Yes! Some love for the deserving Charles McGraw -- an actor I adore.

 

Here, from Steve over at the excellent Noir of the Week:

 

"I consider 'Roadblock' to be Charles McGraw’s best film noir. RKO’s B-movie alternative to Robert Mitchum was certainly in better crime thrillers. 'The Narrow Margin' for one is today considered a classic – and it is. Before becoming a leading man, McGraw appeared as a supporting actor in a slew of films like the great 'T-Men' and 'The Killers.'

 

"I never doubted McGraw’s acting ability – I always enjoyed in everything he was in. Seeing 'Roadblock' for the first time surprised me however. Who knew he could play a love-sick sucker? McGraw's surprising performance is the reason this one stands out."

 

Read the entire review of "Roadblock" here.

 

And now I need to track see "Roadblock." I have it here and I can't wait.

 

I love Orson Welles but I can't help it. Must post dog impersonating not his master but the master:

 

 

An interesting piece by A.O. Scott in which the New York Times critic discuses his wish that the Oscars had been cancelled:

 

"There is something of a consensus among critics — a disagreeable bunch, it should be noted — that 2007 was one of the best years for movies, American movies in particular, in recent memory. As a result the leading contenders for major Oscars have unusually solid aesthetic bona fides. Of course there are those who grouse about the endings of 'There Will Be Blood' and 'No Country for Old Men,' who find 'Juno' more grating than charming, who were baffled by 'Michael Clayton' or who were bored by 'Atonement,' but all in all it looks like an impressively strong field. Meanwhile the Writers Guild strike, which had threatened to encircle the Kodak Theater with picket lines and bury the Academy Awards in bad feelings, has been settled. The show will go on — Sunday night at 8 — and everybody’s happy.

 

"Well, maybe not everybody. I’m only slightly ashamed to admit that I found myself hoping that the strike would shut the Academy Awards down; that for once, in a year of such cinematic bounty and variety, appreciation for the best movies could be liberated from the pomp and tedium of Hollywood spectacle."

 

Read his entire story here.

 

This was really terrible of the Academy:

 

"Tragic actor Brad Renfro was snubbed at Sunday's Academy Awards when organizers left him out of a montage of stars who died in the past year. Renfro was found dead from a drug overdose in Los Angeles in January, aged just 25. But he was overlooked on a list of 98 movie industry people, that included everyone from actors and directors to public relations people.

 

"A statement from the Motion Picture Academy of America claims, 'It is simply not possible to include everyone in that segment.' But a friend of the late star of The Client, Apt Pupil and Ghost World tells Tmz.com, 'It's unbelievable and disgusting.'"

 

Honestly. The Academy need to truly apologize for their mistake and include Renfro in the reel next year. He deserved to be included.

 

 

To think that just a couple of weeks ago, this whole Oscar shindig might have been cancelled...

But the three-month-long Writers Guild strike was settled in the nick of time, so the biggest movie awards show in the world -- the American equivalent of a coronation -- could go on, and stars could gather to honor ... other stars. As host Jon Stewart quipped: "Having the Oscars helped end the strike ... before we spend the next four to five hours giving each other golden statues, let's take a moment to congratulate ourselves."

The 80th Annual Academy Awards were not all just pats on the back, writer jokes and fantastic frocks (well, actually, there were a lot of fantastic frocks): Many of the nominated films, actors, writers and directors were (double gasp!) actually deserving, and two of the pictures -- "There Will Be Blood" and "No Country for Old Men" -- are bona-fide masterpieces. If there was any kind of theme this year, it was Oscar getting it almost right -- nominating interesting films and artists from all over the world (England, France, Ireland, Italy, Spain and Austria were all represented). And of the contenders, there was new talent (Ellen Page for "Juno"), older icons (Hal Holbrook for "Into the Wild") and, for heaven's sake, Viggo Mortensen (perhaps one of the coolest men walking the earth) for "Eastern Promises."

Still, maybe it was all this good taste and worthiness that made the show a little ... staid. Don't get me wrong, there were some surprises and spirited highlights, like Stewart's opening monologue, some heartfelt acceptance speeches and one (or should I say "Once"?) musical performance. And there were also some lowlights, like Academy President Sid Ganis' attempts at humor, the uninspired video pieces and three musical performances from "Enchanted."

So we're here to hand out awards for the best, worst and weirdest of the ceremony. The envelope, please:

Most Moving Acceptance Speech:
How does he do it? Picking up his Best Supporting Actor award for playing psychopath Anton Chigurh in "No Country For Old Men," Javier Bardem managed to be likable, studly, humble, casual and touching all at once. Ambling on stage with his mussed-up hair and mischievous smile, he said, "I have to speak fast here, man" and then pointed out everything from how amazing the award was to his curious Dutch-boy haircut from the movie. But when he honored his "Mama" (entirely in Spanish) with nary a trace of sappiness, the charming Spaniard caught us off guard. We were positively teary-eyed. And then he all but strutted off-stage. Hmmm... maybe it's not Viggo but Javier who's the coolest man walking the face of the earth.

Best Jon Stewart Joke, Part 1:
"Tonight we look beyond the dark days and focus on happier fare. This year's slate of Oscar-nominated psychopathic killer movies. Does this town need a hug? What happened? 'No Country For Old Men,' 'Sweeney Todd,' 'There Will Be Blood.' All I can say is thank God for teen pregnancy."

Funniest Acceptance Speech:
Tilda Swinton. She is known for her edgy, serious work in heavy films like "Orlando" and "The Deep End" and as the famed White Witch from "The Chronicles of Narnia"...

so who knew she was so damn funny? When accepting her Best Supporting Actress win for "Michael Clayton," the red-haired Brit hilariously capped her speech by mercilessly teasing co-star George Clooney: "George Clooney... you know. The seriousness and dedication to your art, seeing you climb into that rubber bat suit from "Batman and Robin," the one with nipples, every morning, under your costume, on the set, off the set, hanging upside at lunch. You rock, man. Thank you! Thank you! Thank you!" Ever the class act, Clooney took it like, well, like George Clooney -- a man.

Am I Crazy Or...
Was seeing acclaimed filmmaker Spike Lee and his "Jungle Fever" star, recent tax evader Wesley Snipes, sitting together as essentially dates kind of heartwarming? And they looked fantastic. Maybe they'll make another movie together? I'm sure Snipes would be happy. The IRS is another story...

Edgiest Jon Stewart Joke:
"Julie Christie was absolutely amazing in 'Away From Her.' Brilliant movie. It was a moving story of a woman who forgets her own husband. Hillary Clinton called it the 'feel good movie of the year.' "

Buzz Off:
Can Jerry Seinfeld please stop promoting that damn bee movie? We saw you on Oprah. We saw you on Letterman. We saw you on Larry King. We get it. You made freaking "Bee Movie." And yes, we know it will be available on DVD this March. And showing the montage of great stinging film moments didn't make us want to rush out and buy (ugh!) "Bee Movie." Seriously, we'd so rather watch that hilarious Bill Murray bee sequence from "Rushmore" over Jerry's entire animated classic.

Bad in Black:
One would think black is basic -- that it flatters all who wear it. But the usually perky and lovely Jennifer Garner appeared downright dour in her dark frock, looking both unhappy and uncomfortable in such a gothic get-up. Helena Bonham Carter (where was she, anyway?) she is not.

Ladies in Red:
Perhaps in the spirit of all the violent movies nominated this year, many actresses opted for bold red dresses. Helen Mirren, Anne Hathaway, a stunning Katherine Heigl channeling Marilyn Monroe, Heidi Klum and, uh, Miley Cirus all went primary. Wait, what the hell was Miley Cirus doing there?

Am I Crazy Or...
Is Amy Adams becoming really irritating? I don't dislike the lovable star, but her appearance this year left me with conflicted emotions. As she performed "Happy Working Song," one of the three nominated songs for her film "Enchanted," I was both embarrassed and overwhelmingly annoyed by her Betty Boop/Snow White impersonation. Did she even want to perform this? And to make matters worse, little Miss Adams continued her cutesy, goody-goody act while presenting the award for Best Original Score. Typecast much? I hate to say this, but she needs to play a hooker/heroin addict/convicted murderer stat. That cuteness is starting to curdle.

Best Jon Stewart Joke, Part 2:
"There is a great variety in the nominated films this year. Even 'Norbit,' got a nomination, which I think is great. Too often the Academy ignores movies that aren't good."

Technically Speaking:
Why do Scientific and Technical Achievement Awards always have to be handed out by Hollywood's latest babe-du-jour? I know, I know. I'm sure all those guys slaving over their computers and gadgets and inventions more than enjoy the presence of sexy Jessica Alba (who looks terrific pregnant, by the way), but why not something new next year? How about Philip Seymour Hoffman presenting the award -- preferably as his Ned Beatty/Wilford Brimley-esque character of "Charlie Wilson's War."

Ruffled Razz-Ma-Tazz:
Aside from an incredibly dapper George Clooney, who looked a cross between Cary Grant and Clark Gable with his slicked-back hair and perfect tux, this year's male attire was decidedly relaxed though strikingly attractive. Most everyone appeared a little unkempt (mussed hair, unshaven face, less-traditional tuxes) and yet not at all slobby. They were in fact elegant and eclectic. Viggo Mortensen looked extraordinary rocking a Vincent Van Gogh beard and knee-length dinner jacket. Daniel Day-Lewis' longer hair and more retro tux was fetching. And Javier Bardem, Seth Rogen, Jonah Hill and Harrison Ford all appeared with a little bed-head ... which was actually very sexy. I'm not even going to start with Johnny Depp.

Least Surprising, Most Deserving Win:
I think he's a genius (sorry to all of you out there who think him a ham), so I was ecstatic when the entirely deserving Daniel Day-Lewis picked up his golden boy for his powerful performance as insanely ambitious oil-man Daniel Plainview in Paul Thomas Anderson's masterful "There Will Be Blood." But come on -- everyone knew it was going to happen. As said in "Sweet Smell of Success," "The cat's in the bag and the bag's in the river." I'd add something about milkshakes but that's getting a little played out...

Best Jon Stewart Joke, Part 3:
"Democrats have an historic race going. Hillary Clinton vs. Barack Obama. Normally when you see a black man or woman president, an asteroid is about to hit the Statue of Liberty."

Diablo Disappoints:
Diablo Cody, beloved hipster-ex-stripper-screenwriter-goddess, wins Best Original Screenplay for the indie hit "Juno," a movie soaked with forced, overly quippy one-liners that either delighted or seriously exasperated audiences (I was one of those exasperated) -- and all she can come up with is, "I especially want to thank my fellow nominees." Or, "This is for the writers!" Diablo! Honest to blog! Where was your arsenal of smarty-pants wisecracks and pop-culture Soupy Sales-isms? This is the Oscars, Home Skillet. This is your time on stage. As you wrote, this is "one doodle that can't be un-did." But hey, you pulled off the leopard dress, tats and your Louise Brooks bob. So at least you looked great. But... another thing. What was with your glum exit offstage? Was Harrison Ford taking you to Oscar detention?

Most Surprising Win:
Wow! No Julie Christie for Sarah Polley's lovely, heartbreaking "Away From Her." We thought Christie was a shoe-in. But talented French hottie Marion Cotillard was the spoiler, picking up Best Actress for her performances as iconic French chanteuse Edith Piaf in "La Vie En Rose." I'm thinking all those mixed CDs Academy voters picked up at Starbucks (I'm only guessing these exist -- those International flavor collections) with that strange-voiced French lady actually compelled them to do a little Piaf research. Nevertheless, though we were rooting for Christie, it was tough not to be happy for Cotillard, who appeared definitely shocked and as she said, "speechless." She also looked wonderful in white. Jean Paul Gaultier does a gal good.

The Real Enchanting "Once" Upon a Time:
Glen Hansard (he of the Irish band The Frames) and Czech musician Marketa Irglova performed their soulful, beautiful song "Falling Slowly" from their charming, touching, musical indie "Once." She on piano, he strumming a battered old guitar he's had since he was a teenage busker (street singer) in Ireland. It was gorgeous (though why did the camera choose to end on orchestra conductor Bill Conti? It was their moment, not his.) Next to all of those painfully corny "Enchanted" songs, some of which played like ads for Clorox Bleach (I could have sworn someone sang "Mama makes brights, bright like the sunshine ..."), the two channeled the late great Elliott Smith (remember him in his white suit, standing next to Celine Dion ... And losing?!). But the refreshingly independent Hansard and Irglova won! And we cheered when Hansard stated, "Make art! Make art!" Jon Stewart extended their moment by allowing Irglova, who was cut off by the over-anxious orchestra, to movingly extend her gratitude. What a moment.

The Dudes Abide:
Though some of us were also rooting for Paul Thomas Anderson's "There Will Be Blood," Joel and Ethan Coen's brilliant "No Country For Old Men" was an entirely deserving winner for both Best Director (in their case Best Directors) and Best Picture. Their bloody, beautifully acted, poetic adaptation of Cormac McCarthy's novel was soulful, inventive, mysterious and truly horrifying. Though this is one of their best pictures, us Coen fans are also taking this as a win for "Blood Simple," "Miller's Crossing," "Barton Fink," "Raising Arizona," "O Brother, Where Art Thou?" and of course, "The Big Lebowski." And you know, had "No Country" lost, don't think we wouldn't see "Lebowski" vet Walter Sobchak storming on stage screaming: "Has the whole world gone crazy! Am I the only one here who gives a sh*t about the rules?" So with that, congratulations to the Coens.

So. Finally. I have to come to my carefully considered (and considerably annoyed) decisions regarding my full list of Oscar predictions.

 

Also included are the movies I want to win, some of which might, shock of all shocks, actually take home a few golden boys this year. The Academy almost got it right for 2007 (almost), unlike 1999, the year they snubbed "Magnolia" and "Fight Club" for Best Picture noms (um..."The Cider House Rules" was nominated over both of these modern classics...it's a nice movie but...what the hell?).

 

But this year: The Coen’s and Paul Thomas Anderson? Daniel Day-Lewis and George Clooney? Javier Bardem, Julie Christie and Mark Twain himself, Hal Holbrook? Right on Oscar.  (Did I just write that? Should I be slapped?)
 

That being said, in a very 1999-ish move, David Fincher's masterpiece "Zodiac" was ignored in every freaking category. And where in God's name is the man who brought sexy/’70s back, the magnificent Josh Brolin?
 

OK, I’m not going to dive into rant mode. I’m not going to get all crazy-eyed, rocking back and forth, muttering through my hair over how misunderstood Ashley Judd and "Bug" were so…deep breath, I’m returning to positive thoughts for Sunday night.

 

Here are my predictions and here are my hopes:

 

Best Picture: 
Predict: "No Country For Old Men"
Want: "There Will Be Blood"

 

Best Director:
Predict: Joel and Ethan Coen, "No Country For Old Men"
Want: Paul Thomas Anderson, "There Will Be Blood"

 

Best Actress:
Predict: Julie Christie, "Away From Her"
Want: Julie Christie, "Away From Her"

 

Best Actor:
Predict: Daniel Day-Lewis, "There Will Be Blood"
Want: Daniel Day-Lewis, "There Will Be Blood"

 

Best Supporting Actress:
Predict: Ruby Dee, "American Gangster"
Want: Cate Blanchett, "I'm Not There"

 

Best Supporting Actor:
Predict: Javier Bardem, "No Country For Old Men"
Want: Javier Bardem, "No Country For Old Men" 

 

 

Best Screenplay:
Predict: Diablo Cody, "Juno"
Want: Tony Gilroy, "Michael Clayton"

 

Best Adapted Screenplay:
Predict: Joel and Ethan Coen, "No Country For Old Men"
Want: Joel and Ethan Coen, "No Country For Old Men"

 

Best Foreign Film:
Predict: "Counterfeiters" (Austria)
Want: Not sure yet...

 

Best Film Editing:
Predict: "No Country For Old Men"
Want: "No Country For Old Men"

 

Best Cinematography:
Predict: Roger Deakins, "No Country For Old Men"
Want: Robert Elswitt, "There Will Be Blood"

 

Best Animated Film:
Predict: "Ratatouille"
Want: "Persepolis"

 

Predict: "No End In Sight"

Want: Not sure... and why the hell wasn't "The King of Kong: A Fistful of Quarters" nominated? Why does the Academy always screw up the documentary category?

 

 

 

Best Score:
Predict: "Atonement"
Want: "There Will Be Blood" (OK. Not fair since it wasn't nominated but dammit! Johnny Greenwood's score is brilliant) so... "3:10 To Yuma"

Best Song:
Predict: "Falling Slowly," "Once"
Want: "Falling Slowly," "Once" 

 

And...as I've stated before, I'm a gambling woman. Place your bets.  

 

Most importantly, enjoy Sunday night. And where the hell is Josh Brolin?!

 

 

Glen Hansard (he of the the Irish band The Frames) and Czech musician Marketa Irglova are intelligent, down to earth and charming? You don't say?

 

I learned this when interviewing these two fine people (and real life couple)-- co-stars of the charming, touching, musical indie "Once," the critically acclaimed sleeper about an Irish busker and a 19-year old Czech immigrant who learn a few things while, quite literally making beautiful music together.

 

From no hope of breaking through the festival circuit, to heavy Sundance buzz, to an art house hit, the two musicians/non professional actors have now found themselves as Oscar contenders. Something they never had imagined.

 

Like the late great Elliott Smith before them (remember him in his white suit, standing next to Celine Dion? And losing?!), the refreshingly independent Hansard and Irglova will perform their duet "Falling Slowly" at Sunday's Oscars, where they have been nominated in the Best Original Song category.

 

I want them to win. And after interviewing them, I found that they want to win too -- as surreal as the experience seems to both.

 

Check out my video interview with Hansard and Irglova for MSN here.  Since this was a long talk, another video segment will follow soon.

 

And root for them this Sunday!

 

Film Experience's Nathaniel R. gives us his final Oscar predictions and the result is, as usual for Mr. R, very, very thorough and very, very funny. He's even got a few surprises in there (Swinton over Dee, Nathaniel? Cotillard over Christie? Wanna make a bet? Seriously, 40 bucks -- to cover the Pink Elephant Liquor take-out I'll be eating while watching the ceremony).

 

But this was a hard year for him, prediction-wise, as he writes in his introduction:

 

"There's a lot of scenarios to consider and rebuttals for all. Yes, 'No Country' could sweep. No it can't. It's not a typical enough Oscar film. Yes, 'Juno' could surprise scurrying in between the heaviest of dramas. It peaked during balloting. No, too many people think it's overrated. Yes, there could be a few somethings for everyone (a la 2005). No, 'No Country' will hog statuettes even without a clean sweep. Etcetera..."

 

Read his entire list of predictions here.

 

(And to Nathaniel, sorry for taking so damn long on submitting the requested Oscar predictions and wishes to you...I swear I will before Sunday!)

 

Got those predictions up...thank you Nathaniel R.

 

Excited for Oscars this Sunday night? Wondering which deserving filmmaker (The Coen's or Paul Thomas Anderson) will take home Best Director? And will it be Holbrook or Bardem? Tilda or Ruby? Daniel Day Lewis or...well...you know he's got that one in the bag.  

 

So at this point are you simply wondering what young Ellen Page is going to wear? Gucci or Hoody? Chucks or Chanel? (Yes, it's just great typecasting an actress, I know.)

 

Anyway...for your fashion fix, check out MSN's Kathleen Murphy's lovely look at fabulous frocks of Oscar past.

 

Drink in the the women. Check out the men. 

 

And I happen to love Barbra Streisand's "haut tacky" Scaasi see-through bell-bottom number. Especially since the Oscars have been so staid of late...bring back Dolly, Cher and Bjork please.

 

Though it seems no one can touch Grace Kelly's effortless elegance.

 

Raoul Mowatt's look at groundbreaking black entertainers for MSN Entertainment:

Where would the entertainment industry be without its galaxy of black stars?

It's almost painful to think of a world without Motown, without black stand-up comedians to win laughs, without actors whose skill shows that qualities like dignity, intelligence and honor know no color boundaries. Many of the best were more than entertainers who made viewers and listeners giggle or tap their toes with their irresistible rhythms. They went on to change minds and work to a more just society.

Indeed, the real difficulty was limiting a list of prominent black celebrities to a tiny fraction of those who have shown their talent in the various entertainment fields. Some were chosen for their financial and critical success, while others were picked for their groundbreaking nature or their broader impact. But, certainly, numerous celebrities who made large impacts will have to be excluded.

In celebration of Black History Month, we now salute some of the finest and most successful performers of any race.

Here's Mowatt's look at the great Sidney Poitier:

Poitier starred in a number of films designed to demolish stereotypes about blacks and helped foster a climate for real-world change. He was the first black man to win an Academy Award, for his role in "Lilies of the Field." He won a second Oscar for lifetime achievement in 2002.  Among his most prominent parts: the fiancé of a white woman in "Guess Who's Coming to Dinner," a teacher who earns the respect of his white students in "To Sir, With Love," and a Philadelphia detective investigating a murder in a racist Southern town in "In the Heat of the Night."  Poitier is also known for directing such comedies as "Uptown Saturday Night" and "Stir Crazy." He won a Grammy for best spoken word album for his recording of his autobiography, "The Measure of a Man."

Read and view the entire piece here. And nab a copy of "The Measure of a Man." Also, try to get your hands on Poitier's out of print earlier autobiography, "This Life," one of the most fascinating, honest and inspiring star bios ever written. So great.

--posted by Kim

My (at the moment) favorite tough guy:
 
Is Lee Marvin the coolest man to ever walk the earth? Today, as I write this, directly after rewatching his detached though complicated, gloriously glacial though substantially obsessed badass gangster in John Boorman’s masterful neo-noir “Point Blank,” I am saying yes. In my world, Lee Marvin is the grand master, the most deserving daddy-o, the top dog, numero-uno recipient in my own personal cool-cat contest. And he’s so cool that if he were alive to read this now, he would have cared less. Cool guys can’t be bothered with such silly, effusive honors.
 
Of course, I might change my mind tomorrow (after all, there are those other kings of cool swaggering through the movies — Robert Mitchum, Steve McQueen, Humphrey Bogart, Sterling Hayden, John Garfield and so on) and my purpose here isn’t ranking chill factor, it’s discussing cinema’s greatest tough guy. But I can’t talk Marvin without regarding his late-’60s, early-’70s hep-a-tude, especially since Marvin’s deep freeze was what made him so potently formidable in 1967’s “Point Blank” — a movie that spins its tough-guy protagonist to the existential limit.

 

The story is simple, yet layered with all kinds of mystery. Marvin plays Walker, a man who was deceived, robbed and left for dead by his evil former bosses. Returning from the wreckage of his past, he storms through a slick, sick Los Angeles seeking payback for his money and his life, enacting all sorts of violent vengeance on any sorry sap getting in his way. That $93,000 his bosses owe will be met with blood, guts and an agenda that’s obvious but compellingly peculiar. Marvin is a hulking force of icy bloodlust, a man so filled with rage that he’s numbed himself — almost into a zombie. Inside, he’s half dead, and obtaining all that money is the only way he might possibly reanimate the near-Frankenstein he’s become.

 

I say near monster because, in Marvin’s hands (and in his fantastic squinty eyes, his wonderful early-to-age white hair and his deep smoky voice), there’s a tortured soul underneath his frighteningly unflappable exterior. You can’t become tough without a little pain, and Marvin’s Walker has felt pain. And this deeply embedded despair heats up his thick-skinned reserve with a potent blend of savagery and sexuality. To borrow the parlance of greaser bad boys everywhere (and there’s got to be some out there still — watching Lee Marvin movies, I hope), Marvin isn’t just tough in “Point Blank,” he’s “tuff.” And that’s a point (blank) of fact.

 
Read other tough guy candidates (and vote -- yes, voting is all the rage these days) here.
 
--posted by Kim

--"Michael Clayton" is up for multiple Oscars this year, including Best Picture, Best Director and Best Screenplay (Tony Gilroy), Best Actor (George Clooney), Best Supporting Actor (Tom Wilkinson) and Best Supporting Actress (Tilda Swinton) so if you haven't seen the acclaimed legal drama, you've still got time to rent it before the ceremony this Sunday.  Just released today on DVD, the package boasts a commentary track with Gilroy and his editor/brother John and deleted scenes, including an alternate opening sequence.  A must see.

 

--Also released today, the Oscar nominated (Tommy Lee Jones, for Best Actor) "In the Valley of Elah" directed by "Crash" winner Paul Haggis. I love a DVD that provides an actual long documentary, and "Elah" does just that, with a 42 minute look at the movie and the reality concerning solders in Iraq. And Josh Brolin co- stars, which is all I ever need to hear...

 

--And more Oscar nominated DVDS --  Ridley Scott's epic "American Gangster" is out, which means for any of you who missed it -- you can now see what all the fuss is concerning Best Supporting Actress shoe-in Ruby Dee (personally Cate Blanchet should win but I have a feeling this won't happen). This is Ridley Scott so expect the extras, in this case an alternate, unrated extended version. The movie (based on a true story) which pits Denzel Washington's Harlem crime lord against Russell Crowe's drug busting detective comes with 18 additional minutes. This is a three-disc set, so revel in the featurettes, commentaries and deleted scenes galore. Scott will leave no stone unturned. Oh yes, and did I mention Josh Brolin co-stars? So, you know, in the collection.

 

--Then there's the case of the movie snubbed (snubbed!) by the Oscars,  Noah Baumbach's brilliant "Margot at the Wedding," a movie that so gets family dysfunction, passive aggressive behavior, the love/rivalry between sisters and all those bizarre, unresolved feelings associated with, not only family, but day to day life as well.  A lived-in, harsh, but very, very real look at dysfunction, it's a tough movie to shake, which might be why Academy voters blanched  --  it probably freaked them out a little. And Nicole Kidman as Margot, gave one of the greatest performances of her career. Next to Julie Christie (nominated for "Away From Her") Kidman would have been my pick for Best Actress this Sunday. Alas, the Academy ignored one of the best actresses and pictures of the year. Don't do the same. Rent it. Also features terrific performances by Jennifer Jason Leigh and a nicely toned down Jack Black.  Look for the DVD's extra, “A Conversation With Noah Baumbach and Jennifer Jason Leigh" -- the talented Leigh is Baumbach's real wife, so this will hopefully prove a fascinating family affair.

 

Search for all available outlets and prices to purchase the above DVD's here.

 

--posted by Kim

--Check out Dave Fear's Oscar predictions at MSN. He's likewise happy to see both Joel and Ethan Coen and Paul Thomas Anderson slugging it out for best director and also guessing the Coen's will nab the golden boy in that particular category. Ditto for best picture. Though I'm hoping "There Will Be Blood" takes it -- I was torn between the two pictures late last year (it was nearly impossible to rank one over the other, even when assigned to do so), but after viewing both movies again, "Blood" is not only better, but a modern American classic.

 

--Speaking of "There Will Be Blood," make sure to read Kathleen Murphy and Jim Emerson's fascinating Point/Counterpoint regarding the merit of Daniel Day Lewis. Greatest living actor or colossal ham? I'm in the greatest living actor on the face of the effing planet category, and love how Murphy asserts both Lewis and "TWBB's" power: "The whole of Anderson's discordant movie -- music/narrative/performance/image -- generates anxiety from the moment it begins. Living through 'Blood' and Day-Lewis' performance is like trying to breathe air full of live wires." Read the entire piece here.

 

My favorite psycho -- Harry Powell:

 

Robert Mitchum was and still is an American original who projected a natural-born charisma all his own. Brimming with understated talent (the kind that’s always underrated), the actor could run the spectrum from gorgeous leading man (“Heaven Knows, Mr. Allison”) to light comedian (“What a Way to Go!”) to war hero (“The Story of G.I. Joe”) to Western existentialist (“Pursued”) to flawed noir antihero (“Out of the Past,” “Angel Face,” “Where Danger Lives”) to aged, hardboiled hero (“Farewell, My Lovely”) with nary a trace of effort. Though he was quoted as saying he sleepwalked through many of his roles (and that heavy-lidded, laconic demeanor was a large part of his barrel-chested appeal), he did work at some of his big-screen characters. Nowhere is this more evident than in one of the actor’s greatest and scariest roles — as demented preacher Harry Powell in Charles Laughton’s masterpiece, “The Night of the Hunter.”

Adapting Davis Grubb's novel (with film critic James Agee as screenwriter) into an expressionistic children's fairy tale/nightmare, Laughton not only directed a movie, but cast an elegiac spell over the audience with dreamlike, angled compositions (by cinematographer Stanley Cortez), chilling religious motifs, dark humor, disturbed perversity and pure horror. And casting lovable, romantic Robert Mitchum was just another of Laughton's ingenious moves — the actor took viewers aback with his inspired, demonic weirdness, creating an unease that’s still palpable today.

From his first moment on-screen, there’s something off about Mitchum’s preacher — and that creepiness grows and expands with each succeeding scene. He’s handsome (which makes him even more frightening), he can sing hymns, he can preach the Good Book and he can seduce.

Here he ensnares lonely, vulnerable Shelley Winters with the intent of stealing the money her late husband recently lifted (the money is hidden in her daughter’s doll). After disposing of Winters (her underwater death scene is one of cinema’s most startling, yet beautiful, moments), Mitchum's faux reverend hunts down her two children (wonderfully played by Billy Chapin and Sally Jane Bruce) with big talk, questioning threats ("Where'd you hide the money, Pearl?") and finally just plain murderous intentions.

From the picture’s famous scene involving Mitchum's love-and-hate speech using tattooed knuckles, to the poetic shots of the children fleeing their pursuer down a dreamlike river, to the frightfully gorgeous way Mitchum sings "Leaning on the Everlasting Arms," especially with pure-hearted Lillian Gish — every moment of this picture and Mitchum’s performance is both scary and stunning.

 

 

Happy Valentine's Day.

 

To temper the takedown of my previous post, here's MSN's Kathleen Murphy's list of ten greatest movie kisses.

 

The smooching begins with one of my all-time favorites...

 

 

10. "The More the Merrier" (1943)
Walking home through dark quiet streets, punctuated by embracing soldiers and their girls (it's World War II), lanky Joel McCrea keeps draping his hand over adorable Jean Arthur's shoulder. This move causes her to angle out from under her fur wrap, which he gallantly re-adjusts so that his hand can return to its happy position. While chatting away about girls he's "gone with," their voices lower into the languorous rhythms of mutual desire. After they practically collapse on her brownstone steps, Arthur babbles bravely on about the man she's engaged to marry (not McCrea), while he purrs at her as though she were a saucer of milk, fondling her hand, her arm, her waist, then leaning into her neck and placing his hand on her breast and throat -- she, of course, fending and lifting and re-adjusting and talking, until finally, just as we are about to melt down, they kiss. It's one of the hottest love scenes in the movies.

9. 'Notorious' (1946)
Signing on for some kind of post-World War II spy mission in South America, the party girl has gotten sober and fallen in love with the guy who recruited her in "Notorious." Now, in a Rio hotel room, the sleekly dark Devlin (Cary Grant) stalks around the radiant Alicia (Ingrid Bergman) like a hungry but wary cat. Their kissing is so passionate, she sighs with its intensity; what whispered words they can get out fall between the more important business of keeping the kisses coming. As they drift in off the balcony, she leans on him, turning him for another kiss as he phones his office. "This is a very strange love affair." Kiss. "You don't love me." Kiss. "When I don't love you, I'll let you know." Heartbreakingly luminous, deliquescent with love, Bergman exposes her very soul in those deep kisses, whereas Grant remains opaque, ramrod straight, a hard man not easily taken in. Director Alfred Hitchcock faked out the censors -- who forbade kisses that lasted for more than two seconds -- by interspersing conversation with lovemaking, thereby making the scene one of the most erotic ever filmed.

8. 'Vertigo' (1958)
In "Vertigo," former-cop-turned-private-eye Scottie (James Stewart) falls head over heels for Madeleine (Kim Novak), a mysterious beauty with a Mona Lisa smile. She's his platonic ideal of cool blond beauty, more illusion than flesh-and-blood woman. As he eyeballs Madeleine obsessively, it's clear that looking at her is all the carnal possession this loving voyeur needs. After her death, Scottie discovers her earthy brunette "twin" and proceeds to methodically remake Judy into Madeleine, his ghostly object of desire. Only when the transformation is complete can he embrace her -- locking lips with the new Judy as though he'd like to swallow this walking dream. Deliberately dizzying us Peeping Toms, Alfred Hitchcock's camera circles the kissing couple, locking them in their fatal fantasy.

7. 'To Have and Have Not' (1944)
When 19-year-old Lauren Bacall insolently draped her long, lean self in a doorframe, bottle of Scotch in hand, old-hand Humphrey Bogart grinned appreciatively at the newcomer's come-hither, keep-your-distance sexiness -- and promptly fell in love in "To Have and Have Not." Slim (Bacall) soon gets sore at something Steve (Bogey) says and sashays back to her own room, just across the hall. Moments later, he's at her door, with the same bottle, to further amp up their sexually charged chat. So heated is this coded exchange, they almost kiss, but he retreats. In good time, Slim turns up in his doorway again, toting that same fifth of Scotch. She kisses him this time -- admitting she's been wondering "whether I'd like it," then tries it out a second time, drawling huskily, "It's even better when you help." This room-to-room foreplay is some of the sexiest stuff in the movies, thanks to Bogey and Bacall's chemistry -- and it climaxes with that classic, no-holds-barred invitation to true love / lust: "You don't have to say anything or do anything. Not a thing. Or, maybe just whistle. You know how to whistle, don't you, Steve? You just put your lips together and ... blow."

Read the last six entries of her list here. And go buy yourself some candy.

--posted by Kim

Oh boy. Valentine's Day. It's almost here. A holiday that reminds couples of their romantic feelings for one another, a day that inspires wooers to turn up the volume on their courting, and a troubling time that (sorry) brings out the most desperate, obnoxious, guilt-ridden, dysfunctional sentiments in those forced to partake. Because, let's face it, many feel pressured by a day filled with conspicuous bouquets, ridiculous balloon arrangements and couples engaging in too many public displays of affection.

And then there are "romantic" movies ... perhaps some of the worst Valentine's Day offenders of all. Though mostly harmless diversions, entertainments we watch knowing full well how unrealistic they are, they also work as a reminder of how your life isn't anything like the movies or, worse, how delusional some viewers are. And no, I'm not talking truly great romantic movies like "Casablanca," "The Philadelphia Story," "The Apartment," or "The Big Sleep." I'm talking movies that are either overrated or, in some cases, just plain creepy. Here are 10 beloved modern love "classics" I find most egregious. Read, disagree, call me a cynical jerk, whatever. Just know I'll never sit through "Ghost" again.

"Pretty Woman" (1990)
Here's my problem with "Pretty Woman" -- it's not that Julia Roberts is a prostitute; rather, it's why is she a prostitute? Aside from discussing how her mother used to "lock her in an attic" (who wrote this? V.C. Andrews?), the picture rarely delves into that troublesome area called backstory or motivation, and we can only assume Roberts' incredibly healthy, sweet-hearted, model-beautiful Vivian is a streetwalker because she was abused or super depressed or hated her job at the Sizzler. Maybe she's just clinically perky. But who cares, right? We don't need to know why she has taken to the streets -- over becoming, say, one of Heidi's girls, a much more realistic Hollywood option for a woman who looks like Roberts. As long as we know it's not really what she wants to do with her life, it's fine. She wants, as she says, the "fairy tale," which she does indeed receive via Richard Gere's wealthy businessman, a guy who gives her the full Henry Higgins treatment while paying her to sleep with him (that part is realistic, sorry Eliza Doolittle). There's so much about this movie that's not romantic -- from the first embarrassing seduction scene, to the breakthrough moment when the couple fornicate and kiss on the lips, to the whole "you and I are both whores" reflection, to anything involving utensils. I've simply never understood why it became so instantly beloved. And the final scene is such BS lip service. When Gere plays the white knight, wooing and rescuing his princess from the clutches of a dumpy hotel room, she says, supposedly all plucky feminist, that, "She rescues him right back." Rescues him from what? The piles of money she's going to spend on Rodeo Drive?

"The Way We Were" (1973)
This is a tough one. For the most part, I revere Sydney Pollack. Not only did he direct one of my favorite downer movies of all time (the masterful "They Shoot Horses, Don't They?") but also the political-romantic gem "Three Days of the Condor." He also directed "Tootsie" and contributed a memorable performance as Dustin Hoffman's frustrated manager ("A tomato doesn't have logic!"). He also offered some of the most scathing moments in Woody Allen's brilliant anti-romance movie "Husbands and Wives." He's pretty much golden in my book. Except for his ridiculously overrated "The Way We Were," a movie that paired the mismatched Robert Redford with Barbra Streisand in a forced, syrupy period piece filled with cloying Marvin Hamlisch music and bland political tension. It hasn't aged well. Stick to the aforementioned Pollack, watch Redford in just about anything else, and check out Barbra in the infinitely superior and underrated "The Owl and the Pussycat," in which she plays a lovably obnoxious prostitute. Huh. Streisand plays a better hooker than Julia Roberts. Go figure.

"Sleepless in Seattle" (1993)
Oh, the early '90s ... such innocence. No personal e-mails for every household, no endless scrolls of confessional blogging, no chat room flame wars, no abysmal reality TV dating shows. Paris was still a place for lovers, New York had nothing to do with Tiffany Pollard, and Seattle was ... sleepless. It actually makes me a bit misty thinking how little we knew back then -- that we were on the precipice of a communication explosion. This watercolored memory steered me back to 1993's "Sleepless in Seattle," a movie where Meg Ryan falls in love with Tom Hanks the old-timey nontraditional way: from a call-in radio talk show. For some reason I thought the film's period quaintness might make me reassess what I disliked about it the first time around (boring, unlikable leads, silly side characters including Bill Pullman and Rosie O'Donnell, and an all-around hollow feeling). But, alas, it continues to disappoint. Maybe I'm a little paranoid, but there's something a tad stalkerish about Ryan's character as she falls for Hanks' architect widower, traveling from Baltimore to Seattle to track him down. There's a lonely feeling to this movie that's actually quite interesting, but rather than creating intriguing characters from such a predicament (and both Hanks and Ryan would be up to the task), the movie relies on lame clichés regarding men and women (did you know all women love "An Affair to Remember"?) and stock romantic scenarios. Interesting that Tom and Meg would fall in love through technology, yet again, in the equally sappy "You've Got Mail." Which brings us to ...

"You've Got Mail" (1999)
Through that magical innovation called e-mail, a woman corresponds with a man she's never met. They fall for each other and decide to meet not knowing that the woman, who runs a small, children's book store, and the man, a big-business, chain-store retailer, are archenemies. But, gosh darn it, they're both lovable moppets with crinkly smiles and that means everything when faced with this kind of narrative opposition. Reunite "Sleepless in Seattle" stars Ryan and Hanks, add some wacky sidekicks, slate Nora Ephron ("When Harry Met Sally ..." and "Sleepless") as screenwriter and director. Add a dash of modern pontificating, but not enough to make it too foreign-tasting, and whip to a light, fluffy froth. Serve lukewarm. Voilà! Modern Romantic Movie Soufflé! Blech! Delete! I want Billy Crystal back!

"Ghost" (1990)
Do I need to discuss the plot of this picture? You already know it's about Demi Moore's poltergeist paramour Patrick Swayze as he attempts to both move on to the heaven world and solve the mystery of his murder. Trouble is, he can't properly communicate with his beloved, requiring the assistance of sassy psychic Whoopi Goldberg. Goldberg won an Oscar for her performance, and though she may not have deserved that, she is the only entertaining aspect to this endlessly cornball movie. And I know the scene is famous, but please -- pottery isn't sexy. It may look hot handling all that clay, smoothing its creamy consistency into a flower pot, or vase, or bong, or whatever you're crafting, but it requires some attention and skill and strong hands. (OK, now it's starting to sound kind of sexy.) But really, it's not something you want to attempt while Swayze is hovering behind you, turned on because your potential planter looks, well, phallic. Demi should be annoyed when he touches her clay, laughing over wrecking her possible "masterpiece." Thanks, buddy. No "Ditto" for you.

Read my final five offenders here.

And take the IMDB poll regarding my story. Which one of these films do you find most overrated?

--posted by Kim

From my ode to Roy at Sunset Gun: 

--"Vince Vaughn's Wild West Comedy Show: 30 Days & 30 Nights-- Hollywood to the Heartleand" -- the title is already making me tire of obvious jokes and backstage "illumination" and "amusing antics." Since I'm a big fan of VV, this depresses me. It's bummed a few other critics as well.

 

--Why is Donald Sutherland in this movie? Why, John Klute? Why? I'm talking "Fool's Gold" for those of you lost in the glowing tans of Kate Hudson and Matthew McConaughey....

 

--Dear GOD! Is February 8 some kind of historical day of punishment that I'm not aware of? Here's The Village Voice's take on "The Hottie and the Nottie": "Crass, shrill, disingenuous, tawdry, mean-spirited, vulgar, idiotic, boring, slapdash, half-assed, and very, very unfunny, The Hottie and the Nottie stars Paris Hilton as . . . But really, need I go on? [Ed.: A little, yes.] OK, fine: Hilton stars as monosyllabic event-planner Cristabelle Abbott, "the hottest woman in Los Angeles" and absurd object of desire for Nate Cooper (Joel David Moore), an unemployed, unsympathetic a**hole."

 

--OK...so at least "In Bruges" is receiving some decent notices, chiefly from Roger Ebert.

 

--Most promising appears to be "Welcome Home Roscoe Jenkins" for being at least, warm and not as lame as it looks. And you know, go Mo'Nique. I'm not sure why exactly, but I'm all for Mo'Nique.

 

I love what Scott Eyman wrote about Joan Crawford for his New York Observer piece reviewing Charlotte Chandler's book "Not The Girl Next Door: Joan Crawford, A Personal Biography."

 

Kudos to Mr. Eyman for discussing "A Woman's Face" -- one of Crawford's greatest yet strangely under-discussed performances:

 

"Am I alone in finding something poignant in this driven, now unfashionable creature? Am I alone in thinking that, at her best, she was extraordinarily effective?

"Take, for instance, Grand Hotel (1932). Or The Women (1939). She’s sexy, sad and touching in the former; sexy, rowdy and funny in the latter. Or the star turn of Mildred Pierce (1945), or the unclassifiable bizarrerie of Johnny Guitar (1954), or her ravaged vulnerability in What Ever Happened to Baby Jane? (1962). And that’s not even taking into account fascinating, audacious failures like A Woman’s Face (1941).

"Crawford’s best work was always about the damaged soul beneath the mannered surface of a hard woman. She didn’t do irony, and she didn’t hold herself aloof from her material; she responded to her parts the same way her public did—ardently."

You are not alone.

Read the rest of his terrific piece here.

--posted by Kim