Talking Movies, Episode 6: Safety Last! (1923), The General (1926), City Lights (1931) ... Talking Movies, Episode 5: The Last Picture Show (1971), Mean Streets (1973), The Conversation (1974) ... Talking Movies, Episode 4: Bonnie and Clyde (1967), Easy Rider (1969), The Wild Bunch (1969) ... TALKING MOVIES, EPISODE 3: MARTY (1955), THE BRIDGE ON THE RIVER KWAI (1957), BEN-HUR (1959) ... Talking Movies, Episode 2: The Lost Weekend (1945), The Best Years of Our Lives (1946), and Gentleman’s Agreement (1947) ... Alfred Hitchcock – The 39 Steps (1935) ... Talking Movies, Episode 1: ‘The Third Man’ (1949) ... Akira Kurosawa – ‘Ran’ (1985) ...
Countdown to Oscars

Posts Tagged ‘Javier Bardem’

Tuesday November 19th, 2013

Race, Gender, and Sexuality at the Academy Awards, Part I

By Mark Pinkert
Contributor

This is the first article in a three-part series

In his 2006 Oscar acceptance speech for Best Supporting Actor, George Clooney said the following about Hollywood as a forum for social change:

We’re the ones who talk about AIDS when it was just being whispered, and we talked about civil rights when it wasn’t really popular. And we, you know, we bring up subjects. This Academy, this group of people gave Hattie McDaniel an Oscar in 1939 when blacks were still sitting in the backs of theaters. (About.com; “The Politics of George Clooney; Actor and Liberal Activist”)

Hollywood is often more progressive than other parts of the country, sure, and great films often lends pathos to social issues. They may even galvanize movements or rally support from previous non-believers. But there are other, extenuating facts we ought to consider before labeling Hollywood and the Academy the vanguard of social progress. Hattie McDaniel, for instance, did have to sit in the back of the ballroom at a segregated table during 1939 Academy Awards.

Read the rest of this entry »

Thursday January 5th, 2012

How Two Oscar Op-Eds Rocked the Academy Years Ago and Still Impact Campaigning Today (Analysis)

Nine awards seasons ago, two op-eds — both involving the Miramax film Gangs of New York (2002) — motivated the Academy to begin cracking down on “distasteful” Oscar campaigning, an effort that continues to this day.

Click to read more…

Tuesday December 20th, 2011

FEINBERG & FRIENDS, Ep. 9: Scott Feinberg & Movieline’s S.T. VanAirsdale Discuss the Race (Audio)

I’m very pleased to bring you the ninth episode of “Feinberg & Friends,” THR’s weekly podcast about the awards race.

Click to read more…

Wednesday February 2nd, 2011

VIDEO: RUSH AND “KING’S SPEECH” ENSEMBLE CELEBRATED AT SBIFF

I was sick with food poisoning yesterday, so I am only now getting around to writing up the exciting events of Monday night, when the Santa Barbara International Film Festival honored Geoffrey Rush with its Montecito Award for his outstanding body of work (previous honorees have included Annette Bening, Naomi Watts, Javier Bardem, Kate Winslet, and Julianne Moore) and Rush and his co-stars from “The King’s Speech” with its inaugural Best Ensemble Award.

Read the rest of this entry »

Thursday January 20th, 2011

YOUR DAILY FIX OF OSCAR: 1/20/11

  • Gold Derby: Tariq Khan provides five reasons why he thinks “The King’s Speech” can still beat “The Social Network” to win the best picture Oscar. He suggests: (1) It will lead the field in nominations, as have 75% of the films that went on to win best picture over the past 40 years have; (2) It will do especially well with actors, who comprise the largest branch of the Academy; (3) It will win the SAG Award for best ensemble, as did fellow long-shot best picture hopefuls “Shakespeare in Love” (1998) and “Crash” (2005) en route to their wins; (4) It will be helped by the preferential ballot because it will register highly — even if not first — on most ballots; and (5) It will get a boost because it is now regarded as the underdog. (How he can assert any of these things with such confidence is beyond me. I know that the bookies in Las Vegas sure aren’t buying into his argument at the moment.)
  • Entertainment Weekly: Owen Gleiberman, one of the magazine’s film critics, begs to differ with his fellow EW staff member Dave Karger, with Khan, and with all others who are still betting against “The Social Network,” penning a piece entitled, “Here’s Why ‘The King’s Speech’ (As Good As It Is) Won’t Win Best Picture” in which he suggests — as others have long suggested — that the zeitgeist will be the decisive factor. (“The movie that ends up winning the Academy Award for best picture often taps into and gives voice to something that’s happening in the culture at large.”) He writes, “‘The King’s Speech’ is a movie that very much tries to speak to our time… [and] by the time it gets to ‘the king’s speech’ has become an allegory for the age of Barack Obama… [it] seems to have been timed for how a lot of people felt about Obama during the days when he was running for president… a story in America that no longer links up to where a great many people stand (even those of us who still support Obama avidly).”
  • Yahoo! Movies: Will Leitch wonders why the team behind “The Social Network” is suddenly going out of its way to be nice to the subject of their film, Facebook CEO Mark Zuckerberg. After winning the best screenplay Golden Globe, screenwriter Aaron Sorkin said, “I wanted to say to Mark Zuckerberg, if you’re watching tonight, Rooney Mara’s character makes a prediction at the beginning of the movie, and she was wrong. You turned out to be a great entrepreneur, a visionary and an altruist.” After winning the best picture (drama) Golden Globe, producer Scott Rudin said, “I want to thank everybody at Facebook; Mark Zuckerberg for his willingness to allow us to use his life and work as a metaphor through which to tell a story about communication and the way we relate to each other.” And another producer of the film, Dana Brunetti, Tweeted a photo of himself arm-in-arm on the red carpet with none other than Randi Zuckerberg, Mark’s older sister and Facebook’s marketing director. So… what brought about all of this “friending”?
  • UPI: An unattributed report, citing statistics compiled by the Rentrak tracking service, indicates that “The Social Network,” which was released on DVD and Blu-ray on January 11, was the top-selling and top-rented title of the week ending on January 16.
  • The Hollywood Reporter: Pamela McClintock reports that Fox Searchlight has planned “a big return” for its awards hopeful “127 Hours,” which has grossed only $11.1 million to date and is now playing in only 76 theaters. The studio is apparently hoping to “take advantage of expected attention from the Oscars” by re-releasing it in over 600 locations the week after nominations are announced. (They mounted a similar theatrical comeback for “The Last King of Scotland” in 2006, which resulted in $14 million more in ticket sales.)
    • The Awl: Richard Rushfield, who was the editor of the entertainment section at the Los Angeles Times when I wrote a blog for their Web site, pens a rather contrarian op-ed about “The Social Network” in which he describes the film as “a pack of lies that conveys nothing about our time.” He acknowledges that it is “a finely crafted work” and that “the acting is impeccable, the dialogue is zippy and zings along,” but alleges, “The jilted love affair that drives Mark Zuckerberg to create Facebook is invented. The resentment against the Harvard elite clubs that drives him to create an alternate society is invented. The claims of others involved in the creation of Facebook are given vastly too much credence in the film. [And] Zuckerberg is portrayed as an angry, vengeful sociopath, which by most accounts and all appearances, he is not.” (There are numerous people, however, who would dispute each of his allegations. For starters, Google the name Jessica Alona.)

    Photo: Jesse Eisenberg as Mark Zuckerberg in “The Social Network.” Credit: Columbia.

    Tuesday January 11th, 2011

    YOUR DAILY FIX OF OSCAR: 1/11/11

    • iTunes Movie Trailers: Focus Features finally releases a clip of Julianne Moore’s show-stopping soliloquoy about marriage in “The Kids Are All Right” — and, as a fan of Moore’s, I’m furious. This should have been done months ago when it really could have made a difference, not five days before Oscar nomination ballots are due. At this point, virtually all of the heat for the film has been guided towards Moore’s co-star Annette Bening, and it seems doubtful that Moore’s prospects can be salvaged by anything.
    • The Facebook Effect: Today, several awards bloggers, including yours truly, received a copy of “The Facebook Effect: The Inside Story of the Company That Is Connecting the World,” David Kirkpatrick’s authorized history of Facebook, from a prominent PR firm that is promoting its paperback release on February 1. The timing of this delivery struck some of us as a little strange, as did a marking on the book (“The Real Story Behind ‘The Social Network’”) and several passages in a letter that accompanied it (“So you think you know the real story of how Facebook was created? There is that nice film out there with a great script by Aaron Sorkin, but unfortunately that is just it, a script”). Representatives of films that are competing with “The Social Network” this awards season quickly and emphatically denied any advance knowledge of the mailing.
    • Hollywood-Elsewhere: Jeff Wells writes a tongue-in-cheek post comparing the growing number of awards pundists who have changed their best picture pick from “The King’s Speech” to “The Social Network” — including Pete Hammond, Steve Pond, and Kris Tapley — to the characters in the classic film “12 Angry Men” (1957), in which one lone juror (Henry Fonda) is slowly but surely joined on his side of an issue by all of the others. According to Jeff’s parallel, the three people who declared “The Social Network” to be the frontrunner months ago and have stuck with it (he, Sasha Stone, and me) are the Fonda character, whereas the few remaining holdouts for “The King’s Speech” (Dave Karger, Tom O’Neil, David Poland, and Anne Thompson) are other character actors from the film. (Not surprisingly, he reserves “big mouth” Lee J. Cobb for his longtime nemesis Poland).
    • The Race: Pamela McClintock observes that “there has been a disturbing dissonance between Oscar voters and movie-goers when it comes to top nominations” in recent years — “many of the best picture nominees just never caught on at the box office” — but this year “it’s the opposite as moviegoers are wholeheartedly embracing a number of awards darlings.” Among the major films on which moviegoers and critics have agreed, and on which the Academy is likely to agree: “Black Swan,” “The Fighter,” “Inception,” “The King’s Speech,” “The Social Network,” “True Grit,” and “Winter’s Bone.”

    Photo: Annette Bening and Julianne Moore in “The Kids Are All Right.” Credit: Focus Features.

    Thursday January 6th, 2011

    YOUR DAILY FIX OF OSCAR: 1/6/11

    • Entertainment Weekly: Dave Karger speaks with Julia Roberts after a special screening of “Biutiful” at CAA that she hosted for industry insiders to help call attention to the performance of her “Eat Pray Love” co-star Javier Bardem. (Robert Forster, Kyle MacLachlan, and Bardem’s pregnant wife Penelope Cruz were among the attendees.) Roberts explains, “I think the movie hasn’t gotten the exposure. You don’t know where it is. It’s like this hidden little jewel… I just have a great appreciation for what he went through to show us all this.”
    • Deadline Hollywood: Mike Fleming interviews producer-extraordinaire Scott Rudin, who this week became the first producer to receive PGA Award nominations for two features in the same year (for “The Social Network” and “True Grit”), and who will also be receiving the David O. Selznick Achievement Award at the PGA Awards ceremony. Rudin credits his “great [producing] partners on both” and emphasizes that while “the Oscar stuff is fantastic, rewarding and in some ways exciting… it’s not why you do it. You do it because you want to hold your own work to a standard of excellence.” He also notes that while he was heavily involved with the pre-production of both films (he worked closely with the screenwriters, for instance, while they formulated their scripts), he stayed out of the way of the directors during the filmmaking process itself.
    • Awards Tracker: Tom O’Neil advises those who believe that “True Grit” is now the best picture favorite just because it has done well at the box-office ($91.5 million and counting) to “hold your horses.” He submits that “financial success isn’t as important as it used to be to Oscar victory,” citing the fact the best picture Oscar winner went to films that earned at least $100 million domestically 75% of the time between 1986 and 2005, but that 60% of those since have gone to films that did not, including “Crash” ($54 million), “No Country for Old Men” ($74 million), and “The Hurt Locker” ($14 million, or $746 million less than it’s fellow nominee “Avatar”).
    • Hollywood-Elsewhere: Jeff Wells passes along an andorsement of the work of the cinematographer Hoyt Van Hoytema on “The Fighter” from legendary cinematographer Michael Chapman, who lensed perhaps the greatest boxing movie of all-time, “Raging Bull” (1980), among other classics. Chapman writes, “The movie struck me as doing the basic thing that cinematography does when it’s done well, which is to present a three-dimensional stage in which the actors can move.”
    • The Carpetbagger: Larry Rother mourns the fact that the French film “Carlos,” one of the most critically-beloved movies of 2010, is ineligible for Oscar consideration in any category this year “because of a quirk in the rules set by the Academy of Motion Pictures Arts & Sciences.” The film “was initially broadcast on French television before it was packaged and sold abroad for distribution, in two different versions, one long and one short, as a feature film,” which constitutes a violation of an Academy rule that states, “Films that, in any version, receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release will not be eligible for Academy Awards in any category.”
    • Vulture: Jordana Horn asks Quentin Tarantino why he omitted Sofia Coppola’s “Somewhere” — the film to which the Venice Film Festival jury, over which he presided, awarded the Golden Lion back in September — from his year-end top 20 film list. “I’m a little embarrassed by it, actually,” Tarantino says, explaining, “It was never meant to be a dig against ‘Somewhere,’ or Sofia. I simply didn’t consider any of the films I’d seen in Venice for the list.” I put them in a separate box — I was on official duty at that time, not seeing the films theatrically, independently… Now I wish I’d put it on there — I didn’t think anyone would pay attention.” He adds, “I’d have put it in my top 10.”

    Photo: Javier Bardem and Julia Roberts. Credit: Entertainment Weekly.

    Monday December 13th, 2010

    “BLACK SWAN” EARNS RECORD NUMBER OF BFCA CRITICS’ CHOICE AWARD NODS

    The Broadcast Film Critics Association, of which I am a voting member, released its 2010 nominations for its 16th annual Critics’ Choice Movie Awards this morning. “Black Swan” earned a record 12 nods (picture, director, actress, supporting actress, original screenplay, art direction, costume design, cinematography, editing, makeup, sound, and score), while 11 were bestowed upon “The King’s Speech” and “True Grit,” 10 upon “Inception,” and 9 upon “The Social Network.” Nicole Kidman, meanwhile, became the most nominated actor in the organization’s history when she received her seventh career nod (for best actress in “Rabbit Hole”).

    Noteworthy inclusions: Noomi Rapace (“The Girl with the Dragon Tattoo”) for best actress; Jeremy Renner (“The Town”) for best supporting actor; Mila Kunis (“Black Swan”) for best supporting actress; “The Town” for best adapted screenplay; “The Fighter” for best ensemble; 13-year-old Chloe Moretz was nominated twice in the best young actor category (“Kick-Ass” and “Let Me In”); “I Love You Phillip Morris” for best comedy; “Joan Rivers: A Piece of Work” for best documentary; and “127 Hours” for best editing

    Noteworthy snubs:Blue Valentine” and “The Kids Are All Right” for best picture; Alejandro Gonzalez Inarritu (“Biutiful”) for best director; Javier Bardem (“Biutiful”) and Mark Wahlberg (“The Fighter”) for best actor; Julianne Moore (“The Kids Are All Right”) and Tilda Swinton (“I Am Love”) for best actress; Justin Timberlake (“The Social Network”) for best supporting actor; “Black Swan” for best ensemble; “Hot Tub Time Machine” for best comedy; “Shutter Island” for best art direction; “The Social Network” for best cinematography; “Shutter Island” for best costume design; “The King’s Speech” for best editing; and “Iron Man 2” for best visual effects

    The BFCA’s picks — which have correlated with the Academy’s picks as often as any awards group’s in recent years — will be announced at the Critics’ Choice Movie Awards ceremony at the Hollywood Palladium on Friday, January 14, 2011 at 9pm EST/PST. VH1 will broadcast the gala live around the world.

    The full list of nominees follows…

    Read the rest of this entry »

    Sunday December 12th, 2010

    MY BEST-GUESSES: LAFCA & NYFCC

    Just for the heck of it, I’m going to spitball the Los Angeles Film Critics Association and New York Film Critics Circle votes, both which are impossible to predict with any degree of confidence, and both of which will be announced over the next 24 hours (the former on Twitter @LAFilmCritics)…

    Read the rest of this entry »

    Friday December 3rd, 2010

    “DEEP VOTE” ON “127 HOURS,” “BIUTIFUL,” AND “SHUTTER ISLAND”

    Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for ScottFeinberg.com — every week until the Academy Awards. He will help to peel back the curtain on the Oscar voting process by sharing his thoughts about the films he sees and, ultimately, his nomination and final ballots, as well. His identity must be protected in order to spare him from repercussions for disclosing the aforementioned information.

    Thus far, he has shared his thoughts in column one about his general preferences; column two about Winter’s Bone” (Roadside Attractions, 6/11, R, trailer) and Solitary Man” (Anchor Bay Films, 5/21, R, trailer); column three about Alice in Wonderland” (Disney, 3/5, PG, trailer), “Toy Story 3” (Disney, 6/18, G, trailer), and “Mother and Child” (Sony Pictures Classics, 5/7, R, trailer); and column four about Get Low” (Sony Pictures Classics, 7/30, PG-13, trailer), “The Kids Are All Right” (Focus Features, 7/9, R, trailer), and “The Social Network” (Columbia, 10/1, PG-13, trailer).

    This week, he assesses three more awards hopefuls: “127 Hours” (Fox Searchlight, 11/5, R, trailer), “Biutiful” (Roadside Attractions, 12/17, R, trailer), and “Shutter Island” (Paramount, 2/19, R, trailer)

    Read the rest of this entry »