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Enjoy!
Sunday, 31 January 2010
Thursday, 28 January 2010
1. Geena Davis in The Accidental Tourist
"Warm, sweet, and enduring. Davis succeeds by keeping Muriel open and inviting through her barrage of non-sequiturs and avoids cruelty or coldness in her reactions and line-readings. I still feel that Davis could have done more to illuminate Muriel's darker shades and given her a bit more depth, but still - fantastic memorable work."
2. Joan Cusack in Working Girl
3. Michelle Pfeiffer in Dangerous Liasons
4. Frances McDormand in Mississippi Burning
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5. Sigourney Weaver in Working Girl
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I will eventually do a heart ranking for this group, but jusk ask me in the comments if you want to know about how I arranged them.
Tuesday, 26 January 2010
Swanson won 14 votes (58%), followed by Bette Davis with 8 votes, and Judy Holiday getting 2 votes. Eleanor Parker and Bette's costar Anne Baxter sadly recieved zero votes.
I really should re-watch Sunset to get a second look at Swanson's performance, but for the time being my vote goes to Davis who carries her whole enterprise. All about Eve? Please, it's all about Margo!
Monday, 25 January 2010
Sunday, 24 January 2010
I'll be doing this on and off for random winners/nominees; just doing a short write up of my thoughts on these ladies.
She's always trying to find a way to add depth to her bland character (tics, facial expressions, shaky line readings), but she never rises above adequete. She doesn't really deliever a "bad" performance, but it was something that was just there and didn't needed to be rewarded by Oscar. I believe that her performance stuck out due to her impressive and rather long monoluge during the interrogation scene which was done in one take.
"I was...born backwards."
Bergman's role as a quirked out, unusual Swedish missionary on a train full of other odd individuals hardly stands as a big accomplishment in her lengthy career in film. However, while all of the others in the all-star cast seem to be having fun with there roles, I felt Bergman took her role seriously. Perhaps too seriously.
She's always trying to find a way to add depth to her bland character (tics, facial expressions, shaky line readings), but she never rises above adequete. She doesn't really deliever a "bad" performance, but it was something that was just there and didn't needed to be rewarded by Oscar. I believe that her performance stuck out due to her impressive and rather long monoluge during the interrogation scene which was done in one take.
Might be a worthy nomination, but the win took it way too far.
I'm sure many have been wondering this, but whatever happened with StinkyLulu's Smackdowns? His last held smackdown was all the way back in October, and he hasn't announced anything new for the upcoming months. He is probably working on all of those analysis' for each nominee, but this reminds back during the summer where I (and everyone else) waited for a good two months for some news of a smackdown and he never mentioned a single thing about it. That was a long summer also. I realize he has a life, but leaving people waiting is just wrong. Now unless I'm mistaken, he is a professor/teacher, so wouldn't the free summer give him more time to do work on his blog?
What do you guys think?
What do you guys think?
Saturday, 23 January 2010
Friday, 22 January 2010
1. Kate Hudson in Almost Famous
- FIVE HEARTS -
"Hudson's single shining achievement came a decade ago with her seductive role as Penny Lane. Mixing sadness, vulnerability, mystery, enchantment, and wonder into one, Hudson gives wonderful beaming life to the lost soul that is Peny Lane. She finds the cracks in Penny's happy-go-lucky persona, and skillfully scores them with the haunting emotional truths hidden deep within. A luminous, ethereal, and graceful performance."
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2. Marcia Gay Harden in Pollock
- FIVE HEARTS -
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3. Frances McDormand in Almost Famous
- THREE HEARTS -
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4. Judi Dench in Chocolat
- TWO HEARTS -
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5. Julie Walters in Billy Elliot
- TWO HEARTS -
Comment away!
Thursday, 21 January 2010
Tuesday, 19 January 2010
My Pick:"The only serviceable performance in the entire film. Patty's biggest achievement in the role is keeping that "little lady" innocence intact, while at the same time playing deadly mind games with the adults around her. A slyly creepy, nuanced portrayal – perfect for Halloween."
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Mercedes McCambridge, Giant - Three Hearts - 
Mildred Dunnock, Baby Doll - Three Hearts -
Eileen Heckart, The Bad Seed - Two Hearts - 
Dorothy Malone, Written on the Wind - Two Hearts - Please comment!
Sunday, 17 January 2010
Yup, tonight's the big event that's leading up to Hollywood's biggest event.
I had forgotten that Chloë had been nominated for Big Love, and I of course would just love to see her take home the prize!
I suspect that Mo'Nique will be continuing her winning streak tonight, although not everyone in the business is too fond of her.
Honestly, these awards shows are all about glamour and are Hollywood's popularity contest. I miss old Hollywood, when there were REAL actors, and REAL stars, and people had class. I can't watch these things without feeling that the people are all so fake, contrived, and filled with pretensions. The Oscar's have become a joke, with Hugh Jackman and Anne Hathaway prancing around on stage like douchebags. It's these kinds of absurd things done that disgrace Oscar, and make him into a joke.
Enough bitching for ya? Well I'll be back on later to probably complain so stay tuned!
Saturday, 16 January 2010
When Moulin Rouge! was expected to bring back that old classical, Hollywood musical in 2001 and didn't, the upcoming screen version of Chicago was an anticipated event. It won the Academy's top prize of Best Picture, but also re-invented the genere and set the bar pretty high for musical's made in Hollywood. This brilliant film garnered a remarkable thirteen nominations, and six wins. One of those six wins was for Best Supporting Actress, and the winner was none other than...
In prison Velma is treated like royalty; she rules over all the other inamates, is in with the matron of murderess' row, Mama (a sassy Queen Latifah), and is still in the media's spotlight. She ain't famous, she's infamous. Jones gets this side of Velma, her need for attention and control even when she's behind bars.
Sure, Jones' footwork and vocals are top notch and she's a real firecracker when preforming, but that doesn't equal a great performance. Many believe that Catherine's show-stopping numbers are, by nature, enough for her run off with the golden boy. Twister thinks not. Her focus seemed to be on her big dance numbers, instead of actually crafting a character. So as a result Jones' missfire of a performance, (which is a blank misreading of the character) leaves a unsatisfying, bland aftertaste.
In retrospect, it is no surprise that Jones walked away with the Oscar. The film's success and her own personal ties to important people had alot do with her name being checked off on the ballot. But considering the strength of the other nominees in 2002 (Streep, Moore...c'mon) , you would think that Oscar could have thought twice (for once). Chicago is a flawed, but enjoyable and eye-popping film, and is able to stay afloat even when it's second biggest name star is seems lost. Now that's impressive!
...Catherine Zeta-Jones in Chicago (2002)
Catherine Zeta-Jones stars as Velma Kelly, a sultry jazz baby turned murderess during the 1920's.
Velma is one half of a two part act ("The Kelly Sisters") in which she and her sister Veronica preform together. The problem is that after catching her sis in the sack with her man, Velma gets a little trigger happy and finishes them off in cold blood. This is never shown but we do see the aftermath as in the opening scene Velma's backstage washing the blood off her hands and preparing for her now solo act.
Having just committed a double murder, Velma brushes it off and gives the film its first big show-stopper, "...And All That Jazz". The extravagent Velma is an idol in the eyes of Roxie Hart (Renee' Zellweger, giving a brilliantly luminous performance), a wannabe vaudevillian who is in total awe of what Kelly has; fame, money, and talent. Just after her number is over, Velma is thrown into the slammer for murder, and things could not be better.
In prison Velma is treated like royalty; she rules over all the other inamates, is in with the matron of murderess' row, Mama (a sassy Queen Latifah), and is still in the media's spotlight. She ain't famous, she's infamous. Jones gets this side of Velma, her need for attention and control even when she's behind bars.
But what Jones misses completley in the part is finding a way to weave her character into the rest of her surroundings. During the scenes where Roxie steals the spotlight, Jones makes Velma even more disconnected from the proceedings when we are supposed to really connect to the character. Never bringing to life Velma's flaws, fears, and insecurities. It's as if Jones doesn't know which way to steer her characterization - she should do this or that - and let me tell you, she steers in the wrong way and crashes hard. On top of that she lacks the gusto, zest and pizzaz that Latifah and Zellweger have to really make something out of the role.
Sure, Jones' footwork and vocals are top notch and she's a real firecracker when preforming, but that doesn't equal a great performance. Many believe that Catherine's show-stopping numbers are, by nature, enough for her run off with the golden boy. Twister thinks not. Her focus seemed to be on her big dance numbers, instead of actually crafting a character. So as a result Jones' missfire of a performance, (which is a blank misreading of the character) leaves a unsatisfying, bland aftertaste. 
In retrospect, it is no surprise that Jones walked away with the Oscar. The film's success and her own personal ties to important people had alot do with her name being checked off on the ballot. But considering the strength of the other nominees in 2002 (Streep, Moore...c'mon) , you would think that Oscar could have thought twice (for once). Chicago is a flawed, but enjoyable and eye-popping film, and is able to stay afloat even when it's second biggest name star is seems lost. Now that's impressive!Friday, 15 January 2010
My Pick: Katharine Ross in The Graduate
- FOUR HEARTS -
Radiant, subtle, ethereal, and compelling. Ross' complex performance infused with honesty, grace, and humanity is the emotional weight of the second half of the film. But it's those nuanced range of facial expressions on the bus that expose new depths and layered uncertainties about what will become of Elaine and Ben. Ross conveys every emotion Elaine feels without a single word, letting the viewer fill in the blank themselves.
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From There:
Carol Channing in Thouroughly Modern Millie - Three Hearts -
Mildred Natwick, Barefoot in the Park - Three Hearts -
Estelle Parsons in Bonnie and Clyde - Two Hearts -
Beah Richards in Guess Who's Coming to Dinner? - Two Hearts -
Please comment!
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