Wednesday, September 2, 2009

Inglorious Basterds

Whenever I settle back to enjoy a Tarantino film, before the lights dim, I ask myself one question: Which Quentin Tarantino directed this film? Was it the mindlessly-blood-loving and comical Tarantino (Kill Bill/Death Proof), or the mindfully-blood-loving and comical Tarantino? (Pulp Fiction, Resovoir Dogs) To say the least, I think what makes or breaks his movies is whether he says "to hell with it," and a blood bath ensues, or he says "to hell with it, but let's also try to say something here," while a more profound blood bath ensues. Whichever kind you enjoy more, solely depends on what kind of a mood you're in. In this case, INGLORIOUS BASTERDS, falls into that second category.

Everything you want in Tarantino film is there: long intense dialogs, mexican stand-offs (yes, they actually even do acknowledge it in the movie), and lots of blood when called for (Not on the "kill bill scale" but tastefully done for Tarantino standards). Nazis are clubbed to death with baseball bats, scalped, and have their foreheads carved with the swastika. Dialogs are long and intense, and deal with one party knowing something the other doesn't (like a family of Jews underneath the floorboards on which inquiring Gestapos are standing). The screenplay is a literary achievement, made more visually stunning with Tarantino's aesthetic.

Using Brad Pitt as a marketing tool for this film was a thoughtful strategy, because it helped fill a few more seats with viewers who wouldn't have come had they known he was only in one-third of the movie. It's true - and he's not charming Bradd Pitt we knew from LEGENDS OF THE FALL. He's a toungue twangin', scalp cuttin', quarter italian', Nazi hater, who's sole purpose is kill as many Nazi's before the war's over.

If there is an actor in the film audiences should seek out, it is German veteran Christoph Waltz, whose portrayal as the "Jew Hunter" is so passionately passive-agressive he reminds me of a Nazi version of Hanibal Lector. He plays every scene with an obsessively compulsive sense of sadistic control I knew after the first scene he was bound to appear on an AFI list somewhere. Not only does he leave a trail of slime everywhere he walks, but his eyes stare daggers into the hearts of every innocent victim who falls under the spell of this trusting gaze. By the end of the movie every viewer wishes death to him - I promise you that.

The other two-thirds of the film tracks the vendetta of a young, and beautiful, French Jewish woman, who witnessed her parents murdered by the hands of "The Jew Hunter." However, both stories culminate at the premiere of a Nazi propaganda film, where a single sniper is hurrayed for picking off over 300 American soldiers. It seems to me, the movie isn't about Bradd Pitt, as the posters may suggest, but more about Tarantino's continual exploration of human violence. In this film, the Nazi's were satiated by the graphically violent slaughter of their enemies. Then, the tables turn and we, as the audience, see high ranking Nazi officials and their posse gunned down like trapped farm animals and we're (not surprisingly) wickedly aroused by it. More so, is the un-settling revelation Mr. Tarantino has bestowed upon us - how are we different from the Nazi's if we'd love to kill whom we hate? Granted, we haven't killed them, but merely witnessed, and loved every minute of it.

Friday, August 28, 2009

2009 Oscar Contention

Even in late August it's hard for me to resist the urge to predict some of the more award-savy movies this year, especially because we've already had a few gems this summer, and oscar season is also fast approaching with some promises of its own.

By now, everyone knows this season will feature ten best picture nominees, rather than the standard five. Apparently, a lot of thought went into that decision according to the academy: it was the original formula, "it's classic,"and it gives more films the chance to go for the gold (after so many booed Dark Knight's snub last year). If there is 10 best picture worthy films this year, we shall see.

At least one movie has already made birth from the starry summer line-up, and that's Pixar's latest offering, UP. Nobody thought last summer's WALL-E could be topped, but yet, that same group wasn't surprised when UP soared (pun intended). A humurous and heartbreaking story (was that a Pixar miscarriage?), about a grumpy old man who finally decides to harness his dreams and take an adventure. The film flies through themes of life, loss, love, and most importantly: how many helium balloons it takes to lift a house. Even though animation has its own category, hopes are hight that UP will claim one slot - especially since WALL-E was so close last year.

Scorsese's new psychological thriller, SHUTTER ISLAND, may have been in contention. A lot of things were at stake: Was it as good as DEPARTED? How is Leo's performance? Why does the trailer look so weired and creepy? But alas, it was bumped back to February and out of this years Oscar contention, opening more space for other takers

Probably the, and I say "the" movie to look out for this year is INVICTUS. Clint Eastwood directs Morgan Freeman as Nelson Mandella. If that doesn't make your head jump off your shoulders I don't know what will. It practically says "Give me an Oscar!" It also features Matt Damon in a supporting role. I'm predicting right now, this will be Freeman's best actor oscar, because this was the role he was born to play. No trailer or poster yet, but I'll continue to salivate until then.

Maybe not quite as big, but still definitely a force to be reckoned with is Rob Marshall's lastest, NINE, not the animation from Tim Burton which is "9," no I'm talking about the musical remake of Fellini's 8 1/2 starring Daniel Day Lewis, Marion Cotillard, Nicole Kidman, Penelope Cruz...*breath*...Sophia Loren and Kate Hudson - PHEW! Knowing what Marshall did with his last musical, CHICAGO, as well as what obsessive dedication Lewis puts into his roles, there are a lot of curious critics ready to see what kind of weight his JY-normous cast will pull. Just go watch the trailer and you'll be singing "To be Italian..." for the rest of the night.

Oscar-potential movies we do have trailers/posters for at this point include AMELIA, Hilary Swank plays Amelia Earhart (most likely a best actress nod, but nothing more at this point). It's unlikely she'll win, since she was rewarded twice already but stranger things have happened. Also, Jason Reitman's (THANK YOUR FOR SMOKING, JUNO) third, UP IN THE AIR, a witty airport comedy with George Clooney and Jason Bateman, released a poster this week, and seeing as the critics took to JUNO, this could snag one of the ten slots.

Two of Hollywood's most revered visionaries will also bring their latest epics out of hiding this December. Those being Peter Jackson's THE LOVELY BONES and James Cameron's AVATAR. The former has been a bit more publicized, while the latter has been on the hush-hush. BONES (based on the award winning book) has a dazzling trailer, with plenty of beautiful animation, and promises stunning performances from Saoirse Ronan (child star from ATONEMENT) and Stanley Tucci in an off-beat role as a child serial killer (a possible supporting actor nod?). Cameron's film however, has been kept on such a lock down that buzz was building just from the anticipation. All we knew was it was another Cameron passion project, and the last time that happened it was the highest grossing movie ever made (TITANIC anyone?). But, now that the trailer has been released I think everyone felt kind of underwhelmed by it. A heavily CGI (beautiful, but heavy) science fantasy epic, that, at this point, seems to be no profound impact. My guess is this one won't hit the target, maybe some effects awards, but time will tell.

Like I said, it's only August, but other films gaining buzz are AN EDUCATION, BRIGHT STAR, and PRECIOUS. More on these as we get closer to awards season. For daily oscar updates you can always check out http://www.awardscircuit.com/