Bonus HBLB Episode: Oscars!

Here is a bonus episode of Highbrow! Lowbrow? that delves in the most sacred of Hollywood institutions: the Oscars. In this episode, we forego the lowbrow and focus on the highbrow as the Oscars draw near. The main target in our sights? The Best Picture. With 10 nominations, this is gonna be one lengthy discussion as we break down the Oscar Best Picture Race.

The King's Speech, directed by Tom Hooper and starring Colin Firth, tells the story of King George VI as he tries to overcome a stuttering problem to deliver the speech his people need to survive the dark times ahead. While Shaun enjoyed the film and would recommend it, he and Jesse agreed somewhat that we were looking for a little more story to dig our teeth into.

The Fighter, directed by David O Russell, stars Mark Wahlberg as boxer Micky Ward whose last chance at having a shot is being poisoned by his drug addled brother and domineering family. This film follows the tried and true inspirational sports story and hits all its marks beautifully but occasionally falls victim to predictability as a result.

Directed by Christopher Nolan, Inception is a movie where Leonardo DiCaprio is an espionage agent delving into dreams to find secret intel and bring down rival corporations. The deep and multi layered story really draw you in, sometimes at the expense of the characters.

The Social Network, directed by David Fincher, takes the real life drama surrounding the creation of Facebook and molds it into a story about the character Mark Zuckerberg, played by Jesse Eisenberg. It has been oft-disputed the veracity of the events shown in the movie, but ultimately, we didn't care. The movie is a great allegory for our times, juxtaposing the social difficulties that Zuckerberg faces with the creation of Facebook, a technology that redefines how we socialize.

Set in a rural area of America called the Ozarks, Winter's Bone, directed by Debra Granik, stars newcomer Jennifer Lawrence, a girl searching for her father, not for love but to settle the debts and hardships he left the family with. This is a unique independent movie with a bizarre yet realistic world, a one of a kind atmosphere with characters so well executed, you believe in the things they are fighting for.

Another Coen Brother offering and yet another Best Picture nomination, True Grit is a remake of the old 1960's version done Coen Brother's style. Starring Haile Steinfield as Mattie Ross, she seeks the killer of her father enlisting the help of Rooster Cogburn, played by Jeff Bridges. This is undoubtedly a fine film and fun to watch, however the immense talent and unparalleled reputation of the Coen Brothers left us expecting a little bit more.

Pixar's Toy Story 3, directed by John Lasseter, has Woody, voiced by Tom Hanks, and the gang facing their ultimate fate as their worst fear has finally come true, Andy (their "kid") has grown up. This movie is something everyone can enjoy: a well told children's story that connects elements of aging and passage of time with sentimentality and true friendship.

127 Hours, directed by Danny Boyle, is the real life story of Aron Ralston, played by James Franco, who got trapped in the mountains for, you guessed it, 127 hours. Danny Boyle always delivers stellar films and this one is no exception, yet there's no place to really go in this story until the inevitable arm-cutting off scene.

Directed by Darren Aronofsky, Black Swan, stars Natalie Portman as a frail ballerina who in her quest for perfection is in danger of losing her sanity. This was an intense psychological thriller, reminiscent of Roman Polanski, but for Aronofsky, this treaded upon somewhat familiar ground.

The final nominee, The Kids Are All Right, directed by Lisa Cholodenko, features a unique family with 2 lesbian mothers(Annette Benning, Julianne Moore) and their children seeking out their sperm donor father (Mark Ruffalo). This is a fun vibrant and unique story that really explores the family dynamic, questioning the roles of parenthood.

Well, these are our 10 Best Picture Nominees for films from 2010. What do you think we'll end up picking for this year? Tune in and find out! And check out the Oscars (or maybe just the results) to see who ends up taking the gold.

American Masters: Andy Warhol

This PBS documentary is populated by hollow talking heads. Warhol's work is brilliant, so it is a treat whenever one of his pieces appears on screen. However, his circle of friends who form the commentary/voice-over track are ridiculous in their worship of this dead man. You get the sense that if someone excavated a piece of Andy Warhol excrement they would bow down beside it and praise it for its "genius" texture. To these idiots, Warhol could do no wrong -- everything he did was "genius" and changed popular culture forever. Enjoy the man's work if you can, but this account of Warhol's life did little for me. It is dark and depressing.


Written 12/31/07

Ratatouille

This much is undeniable: "Ratatouille" is pretty to look at. Other than that, I found little redeeming quality in this movie. The story is lame and predictable. The young chef Linguini gets most of the screen time. He is an abject loser - not at all lovable. This was the best-reviewed movie released in 2007. I am happy so many people derived enjoyment from this Pixar offering, but I am convinced that the majority of them were seduced by the pretty sheen.


Written 12/31/07

The Complete Monterey Pop Festival

There are 3 brilliant documentary films that document the trajectory of 1960's American rock festivals: "Monterey Pop", "Woodstock", and "Gimme Shelter". All three are worth viewing. I especially enjoyed "Monterey Pop" because it documents the ascent of this music movement. You'll witness the breakout U.S. performances of Jimi Hendrix, Janis Joplin, The Who, and Otis Redding. I fail to understand why Jefferson Airplane merit the inclusion of two of their songs. Among such a tremendous cast of musicians they are hardly a highlight, but that's my only gripe at the editing. The sound and picture are lovingly restored for this release, making this a must-see for any rock 'n roll fan.


Written 12/17/07

Borat

Sacha Baron Cohen's commitment to character is unparalleled. As Borat, he inserts himself into the most grotesque situations imaginable and keeps a straight face. This film version of the Borat saga is greatly enhanced by a narrative, providing a story arc missing from Borat's adventures on the Ali G show. If you are thinking of renting this, be forewarned: the comedy is mostly repulsive and mean-spirited. This shock value is fully intended. For better or worse, this film and character will undoubtedly endure as a comedy touchstone. Despite his tendency of playing debased characters, Cohen's brand of comedy likely will continue to intrigue me. There are few actors who possess his courage.


Written 11/26/07

Yi Yi

I appreciate a filmmaker's trying to present a story as realistically as possible, but scenes presented in "real time" can drag on and on. That said, all through "Yi Yi" the cinematography is lovely. There are several long takes that are absorbing. Cherish any scenes that feature the young boy Yang Yang, he is a lovely screen presence. The acting and writing are top drawer, but the entire experience felt clinical and cold. Others will warm to this movie - and it surely deserves to be seen - but the connection wasn't quite there for me.


Written 11/26/07

Grey Gardens

As a Maysles brothers fan, it was inevitable that I view Grey Gardens. It is just as bizarre and unique as everyone says it is. I feel unable to give the film five stars because honestly, several scenes were grating. It's hard to imagine filming for weeks in such a dilapidated residence. Credit the Maysles bros for their diligence. Grey Gardens is the documentary result of their toils. Love it or loathe it, everyone will agree that this is a singular film.


Written 11/13/07

Piece by Piece

This is an engaging portrait of a thriving subculture. As a CA bay area resident, I recognized many of the locales and was intrigued to see how the profiled graffiti artists worked within their neighborhoods. There are dozens of amazing pieces that you'll want to pause and admire. Also, the soundtrack - care of DJ QBert - is outstanding.


Written 11/13/07

Air Guitar Nation

Tongue in cheek! The smugness becomes grating as you near the end of this film's run-time. There are certainly many laughs here, but I was disappointed at how anti-climactic the World Championship performances in Sweden were. This is likely down to the production company not wanting to shell out the ample cash required to license the songs "performed" by the Euro air guitarists. My opinion of this documentary, in brief: a pleasant trifle that dragged a bit toward the end.


Written 10/30/07

Leonard Cohen: I'm Your Man

Leonard Cohen is a brilliant talent. Presented in this documentary/concert film are lesser talents trying to perform his songs. There is scarcely a performer that seems suited to delivering Cohen's material. The only artist that nearly succeeds is Rufus Wainright. The rest of the performances are horrid, immediate reminders of why the "fast-forward" button was invented. More archival footage of Cohen in concert/interview would have been rapturously received by this viewer - the man is an undoubted legend. Instead we have footage of a dreadful stage tribute and one short day (you can tell - he's wearing the same clothes in each interview clip!) of interviews with Mr. Cohen. If you care at all for his music, don't waste your time with this film.


Written 10/18/07

Le Corbeau

"Le Corbeau" is French for the Raven. This film was shot and produced in France by French filmmaker Henri-Geroges Clouzot in 1943 during a period of German occupation. Clouzot was censored and banned for several years due to the film's pro-French, anti-imperialist content. The film is possessed of outstanding storytelling and execution, and has a haunting feel about it. Surprisingly racy subject matter, "Le Corbeau" will keep you rapt throughout its 90 minute running time.


Written 10/18/07

Heaven Can Wait

There is classic wit on display here, and a charming cynicism. Some of the characters are world-weary in a way that I don't usually associate with films from the early 1940's. A unique character portrait, indeed. Our hero is hardly lovable. He emanates a strange vulnerability and stubborness that is too common among male chauvinists. The reason I can't recommend this movie more highly is because of the tender portrait of "the devil". He is presented, in nicely furnished "hell" as a tender counselor - not a characterization I care to buy into. Nonetheless, Criterion's restored print of the film is lovely to look at, and there are some excellent extra features on the disc - particularly the portrait of screenwriter Samsom Raphaelson - that are worth the time.


Written 10/18/07

Episode 10 February 2nd, 2011

Here we are yet again with a new episode of Highbrow! Lowbrow? and we've finally reached double digits. For those unfamiliar with the format, we review the top box office earner and the Best Picture Academy Award Winner of the same year, and see which one better stands the test of time. For this episode, the year was 1969, featuring the films Midnight Cowboy (Best Picture) and Butch Cassidy and The Sundance Kid (top box office). One features the charismatic duo of Robert Redford and Paul Newman, while the other shows off the debut of Jon Voigt and the always excellent Dustin Hoffman.

Directed by John Schlesinger, Midnight Cowboy tells the story of Joe Buck, played by Jon Voight, a self-styled cowboy who has dreams of being a hustler in the big city. But when he finds the city unreceptive to his chosen profession, he enlists the help of an unlikely ally in Enrico "Ratso" Rizzo, played by Dustin Hoffman. Rizzo is a hustler of a different sort struggling to make ends meet. This mismatched duo make their way through the city with big ideas but little else. Though we found this film artistic and interesting, due to the heavy subject matter and somewhat bizarre visual sequences, it can be a very gloomy film. Watching these two fall down further and further into desperation and squalor takes quite a hefty toll on any film viewer. The visual style it's shot in definitely adds to the sentiment of the film with trippy visuals giving the film a drug haze emblematic of the era. But this exuberant and exhaustive high that leaves you feeling empty. Jon Voight delivers a strong debut performance as Joe Buck, the endlessly optimistic fellow who serves as the heart of the film. Dustin Hoffman is strong as well, imbuing the character Ratso with a real sense of grime, grease and sleaze, yet still delivering a vulnerability that connects. There is definitely a sense throughout the film that in its time it was tackling issues prevalent to that culture, but a lot of its message still feels relevant today. That said, this film can leave viewers with a sense of uncomfortable despair, a feeling of grimy loneliness underlining its artistic integrity.

Butch Cassidy And The Sundance Kid features the titular duo on heist after heist, evading the authorities with a wink and a smile every time. The heists occasionally involve Etta, Sundance's girl (although she has place in her heart for Butch as well). Paul Newman and Robert Redford light up the screen with their unmistakable charisma, and the film plays to that strength, creating a world where these characters can live up their bandit ways. It may not be historically accurate, but you can tell throughout the film that the cast and crew had fun with a lot of the scenes. There are hints of a deeper story played at, like during the still shot sequence where the trio of Butch, Sundance and Etta are living in New York. There you can glimpse hints of loneliness as Butch watches Sundance and Etta together. But even in their darkest moments, there is an almost cartoonish audacity to the situations they get themselves into. Honestly though, Redford and Newman usually pull it off. Because they are such a joy to watch, these two cool dudes eat up the scenery with a classic and trademark wit that seems second nature. It's a fairly fun romp that you can enjoy, but maybe not intellectually stimulating enough to be an all-time classic.

What's the pick? Is it the gloomy but artistic Midnight Cowboy showing the seedy side of New York with all its crushed dreams and the dark truths it reveals about ourselves? Or is it Butch Cassidy and The Sundance Kid with its blockbuster veneer of charismatic characters and outlandish situations? Check out the latest Highbrow! Lowbrow? to find out!

Catch Me If You Can

This is a film that aims for mass appeal. Thankfully, it does not disappoint. I loved the cast. Leonardo Dicaprio is brilliant as the lead, playing an impish con man with suave cool. Tom Hanks is delightful as his FBI foil. Christopher Walken brings loads of heart in a supporting role, playing Dicaprio's father. There are many strong turns from supporting actors, too. The story never lags and as a viewer I was swept up in the chase. This is the rare blockbuster film that actually achieves lofty aims.

Hot Fuzz

Outstanding parody. The team - director, cast, and crew - are on point with their send-up of bloated Hollywood action movies. There is a lot of gore here; I imagine many viewers may be startled by the graphic violence on display. If you can tolerate a bit of that content, then the laughs shall surely flow. Brilliant casting of Timothy Dalton - his mere presence is a punch line.


Written 9/23/07