Category Archives: War Horse

Oscars 2012: For Every Great Nomination, There is a Terrible Snub

For every one satisfying Oscar nomination, there are endless movies, directors, and actors that could have filled that spot as well. This year, a surprising amount of suspected shoo-ins were snubbed, along with many that may never have had a chance. This year, who will join the ranks of “The Searchers,” “Touch of Evil,” and “Do the Right Thing” for most egregious snubs of all time? It is time to celebrate those who didn’t make the cut.  

Best Picture: 50/50
            Usually, Best Picture is associated with large scale, historical spectacles. What the Oscars really love, however, are stories of triumph in the face of adversity. No other movie could have better fit that label than “50/50,” Will Reiser’s funny and moving autobiographical story of coping with cancer. It deals with both the dire and the mundane in ways that few movies about cancer before this ever have. It might not have caught the Academy’s eye, but the impact of its naturalistic writing and effortless performances will long outlast the February 26 ceremony.


Best Director: Steven Spielberg (War Horse)

            Spielberg is known at times for letting his emotions get the best of his movies. However, his sentimentality toward movies and re-creating history are at their best here. This is perhaps the most detailed depiction of World War I in film, and the ending, evoking John Ford’s most famous westerns, could make even the most hardened movie buff cry.


Best Actor: Ryan Gosling (Drive)

            Gosling pulled a hat trick this year with memorable performances in “Crazy, Stupid, Love,” “The Ides of March,” and “Drive.” His against-type performance in “Drive” was the best of these. Conveying so much with so little dialogue, his transformation from a stellar getaway driver to a psychotic killer in the film’s final act is shocking in its subtle believability. Gosling helps elevate a flawed movie by turning The Driver into one of the most unforgettable movie characters in years.


 


Best Actress: Charlize Theron (Young Adult)

            It may be tough to make the bitchy former high school prom queen likable, but in “Young Adult,” Charlize Theron shows that it is at least possible to make her relatable. Theron so perfectly disappears into Mavis Gary’s self-denial that sometimes, it is hard to even tell whether it is really self-denial. “Young Adult” doesn’t give Mavis the fairy tale redemption ending that a lesser movie would have resorted to. While she doesn’t deserve our sympathy or attention, giving it to her doesn’t seem like such a crime.


Best Supporting Actor: Patton Oswalt (Young Adult)

            Awards season is usually kind to comedians who take a stab at dramatic acting. However, Patton Oswalt, who had not one, but two, fantastic dramatic turns, first in 2009’s “Big Fan,” and this year in “Young Adult,” has yet to be nominated. Oswalt’s performance is much more toned down than anything usually seen from him. He serves as a perfect foil to Theron, wallowing in self-pity, but also displaying a great deal of self-awareness. While his life has fallen apart, he never seems disturbed by it. An actor’s job is to make an unlikable character likable, and Oswalt takes a loser and turns him into something much more unique.


Best Supporting Actress: Shailene Woodley (The Descendants)

            This breakout performance from the 20-year-old Shailene Woodley has been inexplicably left out of the race. Woodley delivers one of the most devastating moments of the year: after hearing that her mother is in a coma, she goes underwater to cry. Making the leap from an ABC Family melodrama to holding your own against George Clooney in an Alexander Payne movie is the mark of a promising movie star in the works.  

Honorable Mentions:
Brendan Gleeson (The Guard): For the ten of you out there who actually saw this movie, you’ll know that Brendan Gleeson is the only person who could make a bumbling and racist Irish cop hilarious and a bit of a sneaky genius. 
David Fincher (The Girl With The Dragon Tattoo): Fincher turned a pulpy story into a haunting Swedish noir. Seriously, after this, “The Social Network,” and the various other movies he hasn’t even been nominated for (“Se7en,” “Fight Club”) how has this guy not won an Oscar yet? Perhaps Fincher is the Academy’s new Scorsese. 
And a few more: Joseph Gordon-Levitt (50/50), Ryan Gosling (The Ides of March), Owen Wilson (Midnight in Paris), Diablo Cody (Young Adult)
You can also check this article out at The Daily Orange. It is also available in print. Yes, print still exists. 

2011: In A Weak Year, There Are Still 10 Best Movies

2011 wasn’t necessarily a bad year for movies. Sure, it looks poor when compared to 2010, which boasted both “Black Swan” and “The Social Network.” Just like any other year, 2011 had too many great movies to fit on just one list but as always, I will try.

Choosing number one this year was difficult. I didn’t know what to choose, so I looked to my heart, my head, and my gut. My heart said “War Horse,” my head said “The Girl With the Dragon Tattoo,” and my gut said “Midnight in Paris.” Ultimately my heart won out, but it was a close battle. One of these days, I might have to abandon numbers and simply pick the ten movies I enjoyed most. But for now, these are the best movies of 2011:

1. War Horse- Once the ending credits rolled and I finally found the emotional strength to leave the theater, a thought immediately rushed into my head that was so contagious that it simply wouldn’t go away: “War Horse” is the year’s best movie. The common theme of 2011 was nostalgia and Spielberg brought “War Horse” past its roots into a tribute to the great film epics of the past. Every emotional note hits its mark seamlessly here. The ending itself is enough to reduce any film buff to tears. Its journey into the crushing soul of war and then back again is as rewarding a journey as you’ll take this year. Most times, I would deem a film like “War Horse” as a pandering attempt to win Oscars. This time, I call it the best film of the year.



2. Midnight in Paris- Every few years, Woody Allen has another supposed comeback. However, “Midnight in Paris” is the real thing, and it ranks near “Annie Hall” and “Hannah and Her Sisters” as one of his absolute best. A struggling writer (Owen Wilson, a perfect Woody Allen stand-in) vacationing in Paris looks for answers in the past, and through a thankfully unexplained gap in the space-time continuum, ends up in 1920s Paris, talking to the likes of Ernest Hemingway and F. Scott Fitzgerald. “Midnight in Paris” is the most thoughtful, inventive, and overall, entertaining comedy of the year. And it achieves both of these things by being neither too dark nor too light-hearted. No matter what city he is in, and no matter how old he gets, Woody Allen’s wit, insight, and grasp on human conversation never cease to amaze me.

Midnight in Paris (2011) // Woody Allen



3. The Girl With The Dragon Tattoo- I might have spoken a little too soon when I deemed this the best movie of the year a few weeks ago. Then again, Facebook isn’t necessarily the best form of communication. “The Girl With The Dragon Tattoo” is still among the most extraordinary films of the year. It’s an old fashioned film noir wrapped in crisp digital cinematography, a haunting score by Trent Reznor and Atticus Ross, and mesmerizing direction from David Fincher. It is most notable, however, for recreating Lisabeth Salander and making her the female hero the Digital Age. Rooney Mara gives the bravest performance of the year and in one scene, pulls off an act that is shocking even in a time when being shocking and controversial proves all the more difficult. Due to very poor scheduling during a crowded weekend at the end of the year, “The Girl With The Dragon Tattoo” still cannot find the audience it deserves. Yet, the sequel is still in the works. The more time I can spend with Salander and the rest of the “Dragon Tattoo” universe, the better.



4. Hugo- “Martin Scorsese made a children’s movie” was the hype surrounding the release of “Hugo.” What everyone should have been saying is, “Martin Scorsese made another classic.” “Hugo,” a movie about the preservation of movies, plays into this year’s theme of nostalgia. Perhaps Hollywood’s answer to trying to improve the state of movies was to look toward the past. If so, it is working. It also helped that “Hugo” is the only movie I’d encourage anyone go see in 3D, as it actually adds to rather than detracts from the story. It is the most entertaining lesson in film history you’ll ever get. “Hugo” might just give birth to a whole new generation of cinephiles.



5. Young Adult- Mavis (Charlize Theron), the young adult writer from which this movie gets its name, is like an odd mixture of Stephanie Meyer and Paris Hilton. She might be the least likable movie protagonist of the year, but Theron makes Mavis seem so genuine because Theron doesn’t seem to think too highly of her either. “Young Adult” is a turning point in the careers of director Jason Reitman and writer Diablo Cody; it is more in line with the ambiguity of “Up in the Air” and much less precious than “Juno.” “Young Adult” will be a good time capsule movie, as it so accurately portrays America in 2011 in both its disenchantment and its cultural excesses. Perhaps what the misleading advertisements for “Young Adult” should have shown is that this is a not a dark comedy about happiness, but rather a bleak one that shows that when people sugar-coat misery and loneliness, it only makes them feel worse. In a world where reality is processed into such simple comfort fantasies as a young adult novel, “Young Adult” is the jolt of reality that isn’t just for that kid who thought they were so loved in high school, but for a world of filmmakers who feel everything must have a happy ending…

Young Adult (2011) // Jason Reitman



6. 50/50- …but that doesn’t mean a happy ending is a bad thing. Great stories run on hope. “50/50″ is a cancer comedy about living. Writer Will Reiser turned his struggle with cancer at a young age into an unlikely story about beating the odds. The mark of change is letting a negative life experience influence change for the better, and there is no better way to reflect on the past than to find the humor in it. Everyone in the cast is totally in their element, most notably Angelica Huston, Seth Rogen, and Joseph Gordon-Levitt. The scene in which Gordon-Levitt shaves his head is the bravest thing I’ve seen an actor do on camera this year aside from what Lisabeth Salender does to get revenge on her tormentor. Funny, thoughtful, and spontaneous, “50/50″ is all the better for examining life through a comedic point of view. 

50/50 (2011) // Jonathan Levine



7. The Artist- “The Artist” is more than just that silent movie: it is the year’s most indelibly entertaining film. The clever sound and image play throughout bring “The Artist” to a whole different level of inventiveness. This is both a cinephile’s and a nostalgic’s paradise. This film is essentially timeless in scope and story. Its characters are broad yet so memorable. Leads Jean Dujardin (as George Valentin) and Berence Bejo (as Pepe Miller) have the best chemistry I’ve seen this year. Chemistry is when two actors play off each other naturally and even when the two aren’t together, there seems to be an electrifying force between them that will eventually bring them together. The third act might be a little overlong, but it is worth it for the ending, in which the true reason for Valentin’s refusal to speak is revealed.

The Artist (2011) // Michel Hazanavicius



8. Terri- One of the most overlooked movies of the year that is also one of the year’s best, “Terri” is a weird (in the best sense of the word) little story that is also weirdly inspired. Maybe no one wanted to see it because the idea of a protagonist who gets excited by watching a hawk catch its prey isn’t exactly enticing. Yet the always pajama-clad Terri (Jacob Wysocki) is funny and sincere in an unexpected way. The friendship he forms with the principal (John C. Reilly) feels the exact same way, which is why it was the most believable bond seen on screen this year. “Terri” in general doesn’t seem like the kind of movie that was ever after major awards or box office success. That’s why it feels so pure, and why the relationships it portrays feel so real.



9. Bridesmaids- Most critics put “Bridesmaids” on a ridiculous pedestal as the greatest achievement in feminism since women’s suffrage. Now that the buzz has subsided, “Bridesmaids” can finely step down and be recognized for what it is: an insanely hilarious and even touching big studio comedy. It took me a second viewing to realize that this is not a movie concerned about getting a story across, but rather about stretching a bunch of strange characters and awkward situations to their possible limits, an experiment just to see how long an audience can laugh for. This is why it is even better that they chose to let Kristen Wiig’s drunken airplane tirade go on instead of letting the girls go to Vegas. The astounding success of this movie is a triumph in many ways, especially because it fast-tracked the career of director Paul Feig (“Freaks and Geeks”) and showed that a raunchy but honest movie about friendship could connect with audiences. Kristen Wiig and Melissa McCarthy, welcome to stardom.

Bridesmaids (2011) // Paul Feig



10. The Tree of Life- Long after its release, “The Tree of Life” is still the most ambitious movie of the year. Even though I am still struggling to figure it all out, I continue to admire the beauty and subtle simplicity of Terrence Malick’s vision. As Malick’s career has advanced, his films have gotten bigger in scope, yet more obscure in message. By setting this story of a Texas family coming of age in the 1950s against the backdrop of dinosaurs and the creation of the Earth, the characters are not just products of that era in American history, but struggling, clashing creatures trying to find the answers to everything and only being able to guess as to where are the right places to look. If Malick is God of this film, then the camera is his non-judging lens looking onto all of humanity. “The Tree of Life” is neither a pretty Windows screensaver nor “The Tale of Scrotie McBoogerballs”, but rather the work of a famously private director who will only shares himself through his one-of-a-kind films.



Just Missed the List: Source Code, The Descendants, The Muppets, Crazy, Stupid, Love, The Guard, The Ides of March, Super 8

Worst: Cowboys & Aliens- This epically dull sci-fi blockbuster included an alien spaceship that resembled Squidward’s house. That is all.


Most Overrated: A Dangerous Method, Drive, Moneyball

Most Disappointing: The Rum Diary, Your Highness, 30 Minutes or Less

Still Need to See: Melancholia, A Seperation, Tinker Tailor Soldier Spy, Extremely Loud & Incredibly Close, Shame, Like Crazy, Take Shelter

All movie title card images were found on this awesome website.

Movie Review: War Horse

The Magic Hour.

Many have remarked that the ending shots of “War Horse” evoke the feelings and beauty captured in the landscape of classic Hollywood films, from “Gone with the Wind” to just about any John Ford western. And rightfully so, as this feels like a movie straight out of another era, the kind that isn’t made so often nowadays. It has the power to move any viewer, but it might just bring the biggest film admirer to tears.

Based on a play which was based on a book (I have not seen or read either), the cinematic version of “War Horse” could not have been brought to life by anyone except for Steven Spielberg. It might seem predictable from start to finish, but there is simply no other way to tell this story.

“War Horse” gets off to a slow start, but even the most impatient moviegoer will want to stick it through. In rural Devon, England just before the outbreak of the first World War, a farmer (Peter Mullan) buys a horse for a price more than it appears to be worth. While his wife disapproves, his son Albert (Jeremy Irvine) is infatuated with the horse, but not in an “Equus” kind of way. The horse, whom Albert names Joey, is small but distinctively beautiful, marked by four white socks on his legs and a large white spot on his face. At first, Joey can barely carry a plough but by the end of the movie’s lengthy first hour, he has plowed an entire field. Joey may be smaller than the others, but he is fast and persistent.

Then comes The Great War and like most men in the area, Joey is enlisted into battle. He comes into the care of Captain Nicholls (Tom Hiddleston, or F. Scott Fitzgerald in “Midnight in Paris”). After losing Nicholls in battle, Joey ends up in the care of the British, the Germans, and at one point, a young French girl. Albert enlists in the war, in hopes of being reunited with his beloved horse.

When it comes to depicting the horrors of war, no one does it better than Spielberg. It is stark realism to the highest, most detailed degree. If “Raiders of the Lost Ark” evoked a young boy playing with action figures in his backyard (as a critic once said), then “War Horse” evokes that young boy who is all grown up, knows history too well, and has sat through every action and adventure movie there is.

There have been few notable movies made about World War I, and the scenes in “War Horse” which take place in No Man’s Land and the trenches could definitely give “Paths of Glory” a run for its money. It looks exactly like the post apocalyptic hell that it should be depicted as. When it comes to unflinching historical accuracy, no one beats Spielberg.

Even when Spielberg fails (and he has before), he never loses his uncanny eye for what elements truly complete a movie. In “War Horse,” every little thing ends up having some sort of payoff. He knows what the viewers wants, but he also knows they shouldn’t have to be cheated in order to get it.

Despite having a lot of plain human characters, “War Horse” makes an indelible impact. It is Joey the horse who truly makes it special. If there was an Oscar for animals, he would surely win it. Having Joey as the main character of this movie is something of a small relief, as it is nice to have a totally silent lead character sometimes, and I don’t mean like Ryan Gosling in “Drive” kind of silent. Since horses can’t speak, they use the purest form of acting: the emotions generated by their facial expressions and body language. You can tell when the horse is in physical pain but the more time you spend with Joey, the more you can see emotions that go below the surface. From Joey it is apparent that every living creature feels the effect of war and loss. Think of it as a minor “Consider the Lobster” effect.

“War Horse” is many things. It is an underdog story, a tragedy, and a love story in one. It displays Spielberg’s great gift of always being able to shine the beacon of hope into the darkest of times. Spielberg gets to end “War Horse” with the big happy reunion he so often likes to conclude with. But here, it doesn’t feel like schmaltz as it did at the conclusion of “War of the Worlds.” It felt much deeper than that, and totally in place.

As many before me have pointed out, shades of “The Searchers,” no doubt a huge influence on Spielberg’s career, can be seen here. As Ethan Edwards stood outside the open doors of the house, feeling isolated and overwhelmed by the burdens of both the atrocities he’s seen and the bigotry he feels, is an outsider not just to normal society but even to his own family. As Joey stands just outside the open gate of the loving family’s estate, he probably can’t help but feel the same way. He is loved and many strangers go to great lengths to save him but he is still an animal who has seen more than any can imagine, and in an instant could be traded from one owner to the next. Even if Albert raised him, he will never have one true master. “War Horse” in a sense, is a western, and Joey is its outlaw.

“War Horse” is also the best looking movie to come out this year. From the red sunset to a shot in which an entire army emerges from a field of tall grass, “War Horse” is like looking at a constantly morphing painting. Despite the horrors of war, the beauty of the natural world does not cease to exist.

“War Horse” is especially different because of the unique perspective it is told from. It shows that when war breaks out, everybody feels the consequences. It takes a series of contrived coincidences and two and a half very speedy hours to arrive at this point, but when a movie is able to suspend you from disbelief during its entire running time and keep you in that state, it has ultimately done exactly what its supposed to do. I cannot justify the poignance I felt once the movie ended, but the fact that this emotional state stuck with me long after the ending credits rolled shows the subtle and outstanding power of this movie. Just as Joey is not some dumb horse, just as “War Horse” is not some war movie.