style of a film, from the cinematography to the editing to the art direction and costume design. Simply put, I like pretty things. And all of these elements come together to make THE SOCIAL NETWORK very, very pretty.

NOMINEES

BLACK SWAN

I AM LOVE

INCEPTION

THE SOCIAL NETWORK

TRON: LEGACY

If there is anything I like more than movies, it is music and all of these nominees have beautiful scores that incorporate a lot of innovation into their bold works. As much as I would really like to reward Hans Zimmer for his incredibly stirring INCEPTION score, I must give the prize to Trent Reznor and Atticus Ross for their trippy electronic score to THE SOCIAL NETWORK. It works so symbiotically with the visuals that it often turns the film into a digital symphony.

NOMINEES

CHRISTIAN BALE in THE FIGHTER

ARMIE HAMMER in THE SOCIAL NETWORK

JOHN HAWKES in WINTER'S BONE

MARK RUFFALO in THE KIDS ARE ALL RIGHT

GEOFFREY RUSH in THE KING'S SPEECH

I have not found Christian Bale's work to be very impressive in the last little while. It felt like he was distracted, not really pushing himself. From the moment he first appears on screen though in THE FIGHTER, it is clear that Bale is about to give a revelatory performance. He looks thin, sickly and cracked out of his head. His grip on his past, and reality for that matter, is strained, but his devotion to his brother is always there underneath all of his own junk. It is very good to see him fight for something again.

NOMINEES

AMY ADAMS in THE FIGHTER

HELENA BONHAM CARTER in THE KING'S SPEECH

MELISSA LEO in THE FIGHTER

LESLEY MANVILLE in ANOTHER YEAR

DIANNE WEIST in RABBIT HOLE

Melissa Leo, a veteran character actor, seemed to come out of nowhere two years ago when she earned great acclaim for her lead performance in FROZEN RIVER. That recognition led to her being cast in THE FIGHTER, allowing her to solidify herself as one of the most talented actresses working in Hollywood today. As a mother torn between her sons and taken in by the allure of fame and fortune, her struggle to convince herself that she is still a good mother is being fought on her face in every frame. Judging from how much she actually says with her face, it could not have been an easy fight.

NOMINEES

ANOTHER YEAR

BLACK SWAN

THE FIGHTER

THE KIDS ARE ALL RIGHT

THE KING'S SPEECH

I like to be surprised by the movies and David Seidler's screenplay for THE KING'S SPEECH is certainly an original one. Sure it is based on real events but it is a period piece that is devoid of stuffiness and pretense. In fact, it is often shockingly droll. The relationship between a king and his subordinate speech therapist is certainly a unique one and it is fascinating to watch as it goes from purely professional to personal, a gap that should be bridged way more often than it probably is. A screenwriter for many years now, Seidler has written about a man who finds his voice and thus finds his own in the process.

NOMINEES

RABBIT HOLE

SHUTTER ISLAND

THE SOCIAL NETWORK

TOY STORY 3

WINTER'S BONE

My apologies to the rest of the nominees in this category. You are all excellent writers and have given us great works but there is truly no contest here. Aaron Sorkin's screenplay for THE SOCIAL NETWORK is a revelation. It is fast paced and runs around in so many circles, it is amazing we are able to keep up with it. Not only is the dialogue beautiful but it also stretches to such unexpected depths that it turns a movie about the creation of a website into a biting commentary on obsession, class, our dwindling privacy, our increased distance from each other and the ever evolving definition of what it now means to be someone's friend.

NOMINEES

JAVIER BARDEM in BIUTIFUL

JEFF BRIDGES in TRUE GRIT

JESSE EISENBERG in THE SOCIAL NETWORK

JAMES FRANCO in 127 HOURS

COLIN FIRTH in THE KING'S SPEECH

This was the other category I struggled the most with this year. I thought it was a no-brainer. Colin Firth is performing at a new level as of late but I recognized that last year when I rewarded him for his heartbreaking work in A SINGLE MAN. I wanted to give it to him again for THE KING'S SPEECH (and seriously considered Jesse Eisenberg as I suspect he will never be this good again in his career) but Javier Bardem is just too good to ignore in Alejandro Gonzales Inarritu's BIUTIFUL. As a dying man trying to put his affairs in order for his children before he goes, Bardem gives a heavy performance that is stretched in so many directions but never feels thin. With a ton of weight on his back, he always walks tall.

NOMINEES

ANNETTE BENING in THE KIDS ARE ALL RIGHT

NICOLE KIDMAN in RABBIT HOLE

JENNIFER LAWRENCE in WINTER'S BONE

NATALIE PORTMAN in BLACK SWAN

MICHELLE WILLIAMS in BLUE VALENTINE

This is, in my opinion, the most competitive category this year. These five performances are all worthy of winning and the combined talent of these five women is overwhelming. To some extent, it puts the boys to shame. And so, as hard as it was to make a decision, I am throwing my bouquet of roses at Natalie Portman in BLACK SWAN. Her descent into madness is so palpable that you cannot help but feel like you're falling down that hole right alongside her. The weakness in her voice, the resolve in her face when she dances, the passion she exudes as she transforms on stage, all of it is completely transfixing - as beautiful and majestic as say, a swan.

NOMINEES

DARREN ARONOFSKY for BLACK SWAN

DAVID FINCHER for THE SOCIAL NETWORK

TOM HOOPER for THE KING'S SPEECH

CHRISTOPHER NOLAN for INCEPTION

DAVID O. RUSSELL for THE FIGHTER

David Fincher has been making great movies for years now. He is an innovator and he likes to push people with his films. His command in THE SOCIAL NETWORK is evident from that very first scene in the bar, the moment that unknowingly catapulted the world into a new era. Fincher knows where he wants to go, where he wants to take us and what he wants us to see at all times. The journey he takes us on is so smooth that we hardly realize we're being taken on any kind of ride. Fincher's direction is confidant, bold and just plain triumphant.

And finally, the moment you've all been waiting for ... or reading quickly in hopes of getting to anyway, I am pleased to announce the winner of the 2010 Mouton d'Or Award for Best Picture of the year ...

NOMINEES

BLACK SWAN

THE FIGHTER

THE KING'S SPEECH

THE SOCIAL NETWORK

TOY STORY 3

I watched THE SOCIAL NETWORK for the third time the other day and I am still floored by how outstanding it is. It is such a self-assured piece of filmmaking, where all of the elements come together so seamlessly and with such masterful execution, that they make the film a modern masterpiece. Who knew a movie about Facebook could be so profound? The truth is no one really expected Fincher and friends to pull this off to begin with. I commend the entire SOCIAL NETWORK team for not only proving everyone wrong but for unexpectedly going one further and blowing everyone away as well.

Thank you all for joining me for the celebration of the best films of 2010. There were clearly a great deal of reasons to do so. As always, I appreciate your continued support and look forward to another great year of film and discussion in the year ahead. Bon cinema!

Black Sheep interviews Javier Bardem

A Biutiful Man

An interview with Javier Bardem

I don’t often get to interview Academy Award winning actors. If this is going to become a more common occurrence though, I should probably learn to mind my place a bit better. For instance, when Javier Bardem sat with me at the 2010 Toronto International Film Festival to discuss his heartbreaking role in Alejandro González Iñárritu’s BIUTIFUL, we began our conversation by discussing Iñárritu’s impressions of the actor that led to him writing this role with Bardem in mind. He described Bardem as tough on the outside but soft on the inside, to which Bardem replied, “Like a melon, like Melon Brando!” comparing himself of course to the great method actor, Marlon Brando, but crossbred with the popular fruit.

Who knew Bardem was so cheeky? So I made a note of his witty little quip in my journal and he shot me a look. “Are you going to write that?” he asked, as if surprised that I was there for any other reason other than to take note of his every word. This is when, without thinking at all, I replied, “Oh, but I am,” and shot him a knowing look right back. “Let me see that!” he said, as he went for my notepad. Who also knew that Bardem could be so playful? And here he was, playing with me.

I was actually quite happy to see that Bardem still had the ability to laugh after playing in BIUTIFUL. In it, he plays Uxbal, a father of two who is estranged from his unstable wife, is involved with a number of illegal activities that exploit those who are even less fortunate than he is and, for reasons unbeknownst to him, he has the ability to communicate with the recently departed, if their souls still linger in unrest. As if that wasn’t enough to balance, he also learns at the on-set of the film that he has prostate cancer and not very long to live. Iñárritu’s first turn as both a writer and director is a haunting, evocative experience that leaves an indelible mark on all who see it, but what kind of scars did it leave on those who were in it?

“For me it was very important to learn to detach myself from what I was doing. Otherwise, you get lost in your own thing,” Bardem confides about his process. Isn’t that what everyone wants to know? How do you do it? How do you get so lost in this character and yet still manage to find your way back afterward? “Getting lost doesn’t help creativity at all. It is not about feeling what you’re doing; it is about pretending like you’re feeling what you’re doing. Some days are harder than others, of course.”

Bardem is no stranger to difficult roles. He has been perfecting the art of playing complex characters ever since he first appeared on Hollywood’s radar with an Oscar-nominated lead turn in Julian Schnabel’s BEFORE NIGHT FALLS, the first acting nomination in Oscar history for a Spanish actor (Bardem is from the Canary Islands). He went on to win the Oscar for his unforgettable supporting turn in the Coen Brothers’ NO COUNTRY FOR OLD MEN (the first acting Oscar win for a Spanish actor). In fact, it wasn’t until playing in Woody Allen’s VICKY CRISTINA BARCELONA that audiences actually got the chance to see Bardem loosen up a little. Incidentally, this is where he met his now wife and mother of his first child, and Academy Award winner herself, Penelope Cruz. The couple recently had their first child together, little Leo Encinas Cruz. A few days he was born, Bardem received his third Oscar nomination, as Best Actor for BIUTIFUL, a feat that many thought he would not be able to pull off.

Bardem is never to be underestimated though. The layers he brings to his performances are delicately nuanced and clearly leave lasting impressions. How does he find these convincing facets inside himself? “I think it’s on the page,” he explains. “When you do the wrong character, there is no way you can do it good. 50% of a good performance is the character that you are portraying. If he is well constructed, then you have 50% of a good performance already, just doing the lines. Then you have to add the other 50% on your own.”

Bardem is not only modest but apparently a realist as well, giving credit where credit is due. In this case, that would be for his director, Iñárritu. The two have been friends for almost ten years and have talked about working together all that time because they have a great respect for each other and each other’s work. (Iñárritu likens Bardem to a minotaur even!) “I am an admirer of his. You see all these amazing performances in his movies and you wonder what happens there,” Bardem proclaims. “With Alejandro, the material is so powerful that you really have to commit. It’s going to be a journey and you have to be aware of that.”

In recent years, Bardem seems to be allowing the journeys he takes to be a little less emotionally consuming, or at the very least he seems to be oscillating between more relaxed fare and films like BIUTIFUL. He appeared opposite Julia Roberts, a friend who helped campaign for his current Oscar nod, in Ryan Murphy’s summer hit, EAT PRAY LOVE, which he shot immediately after BIUTIFUL (“Take me to Bali!” he said when he put Uxbal to bed.) The contrast has allowed him to see the importance of incorporating both the light and the dark into his life. “As much as you have to bring some seriousness to a comedy set, you have to bring some laughter to a drama like BIUTIFUL. It is the balance that always makes things more enjoyable.”

This balance has Bardem attached to a number of upcoming projects, as varied as a new Terrence Malick film and a potential villain role in the next James Bond movie. Either way, Bardem will bring his almost signature brand of intensity to any project he takes on, just as long as he doesn’t have to die this time. “My mother doesn’t like that very much. She always asks, ‘Are you dying in this one?’”

Even if he does, BIUTIFUL teaches us that death is not an ending. It is just the beginning of a long, hard road ahead. I'm not sure if that is meant to be uplifting but if anyone can find the hope in that, it will be Bardem.