Link House

In Contention on another 'Year of the Woman.'
Acidemic's wildly surprising top ten. Erich is his own man as a critic. Which is why I like reading him.
BoingBoing life size wax figure of Patrick Swayze in Road House. No really.
Playbill if you're in NYC for the holidays, a ton of good shows are closing. Here's your last chance to see them.
Movie|Line Mike Ryan looks back at his year interviewing celebrities.
The Wrap 25 new films for the National Historic Registry including A Tree Grows in Brooklyn and The Exorcist.
Chateau Thombeau Joan Crawford in a loud dress. (love the punchline)

And now from the completely random department,  Ranker has a list of the "steamiest incestuous relationships on film" a perfect topic for the, uh, holidays? The list has a surprising amount of good films on it (from Chinatown --um the incest is not steamy. Ewww! -- to The Lion King (yes, really) to The Dreamers). But the obvious exclusion, and you can't really make a list this specific without including it is Close My Eyes which features a very young and constantly naked Clive Owen as a man who just really loves his big sister. Do you love Clive Owen? Like a brother or...

Where he be anyway?

RIP Baby Diego

Jose here with some sad news from the future.


In exactly seventeen years from today, the youngest person on Earth will die in a gruesome murder, leaving humanity's fate in the hands of...


It doesn't help that he has some issues to solve with Julianne Moore and thinks Baby Diego was a wanker...


How do you feel about the possibility that in the future no new children will be born? Wasn't Children of Men one of the most amazing movies of the last decade? Are you still pissed someone stole El Chivo Lubezki's Oscar?

BAFTA Live! TapeDelay-Blogging

Nathaniel: Hey, kids. It's probably not sane to "tape-delay" blog the BAFTAs -- you probably already know who one, actually -- but this blog isn't exactly of sound mind during awards season (or, ahem, otherwise). I haven't heard about the winners yet. The second I opened a browser I sensed spoilers from all corners so I had to look away. Why doesn't the BBC-America broadcast it live? It's not like anyone who cares wouldn't watch it in the afternoon on a Sunday. But if you've already heard who won on the internet wouldn't that cut down your desire to tune in and thus lower the ratings? I don't get it. So that they could rerun broadcass of nature documentary Life of Mammals? I don't really care about the sharpness of a squirrel's front teeth or how kangaroo rats (omg. idon'tevenknow whatthoseare and I DON'T WANT TO KNOW) store their seeds. Especially not when movie stars are afoot. Someone get me a BBC executive on the phone!

I've also invited txtcritic, who liveblogged the SAGs for me when I was at Sundance, to join me for this event.

"I was hoping for a bigger laugh"

txtcritic: this is already dreadful.

Nathaniel: Whenever they do these collages of best moments from the year, why are they always the films that aren't nominated that get all the time? If they're so great, nominate them!

txtcritic: because clearly the most memorable movie moments of the year were featured in "Nine," "The Men Who Stare at Goats," "The Boat That Rocked" and "Coco Before Chanel."

txtcritic: Yaaaaay! "Moon" finally wins something!

Colin Firth presents an early award to Duncan Jones

Nathaniel: And that'd be the Best Debut Something Or Other. That's actually the title of the category. It was very schizo. The internet film community has been rooting for David Bowie's little boy all grown up (writer/director Duncan Jones) all year so a million facebook statuses just changed simultaneously.

I'm guessing.

txtcritic: If they play this "I See You" song every time "Avatar" wins an award tonight, I might not make it through the evening. Christ almighty.

Nathaniel: Sixty percent of the people in my apartment watching this awards show right now have NOT seen this movie yet. Where am I? Who am I?

txtcritic: They're showing clips from behind-the-scenes of "Avatar," and watching Sam Worthington and Zoe Saldana having to seriously act with emotions while wearing these contraptions and dots all over themselves makes me genuinely impressed that they can get a line of dialogue out without cracking up.

txtcritic: Okay, I'll say it: Christoph Waltz is super eloquent, but I have trouble staying awake through his sentences.

Nathaniel: But they aren't run on sentences. Suck it up, man. I'm actually so impressed that he keeps coming up with new things to say. Remember when Jamie Foxx gave the same exact speech "My Grandma! RESPONSE AND CALL" 27 times in 2004/2005

Costume Design goes to Sandy Powell for The Young Victoria. I just interviewed her and I'll share more of that very soon.

Matthew So-Goode is on screen. Everyone just gasped. The Young Victoria took makeup.

txtcritic: well, judging by how the evening is going so far, "The Young Victoria" is clearly going to win Picture, Director, Actress, Editing, Adapted Screenplay and Visual Effects.

Nathaniel: Mo'Nique takes Supporting Actress. Weirdly Matt Dillon, who must not have been paying attention during this awards season, had to look at a card to introduce Lee Daniels, the director. He accepted for her. We're not sure why since he said virtually nothing other than making a joke about The Hurt Locker not having actresses in it.

Rupert Everett is announcing "Best British Film" . I don't care what anyone says -- including people in this room -- I love him. Even if you think he's an egotistical ass in interviews, at least he gives good quote. Down with celebrities who don't have anything quotable to say!

Rupert looking good after some weird face moments last year.

With both he and Colin Firth there it's like an Another Country reunion. Wow... the prize went to Fish Tank.

txtcritic: Ew, "Fish Tank." This should've been "In the Loop," by far. I honestly don't get what the appeal of "Fish Tank" is. It's just another familiar slice-of-horrible-life movie that doesn't say anything new or engaging. Please explain it to me.

Nathaniel: I can't because my screener was damaged. I need to buy a ticket. Also: I want to go back to something you said to me about Colin Firth. That A Single Man was to him what Rachel Getting Married was to Anne Hathaway: a movie that made you reconsider and totally love the actor in question who you didn't care about before. I'd love to hear which actors that the readers have had this experience with. TELL US.

txtcritic: the Orange Rising Start award, voted by *shudder* the public. I find it disturbing that Nicholas Hoult was nominated for one of the worst performances of last year -- he was basically auditioning to be a Ken doll. This will likely be Carey Mulligan, but deserves to be Tahar Rahim, who is unbelivable in "A Prophet." Jesse Eisenberg is adorable, but he's been "rising" for years now. Ew, gross, Kristin Stewart. I mean, I totally love and support her rocker-chick-aloof-lesbianism thing (even if she won't officially come out), but come the fuck on. I just looked at her IMDb filmography and she hasn't given ONE performance I would describe as better than serviceable.

Nathaniel: I've never heard the lesbian rumor. For her sake, I hope she IS a lesbian. At least that would make one interesting thing about her. I know I bag on Kristen a lot but I will say that the first time I've (almost) enjoyed her in a movie was in The Runaways in which she was playing a lesbian. Weirdly, she managed not to run her fingers through her hair. In other words: she should always wear wigs for future performances. For her that'd be like when people wear nasty tasting nail polish to stop the biting.

txtcritic: "Up in the Air" just won Best Adapted Screenplay, deservedly. Did the supposed Sheldon Turner / Jason Reitman feud flare up again? What in the hell is Reitman doing missing at these awards? What else is he doing?

Nathaniel: Maybe he's consoling Walter Kirn?

txtcritic: Walter Kirn is such a whiny bitch.

Nathaniel: "Experience the magic of Celtic Thunder." That might be the most amazing commercial I've ever seen. Hand me my phone and credit card.

Carey Mulligan, devoured by print fabrics

Nathaniel: A Prophet just won Best Foreign Film. Carey Mulligan, the presenter, seemed very happy about that win. txtcritic was also thrilled. Jacques Audiard had the BEST translator ever. She was hilarious. Translation with comic timing and attitude. What do we think is going to happen with Carey Mulligan? career-wise ... not Shia Labeouf wise.

Clive Owen, presenting Best Director, was just described as "smoother than a waxed otter". Um...

I'm trying to remember what Clive Owen looks like naked to decide if Jonathan Ross knows of what he speaks but I'm drawing a blank. Something is very wrong with me. I used to watch Close My Eyes on loop in college. Where has my memory gone?

Now Best Director goes to Kathryn Bigelow. We have no idea what her acceptance speech was. Especially the end.

And I just would like to dedicate this to never abandoning the need to find a resolution for peace.

Were those English sentences. No sense can be made of them.

UMA ALERT! --->

You know you're too far into awards season when you get the church giggles about microphone placement. But in our defense, UMA's breasts are so memorable that one always notices them.

The Lord of the Rings: The Fellowship Award goes to Vanessa Redgrave. She is A-MAZ-ING. But you know, she's even less comprehensible than Kathryn Bigelow. Bizarrely incoherent, and I believe it approximated about 60% of the show. It ends with some sort of Shakespeare parallels.

txtcritic: I don't remember Shakespeare's Rosalind thanking the BAFTAs...


Nathaniel: Colin Firth wins Best Actor. He really was marvelous in A Single Man as many readers seem to agree (see the Best Actor poll)

Nathaniel: Mr. Mickey Rourke to present Best Actress. "Do you want this bareback or with a raincoat" WTF

txtcritic: AMAZING. Mickey Rourke just threatened to cum inside whoever wins Best Actress.

...and it's the wildly overrated Carey Mulligan. Thankfully Ms. Bullock wasn't nominated. The adorable, young, pretty, pixieish waif will be the one taking the Rourke load.

Nathaniel: Vile. This is a PG rated blog. PG-13 when we let loose. How is Carey "wildly overrated" when Sandra Bullock exists?

txtcritic: Because, even though she's winning undeserved awards, nobody is shouting ejaculatory praise about Ms. Bullock. Meanwhile, people are raving about Mulligan's "transcendant," "maginificent," "star-is-born" performance as if it's more than her just being adorable, and male critics wanting to screw her.

Nathaniel: male critics and Mickey Rourke apparently.

Nathaniel: On to Best Picture with Dustin Hoffman presenting. Did we like him in Last Chance Harvey? Readers?

txtcritic: I liked him quite a bit in that charming-if-forgettable movie. "The Hurt Locker" wins, and Mark Boal just called his earlier speech "uncharacteristically inarticulate." Arrogant much? Either way, Boal and Bigelow make an extremely hot/sexy "we can't announce we're official until after awards season is over" couple.

Nathaniel: There's a reason we keep calling it The Sexy Locker.


That Oscar for Best Picture is looking more and more secure. At this point, it doesn't feel like a two horse race to me. But some other sports metaphor. What?

BAFTA is over anyway. What did y'all think of the show?
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LFF: Oscaring The Middle-East

Dave here, with a note of shame: I'm afraid I'm shirking writing about Michael Haneke's The White Ribbon for now, because it's too overwhelming a prospect at the moment. It's not one of his most brilliant films, but it is relentlessly enigmatic and fascinating as always, and it's taking my brain some time to unlock it properly. (But with any luck, this might mean another full review.) So, for now, make do with these slightly more palatable vignette reviews, and tomorrow I'll have news of Julianne Moore's sexuality getting explored, because she just doesn't do that enough in the movies.

Not to get too personal, but The Boys are Back (apparently already released in the US - have you seen it?) is what I constantly fear I am: witless. It's a familiar, comfortable, lazy story, which starts off so appaulingly maudlin I suppose it's inevitable that it eventually becomes bearable. It marks Scott Hicks' return to Australia, where he's not been since the Oscar-winning Shine thirteen years ago. Clive Owen is passable as Joe, a man left to cope as a single father when his wife dies (naturally, she hangs around in comforting hallucinatory form to offer words of words of advice), a task further complicated when his teenage son from his previous marriage turns up to spend some time with his father. All of your favourite teary cliches are here: heart-tugging piano melodies, with a touch of 'native' vocals; a bit of plate-smashing; a man sobbing on his son's bed... It's not a hard film to figure out. The predictably lovely ending might raise a smile, but not because the film will have made any impression on your memory. It'll be filed 'learning to live again' movies, and forgotten within a week. C-

Israel's submission for the Foreign Film Oscar, Ajami is a chaptered, complexly plotted story set in Jaffa, an area of Israel which sees Christians, Jews and Muslims all overlapping. What's particularly intriguing about this is that it's an Israeli-Palestinian co-production, with the two directors coming from the different sides. A familial set-up is instantly disrupted by a sudden burst of violence - a template for the film as a whole. It seems almost overloaded with the breadth of subject it attempts to take in - religion, family, money and power, illegal immigrants, and so on. As such, characters become muddled and those who do recur are hard to become truly involved with, as the roving plot might see them killed in one chapter and then move backwards to see them alive again in the next - a problem when the crux of the film is the emotional involvement of the final revelations. It's still a solid piece of work, performed well by amateur actors, but you do feel a bit like you've seen it all done before, and more strikingly. B-

And we're a two-fer for Foreign Film Oscar contenders (sadly timing constraints meant I missed out on a triple bill - Serbia will have to remain a mystery), with Iran looking a more likely contender with the highly involving About Elly. The easy, amusing banter of the film's opening passages, as a group of friends head to a seafront holiday villa, gives way to tragedy and a fascinating undoing of any and all facades as the group inevitably re-evaluate every miniscule detail of what they'd ignored before. This comes to feel slightly drawn out, but it reflects the feeling of rotting devastation that emerges from the uncertainty, bleeding with sodden tension and despair. If I sound like I'm being vague, I am - it's more the intensity of reaction than what actually occurs that makes the impression, but not knowing will make the mark all the keener. Simple, clean, polished work, this is well worth looking out for. B+

Marion Cotillard For Dior

"Lady Dior" that is. Oscar-winning Marion Cotillard is starring in a new online serial for her La Vie En Rose director Olivier Dahan.


You can see the first arch chapter here... "The Lady Noire Affair". Dahan still doesn't seem even remotely interested in (capable of?) coherency but that shouldn't surprise. I didn't love this blend of glamor, mystery and possibly shady ladies but it's short so I'll give the second chapter a whirl when it premieres.

Running serials as a cinematic medium are totally underutilized. I hope the web brings them back in vogue. More specifically, I wish they'd throw Clive Owen back behind the wheel for more adventures as The Driver, don't you? God, those were fantastic shorts.

back to blog for fresh posts
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Now Playing: Apocalyptic Duplicitous Bromances

L I M I T E D
The New Twenty This is only playing here in New York at the tiniest screen known to mankind (Hi, Quad!) For a first film it's quite good. Ignore the generic 'we'll get the gays to see it!' poster (if the leading man looks familiar think Beyonce's "If I Were a Boy" video) and somewhat clumsy title. The plot is a little shapeless but the characters are quite likeable and engaging. The sex lives and friendships of this makeshift family, some gay some straight, are more realistic than you usually see in movies. All that plus the film doesn't push its jokes -- some of the characters just happen to be funny. That's the way we like our laughs in ensemble dramas. B

Hunger If you've been reading lately you know that I highly recommend this one, the true story of a hunger strike in the early 80s in a hellish prison. It's politics are only viewed from one angle but cinematically it operates on several. The artist Steve McQueen is gifted behind the movie camera. (previous thoughts) A-

The Great Buck Howard "Malkovich! Malkovich! Malkovich!" This time he plays a "mentalist"... that's almost like the time Jack Nicholson played a wolf. Is the casting too on the nose?

Máncora A Peruvian road trip film about a young brother and sister and the sister's husband following their father's suicide. Apparently "lines are crossed".

Skills Like This an indie comedy that had festival audiences chuckling. It's about a frustrated writer who suddenly robs a bank.

Valentino The Last Emperor a documentary that follows the closing act of über famous orange designer Valentino Garavani and his business partner Giancarlo Giametti nearly 50 year career. I always hold out hope that there will one day be another fashion documentary as good as Unzipped (1995). Could this be it?

Sin Nombre A sociopolitical thriller about Mexican gangs and a teenager from Honduras on a freight train bound for the States. It wowed critics at Sundance, winning both Best Director (it's a first feature for Cary Fukunaga) and Cinematography prizes.

E X P A N D I N G
Sunshine Cleaning It has occasional trouble navigate its need for quirk (the bane of self-conscious indies). I have no idea why it steals a character wholesale from a better film -- in this case Alan Arkin all but reprising his Oscar winning Little Miss Sunshine performance -- but the rest of the supporting cast handles their roles beautifully and without much fuss. In it's best moments, particularly those involving a love affair between Amy Adams and Steve Zahn, it plays naturalistic and humble. Emily Blunt and Adams are completely watchable, sexy and winning but I suppose that's no surprise at this point. B/B-

W I D E
I Love You, Man Paul Rudd is, according to EW, the most adorable movie star on the planet. I missed the part where Amy Adams was dethroned but I love the Rudd, too. Jason Segel co-stars in this bromantic comedy. Is this popculture movement a trend or a fad? It depends on whether or not this movie is a smash I suppose.

Knowing If you stop seeing bad movies, you can do your part to prevent the apocalypse. Or at least the final destruction of our beloved cinema (my review) D


Duplicity Remember that awesomely hostile sexual chemistry Clive Owen and Julia Roberts had in Closer? It's back in full force only this time twisted slightly to service comedic spy games. They really are a sensational screen couple (and relatively close in age: take note Hollywood. This helps). I'm already eager for a third date with them. Although a second date with this movie might be helpful because it's so damn confusing. Also quite fun. B+

Are you at the movies this weekend or staying in with DVDs?
If you're doing neither, explain yourself oh foe of cinema !
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Julia & Clive, Close Again

Here's Julia Roberts & Clive Owen filming Duplicity, which is both Tony Gilroy's follow up to his Oscar nominated directorial debut (Michael Clayton) and a reunion for those hostile marrieds from Closer. The stars are playing corporate spies in this one who used to be lovers. Maybe they will be able to have some heated nasty exchanges to remind us of their first pairing onscreen...


Tony Gilroy wrote the Bourne movies before writing and directing Michael Clayton. Will lightning strike thrice? And do you need Julia in a way that Charlie Wilson's War didn't deliver?