If Tyler Perry gets an Oscar nomination for his acting in Madea Goes to Jail, can a washed-up actress scold him for taking away female roles? Actually, could it just be Cuba Gooding Jr. in drag, a la Boat Trip?
Seriously, though, Madea won’t be up for any Academy Awards next year, but damn is Perry’s character popular. Enough that the sassy matriarch has now evolved from a supporting character into the star of her own vehicle (which gave the filmmaker his biggest opening yet this past weekend). Yes, it’s true that Madea is a central figure in most of Perry’s films and has previously been the main protagonist in his plays (including the one Madea Goes to Jail is based on), but in the movie world she was introduced as a secondary role in Diary of a Mad Black Woman. So, now she belongs in that small club of supporting characters who’ve earned their own film(s); other members of which include Jay and Silent Bob, Bruce and Lloyd, Cousin Eddie, Marshal Samuel Gerard, the Scorpion King and Wolverine.
And Madea is one of the very few female characters to belong to the club, which is another good reason for an actress to scold Perry. But the problem also lies with the people who write woman characters, apparently, since in coming up with ten other supporting characters who deserve their own spin off, we managed to only include two females on our list. Perhaps if we’d permitted classic film characters there’d be more to choose from — though even then we might be more likely to include a Peter Lorre or a William Demarest role than a Thelma Ritter or Eve Arden.
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For all the media speculation on how the Obama presidency will affect pop culture, it’s surprising that Barack and Michelle’s marriage is not discussed much. This is a couple who embrace often, and not just for camera opportunities. She has even been seen wearing his coat as if it were a high school varsity jacket. Have we ever seen a happier presidential marriage? Seriously, if the Clinton era birthed a film like American Beauty, it’s no wonder that Revolutionary Road can only earn about an eighth of that film’s domestic gross now that the Obamas are in the White House.
But can Barack and Michelle inspire happier onscreen marriages? And can that in turn influence marriage in America? Although the divorce rate was higher thirty years ago than it is now, the marriage rate in this country is at an all-time low. And that’s probably because young people haven’t had an ideal married couple they could look up to. So, in order to help Hollywood produce more loving movie marriages, we’ve selected five onscreen pairings that may serve as models.
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Both are broadly classifiable as science fiction, but Alien is basically a horror flick and Aliens has all the conventions of a war film. That’s a pretty slick transition from one type of movie to another, especially since the switch was so immediate within the series. Most movie franchises don’t play with genre in such a way until they’ve gone through a number of sequels, and even then the series usually just simply takes its characters into outer space, a la Moonraker, Jason X and Leprechaun 4.
Genre jumping isn’t that easy, though, unless a franchise inhabits a whole universe in which to expand through. Like Star Wars, for example. Originally a film series, the Star Wars franchise spread out into novels, which has allowed for dips into the romance genre and now horror. That’s right, an upcoming novel by horror author Joe Schreiber, titled Deathtroopers, takes the Star Wars universe into frightening territory described by Schreiber as “in the vein of The Shining and Alien, with a little dose of William Gibson mixed in.”
So, if Star Wars can venture into the horror genre, what other movie franchises should attempt a genre jump? To toy with the idea, we’ve selected five film series in need of a change and suggested a possible redirection of genre for each.
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In 10 out of 14 years, the winner of the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role has gone on to win the Academy Award for Best Actress. If this year marks the 11th such congruence, Meryl Streep will take home the Oscar. Yet there is an odd circumstance with the Academy’s nominations that hurts Streep’s chances. Another one of the Academy’s Best Actress contenders also received a SAG Award Sunday night: Kate Winslet, who won the supporting actress trophy for The Reader. At the Oscars, this role has been recognized as a lead performance, one that is likely a favorite to win.
Yes, it is a strange situation, one that shocked and confused Oscar prognosticators (especially this writer) on Thursday morning. Winslet’s Reader performance was campaigned as a supporting role, and she was recognized as such by the Golden Globes, the Broadcast Film Critics Association, the Chicago Film Critics Association and of course the Screen Actors Guild. A few organizations did nominate her for a lead award for The Reader, though few people take the Satellites seriously, and the BAFTA Awards are different than most in that they permit Winslet to compete against herself in the same category (she is also nominated for Best Leading Actress for Revolutionary Road).
Some now believe the Academy’s deviation will in fact cost Winslet the Oscar she could have won in the supporting field. Either voters will be confused about what film she’s nominated for (unless I’m simply less observant than elderly Academy members, which may indeed be the case), or she will now split the majority vote with Streep and thus allow Anne Hathaway or Melissa Leo to slip ahead (Angelina Jolie is believed to have no shot). Another idea is that voters will dismiss Winslet due to doubts over which category the performance belongs in. But since enough members of the Academy made it a point to nominate her as lead actress in the first place, this is hardly a reasonable theory.
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With a few more days left before the Oscar nominations are revealed, it is time to look at what the non-professionals anticipate will be among those contenders announced Thursday morning. Last Monday, we posted our own predictions for the Academy Award nominees and invited readers to weigh in with their own forecasts. A lot of comments concentrated on what shouldn’t happen, like The Dark Knight shouldn’t be nominated for Best Picture and Dustin Lance Black shouldn’t be nominated for his screenplay for Milk. And apparently The Curious Case of Benjamin Button could be this year’s Dreamgirls. However, there were some interesting trends among the many who chimed in. Check out some highlights after the jump.
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The Golden Globes have been handed out, and the last of Oscar ballots are to be postmarked by today. So, that’s it, the nominations for the 81st Academy Awards are being figured out as we speak, and campaigning is over until the official contenders are announced on January 22. Hopefully a few Academy members took notice of our unlikely last-minute suggestions, but it’s more probable that we’ll be looking at an unsurprising crop of films represented in the major eight categories. As you’ll see after the jump, we predict that two heavily-buzzed supporting performances will be snubbed. Of course you’re likely to disagree with these foreseen omissions. In fact, we welcome all you readers to make your own predictions in the comments section — what you think will be nominated, not what you want nominated. And on Monday, January 19, SpoutBlog will feature a post highlighting the best of these comments and predictions.
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Making her way to Sundance next month with her debut feature, Palestinian/Jordanian-American director Cherien Dabis, who was on the festival circuit last year with her terrific short Make a Wish, tapped her experiences growing up Arab in a small Ohio town during the first Gulf War when writing Amreeka, a bittersweet, comedic look at otherness. The film, which went through Sundance and Film Independent’s various talent development programs before going in front of cameras last year, will bow at the Eccles later this month. In the meantime we caught up with Dabis to discuss what she watched while prepping her new film, learning about classical music and just what Wong Kar Wai and Prince could do together. …Read more
Two halfsie holiday weeks in one Week in Review! From the final days of recession gluttony to the cold dawn of 2009, we learned about charismatic Nazis, twisted nativities,Revolutionary Road, The Spirit, Chernenko-sploitation, and the most misunderstood movies of the past twelve months. Happy Everything!!!
For Your Consideration: 5 Alternates for Best Song Oscar
The Curious Case of Benjamin Button Review
Revolutionary Road Review
5 Most Offensive Uses of Special Effects
I.O.U.S.A. on YouTube, and Interview with Patrick Creadon
Jessica Biel is a Naughty Elf
Alternative Nativity: Five Movies about Life, Death, and Babie
Tom Cruise in VALKYRIE: A 5 Point Program To Becoming a Nazi
Home for The Holidays: Sexy (And Family-Friendly!) Cinema Suggestions
The Spirit Review
The Most Misunderstood Films of 2008
Eight Films Built Around a Nazi Fetish
Lynn Shelton: The Media Diet
Street Fighter: Legend of Chun-Li Trailer.
CARGO 200 Director Alexei Balabanov, Interview
Big, Stupid Hollywood Films We’re Looking Forward to in 2009
Is MSNBC Redefining Documentary?
Andy Warhol meets Steven Spielberg
New Year Wishes For 2009 From Lauren Wissot
Oscars: Best Picture Underdogs
The Spirit and the Graveyard of Failed Superheroes
FilmCouch #102: Best of 2008, Wholphin 7
CARGO 200 Review
Kathy Griffin’s New Years miracle
Our Favorite Jeffrey Wells Moments in 2008
Being that it’s at once an embarrassing failure and an unignorable success, it’s a bit of a shock that Sam Mendes’ Revolutionary Road has thus far been received with fewer vitriolic open letters and impassioned defenses than shrugs of measured praise. Certainly the best work Mendes has ever produced for the screen, Revolutionary Road works (on the level that it does work) as a showcase for performances: big stars Leonardo DiCaprio and Kate Winslet are probably at the top of their game, a star-making performance is registered in less than a handful of scenes from Michael Shannon, and, in the ultimate nagging old lady role, Kathy Bates reminds us why she is the greatest living nagging old lady in all of cinema. That all of this talent is put to the service of an adaptation which fundamentally bastardizes the main project of Richard Yates’ novel and neuters its cruel vision of the inability of the individual to grapple with his/her own soul sickness without projecting toxicity outward, doesn’t diminish the actors’ achievements, but it does force us to question whether masterworks of the literary form should be adapted into prospective Oscar cash-ins to begin with, if it means necessarily stripping said masterworks of the daring that makes them masterful.
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Revolutionary Road: The Game - ARGUE with your spouse! FIGHT OFF suburban depression! MANAGE to stay alive despite a looming calendar full of inane dates and a pointless existence!
The holidays are all about sales at the mall, what the ratio of whiskey to nog is in your egg nog, and how depressing everything is. Luckily, Hollywood is well aware of this and provides cinematic accompaniment to go along with the holiday blues. Kate and Leo’s reunion movie Revolutionary Road is a perfect example; critics are hailing it as one of the most depressing way to spend a few hours since all of your old high school nemeses appeared on Facebook.
Since most people don’t consider playing a depressing game to be fun, it’s no wonder that the video game industry hasn’t churned out a lot of melancholy games. There’s no Schindler’s List: The Game, or The English Patient: Nintendo Wii Version. Sure, there have been plenty of games that were depressing because they were bad, but not many in the “depressing on purpose” category. However, a few have squeaked by that would make extremely depressing movies. Here’s a list for your enjoyment.
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After making a big splash at Sundance several years ago with his hysterical short Windowbreaker, the incredibly prolific and versatile Tze Chun, who in the five years since graduating from Columbia’s undergrad Film Studies program in 02′ has made a whopping 12 low budget short films, will be back in Park City this year with his debut feature, Children of Invention. A feature length version of Windowbreaker, it follows two young Asian children living illegally in a model apartment who are left to fend for themselves when their hardworking mother disappears. We caught up with Tze (pronounced “Z”) to discuss his adoration for inappropriately long Charlie Kaufman interviews, his desire to adapt portions of Virginia Woolf and in what capacity Richard Kern and Britney Spear might become friends. …Read more
In her Variety column today, Anne Thompson contrasts Sam Mendes’ star-studded, Oscar-positioned, somewhat tonally revisionist adaptation of Revolutionary Road with the work and life of author Richard Yates. Thompson reminds what unlikely source material this is for a re-teaming of the beautiful young stars of the highest grossing film of all time, relating in detail the plight of “the long-suffering Yates,” who lived in “squalid” solitude, never sold more than 12,000 copies of a single novel, and hated the only produced film his writing ever had anything to do with.
In his day, Yates was asked by its editor to stop submitting fiction to the New Yorker, a publication which had no use for the writer’s “mean-spirited view of things.” In describing how Mendes and crew revised the material to make its protagonists “warmer and more sympathetic” (and chose to take their dreams seriously where Yates drily mocked and criticized), Thompson implies that Hollywood has no use for the acid element of Yates’ view, either.
“No pictures, no attacking — none of that,” warned the junket manager to the online press, who had been assembled for an hour in the tiny Waldorf Astoria ballroom, awaiting their audience with the director and four top-billed stars of Revolutionary Road. The admonition was necessary because two of those stars were of such grand stature, and more so in combination with each other — you may remember, they once pretended to fall in love in front of a green screen whilst standing atop a scale model of a famous boat — that of course the average bottom-feeding, basement-dwelling blogger could be forgiven for forgetting that they were in fact human beings asking questions of other human beings, and not bloodthirsty animals driven feral by the scent of fame.
Not long later, they appeared, as if out of nowhere (although it should be noted that from my seat, I didn’t have a clear view of the door). Kate Winslet, remarkably slim and tan. Leonardo DiCaprio, rocking the wispy facial hair of a posturing adolescent. Kathy Bates, looking just like Kathy Bates, but more so. San Mendes, being British. Michael Shannon, wearing the vague stare of a time clock puncher. The warning, it turned out, was unneeded. The talent cast such a glow on the assembled press that all thoughts of aggression were easily pushed aside. How wonderful life is, now that potential Oscar contenders are in the world!
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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
Though five new wide releases open on Christmas, 
