Tampilkan postingan dengan label Shame. Tampilkan semua postingan
Tampilkan postingan dengan label Shame. Tampilkan semua postingan

Selasa, 17 April 2012

Black Sheep interviews Michael Fassbender


Ain’t No Shame
An interview with Michael Fassbender, star of SHAME


Note: This article was originally published in Montreal's Hour Community.

It can be a bit jarring to go from watching an actor on screen one minute to seeing them sitting directly in front of you the next. It can even be somewhat awkward when you’ve just watched said actor engage in a multitude of sexually explicit encounters on film. When the actor you’re speaking with though is as effortlessly talented as Michael Fassbender is, you quickly realize there is no shame in it at all.

In SHAME, British filmmaker, Steve McQueen’s sophomore effort, Fassbender is naked within minutes of the film starting, so it seems only fitting to begin our conversation there as well. “It’s kinda embarrassing,” says the actor who has nothing at all to be embarrassed about. At this point, I laugh out loud and when Fassbender realizes I’m shocked that he was the least bit shy given how good he looks, he jokes, “Oh I see. You were having a gay old time then.” On that note, the Irish-German actor is clearly quite the charmer, even when fully clothed.

The 34-year-old Fassbender, who won the Best Actor prize at the Venice Film Festival, plays Brandon in SHAME, a sex addict living in New York City. It would seem to me that if you’re going to tell a sex addict’s story on film, you’re going to need to see a little sex happen, but some people have argued that SHAME not only goes too far but that it relishes in its boundary pushing. “It’s ludicrous to me,” Fassbender explains, with only a hint of outrage. “You can take someone’s head off with a cheese cutter but heaven forbid should you show a penis.”

As much as it is about sex, SHAME isn’t really about sex at all; it’s about a person with an addiction. Brandon isn’t the easiest character to like either. He uses women whenever required and he is horribly unsupportive to his sister, Sissy (Carey Mulligan), but Fassbender was never concerned people wouldn’t come around to Brandon. “I knew people were going to like him because I liked him, because he was a guy that knew he was ill. He is a product of our time.”


Despite Brandon’s timeliness, the Motion Picture Association of America has slapped an NC-17 rating on the film, which prohibits anyone under 18 years of age from seeing it, regardless of whether they are accompanied by an adult or not. Ordinarily, this rating means box office death but SHAME wears its badge proudly and is doing well in limited release despite it. “It can be a good thing,” Fassbender says of the rating. “The most important thing is to get people talking about it. That creates curiosity and it only seems to put more bums in the seats in the end.”

A few cuts to the film could have brought the rating down to an R, to which Fassbender responds, “Good luck trying to convince Steve McQueen on that!” Fassbender and McQueen had previously worked together on McQueen’s debut feature, HUNGER, a 2008 film about the 1981 Irish Republican Army hunger strike, as led by Bobby Sands, whom Fassbender portrays in the film. (Incidentally, the two are scheduled to work together again on McQueen’s third feature, TWELVE YEARS A SLAVE, expected in 2014.) “He’s the only person I could have asked to do this,” McQueen tells me about casting Fassbender in Shame. “I don’t believe he’s an actor. He doesn’t act. What he does is a different thing altogether.”


Whatever it is he does, Fassbender will be doing it for quite some time if he keeps up this pace. Upcoming projects for the Best Actor Oscar frontrunner include work with some of today’s most famed directors, from David Cronenberg (A DANGEROUS METHOD) to Steven Soderbergh (HAYWIRE) to Ridley Scott (PROMETHEUS), which is exactly where Fassbender wants his career to be. “The way it is at the moment is pretty perfect for me. I get to work with great filmmakers and that’s as simple as it gets. I just want to mix it up and keep myself guessing.”

Best of Black Sheep: SHAME


SHAME
Written and by Abi Morgan and Steve McQueen 
Directed by Steve McQueen
Starring Michael Fassbender and Carey Mulligan


Brandon: Some people fuck up all the time.

Steve McQueen’s sophomore film, SHAME, begins with his returning star, Michael Fassbender, lying in bed, staring at the ceiling or into some far off space. He doesn’t move; he just lies there half covered by the blankets for some time. Something in his eyes suggests he can’t move just yet. He is trapped in those precious morning moments, where you become aware again of everything sleep managed to erase temporarily the night before. To get up, means having to face it all again and once you see what it is this particular man is trying to avoid, it becomes pretty obvious pretty quickly why he would rather stay in bed.

Fassbender, who owes a great deal of his notoriety to McQueen after the two worked together on  McQueen’s first feature, the brilliant HUNGER, plays Brandon, a New Yorker with a fancy job and an even fancier apartment. He presents perfectly in every fashion but he is hiding a secret, one so big that it could threaten everything he has in his life. Brandon is a sex addict. Some scoff at the whole idea that someone can actually be addicted to sex, as if it is some sort of made up excuse people use to get off the hook for indiscretions. The way McQueen writes the affliction though, it becomes painfully obvious that sex addiction is in fact very real and likely pretty rampant. I wouldn’t call it a disease but it is certainly a learned behaviour that triggers the same pleasure and comfort responses in the brain that any addiction would. Brandon needs sex in his life and he gets more than a little antsy when he doesn’t get his fix.


SHAME does not judge nor does it invite us to judge Brandon. That said, we are not asked to sympathize either. We are simply given the opportunity to observe a man in some of his weaker, more vulnerable moments. Brandon is able to manage his needs fairly well when he has routine in his life but when his sister (Carey Mulligan) comes to stay with him, he is no longer able to keep his habits in the closet. Subsequently, we are witness to them all, in all their naked and sordid glory - this is a movie about sex addiction, after all; you should expect a fair amount of sex. Fassbender is brilliant and fearless as Brandon. As he processes what he’s doing and how it is affecting those around him and his self, Fassbender carries this weight in his entire body. (And I do mean, his entire body.) With SHAME, McQueen and Fassbender prove they aren’t afraid of anything and that HUNGER wasn’t a fluke. The only real shame would be if no one saw this film.


Black Sheep interviews Steve McQueen


THE SHAMING OF STEVE MCQUEEN
An interview with Steve McQueen, writer/director of SHAME

The other day, I joked to a friend that I had received shame in the mail. Of course, I was referring to my review copy of SHAME by Steve McQueen, but I preferred to remain cheekily ambiguous. It did get me thinking about how the title of the film might be more apt than originally imagined though. Sadly, SHAME, one of this critic’s top picks from last year, was scarcely seen in theatres. I had been out to see it twice and was deeply moved both instances but when the topic is sexual addiction and the content is widely publicized as explicit, the crowds do not always follow. There is at times an underlying sense of shame in seeing something so sexual amidst strangers. Perhaps now that the film is available for home consumption, privacy will make way for its genius to be appreciated. I’m just pleased it didn’t come wrapped in black plastic.

McQueen, a novice director whose mastery of the language of film is miles away from amateur, knows that the film is a hard sell but suspects that there are other levels to the depths of our shame. “He’s like us,” McQueen tells me of his protagonist, Brandon (Michael Fassbender), when we meet at the Toronto International Film Festival in 2011. “We do not have self worth. If we did, the world would be a fantastic place but we keep on fucking up and trying to fix it.” The notion here is that those who cannot handle Brandon, don’t want to look at themselves. McQueen continues, “He’s trying, that’s what is so endearing about him. I’ve come to appreciate that people who have an affinity with Brandon is because they understand him and I think that’s important.”


Asking people to understand Brandon means asking them to accept sexual addiction as a legitimate affliction. This is something even McQueen had a hard time with before he sat down to write the screenplay for SHAME with co-writer, Abi Morgan (THE IRON LADY). “When I first heard of sexual addiction, I laughed of course, as you do. It’s like if we take a great drunk, makes everyone laugh. Well, when you realize it takes him two bottles of vodka to make it through the day, it ceases to be funny. When it comes to sex addiction, you realize this guy has to have sex, to a certain extent, every day and it then ceases to be titallating. Any emotional involvement, any emotional risk at all, it just fucks him up.”

SHAME is McQueen’s second film and also second working with Fassbender in the leading role. Their first pairing was McQueen’s award winning debut, HUNGER, where Fassbender played Irish Republic Army leader, Bobby Sands, during his time in prison. The two are slated to work together again on McQueen’s third feature, TWELVE YEARS A SLAVE, so what is it about McQueen that keeps Fassbender coming back for more? “The one thing that really impressed me when we were in Northern Ireland, doing HUNGER, was the passion that everybody came to the set with. Nobody wanted to let Steve down,” says Fassbender, before he takes a breath and continues to gush about his friend and colleague. “Steve leads by example. He is a very open, confident man. He’s not afraid to fall flat on his face, or rather he is afraid but not afraid to show that he’s afraid and show his vulnerabilities. That makes him a giant, very strong, so people follow him.”


McQueen is a concise man, both in his artistic expression and general conversation. When asked about the choice of New York City as location for SHAME, he says, “New York is the epicenter of excess.”

When asked about the lack of backstory for Brandon and his equally damaged sister, Sissy (Carey Mulligan), he says, “I didn’t want to be mysterious at all; I wanted to it be familiar.”

And when asked why he favors such long shots in his films, he says, “The content demands the form. Some times long is long but sometimes long is necessity.”


Our interview took place in under 10 minutes and he was able to answer almost ten questions in that time. His answers were sometimes curt and abrasive and other times flourished and detailed; it all depended on what was asked. What is unmistakably clear after meeting McQueen is that he certainly has no shame whatsoever for anything he has done in his career and nor should he. He makes art for art’s sake and what people think of his work, well he is just as efficient with that answer too. “Whether people like it or they don’t like it, either way, I don’t care. I just hope they’re very passionate about it.”

SHAME is now available to rent or own. Do not be ashamed to bring it into your home.

Minggu, 26 Februari 2012

Black Sheep Reviews presents the 2011 Mouton d'Or Awards



Last year I welcomed you to the sixth annual Mouton d'Or Awards and announced that they would be the last time they would be brought to you by Black Sheep Reviews. The intent was to start a new site but life got awful busy, as it tends to do, and here we are. Still Black Sheep presenting and do you know what? I'm happy it worked out this way. It's not about the site; it's about the work. OK, it's a little bit about the site but it is primarily about the work and this last year led to a lot of work for me outside Black Sheep in the world of film criticism. And I get to bring all that work back here to Black Sheep week after week. I'm not sure where Black Sheep was supposed to end up at this point but wherever this is, is pretty great.

And with that Black Sheep Reviews welcomes you to the 2011 Mouton d'Or Awards! The little silent film that could, THE ARTIST, leads this year's nominations with a total of seven but will it take the top prize? Or will it go to the one where reclusive director, Terrence Malick, attempts to capture the meaning of life on film? Perhaps it will be the one where people barely speak and spend a lot of time in cars or the one about the hot sex addict in NYC or maybe even the one where George Clooney wears Hawaiian shirts and flip-flops. It could be any one of these films. I joke about them casually here but they are all incredible films and I have fond memories of discovering each one of them. They all find some way to be honoured here but only one can take the Mouton d'Or for Best Picture.

Without further a due, ladies and gentlemen, the 2011 Mouton d'Or Awards ...
(Scroll over any title to read the original Black Sheep review.)



Contrary to what some people think, film critics do like movies. They do enjoy being entertained. Sometimes, they even enjoy big Hollywood productions like these five nominees. I chose THE HELP in this category because I was completely swept up in it, like a great deal of people out there. I finished reading the book about 20 minutes before I saw the movie and watching it come to life, albeit flawed in a few spots, was great fun for me and furthermore, I am proud to see that this film has touched so many people around the world.



It seems strange to even to suggest that a movie about the end of the world is little on any level whatsoever but when you see how striking Lars von Trier's MELANCHOLIA is, you will marvel at how little it supposedly cost to make. It is one of the most concise and effective films I've seen all year and my personal favourite from this elusive artist.


FRENCH IMMERSION
GREEN LANTERN

I don't like to spend too much time on these nominees. They have already wasted enough of mine as it is. Just look at those photos! How ridiculous do they all look? You should avoid all five but that being said, you should avoid David Gordon Green's YOUR HIGHNESS more than any other. It is pure torture from start to finish and an embarrassment for all involved.



I have to say I am completely blown away by this choice. THE TREE OF LIFE is by far one of the most polarizing films I've ever seen. People who love it, LOVE it but people who hate it, well they're willing to throw down over it. Personally, I love it. So to see that my readers overwhelmingly chose to honour it over some of the more populist choices in this category is incredible to me. Great choice, guys, and thank you to all who participated and voted in for this prize.



It still saddens me to only see two nominees in this category. I admit to not having seen some of the bigger animated films this year but that is just because they did nothing to excite me. These two are both fantastic films but the scale tips towards RANGO for being just so darn different and delicately detailed.



No matter what you think of Malick's opus, THE TREE OF LIFE, you cannot deny its exquisite beauty. This can be credited to Malick himself of course but also to his brilliant cinematographer, Emmanuel Lubezki, his whip smart editor, Mark Yoshikawa, and special effects genius, Douglas Trumbull, who came out of retirement to help recreate the creation of the universe.



Electronic music artists taking stabs at film scores is becoming increasingly more and more popular but the  inventive and unexpectedly successful work of The Chemical Brothers on HANNA makes an already exciting film experience that much more memorable. It's also a lot of fun to listen to outside of the context of the film.


KENNETH BRANNAGH in MY WEEK WITH MARILYN
ALBERT BROOKS in DRIVE
ARMIE HAMMER in J. EDGAR
BRAD PITT in THE TREE OF LIFE
CHRISTOPHER PLUMMER in BEGINNERS

This category came down to two choices for me and one had to be made. There is something so infectious about Christopher Plummer's interpretation of a 75-year-old man who has just come out of the closet and been diagnosed with cancer in BEGINNERS. He has waited his whole life for this time to be himself and there is no way he is going to let a little thing like death stop him from experiencing every aspect gay life has to offer. It is truly inspiring and his performance is moving.


JESSICA CHASTAIN in THE TREE OF LIFE
MELISSA MCCARTHY in BRIDESMAIDS
JANET MCTEER in ALBERT NOBBS
CAREY MULLIGAN in SHAME
OCTAVIA SPENCER in THE HELP
SHAILENE WOODLEY in THE DESCENDANTS

Much of the awards season attention for Jessica Chastain has been for THE HELP but I fell completely in love with her in THE TREE OF LIFE. She has done plenty since then but nothing will compare to the first time for me. She deserves this all the more though for being amazing in everything she's put out this year but her work in THE TREE OF LIFE is almost angelic. She is simply luminous.



Mike Mills wrote BEGINNERS about his very own parents' relationship. By fearlessly sharing such a personal aspect of his life and weaving in such specific and vulnerable details, he created a piece that is surprisingly universal. It is quirky and insightful and just embodies for me everything than an original screenplay should. Perhaps most importantly, it is brave and honest.



THE DESCENDANTS tells a complex story and it does so sparingly and without playing to sentimentality when it so easily could considering its sensitive subject matter. Written by Alexander Payne, Nat Faxon and Jim Rash, this family drama is delightfully unique, oscillating between moments of light hearted humour, awkward bewilderment and real heart. It exudes a warmth that heals without even trying.



This is a new category this year. The reason it is here is because I am always blown away every year by what first time filmmakers can accomplish. All five of these films are bold, daring and stylistically fascinating works but Sean Durkin's MARTHA MARCY MAY MARLENE has haunted me ever since I first saw it. And despite its dark and disturbing nature, it is constantly drawing me back to it. I cannot wait to see what Durkin does next.


GEORGE CLOONEY in THE DESCENDANTS
JEAN DUJARDIN in THE ARTIST
MICHAEL FASSBENDER in SHAME
BRAD PITT in MONEYBALL
MICHAEL SHANNON in TAKE SHELTER

I would hate to be an Academy member right now. I'm not sure how I would choose between Clooney and Dujardin for the win in this category. Fortunately for me, I don't have to. I have Michael Fassbender to reward for his unforgettable turn as Brandon, a sex addict living in New York City, who is coming undone. It is too easy to say in this case but Fassbender does literally put it all out there for this character. His nakedness in SHAME, as impressive as it is, is still nothing in comparison to how naked his soul is.


GLENN CLOSE in ALBERT NOBBS
VIOLA DAVIS in THE HELP
ELIZABETH OLSEN in MARTHA MARCY MAY MARLENE
MERYL STREEP in THE IRON LADY
TILDA SWINTON in WE NEED TO TALK ABOUT KEVIN
MICHELLE WILLIAMS in MY WEEK WITH MARILYN

What an incredible year for women in film. In fact, it was this category specifically that forced me to expand the acting nominees to six in each category. There is no way I could not honour one of these fine ladies. That said, there can only be one winner and I found it too difficult to choose between Davis and Streep so I went with Tilda Swinton instead. Her work in WE NEED TO TALK ABOUT KEVIN may not have gotten the notice it deserved but it is stellar. Her horror is unbearable and, fortunately for us or not, she is sure to share that horror with us at all times.



This is another new category this year. You cannot possibly single out every performance in every film you like. There are some times though that it is hard to overlook just how smoothly the entire cast works with each other. All five of these nominees boast impressive performances across the board and chemistry that is unmatched but the cast of 50/50 is a total dream. Joseph Gordon-Levitt leads, and strongly I might add, a sensitive Seth Rogen, a charming Anna Kendrick, a disturbing Bryce Dallas Howard and a heartbreaking Anjelica Huston. Together, they tow an incredibly difficult line between drama and comedy, making for a much more real look at dealing with cancer than any would have expected.


 MICHEL HAZANAVICIUS for THE ARTIST
STEVE MCQUEEN for SHAME
ALEXANDER PAYNE for THE DESCENDANTS
NICOLAS WINDING REFN for DRIVE
LARS VON TRIER for MELANCHOLIA

All five of these directors knew what they wanted and got exactly that out of their pictures but one of them did so with an insane idea. Michel Hazanavicius has wanted to make a silent film for years now and he never gave up. He kept pushing until he finally found someone to back him and once he had the support, he didn't squander a single bit of it. His choices are all deliberate, all respect the rules of the era he is trying to capture and they subsequently allow for an enchanting film experience unlike any other I've had this year. I commend the man and his bravery for making a silent movie at a time when there is so much noise to distract us from the simpler things. Hazanavicius is THE ARTIST.



Out of the 130+ movies I saw last year, these five left the biggest mark on my soul. And while it was incredibly difficult to pick just one, I only had to think back to what it was like to experience these movies for the first time to make that choice. THE ARTIST was a delight. THE DESCENDANTS was cathartic. SHAME was gut wrenching. And THE TREE OF LIFE was monumental. But Nicolas Winding Refn's DRIVE was different. I hadn't seen anything quite like it before. It was quiet one moment and then uproarious the next. It was romantic and simple but then violent and disturbingly so. Everything about it exuded style, from the car chases to the soundtrack to mounting tension between leads, Ryan Gosling and Carey Mulligan. I remember feeling like DRIVE had practically driven right over me by the time it was done. And all I knew was I wanted to take that drive all over again the moment it finished. No other movie got my motor running like this one and that is why the 2011 Mouton d'Or Award for Best Picture goes to



Thank you kindly for reading.
Here's to another great year at the movies!

Minggu, 22 Januari 2012

Black Sheep Reviews presents the 2011 Mouton d'Or Awards


It is with great pleasure that I announce to you today the nominees for the 2011 Mouton d'Or Awards. This year marks the seventh year the awards have been held and this year's bunch of contenders is a strong bunch indeed. In fact, there were so many memorable performances and films this year, that the acting categories have been expanded to six nominations each. There are also two brand new categories this year. One is for Best Ensemble, which is just one more way to honour the incredible casts that collectively came together to impress right across the board in 2011. The other is for Best First Feature because I am always shocked by people who knock it out hard on their first shot behind the camera. To qualify in this category, you need not to have directed a theatrical feature prior to the nominated film. In fact, the only negative factor with this year's nominations comes from the Animated Feature category, where only two films have been nominated because of the lack of decent selections.

Leading this year's Mouton d'Or Awards is THE ARTIST, with a total of seven nominations, including one for Best Picture and Best Director. The little silent film that could is followed closely in the tally by two of the year's more sumptuously cinematic endeavours, DRIVE and THE TREE OF LIFE, both of which have earned six nods a piece, including Best Picture. The remaining two Best Picture slots go to THE DESCENDANTS and SHAME, both of which follow in third place for most nominations, totalling five each. I have seen all five of these films twice now and it will be a pleasure soaking them each in one last time before making my final decision.


It was incredibly difficult to narrow down the Best Picture nominees to only five choices, but as I ask my readers to narrow to just five, I too had to suck it up and deal. As always, I am very pleased with the selections that rose to the top of the Black Sheep Readers Choice nominees. Like last year, the five films represent a great mix of crowd pleasing offerings and the more obscure. My sincere thanks go out to all who participated by sending me their lists. It is always a great joy to see what other people appreciate and to hear why, so again, thank you for sharing with me.

You can now vote for your favourite in the poll at the top of the right sidebar. Voting will open and close weekly until the day before the Mouton d'Or Award winners are announced. This year, that day will be Saturday, February 25, 2012. Vote as many times as you like but just vote!

And so, without any further delay, ladies and gentleman, I present to you, the 2011 Mouton d'Or Award nominations ...

(Scroll over any film title for the full Black Sheep Review.)

BEST BIG MOVIE

THE ADVENTURES OF TINTIN
BRIDESMAIDS
HANNA
THE HELP
THE MUPPETS

BEST little MOVIE

50/50
BEGINNERS
MARTHA MARCY MAY MARLENE
MELANCHOLIA
WE NEED TO TALK ABOUT KEVIN

THE WORST MOVIE I SAW ALL YEAR

FRENCH IMMERSION
GREEN LANTERN
LARRY CROWNE
TRESPASS
YOUR HIGHNESS

THE BLACK SHEEP READERS CHOICE AWARD

THE ARTIST
BRIDESMAIDS
DRIVE
MIDNIGHT IN PARIS
THE TREE OF LIFE

BEST ANIMATED FEATURE

THE ADVENTURES OF TINTIN
RANGO

BEST LOOKING MOVIE

THE ARTIST
HUGO
MELANCHOLIA
TINKER TAILOR SOLDIER SPY
THE TREE OF LIFE

BEST MUSIC

THE ARTIST
DRIVE
HANNA
THE SKIN I LIVE IN
THE TREE OF LIFE

BEST SUPPORTING ACTOR

KENNETH BRANNAGH in MY WEEK WITH MARILYN
ALBERT BROOKS in DRIVE
ARMIE HAMMER in J. EDGAR
BRAD PITT in THE TREE OF LIFE
CHRISTOPHER PLUMMER in BEGINNERS
MAX VON SYDOW in EXTREMELY LOUD AND INCREDIBLY CLOSE

BEST SUPPORTING ACTRESS

JESSICA CHASTAIN in THE TREE OF LIFE
MELISSA MCCARTHY in BRIDESMAIDS
JANET MCCTEER in ALBERT NOBBS
CAREY MULLIGAN in SHAME
OCTAVIA SPENCER in THE HELP
SHAILENE WOODLEY in THE DESCENDANTS


BEST ACTOR

GEORGE CLOONEY in THE DESCENDANTS
JEAN DUJARDIN in THE ARTIST
MICHAEL FASSBENDER in SHAME
GARY OLDMAN in TINKER TAILOR SOLDIER SPY
BRAD PITT in MONEYBALL
MICHAEL SHANNON in TAKE SHELTER

BEST ACTRESS

GLENN CLOSE in ALBERT NOBBS
VIOLA DAVIS in THE HELP
ELIZABETH OLSEN in MARTHA MARCY MAY MARLENE
MERYL STREEP in THE IRON LADY
TILDA SWINTON in WE NEED TO TALK ABOUT KEVIN
MICHELLE WILLIAMS in MY WEEK WITH MARILYN

BEST ENSEMBLE

50/50
BRIDESMAIDS
THE HELP
MIDNIGHT IN PARIS
TINKER TAILOR SOLDIER SPY

BEST ORIGINAL SCREENPLAY

50/50 written by Will Reiser
THE ARTIST written by Michel Hazanavicius
BEGINNERS written by Mike Mills
SHAME written by Abi Morgan and Steve McQueen
TAKE SHELTER written by Jeff Nichols

BEST ADAPTED SCREENPLAY

THE DESCENDANTS written by Alexander Payne, Nat Faxon and Jim Rash
DRIVE written by Hossein Amini
MONEYBALL written by Steve Zaillian and Aaron Sorkin
TINKER TAILOR SOLDIER SPY written by Bridget O'Connor and Peter Straughan
WE NEED TO TALK ABOUT KEVIN written by Lynne Ramsay and Rory Kinnear

BEST FIRST FEATURE

BEAUTIFUL BOY
MARTHA MARCY MAY MARLENE
PARIAH
SUBMARINE
TYRANNOSAUR

BEST DIRECTOR

MICHEL HAZANAVICIUS for THE ARTIST
STEVE MCQUEEN for SHAME
ALEXANDER PAYNE for THE DESCENDANTS
NICOLAS WINDING REFN for DRIVE
LARS VON TRIER for MELANCHOLIA

BEST PICTURE

THE ARTIST
THE DESCENDANTS
DRIVE
SHAME
THE TREE OF LIFE

Thanks so much for taking the time to read through. Now, comes the hard part ... Choosing the winners!


Minggu, 08 Januari 2012

THE IRON LADY


THE IRON LADY
Written by Abi Morgan
Directed by Phyllida Lloyd
Starring Meryl Streep, Jim Broadbent and Alexandra Roach


Margaret Thatcher: It used to be about trying to do something. Now it’s about trying to be someone.

In 2009, Margaret Thatcher attended the unveiling of her own portrait as British Prime Minister, held at her former office, London’s 10 Downing Street. Phyllida Lloyd’s THE IRON LADY supposes it knows Thatcher’s frame of mind in the time leading up to this event. The presumption is that Thatcher’s later years are spent mostly in solitude, facing her own mortality and inevitable dementia, whiling away the hours looking back on her life. There is some element of truth to this portrayal (Thatcher’s daughter has mentioned memory loss in the press), but the question is not whether the device is appropriate or not. It isn’t even the doors that it opens that matter most. THE IRON LADY hinges on but one thing - who walks through those doors and how she walks through them.

Meryl Streep, not surprisingly, is THE IRON LADY. Her performance, as Thatcher both during her rise to power in the late 70’s and early 80’s, and during her later years, is so focused and so commanding that she seems at times to be carrying the entire film in a cart behind her with a rope over her shoulder. Not that there aren’t other standout elements of the film, the most notable of which being Jim Broadbent as her deceased husband who has come back to her life through the power of hallucination, but just that Streep’s caliber of talent is clearly in full force as this iconic political figure. It is as though the breadth in Streep’s performance somehow became entwined with Thatcher’s stature as a politician to form a cross-generational super power of feminine strength. Does Lloyd know what to do with this though?


Lloyd does spin the film a little too often in the all too obvious feminist direction unfortunately. Yes, Thatcher was the first female Prime Minister and yes, she had to fight her whole life to be taken seriously in the relentless boy’s club that is the British Parliament. When she likens her struggle as a woman to those of a soldier in battle though, I’m less inclined to take her as seriously as she deserves to be. Abi Morgan’s screenplay, which misses no opportunity to be dramatic, operating in stark contrast to the bare bones work she did on Steve McQueen’s SHAME, pits Thatcher more often against her male detractors and herself, than the very real political issues she faced during her 11 years in office, sometimes glossing over major events. While this may not make for a great biography in then end, it still makes for some fairly compelling drama. And not one moment of Streep’s performance should be missed.

Rabu, 04 Januari 2012

2011 CAST Awards


Awards season is one of my favourite times of the year but this current season has just been unbelievably busy for me. As a result, I have not been able to dedicate really any time to covering it, thus far. I will certainly be covering the Oscars when they're announced later this month and I will certainly be presenting my own Mouton d'Or awards shortly before that. In the meantime though, I participated again this year in the Cinema Appreciation Society of Toronto year end awards. This essentially involves mostly film bloggers submitting their favourite films from the last year and having those results tabulated by the originator of the idea, Mr. James McNally, from Toronto Screen Shots. Over 40 bloggers participated in the survey and these are the official results ... (Click any highlighted title for the Black Sheep Review.)




FILM TITLE


POINTS


MENTIONS


SEEN
1. Drive5483136
2.The Artist4792629
3. The Tree of Life4602427
4. Attack the Block3862536
5. Take Shelter3762021
6. Midnight in Paris3302431
7. Melancholia3061926
8. Shame2841928
9. Beginners2811924
10. Martha Marcy May Marlene2792024
11. Hanna2351828
12. CafĂ© de Flore207913
13.The Raid2051215
14. Blue Valentine1921130
15. Bridesmaids1851831
16.The Muppets1791425
17. The Illusionist1741122
18. The Descendants1721116
19. Super 81671631
20. Contagion1671422
21. The Interrupters1671012
22. Tabloid1651220
23. Hugo1621023
24. The Trip1591424
25. Meek’s Cutoff1591018


I have to say that I'm very happy with the final results and not the least bit surprised to see DRIVE in first place. Seven out of the Top 10 films are also on my Top 10 so I can relate to the list. In fact the only title I think has no business anywhere near this list is ATTACK THE BLOCK really. Again though, bloggers thend to be of the geekier variety, or at least the one's in this group anyway, so it isn't a surprise to see it there. The geek factor is also why DRIVE as the best film of the year makes sense to me. All that underground, cult cinema style was bound to win out over everything else.

I was fortunate enough to participate in a podcast discussing the results of the CAST awards and you can link to that podcast here. (The CAST Awards Podcast 2011)