Image by popturf.com
By Rebecca Taylor
With so many good movies coming out this past year, and no clear favourite, it is hard deciding which one will come out on top and win the Academy Award for Best Picture. Out of all the nominees, who do you think will be top dog?
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By Natasha Tsakiris
It’s Hollywood’s biggest night in cinema, a night where a little gold statue named Oscar is all it takes to catapult your career in film forever: the Academy Awards. It is the Mecca for all film connoisseurs and lovers and the showdown for which actors and films were truly the best of the year.
The 85th Academy Awards may still be less than two months away but funny man and Family Guy creator Seth MacFarlane, who will be hosting this year, announced the list of nominees alongside Gangster Squad’s Emma Stone.
With less than two months away until the big day, we present to you the list of the elite few who nabbed a coveted nomination. Are you shocked? Who do you think will win? The clock is ticking, so check out these films quick before Oscar night!
BEST PICTURE
Lincoln
Argo
Les Miserables
Life of Pi
Amour
Django Unchained
Silver Linings Playbook
Zero Dark Thirty
Beasts of the Southern Wild
OTD Pick: A tie between “Lincoln” and “Les Misérables”, but there’s always the underdog “Beasts of the Southern Wild”, which could be this year’s “Slumdog Millionaire”.
by Sarah Fisher
“You is kind. You is smart. You is important.” These words define the heart and soul of The Help. This isn’t just another book-turned-movie; this isn’t another costume drama in hopes of Oscar glory. This is about truth and bravery in a time where it was nowhere to be found.
The story is set in Jackson, Mississippi, in the early 1960s—a volatile time in United States history, with the country on the cusp of widespread change. It is our narrators who show us the frontlines of this conflict and the way it was in the American South for race relations, segregation, Jim Crow laws, and racism. Through the eyes of three very different and distinct women, the book and the film grab and hold you in their battle for equality.
Aibileen Clark (Viola Davis) and Minny Jackson (Octavia Spencer), two black maids, join forces with Skeeter, a young white, prominent woman in society, to complete one of the most dangerous things anyone could do in Jackson: write the truth about their lives. The talent of Emma Stone as the awkward, forward-thinking Skeeter sets the tone for the film. A recent university graduate and aspiring editor, Skeeter does not agree with the intolerance and racism in the South. The tricky part is that she is going against her own friends and even her own family.
But it is the stories of Aibileen and Minny that bring the narrative to life. Davis brings Aibileen to the forefront of the story, supplying a depth and heart to the character that would be difficult to translate from the novel to the screen, especially in the final few moments of the film. She deserves her Best Actress nomination.
Spencer, who is nominated for Best Supporting Actress, wins us over from the start as the incorrigible Minny who constantly steals the show. It is her banter with Celia Foote (Best Supporting Actress nominee Jessica Chastain) that shows us the depth of Minny’s character: a no-nonsense, hot-headed woman who cares deeply about the people who gain her trust. It is also the fodder of some of the most funny and endearing moments of the film. From her witty back talk to her employers, to the “Terrible Awful,” (we won’t give away the reference, but see photo for a clue!) Spencer deftly brings this spitfire of a character to life.
Through their struggles and hardships we are given an unhindered view of what it was like to be black, white, racist (and not) in the heart of segregated Mississippi, and just how hard it was to be different from the accepted norm. This is most notably seen in the character of Hilly Holbrook (played by the inimitable Bryce Dallas Howard) who single-handedly makes life a constant struggle for anyone who doesn’t bend to her whim, leading to some horrid and hilarious situations. “What Hilly wants, Hilly gets,” is the standard in Jackson, and when Skeeter strays from this idea, Hilly’s manipulation, vindictiveness, and want to destroy anyone who disobeys is fully revealed. Howard plays not just the villain of the film, but a loathsome human being and the most fun and infuriating to watch. It’s a shame that Howard was not given an Oscar nod for this fine performance.
This film is a comedy, a drama, and a historical piece all in one. It is about intolerance, acceptance, and love without borders. It is about being true to yourself despite the obstacles and hostility from friends, neighbours, and society as a whole, all the while making you think, laugh, and cry throughout. It’s a celebration of individualism and the great things people can accomplish when they put aside all of their differences and see each other for who we are: people. We are all just people.
by Cassie MacKenzie
For a few years, Brad Pitt has had so many labels—from sexiest man alive to heartbreaker to superdad—that it was easy to forget that he was, in fact, an actor. Brad chose 2011 to remind us of his abilities, putting two incredibly diverse performances on the table. With Moneyball and The Tree of Life, each grabbing a nomination for Best Picture, Brad has appeared in just over 20% of the year’s best films (granted you agree with the Academy). Here’s my rundown of the two films and what they have to offer moviegoers.
I hated this movie. There, I said it, although it’s not as blasphemous a statement now as it was when the movie first came out and everyone was busy praising director Terrence Malick’s “vision” and “artistry.” The movie “follows the life journey of the eldest son, Jack (played as an adult by Sean Penn), through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt).” At least, this is what the movie does according to Fox Searchlight. I, on the other hand, watched in increasing frustration as a parade of nonsensical (although very beautiful) imagery was paraded before me on screen with little or no link between scenes and a plotline so non-linear that the movie actually dips back into prehistoric times.
Despite its pretentiousness, the film is somewhat redeemed by its strong performances. Brad easily takes on the role of a harsh, unforgiving father, and Jessica Chastain presents the meek wife/bold mother duality with subtlety and grace.
More art piece than film, see this movie if you’re comfortable sitting back and letting the imagery wash over you, moving from moment to moment. Avoid it, if, like me, you like your movies to follow a more linear plotline.
I loved this movie. If you’re tempted to stay away from the film because it’s a “baseball movie,” I encourage you to ditch these preconceptions: as Sony Pictures puts it, “Moneyball is a movie for anybody who has ever dreamed of taking on the system.” Frustrated by the constant loss of his best players to teams with seemingly endless cash flow, Oakland A’s GM Billy Beane (Brad Pitt) takes his tiny budget as far as it can go and reinvents his team based purely on statistics. Brad makes this unlikely subject interesting by bringing Beane to life onscreen with swaggering (but not overdone) confidence. I wouldn’t immediately consider Brad for the role of corporate underdog, but shame on me for doubting his versatility: he excels in this film, definitely earning the nod for Best Actor.
Avoid this movie if any mention of sports turns you off entirely, but otherwise I think Moneyball has it all: great performances (though Jonah Hill’s nomination seems over the top), a classic underdog storyline, and an accessible look into the surprisingly fascinating world of corporate sports. And for the ladies…Brad Pitt workout scenes! Hello!
by Sarah Francis
I’m always cautious of movie adaptations of my favourite books. With Extremely Loud & Incredibly Close I was particularly wary because Jonathan Safran Foer is not only one of my favourite authors, but he has a unique writing style that isn’t suited to being faithfully translated to the big screen. Despite my reservations concerning the film adaptation of Foer’s 2005 novel of the same name, it speaks for itself and succeeds in delivering the characters and story in the quirky and heart-warming manner that Foer intended, though it doesn’t capture the entire essence of the book.
Set in New York City in 2001, the story focuses on Oskar Schell (Thomas Horn), a nine-year-old boy, wise beyond his years and whose best friend in the world is his father, Thomas (Tom Hanks). When Oskar loses his father in the World Trade Centre attacks, he clings to the last earthly connection they share—a key found in his father’s closet. Oskar is certain his father meant for him to find the lock that the key will open and begins an adventure that takes him across New York City on his search for the truth.
While Hanks and Sandra Bullock (as Oskar’s mother) are the obvious selling points of the film, the standout performance belongs to first-time actor, thirteen-year-old Horn. The story is carried forward by Horn’s portrayal of an emotional and passionate Oskar, dealing with the loss of his father and maintaining hope that there is some meaning to be found in the key.
Another major highlight of the movie is Oskar’s relationship with the mysterious Renter (Max von Sydow, nominated this year for Best Supporting Actor in this role), who rents a room in Oskar’s grandmother’s apartment. He soon finds himself to be Oskar’s partner on the search for the meaning of the mysterious key. Together, these characters provide some of the most touching and comical moments of the film.
While I would still recommend reading the book to experience Safran Foer’s unique storytelling, the film is a satisfying adaptation of a simultaneously heartbreaking and heart-warming tale. Bring tissues with you to the theatre or wait until it hits Netflix if crying in public isn’t your thing.
Extremely Loud & Incredibly Close has been nominated for two Academy Awards.
by Nikita Shah
Watching The Artist really opened my eyes to the actual art of film—how different ideas can be reflected in not just the story that is told but how it is told. I found when the movie began, my mind was resisting the change from “talkies” to a silent film, much like the resistance George Valentin (played by Jean Dujardin) felt towards the Hollywood move in the opposite direction in the late 1920s. The film, whose plot revolves around the transition from silent pictures into talkies, puts the audience in a similar position of treading in unfamiliar waters. Each person watching The Artist decides whether or not they will care to adapt to this change. Some are able to ride the cinematic wave while others stand firm that a film should include speaking (and perhaps ask the theatre for their money back). Herein lays the dilemma of The Artist.
The film did require an adjustment in understanding the story since it is being portrayed only by movement and facial expression with intermittent words on screen. Despite being thrown back in time to watch a film unlike any I’ve seen before, this movie was thoroughly enjoyable. The switch in era was so spot on. I could have sworn I was watching an actual film from 1927. Having been unfamiliar with the majority of the cast, John Goodman was the only anachronistic giveaway that the film was indeed modern.
The acting was flawless, including the dog that absolutely deserves that Golden Globe. Bérénice Bejo was incredibly charming as the up-and-coming actress Peppy Miller—particularly during the dressing room jacket scene. And, of course, Jean Dujardin lives up to all of the acclaim he is receiving over the role. The film painted an honest picture of the film industry during one of its most iconic and drastic revolutions, showing how those who went along with the change would prosper and those who did not would wither.
Of all the movies up for Best Picture this year, The Artist has raked in the most warm-up prizes and falls behind only Hugo for the most nominations (10 to Hugo’s 11). The last and only time a silent film has won the top prize was Wings in 1927, the year in which The Artist’s story takes off. What this film lacks in colour, voice, and modern special effects, it more than makes up for with art and heart.
by Katy Littlejohn
Known for iconic films such as The Departed, Gangs of New York, Goodfellas, and Taxi Driver, he was my last pick for the next big family film. Up for the most Oscar’s at this year’s Academy Awards, including Best Picture, Hugo lacks luster when compared to some other titles in Scorsese’s repertoire.
Isabelle (Chloe Grace Moretz) narrates the last lines of Scorsese’s Hugo:
Once upon a time I met a boy named Hugo Cabret. He lived in a train station. Why did he live in a train station, you might well ask, but really what this [movie/book] is going to be about is how this singular young man searched so hard to find a secret message from his father, and how that message lit his way all the way home
This information might have held more power as opening lines instead. So much in this movie is left for audiences to decipher, especially the characters. Their connection with each other is portrayed as one might connect to figures in a beautiful painting. A viewer might feel that there is or should be a profound relationship between them, but they cannot articulate it to each other while frozen. I couldn’t tell you which was my favourite or least favourite character because I found each character’s story to operate on the same level–no one seemed to present themselves as the most important, so I didn’t really know who to care about.
The story itself offered several elements that excited me in the beginning. The story begins by introducing young Hugo (Asa Butterfield), an orphan living in the clock tower of the Paris train station. The first thing that came to mind was an early 20th century Quasimodo. Instead of being deformed, Hugo is an orphan. He winds the station’s clocks and spends his time watching the bustling crowds go about their day. His survival relies on sneaking through the station unseen, to steal food and trinkets from the toy stand run by Georges (Ben Kingsley).
The trinkets introduce Hugo to us as a fixer of machines. His work (besides winding clocks) is to fix the automaton, a machine man that his father, played by Jude Law, brought him before he died. Throughout the film, many possible messages were tested and determined to not be the focus: the concept of ownership—who owns ideas, objects, even people; the merits of books compared to telling stories through film; or perhaps the unavoidable development of technology and its relationship with people. I’ll admit, none of these possible theses are straightforward, which is why I found the first half of the film to be unstructured and lacking focus. The moment I began to understand what I was supposed to care about came when Hugo utters these words, quite eloquently for a boy who never attends school:
Everything has a purpose—even machines. Clocks tell the time, trains take you places—they do what they’re meant to do. Maybe that’s why broken machines make me so sad: they don’t do what they’re meant to do. Maybe it’s the same with people—if you lose your purpose, it’s like you’re broken.
Once Hugo figures this out, the plot begins to come together. Overall, it is a beautifully filmed movie featuring inspired design and some strong performances, notably Ben Kingsley and the young Butterfield. Despite the British accents of the Parisian characters and, at times, despite the messy plotline, Hugo does manage to inspire a sense of magic. This is a great choice for your next family movie night.
by Nikita Shah
I’m not going to beat around the bush here—Woody Allen’s Midnight in Paris gives me warm fuzzies. You could not find a better cast for this film. Every character—historical or otherwise—was perfectly suited for the actor that portrayed him/her. I will admit, Owen Wilson played his usual character of the goofy, lovable guy with untamed surfer hair, but in the case of Midnight in Paris, it was entirely appropriate in order to create the dichotomy between himself and his fiancée, Inez (Rachel McAdams), and her uptight parents.
This film is a dream-come-true for fans of art, literature, and history. All of the artistic icons from the 1920s come to life in a way that is casual yet stunning. There is something jaw-dropping about watching F. Scott Fitzgerald (Tom Hiddleston) sitting in a pub with Ernest Hemingway (Corey Stoll), just having a smoke and a pint. The writing of the characters really carried across the message that these icons had no idea that they would one day become legends—except for Hemingway, of course, who knew he was great. To quote him: “If you’re a writer, declare yourself the best writer! But you’re not as long as I’m around, unless you want to put the gloves on and settle it.”
The nuances of the historical characters really do shine through in this film. Zelda Fitzgerald (Alison Pill) is the live wire we have always thought her to be, with a tense and complicated relationship with Scott. Her disdain for Hemingway is all but subtle. Salvador Dali (Adrien Brody), whose very short scene is probably my favourite in the entire movie, is simply and indescribably wonderful. The film is full of famous artists who just pass through, most having just a short cameo. At first I was displeased with how sporadically these characters appeared, but then I realized it must have been just like this at the time— these artists walking in and out of each other’s lives without a focus on any “main” person.
The film captures different eras of art and how people of each time view art—how a certain time can be viewed by some as the “golden age,” yet the artistic value of our own time are ignored. Unlike The Artist, also up for Best Picture, Midnight in Paris shows the fault in allowing yourself to be consumed by nostalgia, and that icons are constantly being created. I guarantee you will walk away from this film with a newfound appreciation for the art and artists of the here and now.
Midnight in Paris has earned four prestigious Oscar nominations. Besides Best Picture, it is nominated for Best Art Direction. Woody Allen is up for Best Director and Best Original Screenplay as well. Allen has been a film icon himself since his first of 11 Oscar wins (Annie Hall in 1978). Happy 34th Academy Awards, Woody!
by Katy Littlejohn
As a Theatre student, I have tried to make it my mission to value a stage production over a film adaptation. Of course, it’s one of those rules that can be broken—for example,the movie Dirty Dancing is far more superior to its stage show replica that was in town a few years ago. But when I heard that Steven Spielberg was directing the movie version of War Horse, and that it would be in cinemas at the same time that Mirvish was bringing the highly anticipated stage production to Toronto, I just knew I could not see the film.
Here’s why: I’ve mentioned that I am a Theatre student. The truth is, I was a Drama major in university—this is the sort of degree that diehards claim will make them a student for life. I guess I’m a pseudo diehard because, though I’m no longer reading scripts, sewing costumes, or lighting stages all day, I do feel it’s my duty to uphold the sanctity of the theatre, and view Hollywood as the stage’s equivalent of Mordor.
Unfortunately, my student loan budget refuses me the luxury of actually seeing many productions, which includes War Horse. I would love to though—the horses alone (life-sized puppets operated on stage) are supposed to be spectacular presences in the production, and the story is supposed to break your heart (I’m a sucker for anything that promises me that I’ll be weeping by the curtain call). I would encourage anyone who’s not living off OSAP to try to see the show. You can find all the information you need here. .
But back to the film; this is, after all, Oscars Week here at OtD online. Despite my protestations and refusal to see the film until I could gather enough pennies for a theatre ticket first, the Academy has gone ahead and nominated it for Best Picture along with five other movies. So maybe there is some merit to the movie or maybe it just has a “Spielberg” attached to its name. There’s only one way to find out…I’m off to see War Horse—please don’t tell my professors!
Okay, it was beautifully filmed and stayed true to the heart of the story, originally told in the novel by Michael Morpurgo. Maybe some stories can be told in three different mediums without losing their soul. The horse, Joey, is first loved by Alby (Jeremy Irvine), a young farmer’s son who teaches the “fancy” thoroughbred to plow in order to save his family’s farm. The hard work and love that the master puts into Joey ends up paying off in many ways as Joey is shipped off to the front lines of WWI without Alby. The adventure continues, but I won’t spoil anything. All I will say is that the heart of this story is how the respect a master shows his horse results in a beautiful partnership.
This is a lesson I wish we’d all take to heart—no, not with horses, but with each other. Respect and a willingness to work hard for one another; whether we are the master or the horse, every person has the potential to use their position and strengths to better the world.
With the Oscar nominations finally announced, all of Hollywood is in a frenzy readying themselves for the golden night. You and I might not have a ticket to the event, but this doesn’t mean we have to miss out on all the fun. Hosting your own decadent Oscar soiree can include all the glamour in more comfortable clothes.
First things first, make sure you have a reliable television so the channel with the telecast comes in nice and clear. The worst thing that could happen is having everyone over trying to watch the awards through static. Also make sure the volume is turned up so you can hear what’s going on over your guests’ commentary on wardrobe.
Once that is done, it is time to roll out the red carpet. Head to the closest fabric store or Value Village and get yourself some red fabric to lay out from the front door to the auditorium (a.k.a. your couch). Speaking of the auditorium, it should be decorated with 10’ Oscar replicas painted in real gold; or you could visit It’s My Party on the Danforth and pick up decorations from the Lights, Camera, Action section of the store. Nothing says a party like a giant Hollywood star.
While the Hollywood types will be supping on caviar and champagne (if they sup at all; let’s admit, while fabulous, some of those girls could use a sandwich), our tastes are more refined. Hors d’oeuvres are best for night-long snacking. Try some Cream Cheese Jalapenos Pinwheels or Roasted Red Pepper Hummus with Pita Bread. Don’t forget dessert! Try fruit kebabs, which are so simple and everyone loves food on a stick. Of course we need cake, what is a party without a cake? Try your hand at creating your own Film Clapperboard cake or head to a bakery like Sweet Tooth to save yourself the clean up.
As your guests arrive, hand them a ballot and ask them to make their predictions for all the major categories. At the end of the night, whoever gets the most right wins a prize, or at least the satisfaction of having superior taste in films.Download our ballot here: Unofficial Oscar Ballot
No matter what you serve or how your decorate, having an Oscar party can make that 4 hour ceremony much more enjoyable; and then you have a good excuse as to why you are late for work or school on Monday morning!
Mix one package of cream cheese with chopped jalapeno peppers (to taste). Spread that mix onto a rolled out tube of Pillsbury Crescent Rolls. Spread it evenly and roll back up into one long tube. Cut into ½” slices and lay out on a baking sheet for 7 minutes. Enjoy!
In a food processor, mix 2 cans of chickpeas with one roasted red pepper. Add cayenne pepper, salt, and pepper to taste. Mix until smooth and serve with tortilla chips and pita bread.
