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Tag: Alfonso Cuarón

  • The Oscars – An Exercise in Predictability

    ellenoscarsgroupselfieAs I’m sure you’re aware, last night was another extravagant Oscar night in that little city known as L.A. Celebrities walked the red carpet. Entertainment reporters provided riveting commentary on dresses, dresses and more dresses. Jennifer Lawrence once again proved that she’s high in the running for “Most Down to Earth A-Lister”. All of it: standard, predictable Academy Awards fare. And if you followed along with Oscar predictions in the slightest over the last few weeks—the predictability did not end there.

    Nearly every major award went exactly to whom most of the world predicted. Matthew McConaughey and Jared Leto both won for their work on Dallas Buyer’s Club, of course. Cate Blanchett took it home for Blue Jasmine, of course. Lupita Nyong’o did the same for 12 Years a Slave, which as anticipated ended up snagging the big prize —Best Picture—as well as Best Adapted Screenplay for John Ridley.

    Though it didn’t take the coveted Best Picture prize, the night’s big winner was the sci-fi thrill-ride Gravity, which accumulated 7 statues when it was all said and done, including Best Director for Alfonso Cuarón. Yet, even that was no big surprise—indeed, most prediction lists had Cuarón as front runner. By the time midnight rolled around and the show had reached its finale, there was not a gasp to be heard. No outrage over the best picture winner. No crying that a director got robbed. There was just… nothing. The Oscars came, they went, and that was that.

    To be clear, I’m not demanding that the Oscars suddenly start being scandalous for the sake of scandal. I certainly wouldn’t want it to become an LA-themed episode of “The Jersey Shore”. But most years there is at least something to keep tensions high. Something to keep anticipation flowing. People at the edge of their seats. This year, it was all by the numbers.

    And though I think all of the winners deserve their prizes, it’s a shame that such an extraordinary year in movies had such a dull ceremony to celebrate it.

    Unlike some previous Oscar nights, the blame does not lie in the hands of the host. From her opening monologue right up till the end, Ellen was easily a highlight of the show. Her lively, wit-drenched attitude helped keep the audience entertained while we went from one needless, overdrawn musical performance to another. Seriously. This was ridiculous. I didn’t watch the Grammy’s, but after last night, I might as well have.

    There were a grand total of six musical performances last night. Six! For a ceremony that’s supposed to be about movies, that’s about five too many. Even the beautiful memorial for Hollywood’s deceased (which I was very happy to see included Roger Ebert) was tagged on by a totally unnecessary 4 minutes of Bette Midler singing “Wind Beneath My Wings”.

    Stuff like this really made the show drag on way past its welcome—much more than usual, anyway. I ask you: Do we really need to see U2 perform at the Oscars?

    This apparent need to draw things out was a running theme throughout the ceremony, with even some of the night’s best moments—such as Ellen buying pizza for the guests—staying just a little bit longer than they should have.

    As much as I might sound like a grumpy old man, it wasn’t all bad. No, there were definitely moments that reminded me of why watching the Oscars has been a part of my life since I can recall.

    There were some beautiful acceptance speeches, especially by Cate Blanchett and Jared Leto. Though my personal favorite was the wife/husband duo of Kristen Anderson-Lopez and Robert Lopez accepting their award for Best Original Song via rhyme. If you missed it, go watch the clip on YouTube right now. Though I’m sure even if you missed the broadcast, you probably heard the cumulative “Aaaaawwwwwww” that emerged from living rooms worldwide.

    But what was the ultimate highlight? It would have to be Bill Murray’s brief and impromptu tribute to his deceased collaborator, Harold Ramis. Murray threw in Ramis’s name while presenting the nominations for Best Cinematography, garnering much deserved applause for the late, great filmmaker. Bill even had the respect to apologize afterwards for going off-prompter. What a class act that guy is.

    Oh, and although just a few paragraphs ago I complained about the needless musical performance, I thoroughly enjoy both Karen O singing “The Moon Song” and Pink’s rendition of “Somewhere Over the Rainbow” as a tribute to one of my all time favorite films, The Wizard of Oz.

    So, yes, last night’s Oscars had its moments. Some beautiful, some hilarious, some heartbreaking. But overall? I can’t imagine anyone will remember the ceremony in a month or two. There was just nothing exciting about it. It just was a thing, and now that thing is over. All of the winners deserved their trophies, yes (I was particularly happy to see Spike Jonze win Best Original Screenplay for Her), and Ellen did a great job as the host. But if the Oscars want to stay relevant a decade from now? They’re certainly going to have to spice things up.

    My suggestion? Simple. Stop dragging the damn thing out.

    I’m not a sports guy, so the Oscars are about as close as I get to having a Super Bowl, and yet I still think they’re way too long. In a world that moves as fast as ours, with dwindling attention spans and a gazillian distractions at every turn, there is simply no need for the Oscars to be a 3-and-a-half hour event. Cut out all the fluff (cough, six musical performances, cough) and make it a quick two hour show that doesn’t waste our time.

    Maybe that sounds blasphemous coming from a movie buff, but it is precisely my love of movies that leads me to take this stand. A year full of such incredible film deserves a celebration that measures up. All writers known the idiom “kill your darlings”, and nowhere will you find more darlings in need of a quick and painless death than at the Oscars.

    What are your thoughts? Did any of the winners surprise or downright outrage you? Are the Oscars really needlessly long, or am I just a grumpy old man trapped in a younger man’s body?

  • 8 Movies That Prove Digital Can Look (Practically) as Good as Film

    Digital-vs-Film_v1.0Oh, this here, folks, is a fun one. Film vs. Digital is one of those debates that movie fans just cannot seem to stop having. If you’re not familiar with the difference, basically it boils down to this. Film means literally shooting footage on rolls of film (traditionally 35mm), and it’s the way movies have been shot for decades. It provides a beautiful, warm image that many consider to be cinema. But it also has its drawbacks.

    Digital, on the other hand, is usually more cost effective, allows you to shoot to your heart’s content, and, unlike film, isn’t vulnerable to physical damage. Unless you smash your camera with a hammer, I guess.

    For many, film’s inconveniences are plenty worth putting up with for the finished product. They swear that digital can never look as beautiful as film, or (if they’re of the more radical nature) that it’s ruining cinema all together. Personally, I happen to lean more on the film side of the argument. I think well shot film is stunning and I love the alive feeling it gives an image, with its grain and little imperfections.

    BUT. There are also plenty of movies shot on digital that I think look miles better than the majority of “film films” out there. In the hands of a talented cinematographer, digital filmmaking can look absolutely glorious—and achieve effects that film can’t.

    So, in the spirit of playing devil’s advocate, I decided to create a list (in no particular order) of movies shot on digital that do just that. If you’re a die hard fanatic of “film films” and think anything else is just a rip-off, hopefully this can make you see the enemy in a kinder light.

    Hugo – This really could be the start and end of the argument. If digital is good enough for Martin Scorsese, then it’s damn well good enough for you. Hugo looks like a storybook brought to life. Crisp, vivid and breathtaking. I haven’t gotten a chance to see it in 3D, and though I don’t usually like 3D, I have a feeling in this case, it might really add to the experience.

    Sin City – With Sin City, Robert Rodriguez managed to bring a comic book world to life like no one ever had, or has since. A perfect example of using digital filmmaking together with stellar visual effects to create a unique style that is unlike anything else out there.

    Gravity – If you didn’t get to experience this movie in theaters, then I’m sorry. As pretty much any review will tell you, Gravity is a visceral experience that ties the audience into the seat of a roller coaster and refuses to slow down. The beautiful imagery, combined with basically flawless CGI, creates a thrill ride that is one of the quickest 90 minutes I’ve ever had in a movie theater.

    Red State – Okay, so I know you’re thinking that all of the previous movies were special effects driven pictures which would of course work better with digital. Well, calm down, cowboy. Cause here’s Red State. Kevin Smith’s $4 million horror flick creeps up on you and forces your eyes wide open. The sharp, almost clinical look of the digital photography gives the movie an unsettling feel that resonates in the audience’s mind from first frame to last. To put it simply: film would have been too pretty for Red State.

    Collateral – Michael Mann can do amazing things with very little. It’d be hard to find a better example of that then Collateral . What’s essentially a basic, almost clichéd, noir story is made into a thrilling, personal narrative about people and the city of Los Angeles. Mann’s digital filmmaking gives the movie an extremely realistic, almost documentary-like look; a major reason why it works so well.

    The Girl With the Dragon Tattoo – I could have just easily put The Social Network or Zodiac here, but there’s something magical about The Girl With the Dragon Tattoo’s bleakness. From the pitch black apartments to the paper white Swedish snow, there’s intensity and suspense almost every frame. It’s hard to describe, but it’s immediately sensed while watching the movie. It’s an effect digital filmmaking helps achieve.

    Drive – Drive feels like a dream. A strange, violent dream with pulsating dance beats and lush, absorbing colors. It’s a testament to the power of visual storytelling, and the beautiful cinematography has a lot to do with that. When I found out that Drive was shot digitally, I was shocked. I couldn’t believe colors that deep, that rich, could be achieved with anything short of the highest quality film camera. Drive is proof that they can.

    Skyfall – Roger Deakins is one of the most talented people to ever hold a camera. That’s about all that needs to be said. Legendary filmmakers from the Coen brothers to Sam Mendes have called on him time and time again to give their movies that exquisite visual touch. Deakins’s work on Skyfall doesn’t reestablish, it only confirms his well deserved reputation as the master of the camera. Every single shot in the movie is a gorgeous painting, worthy of hanging in a museum. And you need look no further to find as compelling an argument for digital filmmaking.