Random Thoughts on the 2010 Emmy Nominations

The 2010 Emmy nominations hit today and I’ve got some random thoughts on them—hence the title of this post.

-Lost fans, I’d advise not holding your breath expecting your dearly departed show to be honored just because it was the last season or for its overall accomplishments. Fact of the matter is shows with such a heavy sci-fi/mysticism slant don’t tend to clean up at the Emmys in the Outstanding Drama category unless it’s a weak field, and it’s not a weak field. Breaking Bad, Dexter and Mad Men are still at the top of their game and while I dug a lot of what Lost has to offer in its final run, I don’t think this was their best season, so they’ll have to make do with the statue they got way back in 2005. I hope they get a nice highlight package, though!

-To continue on that line of thinking for a moment, sorry Sean T. Collins, but I don’t see Matthew Fox winning Outstanding Lead Actor in a Drama; I think he acted his heart out and I certainly wouldn’t be upset if he did pull it out, but much like I said above, that’s some stiff competition with Jon Hamm, Bryan Cranston, Hugh Laurie and Michael C. Hall.

-And to finish the thought, I do hope and believe Terry O’Quinn will be honored for his phenomenal Lost work this season as Outstanding Supporting Actor in a Drama. O’Quinn’s 180 turn from the traditional Locke to uber villain Smokey was just remarkable and displayed a range few actors could pull off so masterfully. I would say O’Quinn not being considered a Lead Actor is a bit of a crock, but at the same time, he’s got a way better shot against the likes of Martin Short and company, so I hope Lost’s “ride off into the sunset” moment comes in this category and a Locke-esque acceptance speech ties that final bow on the series.

-As an unabashed Glee fan, I still think it’s ridiculous that Glee got so many acting nominations. It’s a fun, well-produced and undeniably unique show of high quality, and there’s no doubt the cast is immensely talented, but I just don’t see how their performances, impressive though they are, can be held up against the likes of Alec Baldwin, Tina Fey and other people not on 30 Rock. It’s hard to articulate exactly why I feel this way without coming off like I’m slighting Lea Michelle or Matthew Morrison, but I just feel like playing so far over-the-top is entertaining and cool, but not award-worthy. Jane Lynch surely deserves her kudos as she has created a character, but the others are really just playing archetypes and singing incredibly well from my standpoint. In a perfect world there would be another category to recognize the merits of a show like Glee.

-I thought Steve Carrell’s Michael Scott was easily the most irritating and loathsome character on television this past year, and not in an impressive way, but in a “I want to turn off the TV” kind of way. His nomination for Outstanding Lead Actor to me is just the Academy sleepwalking and not having the guts to scratch him off the list after a bad year. At least they didn’t give Jeremy Piven another nomination. Carrell leaving The Office is going to be the best thing for both him and that show.

-Tina Fey was as great as ever on 30 Rock this year, but I think it would be really cool to see Amy Poehler grab that Lead Actress in a Comedy torch from her pal. Parks and Recreation just took such a quantum leap this year and I’m bummed it’s not up for Outstanding Comedy, but seeing Poehler get the win would be a nice consolation prize.

-I feel like I’m definitely at a handicap as far as picking winners by having never seen an episode of Modern Family.

-Finally: It’s long past time for Neil Patrick Harris to take this one home; America, let’s make it happen.

Paragraph (Plus) In-Flight Movie Reviews: The Blind Side

Note: This movie was viewed while on a plane--take that for what you will.

If you don't have plans to see this movie, you can check the spoilers here and then come back.

Make no bones about it, because it certainly does not: The Blind Side is very much a “feel good movie” of the highest order. On the one hand, it does weaken the film somewhat in a critical sense and in terms of the plot’s flow if only because every hurdle encountered is so easily and gleefully overcome by the protagonists that there is a definite lack of deep conflict or introspection. Also, given that the movie is based on a real and compelling story, it’s tough not to question how much is legit and how much has been punched up and simplified for Hollywood. On the other hand, like I said, this is not a piece that has any sense of denial about what it is and isn’t masquerading as high art—at least I didn’t get that sense—so if you choose to just sit back and enjoy as I did, you’ll find yourself getting engulfed in some good performances and a story that skips gleefully along, holding your attention with its whimsy.

Of course the most ballyhooed of those aforementioned performances is Sandra Bullock’s Oscar-winning turn as the fast-talking Memphis mom who brings a poor homeless black kid into her family. I enjoyed Bullock’s turn here tremendously and absolutely think she deserves the accolades she received; aside from the incredible energy she seems to effortlessly project, this role is such a departure from a lot of her stock characters, showing her range, but she also walks the delicate tight rope of portraying a strong, tough female lead who gets her way by being blunt and outspoken yet does not make her just another “bitch.” That you still find Bullock’s character likable through the rough exterior and bravado is an accomplishment worthy of being lauded.

However, Bullock does not do it alone, as her supporting cast was an extremely strong mix of talented young actors and seasoned pros willing to be in the background. Quinton Aaron as Michael, the boy taken in by the Tuohy family, is a tremendous find, an immediately endearing and sympathetic giant who does wonders just with how he chooses to carry his physique. Tim McGraw does a nice job of tethering Bullock’s Leigh Anne as her supportive and grounded husband Sean. Jae Head is also quite a scene-stealer as little SJ, the Tuohys’ young son, playing agent for his new “big brother” when college football scouts come calling. The only person I was a bit let down by was Kathy Bates, whose liberal tutor fell kind of flat, but that could also be simply because I expect so much from her (and her character did still provide McGraw with the opening for his great “Who’d have thought we’d have a black son before we knew a democrat” one-liner).

The Blind Side is a fun movie about issues that aren’t so fun with a good cast that seems to enjoy what they’re doing; I doubt it will change the world, but I don’t think it sets out to.

Paragraph Movie Reviews: Julie & Julia

If you don't have plans to see this movie, you can check the spoilers here and then come back.

I watched this movie pretty much only to see if I should pick Meryl Streep in my Oscar pool but ended up walking away with quite an enjoyable experience. To get to the heart of the matter right away, yes, Streep is suitably brilliant as usual and even with the incredible body of work she has, this ranks as one of my favorite roles I've ever seen her play. I'm not familiar with the actual Julia Child in the least, but the energy, charisma and fun Streep pours into her version had me breaking into grins and fullblown giggles every other minute; she has a good time portraying a woman having a good time and thus, surprise surprise, I had a good time watching. A boatload of credit however should also go to Stanley Tucci, who plays her husband and has an ease of chemistry with Streep that was a joy to watch and completely sold you on one of (if not) the pivotal relationships of the film. Tucci is a wonderfully grounding presence quite different from Streep's exuberant Julia, but you never doubt for a moment that they share a deep and powerful love, clearly relishing the opportunity to play opposite one another. It just makes you happy to see a couple not in their 20's lighting up the screen with passion and support for one another. Jane Lynch is marvelous in a quick turn as Julia's sister while Linda Emond is a lot of fun as her French collaborator. However, it's almost a disadvantage for the movie that Streep and company bring their world to such luscious life, as that's only half the film and makes the modern(ish) day where Amy Adams as manic blogger Julie mostly stuff you want to fast forward through to get back to Julia. I have to give Adams a lot of credit in that she isn't given much to work with playing what I'm guessing is at least a fairly exaggerated version of Julie Powell who is for the most part petty, petulant and unlikable with pretty blah dialogue and plot that just feels small next to Julia's grand arc, but you can really see her doing her damndest to make it work and a couple of times her charm is enough, but mostly it's not. I enjoyed Chris Messina a good deal as her patient husband, but again, he pales in comparison to Tucci. Mary Lynn Rajskub and the rest of Julie's supporting cast are non-factors, cliches or both. However, both eras did a fantastic job of portraying the art of cooking as being vibrant and rich, as well as make me very hungry. Julie & Julia is one really good movie and one decent movie mashed together where the end result is fun, but runs perhaps a bit too long and makes you wait too long between courses; great comfort food though.

Paragraph (Plus) Movie Reviews: The Hurt Locker

If you don't have plans to see this movie, you can check the spoilers here and then come back.

Generally I don't go in for war movies sent in the present or recent past, admittedly in large part because I don't feel particularly well-versed in the political subtext accompanying them, so I wasn't sure The Hurt Locker would be anywhere near my wheelhouse; but, not only does the film veer more or less clear of politics, it also succeeds in engaging the full and rapt attention of somebody who doesn't typically have an overwhelming interest in the subject matter simply (that somebody being me). It's a bit of a tough piece to for me to review, however, in the sense that it doesn't have the typical overarching plot or objectives I'm accustomed to (there's no real goal being worked towards outside of "Will they survive to the end of the 130 minutes?"); really, it felt more like a documentary than anything else, and I believe that's a credit, as I have to figure that's what they were going for. This was not a showcase for acting (it's not tossed aside completely, but I also feel it's not particularly flashy because that's not what's being done here), but rather for process, and I found myself appreciating that far more than I'm accustomed to. To that end, I understand and agree wholeheartedly with the praise for Kathryn Bigelow for her directing work as, again, this was an instance where I actually noticed things like camerawork and placement of set and was rivetted by that in the place of over-the-top characters and performances. The use of silence, slow motion shots, shaky cams, lighting, etc. put me totally in the moment as I was utterly engaged in the dangerous situations the characters were placed in even if I found them disposable in large part; Bigelow creates a world and moments that bleed intensity not on the back of your personal attachment to the people inhabiting it/them, but just because, and that feels so much more weighty. The scene that stood out most for me as an example of the film's quality was the face-off in the desert where Bigelow and company demonstrate that a tense lack of noise and quick flurries of discardable violence can be far more effective than explosions and gore in bringing to life the horror of war (I say as somebody who has obviously never experienced it first hand).

Though I said and stand by this not being an actors showcase, that's not to say the leads don't make the most of what they are given and in large part transcend just being believable as soldiers to create memorable performances. Jeremy Renner's charisma and intensity as Will James bring the character above being the stereotypical wild card and make him a fascinating enigma; his turn is extremely powerful, his physical nuances perfect, and he creates a very nice center for his supporting cast, most notably Anthony Mackie and Brian Geraghty, to revolve around.

The movie is certainly not without its flaws, as for as invested I got in the technical aspects of the work being done I never quite got over feeling over my head in terms of understanding it. Also, while the stakes in the moment certainly feel tremendous, as noted I felt no real sense of investment in any of the characters, which was certainly a negative at moments when their survival was supposed to be driving my interest in the film.

But the downside of The Hurt Locker is outweighed by the visual brilliance and technical excellence complimented by one damn fine star turn by its lead actor. For a movie I'm still not quite sure was for me, I enjoyed it a helluva lot.

For a more thorough and thoughtful review of this film, I recommend Sean's.

Paragraph (Plus) Movie Reviews: Inglorious Basterds

If you don't have plans to see this movie, you can check the spoilers here and then come back.

As many good reviews as I had heard of Inglorious Basterds before sitting down to watch it, I still wondered if there were too many factors working against it at least in the battle for my enjoyment. At over two and a half hours, would it be too long? Would the majority of the lines being spoken in French or German with English subtitles be a drag? Would the violence be too much? Not only did the movie overcome each of these potential pratfalls, I daresay it actually used each to its advantage on its way to standing out as one of he honest to gosh best films I've seen in quite awhile. I didn't notice the length because I was enjoying myself so much, the language switches allowed some actors to work greater levels of depth into their characters and the violence was used in such a way that it both conveyed importance and was just a nice adrenaline kick never used just for its own sake. I've always somewhat ambivalent or at least only quietly enthusiastic about Quentin Tarantino's work as a filmmaker, but with this piece I totally *got* why folks place him a level above. From the eclectic music choices (I love in particular Bowie's "Cat People (Putting Out Fire)" as pump-up jam) to the constant movement of the camera angle and flourishes such as the title chapter cards, it's a smash job from the directorial end while the screenplay skillfully threaded a huge cast and disparate plot threads into a killer tapestry of kick ass. There was nary a scene not dripping with tension where I didn't cringe every time a character reached in their pocket or picked up a pen for fear of what was coming next, and yet at the same time the whole thing was just tremendous fun.

Christoph Waltz as the antagonistic Hans Landa is the talk of awards season for his breakout performance, and it's well-earned from scene one. Waltz more than anybody utilizes the rotation of languages I referred to earlier as he speaks four throughout the film (German, French, English and Italian) and utilizes each shift to completely alter his demeanor, effectively becoming a new character literally with each sentence. He is charming in the smarmiest of ways, terrifying in his unshakeable efficiency, and an absolute creep who you want to see get his but fear will get away with it all because he's that damn good--it's a tour de force. I was actually a bit concerned going in that Brad Pitt was just going to coast on the novelty of his name and a funny accent, but damn, the man knows exactly which buttons to push and really does bring every dramatic tool available to the table as he inhabits his Nazi-hating Aldo Raine. Pitt is a pleasure to watch at work and made me want to cheer; he really is one of the best of this generation and it's not said enough. Aside from the dueling leads, I thought Melanie Laurent was especially brilliant as the sole surviving Jewish victim of one of Landa's massacres, pulling off tortured, irritated and dangerously sexy all in one. Michael Fassbender is also a treat as a smooth-talking and smarmy Brit who gets not nearly enough screentime. Eli Roth, Diane Kruger and the rest of the ensemble were all good, but more in an "as advertised" kind of way (Roth has some great moments though).

At the end of the day though, it's really Tarantino's ball and he runs it straight into the endzone (though he credits the film being able to succeed at all in large part to Waltz, and I can totally see that, as the character is crucial and not many actors, even good ones, could have pulled it off like he did). If I was down on the movie about anything, it's that I did want to see more of the Basterds in action, building their legend, but I suppose that's something of a backhanded compliment as it just means I would have gladly watched another hour.

Paragraph Movie Reviews: Precious

If you don't have plans to see this movie, you can check the spoilers here and then come back.

I did something I hate to do with this movie, and that's that I went in with certain expectations based on reviews and hype; as a result, I spent way too much of my time trying to see how much the finished product measured up to the advance billing as opposed to evaluating on its own merit. Trying to put that aside as best I can, it was a very impressive film, but somewhat uneven for my liking, as the good parts were really good but there were stretches of flat filler far too often. Initially, the best scenes comes out in Precious' home life, whereas the stuff going on at school feels like typical "poor kid boosted up by inspirational teacher" junk that was played out in "Dangerous Minds." As the plot moves ahead, the folks behind the scenes seem to find balance as the stuff outside of Precious and her mom's apartment rises up and becomes more compelling, but there are still some off beats and awkward transitions. One thing that was certainly not overhyped were the performances of the principal actors, as both Gabourey Sidibe and Mo'Nique were absolutely incredible. I don't know much about Sidibe's personal background, but the degree to which she inhabits Precious is beyond impressive, as nothing from the biggest emotion to the smallest mannerism feels at all manufactured; Sidibe's full commitment and transformation gives us a remarkable and unique character right down to the way she moves and speaks. I wasn't a huge fan of some of the fantasy sequences director Lee Daniels seemed keen to drop in more than I felt was needed, but Sidibe's enthusiasm made them move from irritant to guilty pleasure more than once. On the other side of the movie's main dynamic, Mo'Nique is shocking as the abusive mother, delivering a consistent intensity that she is able to manipulate beautifully and make terrifying by using her humor to lull you into a false sense of peace and then jolt you with her most heinous actions; Mo'Nique's final scene is basically what should be listed in the dictionary under "Oscar Clip" (with all due respect to Wayne Campbell). Aside from the entertaining ensemble portraying Precious' classmates, however, most of the supporting cast let me down. As the teacher out to "save" Precious, Paula Patton hams it up and overracts in a way that does her young castmates a grave disservice. Mariah Carey got a lot of praise from reviewers for her turn as a social worker, and she's not bad, but I feel like she's being lauded for a mediocre job just because the potential for disaster was high. Lenny Kravitz is fine as a male nurse, but he's in the movie for five minutes. Despite this and despite the other faults I found, there is so much to celebrate in the performances of Sidibe and Mo'Nique as well as the overall raw emotion in this movie and the shock you feel in its most intense scenes that the less-than-impressive aspects melt away until you really think about them.