You are currently browsing the tag archive for the 'Best Original Screenplay' tag.
I don’t know how much more there is to say about Juno. Through Oscar season we had the hype, the acclaim, the backlash, the backlash to the backlash… All I can say is that I loved the movie and that it was one of the few films I saw that I immediately wanted to see again.
Most of the controversy seems to revolve around the script. Is the dialogue too cutesy, are the characters too quirky? I don’t think so. The first five minutes smacked of trying too hard, but throughout I thought it adeptly walked the line to keep it from becoming too precious. Too much time has been spent complaining that Juno doesn’t speak realistically. Um, it’s a movie. No one in a movie talks realistically! Real people don’t have the coherence, dramatic touch, or comedic timing of movie characters. But, honestly, Juno doesn’t talk all that weirdly. Yes she doesn’t talk like a normal teenager, but she does talk like a self-absorbed, know-it-all, cocky, hip teen who thinks she’s awesome… which is exactly what Juno is! A viewing companion mentioned that he couldn’t believe that Juno would think Mark wouldn’t know Mott the Hoople. I think a sixteen-year-old who thinks she knows everything about music would definitely make that mistake. Teens think they’re bees knees and everyone else is lame. It’s a time honored tradition. I think sometimes Juno so frequently plays up how put-together she is that we forget she really isn’t.
The lingo-filled dialogue might have propelled Diablo Cody to a well-deserved Original Screenplay Oscar win, but it’s really the characters that make Juno special. I love how Juno’s layers are pulled back, revealing the self-sure dynamo’s insecurities. Ellen Page deftly lets the emotion peek out, never ever stooping to the melodramatic. Jason Bateman’s Mark and Jennifer Garner’s Vanessa start out looking like one type of couple and shift into something completely different. JK Simmons and Allison Janney as Juno’s father and step-mother are the caring and wise (and witty) parents that movie parents are rarely allowed to be. Read the rest of this entry »
The Grouches have plowed their way through all of the films nominated for the big eight awards. Now we make the case for which film or performance we WANT to win. Doesn’t mean we think it will win or even have a shot at winning. But if we had a vote on the nominees, here’s who we would pick, and why:
BEST ORIGINAL SCREENPLAY NOMINEES: Juno, Lars and the Real Girl, Michael Clayton, Ratatouille, The Savages
The post title is a question Laura Linney’s Wendy Savage asks someone who read her play. A similar question can be asked about The Savages. Yes, it is a bunch of middle class whining, but it isn’t just that. It’s a comment on modern, distant families. It’s a look at the class of the medicated, over-educated, and self-involved. And it’s absolutely terrific.
Of course that shouldn’t be surprising since it starts Laura Linney and Philip Seymour Hoffman, two of the best actors in the business today. They play self-absorbed siblings Wendy and Jon who live in New York City and Buffalo, respectively. Both are struggling with their art: she on a semi-autobiographical play and he on a book about playwright Bertolt Brecht. Their distant lives are reunited when their father’s health begins to decline at a retirement community in Arizona. From there they must work together to get him back east and secure him the care he needs.
The magic of The Savages comes through the characters, who are realistic and complex but quite flawed. Jon is a pretty selfish guy who slogs away at his book and teaching theater of the absurd but won’t marry his long-time girlfriend to prevent her from being deported. Wendy is needy for attention, which manifests itself in lying and outbursts of emotion, and is in a relationship with a married man. Both are prone to easing their distress pharmaceutically and both feel stuck in their lives. But these aren’t the type of lost characters-of-a-certain-age we’re used to seeing in the movies. They don’t fit into easy types and they certainly don’t stare out windows forlornly.
So we have these interesting, flawed characters and put them into a heart-wrenching plot. They struggle with what to do with their father as he slides into dementia: they fight each other, they fight the guilt of sending him away, and they fight their demons over helping a man who was rarely a positive influence in their lives. And they also fight because they are very competitive, selfish, stubborn siblings who are in the same general academic field. The film, more than anything, centers on their relationship and it’s one I found to ring very true. They absolutely love each other but their interactions are often combative and both are quick to fling a barb at the other. Read the rest of this entry »
According to this film, the people of northern Wisconsin are either the most tolerant and kind-hearted people on Earth or are really, really bored.
Lars is the type of film that had to tread a thin line to be successful. It’s a film about a man who orders a sex doll to be his girlfriend; for most of Hollywood the urge for crassness would be too hard to ignore. But it also needed to stay away from being too heavy, too schmaltzy, too gimmicky. I think it succeeded fairly well.
Ryan Gosling did not get an Oscar nomination for his work here, but he did get a Golden Globe nod. He was a contender though, and he truly makes this film. His performance is restrained, true, and compelling. The character of Lars has to spot on for this film to work well and Gosling nails it. It’s too bad Oscar eluded him this year but he must have been one of the last one or two contenders cut. I loved him here.
When we first meet Lars he’s utterly socially incompetent, unable to make normal conversation with his co-workers, fellow churchgoers, or even his brother and sister-in-law. So Lars does what any normal social deviant would do and orders a sex doll off the internet, names it Bianca, and treats it like his girlfriend. The neat thing is that the film doesn’t treat this as a move of desperation for a pitiful figure but it instead comes off as a proactive and even promising step for the sheltered man, like he’s making a gutsy move to improve his life. Lars may be a messed up guy but the film never mocks him or wallows in his problems. Read the rest of this entry »
I like characters. I like characters more when they actually do something. I like nuance. I like nuance more when it isn’t just for the sake of nuance. I actually think John just about nailed it with his original thoughts - a review I believe he’d now like to recant. Adam must have gotten to him or something.
I’m just struggling to understand why a drama with little to no discernible drama, thrills, or suspense has garnered so much acclaim. Sure, it is an exaggeration to say the plot was entirely linear, there were maybe three kinks in there. Of course, if one of those Kinks isn’t Ray Davies, what’s the point? Ah, British Invasion humor! Read the rest of this entry »
For those of you who aren’t Pixar or movie nerds, the subtitle of my post is from The Incredibles, still my favorite film from the studio, and probably one of my top films of the decade. Yeah, it was that good. And after the underwhelming Cars, a movie did little to defy convention or predictability, I thought Ratatouille would be a great rebound movie. The overwhelmingly positive reviews and fantastic word-of-mouth raised my expectations that this was the return of the brilliant Pixar story. Hell, it was even directed by Brad Bird, the genius behind The Incredibles.
But, I sadly learned…to steal another line and apply it to the Pixar brand: “If everbody’s super, then no one is.” And I couldn’t agree more. Read the rest of this entry »
The Savages falls squarely into the second tier of the list of my favorite movies from 2007. I disclose this fact just because I need to rag on the movie a bit. You see, The Savages really should have made its way into the top tier. So, in a sense, it is a disappointment.
Laura Linney and Philip Seymour Hoffman are great, as usual. My thoughts on acting aside, if you have a character-driven movie about middle-aged people, I have to imagine these two will be at the top of your wish list. It almost isn’t even noteworthy at this point to remark on their performances. I won’t be heartbroken if Philip Seymour Hoffman doesn’t get a nomination this year, for two reasons. First, having won so recently for Capote, the Academy is reluctant to give him another nod so soon, by their warped, if relatively consistent, logic. Second, while PHS’s three performances this year may combined be worthy of a nod, there isn’t one that absolutely cries out for a nomination.
Read the rest of this entry »
I write this in mid-January. We’re in the midst of a hot Oscar season after a terrific year for film. Quirky comedies, British period pieces, and foreign imports are slaying critics and cleaning up at the arthouses while new works by major directors are being hailed as masterpieces. And yet I am here to proclaim that a summer sex comedy is still (thus far) my favorite film of the year.
Knocked Up wears many hats. It’s a sex comedy, a buddy movie, a stoner comedy, a chick flick, and a marriage comedy, but it is wonderful in all its forms. Knocked Up is the type of film that I have several specific problems with but I love all the parts that I love so much that I can easily gloss over its deficiencies. Under a veneer of pop culture references and potty humor (all funny on its own) is a story with a lot of heart containing characters we really grow to love.
We are introduced to Seth Rogen’s stoner/slacker Ben and Katherine Heigl’s career-minded Alison, who meet under alcohol-influenced circumstances and have a one night stand (with Rock Lobster playing in the background). Long story short, she calls him weeks later with a little surprise - she’s preggo! - and Ben and Alison see if they can make a relationship work. He’s an unemployed stoner living off an accident settlement! She’s a hard-working, practical, rising TV star! They’re an odd couple!
Okay so this is all pretty standard movie fare. In fact, Alison and Ben’s courtship - and inevitable dramatic split - is very much a straightforward romantic comedy. A top-notch romantic comedy for sure, but not the type of thing that’s going to top any favorites list.
Ratatouille is probably the most atmospheric of Pixar’s films. I look back and think of the film’s style, its charm, and its ability to bring the experience of food and cooking to the screen more than I think about the plot or the characters. I felt immersed in a stylized Paris; I could swear I could taste, feel, smell the food and hear the sizzle. To me it’s the best Pixar film since Finding Nemo. Read the rest of this entry »
With all the awards and nominations rolling in, the Grouches decided to look at the 8 big categories, predict who we think will win the Oscar, and jibber jabber a bit about the nominees. Next up is Best Original Screenplay.
Our picks:
John: Juno
Brian: Juno
Adam: Juno
Jared: Michael Clayton
Jared, what’s wrong with you?!!
Before the Devil Knows You’re Dead is bleak as hell. The plot is depressing and the characters unlikable. While I neither demand positive plots or likable characters, in this case I was left wondering, what’s the point?
I really enjoyed Philip Seymour Hoffman as the conniving, colder older brother Andy. I’m halfway through PSH’s terrific work this year and both of his performances I’ve seen (this and The Savages) are Oscar-worthy. Andy is ruthless but also desperate and delusional and Hoffman nails it. The other performances are good here too: Marisa Tomei, Ethan Hawke, and especially Albert Finney. Looking at it from an Oscar perspective, all of them appear to be long shots but I would welcome a nomination for any of them. While I merely liked the film, it was interesting and unique enough that I hope it gets at least one nomination somewhere.
This was a great movie. I had no idea what to expect going in, but I came out thoroughly enjoying this film. Brian actually had the same sentiment as I did leaving the theater, namely, for what it set out to accomplish it was nearly flawless in its execution. In fact, Brian does a very good job in his review of the piece, so I’ll just jot down a couple of things I also noted during the movie. (Note to self: In future, pick people you disagree with more when writing a blog. Agreeing with people is much less satisfying than criticizing them.)
Best movie of the year. Period. Granted, this statement is made without seeing every movie (or even every movie up for Best Picture) but I feel pretty confident. It would take quite a feat of film making to make me recant. In fact, in our little behind-the-scenes ranking, I gave Juno a perfect 10 – and I stand by that grade. As a testament to this movie’s prowess, I went into the theater with very high expectations (which you should never do) and not only were they met, they were exceeded. So, you might as well prepare yourself because if you plan on reading any further, the rest of this post will exclusively deal with how awesome this movie is.
I have nothing against cooking. I’ve seen countless episodes of Iron Chef. I think Alton Brown is nothing short of amazing. I dare Bobby Flay to throwdown in tuna melts. And I have a crush on Giada De Laurentiis. Well, except for any time she talks. That all said, I found Ratatouille relatively weak. The story is charming enough in theory, but the execution was lacking.
In my mind, Pixar’s ability to make entertaining movies is nothing short of staggering, given the impossible broad audience they attempt to reach. Our entertainment options are increasing at a rapid rate, and most often in an attempt to capture all sorts of niche markets. Which, in many ways, is a good thing. But I’d argue that with Ratatouille, the broad brushstrokes weren’t filled in with the usual detail that has made Pixar films so good in the past. Read the rest of this entry »
To be blunt, I really liked this movie. For what it aimed to accomplish, The Savages was close to flawless in its execution. Everything from the writing, the acting, the tone, the camera work, hit the right note, which is somewhat ironic as the music choices were at times bizarre, and thus the only minor criticism I’d make. As two siblings forced to deal with their father’s rapid downward spiral towards death, Laura Linney and Philip Seymour Hoffman are so genuine in their conflicted emotions and seem so true to real life.
After throwing John a bone with Talk to Me, I can now criticize his opinions to my heart’s content (that’s how it works, right?). I really liked this movie. In fact, if you have been reading religiously to all the posts (so, really I’m talking to the three other guys who right for this), you’ll notice that it was in my original top 5 movies of the year. I thought it was a great character study with some very memorable performances. And, this is where John and my opinions diverge.
Read the rest of this entry »
I don’t really have much to say about this movie. Once again, I was pleasantly surprised by this movie, but, in all honesty, it would have been hard not to be. My idea of an ideal plotline does not have a French rat as the main character. However, the movie was decently entertaining.
One reason for this is Pixar itself – which has a stranglehold on the CGI/animated movie market. The reason for their dominance is that they put out good movies. I thought it was better than Cars (which, admittedly I didn’t even finish), but fell well short of The Incredibles and Finding Nemo. The only other thing I can think of to mention was the complete lack of French accents in the movie. The only two characters that had even a shred of an accent were the villain chef and the love interest. That in itself made me like the movie more.
When we look back at this year’s Oscar season, Before the Devil Knows You’re Dead may well be the representative movie. The characters are largely compelling, but placed in a decidedly not upbeat story that falls just a bit short. The film has received buzz for a nomination is just about every major category save Best Actress, and could receive anywhere from 0-4 nominations. It also features two actors receiving Oscar buzz for other performances (PSH and Amy Ryan).
Ultimately, I don’t see the Academy bestowing any Oscars on the movie - the right move, in my opinion. To me, one mark of a great movie is transcending its genre to become relevant to people not fans of that genre. I don’t feel that’s the case for Before the Devil Knows You’re Dead. I think it is a botched heist movie with loftier pretensions. Don’t let the ending fool you. Read the rest of this entry »
Chuck Klosterman once wrote something along the lines of: “It is much harder to explain why you liked something than to explain why you didn’t like something.” And I’m finding that to ring true as I’m going through the Oscar movies and not only trying to pick out my favorites, but explain why they are the best of the bunch. Juno will end up being one of my favorite movies of the year, if not my most favorite. And I’ll try (and probably fail) to express why that is. But perhaps the simplest thing I can say is that of all the 2007 movies I’ve seen so far, Juno is the only one I’ve felt comfortable and confident recommending, no matter the person asking for the recommendation. Read the rest of this entry »
Michael Clayton is another in a long line of films this year that I liked but didn’t love. It’s billed as a legal/ mystery thriller but in reality it’s more of a character drama. If anything the film is too character-driven because the plot is distressingly straight forward. But as a film that depends heavily on its characters it’s getting buzz for acting nominations for Tom Wilkinson, Tilda Swinton, and George Clooney and all three would be fine choices. Read the rest of this entry »
Recent Comments