Kate Winslet’s performance as a concentration camp guard in The Reader has been the subject of much debate over the past week, though little of the discussion has actually concerned her craft. The argument lies in whether or not this specific performance should be considered for the lead or supporting actress category. Furthermore, if Winslet ends up in the latter, will it be due to “category fraud?” That is not a legal term and this is not a legal issue, but it is an important topic for this year’s Oscars. The significance of the matter likely extends even to Winslet’s ability to sleep at night, as she may fear the high possibility of her becoming “the biggest loser among actresses in the history of the Academy Awards.”

Category fraud may be defined as an attempt to deceive Academy voters into believing a lead performance is supporting, or vice versa. Examples of category fraud seen in Oscar’s past may include recent supporting nominations given to Ethan Hawke, Jennifer Connelly and Cate Blanchett (for Training Day, A Beautiful Mind and Notes on a Scandal, respectively). Guy Lodge at In Contention and Dave Karger at Entertainment Weekly have both brought up the accusation regarding The Reader, not only for Winslet’s part but also for the Weinstein Co.’s general campaign for the film, which is pushing for supporting nominations all around for Winslet, David Kross, Ralph Fiennes and Lena Olin.

The problem for Lodge and Karger’s complaint is that category fraud can’t be applied to the supporting categories, because despite the Academy’s irritating penchant for category-defining rules for eligibility in other areas, there is really no precise distinction made regarding the separation of lead and supporting categories. …Read more

Attending the press conference for Gus Van Sant’s biopic Milk, I had a Eureka moment that revealed my own naivety. A woman had asked Van Sant about his creative casting decisions, not just in choosing straights to play all the major gay characters (including a stunning Sean Penn as the gay civil rights leader Harvey Milk), but also in selecting the talented and out Denis O’Hare to embody homophobe extraordinaire John Briggs (the face behind the Proposition 6/Briggs Initiative to kick gay and lesbian teachers out of California’s public schools). I waited anxiously for the director to expound upon what the press notes referred to as “sexual-preference-blind casting,” a subversive twist that relates to Milk’s own modus operandi of rejecting divisiveness regarding sexuality in favor of bringing people together (or as Milk protégé Danny Nicoletta puts it in the notes, “It doesn’t matter what side of the fence you fall on. In fact, just tear the fence down; we all live in the same world.”)

Instead I was taken aback by Van Sant’s candidness. The point wasn’t to use O’Hare in some sort of queer jujitsu to sidestep criticism from the likes of Harvey Fierstein (who’s compared the casting of straights in gay roles to blackface), but simply to get as many homos involved as possible. Thus he wasn’t casting O’Hare so much in a straight role as in a small role. Or as the director so delicately put it, no gay actors have the “box office stature” that was required to get the film made. O’Hare either played straight or he didn’t play at all.

In other words, one of the few industries left in which gay white men (actors) don’t make pay (i.e., wield power) equal to that of their hetero counterparts has churned out a movie about a gay white man who demanded equal rights. Which is ironic enough. And yet even while homo thespians don’t make the serious money in Hollywood some of the biggest box office draws have been allowed to play gay!

To wit:

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• Before getting to that supposed “disappointing” debut of Australia, let me first congratulate Milk for cracking the top 10 while opening on only 34 screens. The film’s five-day Thanksgiving Weekend total gross is $1.9 million, meaning its per-screen average was an unbelievable (and apparently record-breaking) $51,833. Meanwhile, fellow limited-release powerhouse Slumdog Millionaire was kept at bay at 11th place, though its per-screen average continues to amaze at more than $36,000.
• Now for Australia: the film placed fifth for the holiday stretch, taking in less than half as much as box office winner Four Christmases ($46.7 mill.). However, its $14.8 million three-day take is a million more than that of the wide opening for Baz Luhrman’s previous film, Moulin Rouge. Also, its older audience, which had other, more familial commitments last week, will likely show greater interest as the film is out longer, especially if there’s good word of mouth. Most importantly, though, Australia at least didn’t perform as badly as Transporter 3.
• Cheers couple Kelsey Grammer and Bebe Neuwirth will be reunited for MGM’s Fame remake. They’ll play employees of the performing arts high school alongside fellow TV vets Charles S. Dutton and Megan Mullaly, as well as original Fame student Debbie Allen.
• Steve Buscemi and Kelly Macdonald are to star in Martin Scorsese’s new HBO project, Boardwalk Empire, which will depict the origins of Atlantic City.
• And speaking of HBO series, Rome may conclude on the big screen.

A few episodes ago, we talked about Danny Boyle’s Slumdog Millionaire. We had a few bones to pick with hyper-paced indie romance, some of which caused us to question the value of Boyle’s cannon. As we should have expected, a few listeners were not happy with us dogging the feel-good, rags-to-riches, out-of-left-field Oscar contender of the year.

Meanwhile, Karina has written a less than favorable review of the forthcoming David Fincher film, The Curious Case of Benjamin Button. Again, a wave of backlash has ensued.

Are we simply spiteful film snobs who love ripping on movies while they ride a wave of buzz into awards season? No. We love movies. But sometimes that love must be tough. On this week’s show we clarify a few positions, navigate the tricky waters of blogosphere backlash, and search for what Werner Herzog calls “adequate images.”

(Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday)

0:00 - Intro, the ideal Thanksgiving

7:56 - Slumdog backlash, It’s a Wonderful Life, Casablanca

24:41 - Karina on Benjamin Button

filmcouch-98

I might as well get this out of the way first: I loved Baz Luhrmann’s epic Australia. I was on the fence about seeing this, especially once I heard about the 165 minute running time, but I gave in and boy was I glad. It’s a sprawling epic with nods to classic films of the 30s and 40s, and besides featuring the eye candy combo of Nicole Kidman and Hugh Jackman, it also introduces Brandon Walters, who is possibly the cutest child actor alive. If there was some sort of scientific cuteness scale, he’d break it.

Despite the beautiful vistas and the sweeping storyline, not everyone is loving it. After the press screening I attended, a bunch of us gathered on the street outside the theater to debate reactions. It was oddly dividing: people either hated it or loathed it. I’d spent part of the week with a friend from Australia, and he’d denounced it as cheesy, because they have two Aussies in the lead roles: Jackman doing a faux “crikey!” Australian accent, while Kidman actually has a faux British accent. He said most of his friends in Sydney felt the same way.

Here in the States, Australia’s detractors are saying a lot of the same things. So, I’m taking the top five critiques of Australia and refuting them. I might not be able to change the critics’ minds, but I’m hoping you’ll at least give the movie a chance in theaters. Spoilers ahead!

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Today’s Extremely Improbable Rumor Sourced From The British Tabloids: NOW Magazine is reporting that Tom Cruise and Katie Holmes are “looking at remaking Last Tango In Paris.” It’s apparently part of a gambit to shore up the public perception of both halves of Hollywood’s most routinely questioned couple by having them appear together in “a movie that has a mainstream plot, but also some intense sex stuff.”

At the Guardian, Xan Brooks not only buys the rumor, but is all about it. Well, maybe not the Last Tango part, but the Cruise-on-Holmes on screen action in general. “The thrill is gone and they need it back. They need to have sex on screen, to prove their love,” he writes.

Because the couple who makes a movie sold on the idea that its stars Really Do It stays together, right? Just look at Eyes Wide Shut! (OMG, they should remake that. And then Far and Away. And then Days of Thunder.)

Ben Burtt has the most amazing job in Hollywood: he gets to creates sounds and even characters for some of the geekiest things in the movies. Lightsabers, the sound of the Ark of the Covenant being opened, WALL•E’s distinctive tread noises –– Burtt came up with different ways to create them all. What’s really impressive is that he doesn’t create most these on a computer or with a synthesizer, he actually goes out in the real world and gets them by hand.

When asked about the distinctive sound of Indiana Jones’ pistol, which sounds like a cannon blast whenever he fires it, Burtt responds, “Oh, that’s my 30-30 Winchester rifle. We found a little box canyon that gave us a perfect little echo, so if you listen to that closely you can hear a really quick echo every time he fires that pistol.” That’s the sort of stuff that I really geek out on. There’s more where that came from after the jump.

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• The cat is out of the bag for Paper Hearts, a new movie starring Michael Cera about his real-life relationship with actress Charlyne Yi (Knocked Up). The part-doc, part-scripted comedy was apparently hoping to slip into the 2009 Sundance Film Festival completely under the radar in order to keep expectations in check. Now we’re all talking about it, and it’s sure to be one of the hottest tickets in Park City (as long as it’s indeed selected for the fest). Other titles expected to be named next week for the Sundance slate include the Ashton Kutcher starrer Spread, the Nick Hornby-scripted An Education and Antoine Fuqua’s Brooklyn’s Finest.
• Following in his sister’s footsteps, Madonna bro Christopher Ciccone will make his feature directorial debut with a teen thriller titled Twist.
• The Dardenne brothers have accepted the position as heads of Europa Distribution, a two-year-old collective of independent film distributors that acts as a lobby, think-tank and network for the European film industry.
• In other European cinema news, due to the current economy, both the San Sebastian and CineKid film festivals are on the verge of going out of business.
• This should have been the year everyone got a Blu-ray player for Christmas, but despite lowered prices, the current recession will likely still keep consumers from adopting the format.

Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director.

Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week.

Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product.

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Gus Van Sant’s best-known films (which are not the same as his best films) have historically involved a certain grappling with What Hollywood Does. Hollywood saves a poor-but-smart kid from his environment (and himself) with the help of a bearded, platitude-spouting Robin Williams. Hollywood saves a poor-but-smart kid from his environment (and himself) with the help of a bearded, laughable slang-spouting Sean Connery. Hollywood flatters its flavors of the month by shoe-horning them into paint-by-numbers remakes of aged cinematic game changers. Etc. Anyone cognizant of Van Sant’s turn-of-the-century Hollywood period shouldn’t be surprised by his willing ability to play it straight.

To say that Van Sant continues to “play it straight” with Milk isn’t meant as a pun regarding sexuality, exactly, but said pun wouldn’t be entirely off the mark. If his Hollywood trilogy was what Van Sant needed to get from his early meditations on the emotional lives of low-lifes to his much-vaunted Death Trilogy, then that most recent career phase may be what Van Sant needed to work through in order to merge the first two modes of his career. Milk takes the defining moments of a subculture once perceived by the mainstream as deviant, and runs it through the mill of What Hollywood Does, thereby sanitizing its hero for mainstream martyrhood. Van Sant’s laundering of an outsider hero through the very inside mechanism of the Hollywood biopic has been variously described as heroic and distasteful. As of press time, I think it’s somewhere in between.

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When you gather with your loved ones this week, be sure to give extra thanks for that turkey or soy-based equivalent on which you’re about to dine. Times are hard, but for most of us, we’re still able to eat. Nevertheless, we need to prepare for the even tougher times that inevitably lay ahead. As countless movies attest, desperate times call for desperate measures at the dinner table. Like cannibalism.

The circumstances under which “eat or be eaten” becomes the rule vary widely. Plenty of films have taken on this ancient taboo; in fact, a search for the tag “cannibal” on Spout.com yields eleven pages of results. For your holiday viewing pleasure, I’ve narrowed the list down to ten.

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• Paul Schrader is reportedly done with Hollywood. His next film will be a Bollywood production titled Extreme City. The action pic will be a cross-cultural story, though probably more Bollywood-style than Danny Boyle’s Slumdog Millionaire; it won’t be a masala film but is likely to have a few more musical numbers.
• Universal is producing a French-language biopic of Serge Gainsbourg, which will neither be animated in claymation nor with Thunderbird-like puppets, despite what you might suspect after seeing Variety’s choice of photo. It will instead star real people, including Laetitia Casta, who is to portray Brigitte Bardot.
• Lionsgate has acquired the LeBron James doc More Than a Game, which will be released next fall accompanied by marketing tie-ins from Nike, Coca-Cola, State Farm and the NBA.
• In a much more respectable marketing tie-in, The Soloist has been connected to a food drive called Feed the Need, which will collect 1 million pounds of food by December 15 — four months before the film opens.
• The moviegoing demographics for this week’s “stuffed” Thanksgiving schedule are to be as follows: older woman to Australia; younger women to Four Christmases; youngest women/girls to Twilight; all men to Transporter 3; kids to Bolt. And some lucky people in 19 cities who don’t mind sold out shows will go see Milk.

When the Academy of Motion Picture Arts and Sciences announces a shortlist for one of its Oscar categories, many critics immediately focus on what titles are missing. Religulous was snubbed! Roman Polanski: Wanted and Desired was punished for having a “secret” qualifying run! The Academy’s rules for eligibility must be amended! Such reactions were seen all over the web last week as awards season pundits looked at the narrowed-down list of 15 Feature Documentary hopefuls and criticized the Academy for its omissions.

But the better response (which is the one SpoutBlog had) is to primarily address and celebrate the included films, not just for being contenders for the Feature Documentary Oscar but also for being showcased in general. The wonderful thing about shortlists is that they expand further the idea that it’s great just to be nominated. For feature documentaries, particularly those without a lot of media and major distributor attention, it is also great just to be shortlisted. Non-fiction film fans may now see this as an opportunity to take note of some documentaries that weren’t previously on their radar (unfortunately none of these films are actually allowed to advertise their recent achievement of being shortlisted).

But the Academy Awards are, of course, still a competition. So, while we take notice of the 15 semi-finalists for the Feature Documentary Oscar, we shall also weigh their chances of being selected for the final five and predict which titles are likely to be announced as nominees on January 22.

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• Of all the news related to Twilight’s unsurprising $70.6 million opening, the most important has to be that Catherine Hardwicke (pictured) now holds the record for highest-grossing debut for a female director. The previous record holder was Mimi Leder, whose Deep Impact bowed with $41.2 million a decade ago. And the most important non-Twilight box office news has to be that Slumdog Millionaire continued to have a per-screen average in the $30,000s, even with a minor increase to 32 screens, and reached a very impressive very-limited-release gross of $1.6 million.
• Last Friday, Twilight costar Anna Kendrick was announced as the female lead opposite George Clooney in Jason Reitman’s Up in the Air. But the 23-year-old will not be Clooney’s love interest. That honor has instead gone to 35-year-old Vera Farmiga.
• French filmmaker Pascal Laugier is coming to Hollywood to direct a couple American horror pics, including a Hellraiser remake for Dimension and a short story adaptation titled Details for Paramount Vantage. Both films will likely pale in quality to his French productions, but every foreign auteur has to try tinseltown at least once, right?
• Film print fans rejoice! Digital projection is being blamed for and may suffer from the faulty screening of The Curious Case of Benjamin Button at LA’s DGA Theatre last Thursday. Apparently similar problems have affected recent screenings of Che and Quantum of Solace, too.