Randomness: Baroness Schraeder

The Sound of Music is such a rich film thematically (some might even call it saturated) that I could probably write missives on it and still not cover it completely. What is it really? Love story? Religious fantasy? Musical farce? Propaganda? Indeterminate. I’m never quite sure how significant the love story aspect of the film is. Andrews and Plummer are nice enough together, but that essential (an aspect that’s a prerequisite in any serious romance) is so odd. On one side religion is pulling Maria from marrying and on the other good breeding prevents the captain from succumbing to her, good breeding in the form of Eleanor Parker’s Baroness Schraeder.

             

I feel a bit bad for Parker (whose birthday anniversary was last Sunday), she’s a multiple Oscar nominee and I immediately remember not for her work in Caged or Detective Story (although, you can forgive me for forgetting the latter, she hops in and out of it) but for her thankless role in The Sound of Music. And, more than just a general memory of her performance I zero in on a specific scene – one of the most (intentionally, probably) scenes in the movie. I don’t think that there’s anything more uncomfortable in the film – including that ending – than that game of catch that the Baroness plays with the Von Trapp children. It’s both a positive and a negative that the Baroness’ only flaw in the entire film is that she’s not a singing nun. Sure, she might be just a little bit too grandiose but not to the point of being annoying, and those children can be awful.

               

 

I feel so badly for her in that scene. We all love Maria, but surely we do not hate the Baroness?

“Where did he come from?”

Thor directed by Kenneth Branagh; written by Ashley Edward Miller, Zack Stentz, Don Payne, J. Michael Straczynski and Mark Protosevich

            

On more than one occasion, in response to a negative review of a mainstream film I’ve read comments to dissenting critics along the line of “turn off your brain”. Sometimes I do wonder what the advantages of such an action would be. I can’t say, though, because my natural penchant for overanalyses prevents it. Less than halfway into Thor I found my mind wandering asking questions that I knew wouldn’t be answered and wondering how a film with five credited screenwriters could fail to address so many rudimentary issues. It’s a prelude to the imminent Avengers’ film, a picture which I’ve all but forgotten about, and in this instalment we’re introduced to Thor – the hero from another realm. After indiscretions at home in his home kingdom of Asgard he’s subjected to a life on earth.

The film is comprises two parts in one. The first is an Asgard a place that is Grecian legend inspired, but sounds and looks like Shakespeare’s The Winter’s Tale. Odin has two sons, the overwhelmingly blonde Thor and the Loki, who’s given enough penetrating close-ups for us to assume that this shall be our villain for the next two hours. Thor, unwisely, wages war against a land that Odin defeated some time ago and for his imprudence Odin banishes him to a life on earth. Earth is where scientist Jane Foster is conducting a research of obscure foundation and as Thor crashes into her, literally, it leads to the derailment of said research when a group of men in black begin investigating the meteorological madness that has followed Thor’s appearance on earth.

Next to the lavishness that comes with the Asgard portion of the story the New Mexico portions seems especially bland, which is unrotunate because there’s a whole number of more interesting scenarios. Chris Hemsworth is a lot of fun as the male lead and Natalie Portman, who’s relegated to playing more than “Girl” is much better than the role deserves. They work well together, in a kitschy way. I couldn’t help but let my brain run away with me, though. I immediately found myself asking why Thor, who’s legend has been recounted in stories of old (which a character observes) would happen to fall to earth in what is the conspicuous. It’s the least of the issues, though, because I’m not adept at the logics of time travel so I’m hardly the best candidate to discredit the filmmaker’s intent with. The oddest thing about Thor ends up being one of is most unintentionally hilarious – the adeptness with which Thor adapts to earth living. It’s such an odd state of affairs that I begin wondering whether or not Asgard’s inhabitants are cognisant about the other realms. Thor seems unfazed by concepts like cars and civilian clothing of the 21st century, but still has a predilection for cup smashing and 11th century mannerisms. It’s both frustrating and entertaining. In a scene that I cringe and smile at Thor walks into a pet store and audaciously demands a horse.

As such Asgard, by default, seems to come across as the better of the two halves even if it’s far from perfect. The storyline of the warring brothers seems especially rote even if Hemsworth is credible, and Tom Hiddleston the delivers the film’s finest performance as the tortured Loki. The worst thing about this portion of the film is that each time has the potential to develop as a significant character the story moves from him. His final scene (not counting that eye roll inducing epilogue) is excellently done and makes me wish that the film had been a character study of him.

Anthony Hopkins and Stellan Skarsgård are two stalwarts who do much more than you’d expect with their roles. Taking into account all the terrible films Hopkins has been in lately, he’s quite good in this managing to induce his de facto regal Brit role with a whole lot more charm than I expected (shame that Rene Russo couldn’t have been given more to do, though). In the end the film manages to be (marginal) success because the actors, and Branagh at times, throw themselves into the insipid story. As far as the translation of legendary stories to screen goes, it’s no Clash of the Titans. Thor makes for a way more harmless venture. And that, I suppose, is a bit of the problem. It’s completely harmless and ineffectual. 

           

C+

Emmy Chatter: Writing and Directing (Drama Series)

Remember two years ago when Mad Men took up four of the five writing nominations at the Emmy? We sure do. Ryan (of Sorta That Guy) and I started Emmy predictions with the guest performers early in the week. We return, this time focusing on the potential writing and directing nominees. These categories are notoriously difficult to predict, but this conversation was a lot of fan to predict.

Ryan: But off the bat, I've never even tackled predicting Writing/Directing nominees before because it's hard.

Andrew: It IS hard to predict. You were saying on twitter that it’s exasperating when shows submit like a dozen episodes, and even though I know they want to give themselves as much chances, I wonder if they really expect double nods.

Ryan: It doesn't help that the Emmys LOVE to give multiple nods. I remember two years ago how ridiculously it was that Mad Men got 4 of the 5 nominations. Love the show, but that is excessive.

How many nods is Mad Men getting this year?

Andrew: Well, imagine what it's like for people like me who DON'T love the show. They get a wee bit out of hand when they love you.

Ryan: Well with that said, shall we dive into Writing for a Drama then?

Andrew: Indeed, and since we're talking about Mad Men, they've won each year for the past three years. 2 nods the first season, 4 the second, 2 the third. How much do we see them getting this year and for what?

Ryan: At most 3 nominations for "The Suitcase" "Walfdorf Stories" and "Tomorrowland." I'm confident that "The Suitcase" will get nominated though.

Andrew: Really, because if we have any legitimate precursor for this category it's the WGA and the nominated MAD MEN episode there was "Chrysanthemum and the Sword"...which they won for...

Ryan: Hm. Maybe I should've paid more attention to the precursors! Well, then it'll be that and "The Suitcase." Or you know, maybe they'll get 4 nominations. Who knows anymore? The thing is there are a lot of new shows that they might want to honour.

Andrew: If there's a third, I'm thinking either "Tomorrowland" or "Beautiful Girls", but really they go crazy over some episodes. My favourite episode of the season was "The Good News", but I'm not a true fan. Sigh.

Ryan: Well as for new shows, Boardwalk Empire is the big one, but there's also Game of Thrones, Shameless, and The Walking Dead.

Andrew: Has Shameless been well received? That one seems to have escaped me.

Ryan: I'm not sure how well-received Shameless is actually, but it's HBO so it almost feel automatic for it to be in the running. And The Killing, which submitted almost every episode ever.

Any chance of The Killing making it in?

Andrew: Ha, I loved that The Killing did that. Probably just to fuck with voters. What really surprises me about the submissions for writing is that Boardwalk Empire really throws me for a loop when they submit almost every episode but NOT the pilot. And pilots of great shows are almost always the go-to for nominations. So I don't know which Boardwalk Empire episode to wager for a nod.

Ryan: Especially since Boardwalk Empire's "Pilot" is the front-runner for Directing. Um, Martin Scorsese thank you very much.

Andrew: (Yup, he's the frontrunner. But, you're pre-empting me. ha. ha) I figure the season finale is the best bet for a nod.

Ryan: I agree, but I don't really watch the show so I don't know. Also I was wrong about Shameless, it's on Showtime, not HBO. Its chances actually dropped because of that.

Andrew: You are mean.

Ryan: I'm going purely by nominating history of the Emmy's. They love HBO.

Andrew: Friday Night Lights and The Good Wife both got writing nods last season. Are they coming back?

Ryan: That's funny since I was going to ask you if there are any non-cable shows that would make it in.

Andrew: Let me get this out of the way now, I don't get Friday Night Lights. I'm trying so hard to get through the final season, and it's well made but I just can't love it. I'm barely mustering up a liking.

Ryan: I actually quite love it, except for the final season. Something's just been off about it, but then again I saw all of Friday Night Lights in 2 weeks a few months ago.

Andrew: Well, they submitted one episode which means all the fans have one horse to bet on. A nod you think?

Ryan: It's a great strategy definitely, but who knows. Everyone else does seem to love it, so its finale "Always" has a shot. As for The Good Wife, I'd say "VIP Treatment."

Andrew: Before we actually predict, I HAVE to ask. As someone who loves The Good Wife what do you think of the submissions? I think that there are some pretty egregious snubs in terms of submissions neither "Getting Off" nor "Ham Sandwich"? Or "Breaking Up" which I thought was a fair episode but excellently written. But, I guess of the lot "VIP Treatment" is the best bet.

Ryan: The episodes you mentioned are damn good, but that's the thing about this show, almost every episode is perfectly written. That's why I actually respect that they took the "less is more" route over the alternative.

Andrew: I do respect them for that. I'm a Dexter fan but it's never gotten a writing nod. Odd isn't it?

Ryan: Yeah and I have no idea how to explain it. They're okay with violence (The Sopranos), so who knows?

Andrew: I don't get that; and some critics weren't a fan of this season so I guess it's not a lock for a nod. I think it's time we show our hands; this is going to be fun. I'll go first.

Ryan: Do we really have to predict now, because I have 12 episodes on my long list and I have no idea how to pick 5-6 of them. I really, really don't. Guess I'll look at yours and decide.

Andrew: Pick blindly. (And you only have 5 choices.)

Ryan: Even better.

Andrew: My picks:
Boardwalk Empire “A Return to Normalcy”
The Good Wife “VIP Treatment”
The Killing “Pilot”
Mad Men “The Chrysanthemum and the Sword”
Mad Men “The Suitcase”

Ryan: My predictions are actually the exact same as yours, except I'm wavering on The Killing's Pilot. BUT my alternatives to that would be episodes from genre shows aka Game of Thrones"Baelor" and The Walking Dead"Days Gone By." So... I'm going to go with…
Boardwalk Empire “A Return to Normalcy”
The Good Wife “VIP Treatment”
Game of Thrones “Baelor”
Mad Men “The Chrysanthemum and the Sword”
Mad Men “The Suitcase”

Andrew: I, too, am wavering on The Killing, people have started to hate it so it could easily get ignored. And I don't see Game of Thrones getting love. I'd be pissed on principal if they do, because they ignored The Tudors back in the name which I find criminal.

Ryan: That's exactly why I'm wavering on The Killing. The buzz just seems to not be on its favour now, while Game of Thrones is riding some good ones.

Andrew: But the Emmy's are weird, they kept nominating Two and a Half Men without a care in the world. So, who knows?

Ryan: I'm predicting a shut out for that show this year. But maybe its wishful thinking. Also, that's jumping ahead a bit. Shall we go to Directing? Any front-runners?

Andrew: Hah. I'm already dreaming about how awesome Martin's speech will be.


Ryan: He's so locked, it's funny. I'm looking forward to seeing it. And I will definitely see that episode before the Emmy's. This category is a bit more forgiving on genre shows, so I'm predicting Game of Thrones, The Walking Dead, and maybe even Fringe could get in. The latter is DEFINITELY wishful thinking on my part.

Andrew: I have Game of Thrones there too.

Ryan: Three episodes though. Which one has the better chance?

Andrew: I say the pilot, for obvious reasons. Dexter will probably make it too. It won last year, and Shill directed "Everything is Ilumenated" which seems to have a good chance.

Ryan: I was thinking the pilot, too. And yes, definitely on "Everything Is Illumenated" since as you said, it’s last year's winner.

Andrew: Although, I'd think "Hop a Freighter" is a more obvious choice...

Ryan: And how about the perennial winner Mad Men? I keep saying "The Suitcase" because it was my personal favorite episode of the season, but I'm not sure. Especially since Matt Weiner did "Tomorrowland" and last year nominee Lesli Linka Glatter did "The Chrysanthemum And The Sword." Also I say "winner" though it hasn't won a directing award, has it?

Andrew: They've never won for directing, and probably might not...it could be any number of nods for them, though...but one is what I’m assuming...

Ryan: Any thoughts on the chances of "These Arms of Mine" for Grey's Anatomy? The direction of that episode was front and centre as they had to make it look like a documentary.

Andrew: But they've started hating on the show, they didn't even nominate Sandra last year. So I don't want to be hasty.

Ryan: Yeah, even as an on-off-on again fan of the show, I thought it was insane they didn't get any love for their chilling finale last year.

Andrew: I concur. Emmy's are really random that way.

Ryan: Another nominee last year, Agnieskza Holland could be nominated for her work on The Killing. But who knows?

Andrew: Show your hand, sir. Before you do, though, the DGA nominated Dexter, Mad Men, Lost, Game of Thrones and Boardwalk Empire.

Ryan: Thank you sir for that. Okay...
Boardwalk Empire “Pilot
Dexter “Everything is Illumenated”
Game of Thrones “Winter is Coming”
Mad Men “The Suitcase”
The Walking Dead “Days Gone By”

Andrew: Seriously? That's my line-up which is really random.

Ryan: So you were thinking The Walking Dead, too, though? That one was the surprising consensus to me.

Andrew: (I erred it was actually The Walking Dead and not Game of Thrones which got DGA love. Game of Thrones hadn’t come out yet.) I'm going crap it up and say "Hop A Freighter" instead of “Everything is Illumenated” instead for DEXTER.
Boardwalk Empire “Pilot
Dexter “Hop A Freighter”
Game of Thrones “Winter is Coming”
Mad Men “The Suitcase”
The Walking Dead “Days Gone By”
           
And...Darabont (The Walking Dead) is an Oscar nominee. But, really who knows?
               
Any predictions on the writing and directing for drama categories? Scorsese for the win? Mad Men to rule and conquer?

“They're looking for something”

Super 8: directed and written by J. J. Abrams

               

For a pseudo film critic, I pay little attention to the hubbub of films before their release, unless they’re particularly ubiquitous or have a star that I’m obsessed with. It’s probably that same general ignorance, or maybe it was the geographical disadvantage, that made me miss the apparent voluminous the wave of anticipation surrounding the release of J. J. Abrams Super 8. Thus, I was neither preoccupied with its promise of a return to the nostalgia of Spielberg’s 80s films or an undiluted action spectacle suitable for children without being pandering. The most I could tell was a rare summer blockbuster that was not an adaptation, sequel nor remake and with the vociferous cries for “true” originality in the cinema, I assumed that audiences would be generally enthralled. I’ve said before that there’s little inherently wrong with either adaptations or remake and in a way I feel Abrams validates my point with Super 8. It exists, ostensibly, as a work from the mind of Abrams but as “original” a screenplay as it is the ultimate point of Super 8 seems as superficial and insincere as any number of remakes, adaptations and sequels.

The picture opens at a funeral which you immediately know is meant to give the film an emotional backdrop. The fact that Joe’s mother has died gives him that special touch of maturity that allows him the opportunity to be wiser, even if only tangentially, than his counterparts and worthy of protagonist importance. A title card carries us four months later and Joe (Joel Courtney) it’s a safe distance away from the aforementioned funeral so that Joe is not mired in grief, but still thinks about it enough for it to be a part of his character arc. Joe’s best friend, Charles (both tyrannical and hilarious), is making a short film about zombies which requires that the group move to the train tracks to get a chance to retain some “production value”. It’s here that they witness a bizarre accident which comprises a gargantuan train wreck seemingly caused by a professor of theirs car crashing. The man, miraculously alive, warns them that if they tell anyone what they saw they’ll die. They haven’t actually seen anything, but the train wreck precipitates the appearance of terrible monster ready to wreak havoc on the town. And so it begins.

               

I try to think long and hard before I call a film’s writing out for being poor just because I know I’m especially wont to criticise even the smallest of screenplay issues. Super 8, though, is garishly conspicuous because the plot of land on which Abrams decides to build his house of homage is tenuous. He seems only to know that he’s trying to make a reverential piece, but the film is uncertain if its aim is to be a mellifluous coming-of-age drama, a childhood buddy film or an alien invasion romp. Not that it can’t be all three, but when neither avenue is clearly constructed, there’s little chance and Abrams ends up using scenes as perfunctory plot-points and not as authentic moments of character development.

Not that the characters themselves are completely soulless, though. The film is buoyed by a dependable sextet of child actors. I was tweeting earlier in the week that I was most impressed with Gabriel Basso (excellent opposite Laura Linney and Oliver Platt on The Big C) who plays the snivelling male lead, but they’re all quite good. Elle Fanning is both beautiful and terrible as the lone female of the bunch, but as the story develops you get the sense that it’s not that the children’s portion of the story is well-made the child actors are just really game. And, there’s the sense that as clichéd as some of the lines are Abrams would have been better off focusing the crux of the film on them. Instead, the film dawdles around unsure of what it ultimately wants to be.

             

Abrams is looking for that thing called heart that Spielberg’s films are always notable for. I’m not an avid fan of Spielberg, but his biggest fan to his most cynical detractor agree that his films are notable for their tendency (sometimes unnecessarily) to tug at its audiences heartstrings, and in constructing an homage to his hero Super 8 contains all the physical aspects of his predecessor but is egregiously low on the emotional. I’d probably be a bit more forgiving of Abrams, though, if it weren’t for the film’s third act. It’s as if, halfway through production he realises how low on emotion the film is and decides to inject it with the same resulting in just what the film seemed intent on avoiding – cheap sentiment. Alice’s father must be linked to Joe’s mother’s death and the two must share a heartfelt conversation, parents must reunite with their children to swelling music and to ensure that children don’t leave the film scared the tyrannical monster wreaking all that havoc demands only a locket to realise that he’s not really a monster, but an out of place alien who misses. It’s there that the film annoys me most. Abrams wants to keep the suspense as he keeps the monster shrouded in darkness, but he also wants us to feel an intense emotional connection to it. He doesn’t realise that he can’t have it both ways and it makes for a flaccid conclusion.

The poster of Super 8 made me smile because it reminded of a post that Univarn had done ages ago (see here). The name of Spielberg (the producer) is as distinguishable as that of Abrams. I don’t need to go into a psychology tutorial to point out what the giant print of his name supplies. It seems as if the advertising for Super 8 intends on ensuring that two groups flock to the cinemas. The youth population, yearning for a well-made film catered to them and the adult population who grew up on Spielberg intent on a nostalgic experience. The thing about nostalgia is that it’s a bit like Abrams own predilection for lens’ flare. Beneath his stylistic machinations it all looks appealing but in the harsh light of day it’s exasperatingly hollow. I don’t mean to rob Abrams’ yearn for nostalgia its worth. I’m sure if I made a film paying homage to Martin Scorsese it would hardly be worthy of public consumption. Therein lays the point. As a pandering homage to his idol Super 8 is vaguely tolerable, but that doesn’t mean that it’s worth our money. As beautiful as it looks. Abrams is looking for a repeat of the Speilberg blockbuster of the eighties. He doesn’t find it.

            

C

Emmy Chatter: Guest Performers

I have this theory that my naturally obsessive personality is so chronic that it’s always on the lookout for something new to obsess over and at the moment I’ve set my sights on the vast world of TV. The Emmy nominees (the golden standard for the small screen) are going to be announced in a few weeks (July 11th) and I’m taking a journey through the main categories, prediction-wise, with fellow TV stalwart Ryan of Sorta That Guy. Most of my readers are exclusively cinema oriented but I know a few of you have a love for television – like Robert and United States of Tara, or Jose and True Blood or Luke and Modern Family. I’m hungry for awards’ talk, the Emmy’s will suffice.
        
So, Ryan and I started with the guest performers. Here's what our conversation went like...
          
Andrew: Okay, the ball's in your court. What do you want to start with Comedy Guests or Drama Guests? Actors or Actresses?

Ryan: Let's do Comedy. You choose the gender!

Andrew: Okay, Guest Actor in a Comedy. They're way more boring.

Ryan: Isn't that the truth. So who are you predicting?

Andrew: Well, last year NPH won for being phenomenal on Glee, but there's no Glee star that's going to be getting a nod this year and the Emmy's LOVE John Lithgow so he's the closest thing to a lock I can think of for playing Barney's dad on How I Met your Mother.

So is NPH passing on the baton to his father this year?

Andrew: And, Justin Timberlake already won for Saturday Night Live and John Slattery on 30 Rock seems way too obvious to ignore. So that's three. Help me out!
 
Ryan: I also have Lithgow in my predictions, because they love him and he does good work with NPH on HIMYM. Do you really think they wouldn't nominate Darren Criss though from Glee? I'm also predicting Justin Timberlake since they're lazy and he's entertaining enough. John Slattery seems like an easy pick, but I'm actually not predicting him.

Andrew: Criss is fine on Glee, he's just there to be dreamy and for Kurt to make googly eyes at, but he's submitting "Never Been Kissed", which I think he's less than stellar in. And bleh, it's just sort of tame.
    
Ryan: I agree with you on the tameness and the lack of substance Blaine as a character has. But they love Colfer, Glee, and it's an Important Political Issue.

Andrew: Hmm, I get that, but the Emmy is so weird with youth. They almost never give them love. I'm anticipating someone from Modern Family to make it, but who? There's Nathan Lane, James Marsden, Matt Dillon? They're not a show 30 Rock that demands all their guests get nods but I could see at least two of them making it.

Which Modern Family/30 Rock equation will make it?

             
Ryan: I actually have Alan Alda and Nathan Lane, less because of their work and more because they like to nominate guest actors from 30 Rock and Modern Family respectively. So I'd say Lane over the Modern Family guest actors.
    
Andrew: Even, though I think he's the least interesting of the three potential guest slots for the show? I could actually see that happening, but I could just as easily see it not. Any chance of any of The Office guys making it?
      
Ryan: Will Ferrell might have a chance, but I hope not since I really didn't like the character at all.
         
Andrew: I find it sort of odd that Groff didn't submit himself for Glee nor Reid Ewing for Modern Family nor James Spader for The Office. I never really get these submissions. Ah, well: I'll show my hand. My predicted:
Alan Alda 30 Rock
Jim Carrey Saturday Night Love
Matt Dillon Modern Family
John Lithgow How I Met Your Mother
John Slattery 30 Rock
Justin Timberlake Saturday Night
      
You?
     
Ryan: My predictions:
Alan Alda 30 Rock
Daren Criss glee
Eddie Izzard United States of Tara
Nathan Lane Modern Family
John Lithgow How I Met Your Mother
Justin Timberlake Saturday Night Live
Actually I wanted to know your thoughts on Eddie Izzard's work on United States of Tara. More than probable, no?
              
Andrew: I like the idea of Izzard, and people love him, but the Emmy's have such massive tunnel vision with United States of Tara that I never know if they'll remember him. They see Collette and no one else.
        
Ryan: Very true. I mean Keir Gilchrist should've been nominated over Chris Colfer (or along side him) last year.
 
Andrew: And Rosemarie Dewitt. I mean, WTF? Emmy's are so weird. Okay, on to Guest Actress in Comedy. Way more interesting and tough. What do you think of the field?
               
Ryan: So very tough. The only real lock is Cloris Leachmen in Raising Hope. They LOVE her and it's a very showy role in a crtically-loved show.   
Andrew: Have you seen it? I mean, I have zero interest in seeing it which makes me feel badly.
        
Ryan: I saw the first half of the season, but stopped due to time-contrainst and not because the show became bad. I've been meaning to catch up.And as great as Martha Plimpton is on the show, Leachman is the great Emmy hope for this show.
       
Andrew: Well, yeah, Cleachman is in because they love her, I believe she ruled the category for Malcolm in the Middle. They love all old people. Which means that Elaine Stritch is a lock too for 30 Rock. It's like old-women give them a giant hard-on or something. Stritch isn't always that good on the show, but I digress. I say, Stritch, Leachman and Paltrow are locks.
        

Ryan: Yes to their love for older women which is why I also think that Carol Burnett (Glee) and Mary Tyler Moore (Hot in Cleveland) might make it in. The latter only if the Betty White Adulation is still strong this year. Paltrow seems like a sure bet too since she's a Big Name on a Big Show, plus she has her charms especially early on. I don't watch The Big C, but I know you do, what are Cynthia Nixon's chances?
          
Andrew: Yeah, for Burnett. And Cynthia Nixon is MAGNIFICENT on the show. She's already got two Emmy's so I think they love her, so she should be in. But, I'm wondering if they'll remember Linney and no one else like with the other showtime shows. Tina Fey is potentially in, but can't they get tired of her eventually, you think?
         
Ryan: They never get tired of anybody it seems, but yeah I'm not so confident about Fey. Then there are former winners Kristin Chenoweth (Glee) and Megan Mullaly (Parks and Recreation). And anyone from Modern Family? So everything is up in the air, this category.
          
Andrew: I can see Kristin being nominated because even though her role was small she was spectacular, but then I could see her not. I don't see Megan getting it. I know Parks and Rec is potentially seeing more love this season, but those people are fickle. So, hmm, I think she'll be shafted.Okay. Show your hand. Name your six.
          
Ryan: My predictions:
Kristin Chenoweth Glee
Cloris Leachman Raising Hope
Mary Tyler Moore Hot in Cleaveland
Cynthia Nixon The Big C
Gwyneth Paltrow Glee
Elaine Stritch 30 Rock
And really who knows?
            
Andrew: So close to mine:
Carol Burnett Glee
Kristin Chenoweth Glee
Cloris Leachman Raising Hope
Gwyneth Paltrow GleeAmy Poehler Saturday Night Live
Elaine Stritch 30 Rock
I see Poehler as a surprise nod for her work, but I already see that that's too much Glee, so I know I'm wrong.
              
Ryan: Well we'll see. Their Glee-love last year was excessive, so who knows?
                          
Andrew: Who knows indeed. Okay, Guest actors for drama. Any locks?
       
Ryan: Michael J. Fox in The Good Wife is incredibly locked though in an ideal world so would Johnny Lee Miller for his work in Dexter.
        
Andrew: For me the lock is Beau Bridges in Brothers and Sisters which has had a less than stellar year, but they nominated him for his work on Desperate Housewives two seasons back when the show was going through more than a rough patch. And Beau was nominated for The Closer last year. So, who knows?
            

Ryan: See, I didn't know that. So Beau Bridges, who did make my longlist as I was preparing for this conversation, didn't REALLY seem like someone who could make the shortlist. Certainly Robert Morse from Mad Men? But only if they are lazy really.
           
Andrew: Morse, I didn't even think of it...but maybe they won't be that lazy. Law and Order people seem to make it a lot, but I don't watch any of them anymore (except random SVU's to bitch about how much I hate Mariska). Jeremy Irons is being talked up.
         
Ryan: I don't watch it anymore either, but if it's anyone it'll be Jeremy Irons, though Lost's Henry Ian Cusick might have a chance as well. Another show I don't watch anymore is The Mentalist but Bradley Whitford's role is a super important one on the show and his scene in this year's finale is quite a big moment/turning point for the show. But I have no idea how much the show is on their radar.
              
Andrew: Geez, this category looks even more boring than the comedy one. Yawn. Okay, predictions:
Beay Bridges Brothers and Sisters
Richard Dreyfyss Parenthood (who knows, right?)
Michael J. Fox The Good Wife
Jeremy Irons Law and Order: SVU
Johnny Lee Miller Dexter
Peter Weller Dexter
In a perfect world, it'd be Dallas Roberts over Fox.
         
Ryan: My predictions:
Beau Bridges Brothers and Sisters
Michael J. Fox The Good Wife
Jack Huston Boardwalk Empire
Johnny Lee Miller Dexter
Bradley Whitford The Mentalist
Clearly I added Bridges just now after talking to you. I replaced Morse.
        
Andrew: Hmm, Jack Huston for Boardwalk Empire? I would love that, I really would but the Emmy's are weird.
       
Ryan: I only did that since I'm expecting Boardwalk Empire to do really well with the Emmy's even though I haven't seen a single episode!
           
Andrew: Well, the show is great. Okay, guest actress in a drama. My mind is still ruminating, you go.
        
Ryan: Unlike the other guest category, I don't really think there's anyone who is a lock here. I mean it's a lock that someone who guest starred in Law & Order: SVU will make it in. But who? Shohreh Aghdashloo, Maria Bello, Kate Burton, Marcia Gay Harden, Drea DeMatteo, Jennifer Love Hewitt, Elizabeth Mitchell, Rita Wilson? GAH!
         
Andrew: That's precisely what I'm thinking. I'm looking at the list and thinking, eenie-meenie-minie-, Marcia Gay Harden.
          
Ryan: Having not seen the episodes obviously, I was leaning towards Kate Burton or possibly Mitchell, who was nominated last year in this same category for Lost. Shoreh Aghdashloo might get nominated for her work in House.
    
Andrew: I want to say Stiles is in because she got the globe nod, and because it's shameless category fraud and she rules the episode. Aghdashloo and Messing and Marcia for Law and Order, then Ellen Burstyn for Big Love because she's old and classy. But, I'm really being random here. So, don't hold me to it.
              
Ryan: If I had to pick a lock, as flimsy as it is, it would be Stiles for Dexter. She did phenomenal work certainly, but yeah I hate the category fraud. And how did I forget about Messing? Yeah, who knows?
                
Andrew: But remember it's that same terrible fraud that made Lithgow win last year for Dexter, so I say she's in. I'm thinking that someone from The Good Wife (Silverman, Anika Noni Rose) should be in. But, I'm PISSED that Mary Beth Peil didn't submit herelf for playing Peter's mother.
           
Ryan: Yeah, I think Mary Beth Peil could've had a chance, especially with some of her scenes with Margulies towards the end of the season. They probably don't take Silverman seriously enough and if only Anika Noni Rose was a bigger star in their eyes, but I wouldn't be so shocked if one of them makes it in. They do love The Good Wife.
    
Andrew: and Anika submitted well ("Silly Season"). or maybe Evan or Alfre from True Blood. The former because her star's on the rise, or the latter because she's amazing and they love. She's got like 5 Emmys.
           
Ryan: They're both on my longlist, but even though they've shown some love for True Blood in recent years, just not sure if it has grown. Joan Cusack could be a favorite too in her Shameless role (and she also did SVU).
     
Andrew: Goodness, this is wild. Okay, going for blind-picks here. Okay, so my picks:
Shohreh Aghdashloo Law and Order: SVU
Ellen Burstyn Big Love
Marcia Gay Harden Law and Order: SVU
Ann-Margaret CSI
Debra Messing Law and Order: SVU
Julia Stiles Dexter
        
Ryan: I know. This is going to be crazy. My predictions:
Shohreh Aghdashloo House
Joan Cusack Shameless
Marcia Gay Harden Law and Order: SVU
Elizabeth Mitchell Law and Order: SVU
Gretchen Mol Boardwalk Empire
Julia Stiles Dexter
And yes, Boardwalk Empire sneaks a nomination here, too.
         

Andrew: Gah, I forgot to talk up Mol. She's fabulous, and gorgeous, and fabulous. She got her son (played by Michael Pitt) when she was 13 and she looks like his wife. I REALLY want her to be remembered.
        
Ryan: I'll take your word for it! But since the Emmy's aren't until forever from now, I definitely have time to catch up on the show.
     
Andrew: Wow, we just seemed to roll through that.
       
UP NEXT: Writing and Directing in a Drama Series.
        
Do you have any predictions for the guest category at this year's Emmys?

Summer Oscar Predictions

I’m from a legitimate Oscar predictor, and most of you probably know where to find the truly dedicated ones. But, 2011 is almost halfway done and there’s a deceptively little being said about potential Oscar nods. I’m probably wrong about these, but I’m never really invested in Oscar predictions for being right. I’d just like to put it out there that I don’t think that War Horse and The Iron Lady are going to be as big of hit as many are anticipating, but as I said. It’s all speculative here, I tend to have more fun making up random lists than in seeing them proven right. So here goes with random predictions for the top 6.
                
BEST PICTURE
MY GUESS: The Ides of March, A Dangerous Method, ★The Descendants, J. Edgar, Midnight in Paris, Money Ball, Tree of Life, We Bought A Zoo
THEN AGAIN, PERHAPS: Carnage, Hugo Cabret, On the Road, War Horse
MORE POSSIBILITIES: Contagion, Girl with the Dragon Tattoo, My Week with Marilyn, We Need to Talk About Kevin
         
BEST DIRECTOR
MY GUESS: George Clooney for The Ides of March, David Cronenberg for A Dangerous Method, Clint Eastwood for J. Edgar, Terrence Mallick for Tree of Life, ★Alexander Payne for The Descendants
THEN AGAIN, PERHAPS: Woody Allen for Midnight in Paris, Cameron Crowe for We Bought A Zoo, David Fincher for Girl with the Dragon Tattoo, Roman Polanski for Carnage, Steven Spielberg for War Horse
MORE POSSIBILITIES: Bennett Miller for Money Ball, Oren Moverman for Rampart, Walter Salles for On the Road, Martin Scorsese for Hugo Cabret
      
BEST ACTRESS
MY GUESS: Glenn Close in Albert Nobbs, Kirsten Dunst in Melancholia, Tilda Swinton in We Need to Talk About Kevin, ★Rachel Weisz in The Whistleblower, Michelle Williams in My Week with Marilyn,
THEN AGAIN, PERHAPS: Meryl Streep in The Iron Lady, Charlize Theron in Young Adult, Robin Wright in The Conspirator
MORE POSSIBILITIES: Jodie Foster in Carnage, Felicity Jones in Like Crazy, Keira Knightley in A Dangerous Method, Rooney Mara in Girl with the Dragon Tattoo
            
BEST ACTOR
MY GUESS: George Clooney in The Descendats, Leonardo DiCaprio in J. Edgar, Jean DuJardin in The Artist, ★Ryan Gosling in The Ides of March, Brad Pitt in Money Ball
THEN AGAIN, PERHAPS: Matt Damon in We Bought A Zoo, Michael Fassbender in A Dangerous Method, Ralph Fiennes in Coriolanus, Sam Riley in On the Road
MORE POSSIBILITIES: Woody Harrelson in Rampart, Gary Oldman in Tinker Tailor Soldier Spy, John C. Reilly in Carnage, Owen Wilson in Midnight in Paris
               

BEST SUPPORTING ACTOR
MY GUESS: ★George Clooney in The Ides of March, Philip Seymour Hoffman in Money Ball, Viggo Mortensen in A Dangerous Method, Brad Pitt in Tree of Life, Christoph Waltz in Carnage
THEN AGAIN, PERHAPS: Kenneth Branagh in My Week with Marilyn, Thomas Haden Church in We Bought A Zoo, Ben Foster in Rampart, Armie Hammer in J. Edgar, Philip Seymour Hoffman in The Ides of March
MORE POSSIBILITIES: Jim Broadbent in The Iron Lady, Paul Giamati in The Ides of March, Josh Lucas in J. Edgar, John C. Reilly in We Need to Talk About Kevin
            
BEST SUPPORTING ACTRESS
MY GUESS: Judi Dench in J. Edgar, Scarlett Johansson in We Bought A Zoo, ★Vanessa Redgrave in Coriolanus, Naomi Watts in J. Edgar, Evan Rachel Wood in The Ides of March
THEN AGAIN, PERHAPS: Jessica Chastain in Tree of Life, Judi Dench in My Week with Marilyn, Janet McTeer in Albert Nobbs, Kate Winslet in Carnage
MORE POSSIBILITIES: Marion Cotillard in Midnight in Paris, Charlotte Rampling in Melancholia Sigourney Weaver in Rampart
            
I realise I have Clooney being nominated for three categories already, but I never said I trying to make sense. And, I think we all know sometimes Oscars don’t make sense. Is it too early for Oscar discussion? Possibly. But, what hunches do you have?

Attention!

“What?”

“Blah, blah vampire emergency. Blah.”           

              
True Blood is back on tomorrow. THAT’S what. Will you be watching?

“We have it in us to be the better man.”

X-Men: First Class: directed by Matthew Vaughn; written by Ashley Miller and Zack Stentz
                 

I imagine that one of the reasons reboots of franchises, superhero and otherwise, are so common is because as people we’re a bit enamoured with the way it all began. We like knowing how Bruce Wayne became the dark knight, or how Clark Kent became Superman and so on and so on. X-Men: First Class takes us to the beginning of our mutants’ existence as heroes and the narrative it explores is quite simple. The cold war between Russia and the United States is at its height and amidst this already problematic environment the existence of mutants is unearthed by some CIA operatives hoping to prevent what could be the outbreak of World War III.

The first act comprises a double narrative as Erik Lensherr (soon to be Magneto) and Charles Xavier (soon to be Professor X) hone their powers on different sides of the globe. Eric is avenging his family’s death and Charles is working on his mutation thesis. The two storylines intersect when they both try to perform a hit on the big bad Kevin Bacon. One of the biggest credits of X-Men: First Class is how quickly the two hours fly. Vaughn has a strong eye for the visual and it consists one visual spectacle after another. But, what makes it potentially better than other films of its kind is his ability to dole out a visual spectacle without being unnecessarily grandiose. Less is more is about clichéd an adage as there, but Vaughn manages to make X-Men: First Class work both in the bigger and smaller action sequences.

Of course, that sort of becomes a problem because the action sequences are so extraordinary that the emotional bits functioning as bridges between seem more and more superfluous. Sure, there’s a great amount of chemistry at work – Fassbender and McAvoy are both indispensable to the film managing to forge a rapport on which the film is balanced. It’s impossible to deny that the ease with which the two coexist amounts for a significant portion of the films appeal. Vaughn realises that brilliant special effects don’t demand mediocre and thespians and James and Michael are both naturally charming enough to ensure that even if the film’s dramatic narratives are questionable we remain interested. And Kevin Bacon is a worthy adversary for both managing to make his villain extravagant without being happy. But, everything else feels a tad bit lopsided around those three. With the exception of Rose Byrne, who comes off as oddly perfunctory in her role, everyone seems credible in their roles, but it’s difficult for them to standout. I’d wager that January Jones could have been a great deal more interesting if her character seemed to be treated so uncaringly, and Oliver Platt manages to much more than you might have expected with his throwaway character.

Does X-Men: First Class have its dubious issues? Surely. For a film that’s to conceivably take place in the sixties I wish it would have used a great percentage of its budget on ensuring that its production design and costume were actually period appropriate and there’s a reverberation of complacency that seems to ring through most when Vaughn and company realise that the actors are naturally charismatic to make even the most hokey situations work. Still, ultimately a film is about more than just the sum of the parts. It’s about a complete whole that entertains, edifies or both. It’s not anything wholly new or conversant, but it’s more than entertaining.

          
B-

Don’t Stop Believing…?

Have you guys been keeping up with the recent Glee news? Ryan Murphy is already talking about their plans for season three of the show. As wide a gap of disparity as there was between the all-round goodness of season one and good intentions but generally poor executions of season two I’m still not giving up on Glee. I have to wonder, though, if Murphy’s not tired giving out red herrings about the show that I’m often inclined to pay him no mind. (Remember when he promised that season two would be low on Finchel break-up drama?)

(VIA)

It’s somewhat positive, but I think Murphy’s vision is a bit skewed if he thinks that an abundance of songs is the primary thing affecting the show at the moment. Even more, the fact that he plans on no guest stars seem silly. When developed as they should be, guest stars are a key part of the success on the show (see Paltrow, Chenoweth, NPH, Menzel, Groff). Maybe I’m being too hard on him, though. The recent news that they’ve FINALLY hired a real writing team (complete with Buffy alum Marti Nixon) suggests that maybe they are thinking straight. Really, though, it’s the music that’s been the most consistent thing this past season. A drop in quality from season one (as with everything), but at its best it was excellent.

Rolling in the Deep Jesse and Rachel from “Prom Queen”

Take Me Or Leave Me Rachel and Mercedes from “Comeback”

Toxic Glee Club with Will from “Brittney / Brittany”

I Feel Pretty / Unpretty Quinn and Rachel from “Born this Way”

Only the Good Die Young Puck from “Grilled Cheesus”

Don’t Cry for Me Argentina Rachel and Kurt from “Special Education”

One Love Puck and Artie from “Never Been Kissed”

    

Songbird Santana from “Rumours”

           

Nice to Meet You, Have I Slept With You? Will and April from “Rumours”

 

              
Forget You Holly from “The Substitute”

 

But, as usual there were some dreadful low points.
        

Time of My Life Sam and Quinn from “Special Education”

        

Small World Kurt from “Funeral”

         

Candles The Warblers from “Original Song”

               
Billionaire Sam and the Boys from “Audition”

           
I Know What Boys Like Lauren from “Silly Love Songs”

      
To the potential ire of Journey, there have been moments when I’ve been inclined to stop believing, but I’m still a believer for the most part. Sort of. What about you? Any numbers you particularly loved or hated last season? Give up on Glee?

“Whatever the Fuck it Takes”

Win-Win directed and written by Thomas McCarthy

                   

It took me an unusually long time to concoct an appropriate review for Thomas McCarthy’s latest feature film Win Win. It’s not that I didn’t like it, but the review of every draft came out sounding unnecessarily caustic. As far as specifics go, Win Win is far from a “bad film”, but it seems to traverse along so uncaringly in its resolve to be an indie drama that it’s easy to accuse it of apathy. For, inasmuch as the film succeeds (because despite its issues it has significant interest in its characters) there’s a thin line between being comfortable in your idiosyncrasies and being lethargic about your issues and I’m often unsure where McCarthy sits.

 Mike Flaherty is a typical lawyer, with the typical money problems living a typical humdrum life. Excuse my overuse of the word typical. Giamati’s characterisations invites you to believe in the normalcy of his character who’s not a good or bad guy, he’s just a nice man with a nice family who ends up making a potentially dubious decision of being the ward to one ofhis clients to receive a $1500 monthly pay check. It’s his questionable liaisons with the septuagenarian Leo Poplar played by Burt Young (a.k.a. Paulie Pennino) which leads us to the crux of the story. For reasons unknown – benevolence we shall assume, Flaherty is also the assistant coach of a high school’s wrestling team. A team that’s absolutely abysmal. Poplar’s grandson Kyle (the child of a daughter from whom he’s estranged) randomly shows up one night and ends up living with Flaherty and thus the movie begins moving along, at times seemingly unsure of what it wants to tell us.

                   

As I said, the film depends on the actors and Giamati and Ryan make for an excellent couple. Both actors have natural cadences that work in this type of film and Ryan in particular is priceless as the wife with a heart of gold. The chemistry between the two surprises me a bit at first, but the naturalness with which they approach their marriage and the issues in their family is handled nicely making it easy for them to play their characters easily and without unnecessary histrionics. Jeffrey Tambor and Bobby Cannavale, as friends of Flaherty, make for nice additions even if the former is underused and the latter’s character’s motivations are sometimes difficult to discern.

              

One of the more interesting things about Win Win is youngster Alex Shaffer who plays the troubled teen in question. This is Shaffer’s first film role and he was cast for his wrestling, but there’s a budding thespian underneath the bleached hair. He’s responsible for a significant amount of humour early in the film as his initiation monotonous disposition makes for immediate humour opposite Giamati and especially Ryan. But’s it not really smooth sailing. The film’s tone becomes more problematic when Kyle’s mother played effectively by Melanie Lynskey turns up. It turns the film form a simple pseudo-family drama to a potential awkward familial tug-of-war and even if Lynskey is lovely to watch (yet another good thirty something actor in need of better roles). As such, the film’s third acts ends up seeming especially perfunctory and rushed especially when placed next to the almost lethargic first two acts.

        

In the end, Win Win manages to cross the finish line with relative ease because the actors are invested in the machinations of the characters they play. Random scenes like one at a café with Giamati, Cavannale, Ryan and Clare Foley (playing the Flaherty’s young daughter) work because the relationship that the actors seem to have forged is particularly natural which is the best thing for a film like this which depends on establishing that stupor that comes after living in a life that’s become well-worn and even trite. It’s sort a calling card for McCarthy who’s made his films, thus far, focusing on tepid lives interrupted by outside forces. Win Win has its issues, but it’s amiable enough.

B-