
27 December 2008
Deadline Set

25 December 2008
2008 List #4: 25 (or so) Great Performances


As successful a writer/director Mike Leigh often is, Happy-Go-Lucky hinged on her entire performance. No matter how worthwhile his screenplay was, Hawkins' believability made the film.

Although the film didn't completely rest on her shoulders, Hall's performance worked in the same way Hawkins did, as she accepted the challenge of making "natural" what seemed so "fake." Her Vicky thrived upon a façade of happiness (I realize, for Hawkins, it wasn't a mask), and when everything fell out of place, it just made Hall that much more radiant.

Like J.K. Simmons in Burn After Reading, Shannon was the only thing to really fuck-start the whole fiasco that was Revolutionary Road (more on that later), and in Shotgun Stories, he made his untrained co-stars look all the more inexperienced.

Binoche makes acting look effortless, and Flight of the Red Balloon is probably one of her most complex, nuanced endeavors in a career full of brilliance.

Rethink all the bad stigma you attach to Farrell (honestly, he wasn't the worst part of Alexander). All three actors are as good (or better) as they've ever been here.

Yeah, she made a striking turn in The Last Mistress, but it was in Boarding Gate that Argento was given the best platform for astounding. More on this when I publish my best of the year.

It ended up not mattering much that Langella didn't resemble Tricky Dick physically or vocally, which is tremendous for playing someone ingrained so deeply in the public's eye.

If I had more space or time, each of these actors would deserve their own inclusion. Harvey Milk could end up being the role best associated with the often over-the-top Penn. The chemistry between Penn and Franco was intense (even if the film could have gone a little bit deeper), and Brolin, as I'm sure you've already heard or witnessed, gives remarkable shape to what could have been a one-dimensional, unsympathetic individual.

In XXY, Efron is perfect, in both her demeanor and chilling despair. It’s the sort of performance you see, without knowing much about the actress, and assume, “Well, the director must have found her on the street and knew she was exactly what was needed for the role.” However, XXY is her fourth film, and not only is her role sizable in its challenges, Efron is both delicate and rough and handles the conflicting femininity and masculinity like an actress twice her senior. Fabulous stuff. (Taken from a post I wrote earlier this year)

In both leading and supporting roles, Swinton has the capacity to captivate no matter how long she's onscreen.

As excellent as he was in The Visitor, look for his "emotional" speech near the end of Step Brothers. Thanks to both films, Jenkins should no longer remain an untapped resource.

As they did in Desplechin's Kings and Queen, Amalric and Devos again play lovers, this time in the present tense, and it's quite a compliment to stand out in a cast this impressive.

Perhaps inspired by the flesh-eating nymphomaniac she played in Claire Denis' Trouble Every Day, Inside flipped the coin on her usual persona of being sexy (but a little bit scary) in making her scary (but a little bit sexy) as the black-donning, scissors-holding home invader in Inside. It's probably one of the most frightening performances in a horror film that I've ever seen.

As the roommate of the pregnant girl, Marinca was mesmerizing, devestating and even a little bit funny.

In looks, Mortimer might not have what it takes to pull off the former bad girl, but in Transsiberian, she's absolutely believable and utterly captivating.

Hysterically rude, Patric was like the broken down version of his character in Your Friends & Neighbors.

Taking on roles as difficult as that of Barbara Baekeland is what lifts Moore into the masterclass. Though Savage Grace is quite flawed, there's nothing at all wrong with her (you could say the same about Blindness, though she's more effective here), and, as I said before, I don’t think any actress today can utter the word “cunt” with as much ferocity as Moore, and after you see the film, try to think of another actress who would have even tried to pull of that scene.

Serving as co-writer as well, Vogel is shattering the film's serial rapist in one of the year's most troubling performances.

It would be too easy to applaud Fassbender for pulling a Christian Bale and losing an ungodly amount of weight for the second half of Hunger, so it certainly helps that he would have been commanding at any weight. I'll even forgive him for being in 300.

In the less showy performance, DeWitt is the rock of Rachel Getting Married. Again, more on this when my best films list rolls out.

Cruz lights my F-I-R-E, as you probably know by now, but who knew she could be as savagely funny as she was in the role of Maria Elena? Cruz and Hall were so night-and-day that I had to include them separately.

Though Andrew Garfield was also quite good in the title role, Mullan was Boy A's shining light as the social worker who assists Garfield's rehabilition in society.

You can see Wendy's entire world buckle under inside Williams' face. She's a revelation here, and one of the most promising actresses of her generation (surprising from a girl who rose to fame on Dawson's Creek and lasted the show's entire run).

No matter how you feel about The Wrestler (yes, more on that later), it's hard to resist Rourke's career-capping turn as a faded pro "wrestler." Whether this leads to a string of roles or not is unclear, but he definitely deserves all the accolades that have been thrown upon him thusfar.

Too often (even in my case) does appreciation for dramatic work overshadow the great comedic performances of any year, which are (so I hear) a lot more difficult a task to pull off. Weaver, as the owner of the surrogate adoption agency, isn't just hilarious on her own, but she does what every lead actor wishes the supporting players would do and makes them even funnier. Tina Fey's reaction to finding her in the hospital with a set of twins is the highlight of the whole film.
Feliz...

Here's my favorite Christmas song: "Sister Winter" by Sufjan Stevens; forgive the slideshow, but he never made a video for it. If that's too morose for you, there's always Grace Jones on Pee-wee's Christmas special.
23 December 2008
Results of indieWIRE's 2008 Critics Poll

2008 List #3: Music, I Suppose...


2. Sigur Rós | Með suð í eyrum við spilum endalaust
3. Lykke Li | Youth Novels
4. Grace Jones | Hurricane
5. Portishead | Third
6. Fleet Foxes | Fleet Foxes
7. Sébastien Tellier | Sexuality
8. TV on the Radio | Dear Science
9. Cat Power | Jukebox
10. M83 | Saturdays = Youth
The Runners-Up

Bonnie ‘Prince’ Billy | Lie Down in the Night
Eagles of Death Metal | Heart On
Hercules and Love Affair | Hercules and Love Affair
Neil Halstead | Oh! Mighty Engine
Lindstrøm | Where You Go I Go Too
Poni Hoax | Images of Sigrid
31 Single Ladies
1. Beyoncé - Single Ladies (Put a Ring on It)
2. Hercules and Love Affair - Time Will
3. Portishead - Hunter
4. TV on the Radio - Halfway Home
5. Lykke Li - Little Bit
6. Fleet Foxes - White Winter Hymnal
7. Eagles of Death Metal - Want You So Hard (Boy's Bad News)
8. Estelle featuring Kanye West - American Boy
9. Yeasayer - Wait for the Summer
10. Goldfrapp - A&E
11. Emmanuelle Seigner & Brett Anderson - Les Mots simples
12. Bon Iver - Flume
13. Grace Jones - Well Well Well
14. Brendan Canning - Churches Under the Stairs
15. Kanye West - Flashing Lights
16. French Kicks - Said So What
17. Yelle - Ce jeu
18. Cat Power - Ramblin' (Wo)man
19. Antony and the Johnsons - Another World
20. Ra Ra Riot - Dying Is Fine
21. Santogold - Creator
22. Cold War Kids - Mexican Dogs
23. Poni Hoax - Antibodies
24. DeVotchKa - The Clockwise Witness
25. Atlas Sound - Quarantined
26. Sébastien Tellier - Pomme
27. Sigur Rós - Ára bátur
28. Kings of Leon - Sex on Fire
29. Neil Halstead - Oh! Mighty Engine
30. Björk featuring Antony Hegarty - Dull Flame of Desire
31. Mariah Carey - Touch My Body



Wong Kar-wai, "The Dakota Fanning Rape Movie," Others DVD Update


indieWIRE's List of the Best Undistributed Films of 2008

20 December 2008
2008 List #2: USA Region 1 DVD Premieres


Spike Lee’s She’s Gotta Have It – MGM
Agnès Varda’s Le bonheur – Criterion
Lars von Trier’s The Kingdom 2 [Riget 2] – Koch Lorber
Jean-Luc Godard’s Passion – Lionsgate [part of the Godard box set]
Jean-Luc Godard’s Détective – Lionsgate [part of the Godard box set]
Jean-Luc Godard’s Hélas pour moi [Oh, Woe Is Me] – Lionsgate [part of the Godard box set]
Patricia Rozema’s When Night Is Falling – Wolfe
Paul Schrader’s Touch – MGM
David Lynch’s Lost Highway – Focus Features
Paolo and Vittorio Taviani’s Fiorile – Koch Lorber

Jean-Luc Godard’s La chinoise – Koch Lorber
Louis Malle’s The Lovers [Les amants] – Criterion
Louis Malle’s The Fire Within [Le feu follet] – Criterion
Olivier Meyrou’s Beyond Hatred [Au-delà de la haine] – First Run Features
Shohei Imamura’s The Ballad of Narayama – AnimEigo
Tsai Ming-liang’s The Wayward Cloud – Strand Releasing
Derek Jarman’s The Angelic Conversation – Zeitgeist [part of the Derek Jarman Glitterbox]
Derek Jarman’s Blue – Zeitgeist [part of the Derek Jarman Glitterbox]
Derek Jarman’s Caravaggio – Zeitgeist
Derek Jarman’s Wittgenstein – Zeitgeist

John Sayles’ Baby, It’s You – Paramount/Legend
Patrice Leconte’s The Girl on the Bridge [La fille sur le pont] – Paramount/Legend Films
André Téchiné’s J’embrasse pas [I Don’t Kiss] – Lionsgate [part of the André Téchiné set]
Hector Babenco’s Kiss of the Spider Woman – City Lights
Derek Jarman’s War Requiem – Kino
Elia Kazan’s Boomerang – 20th Century Fox [Amazon lists this OOP already, so who knows if it was actually released; let me know if you picked it up yourself]
Luis Buñuel’s La ilusión viaja en tranvía [Illusion Travels by Streetcar] – Lionsgate [note that according to Amazon, there are no English subtitles for either of the Lionsgate Buñuel titles]
Luis Buñuel’s Nazarín – Lionsgate
Lou Adler’s Ladies and Gentlemen, the Fabulous Stains – Rhino
Max Ophüls’ The Earrings of Madame de… [Madame de…] – Criterion

Max Ophüls’ La ronde – Criterion
Yasujiro Ozu’s An Autumn Afternoon – Criterion
Luchino Visconti’s Ludwig – Koch Lorber
Claude Chabrol, Jean Douchet, Jean-Luc Godard, Jean-Daniel Pollet, Eric Rohmer, and Jean Rouch’s Six in Paris [Paris vu par…] – New Yorker
Elie Chouraqui’s Love Songs [Paroles et musique] – Sommerville House
Larry Kent’s The Apprentice [Fleur bleu] – Sommerville House
William Friedkin’s The Boys in the Band – Paramount
Samuel Fuller’s White Dog – Criterion
Lars von Trier’s Europa [Zentropa] – Criterion
Bruno Barreto’s Dona Flor and Her Two Husbands [Dona Flor e Seus Dois Maridos] – New Yorker [hopefully! But you know New Yorker...]
2008 List #1: The Best (and Worst) of Television


Chris Lilly’s hysterical, brilliant mockumentary about the lives of three awful human beings who call the titular Summer Heights High their home for a term beats Christopher Guest at his own game. At turns unbearably funny and gut-wrenchingly unsympathetic, Summer Heights High balances its double act gracefully. Lilly goes places you never expect him to with Ja’mie King (the private school cunt with a love for incorrectly using the word “random” who manipulates and condescends her way through her year-long exchange), Mr. G (the self-applied “director of performing arts” with delusions of grandeur putting on an exploitive musical about a schoolgirl who died of a drug overdose) and Jonah Takalua (the disobedient Pacific Islander who would rather break-dance than learn how to read). Watching Mr. G’s “arena spectacular” makes the only salvageable moments of Hamlet 2 look pitiful by comparison (“She’s a naughty girl with a bad habit / a bad habit for drugs”). Summer Heights High is easily the most refreshing television import since The Office UK. For more Ja’mie (my personal favorite) and Lilly, be sure to check out the show he made before this one, We Can Be Heroes, which I can only hope will be picked up by HBO sooner or later. The DVD set for Summer Heights High will be available on 24 February 2009.

Sorry Amy Poehler and Sarah Silverman, but Kristen Wiig is not only SNL’s funniest comedienne, but perhaps even the funniest person who’s ever been on that entire show (take that comment lightly, this is coming from someone who gains and loses sporadic interest in the show on a regular basis). She’s taken Silverman’s place as the scene-stealer of dude comedies; her scene in Knocked Up provides more laughs than the rest of the film combined. Though she seems to be often stuck in deleted scenes (Forgetting Sarah Marshall) or unfunny roles (The Brothers Solomon), her comic genius truly comes through on SNL, playing a slew of neurotic or unflattering characters (as well as dead-on impersonations of Suze Orman and Björk) and always emerging as the only good thing in badly or underwritten skits. As NBC.com is one of the worst viral sites around, I’ve gathered together a few clips for your enjoyment. Wiig as Virgania Horson and Her Pony Express (thanks to my friend Mike for posting this on his Facebook page!); as the Deformed Sister of Laurence Welk Quartet; as one of the work-out ladies for Body Fuzion, with Drew Barrymore; as Björk in a send-up of The Sundance Channel's Iconoclasts; as Sue who sure is excited about throwing a surprise party, with Christopher Walken; as one-half of a set of adorable twins, with Seth Rogan; as Kyra Sedgwick, followed by a new crime program starring Penny Marshall, also with Andy Samberg as Juliette Lewis; as Suze Orman and again; as Crazy McCain Rally Lady on the Weekend Update; as one-half of another set of twins for a new Disney Channel program, with Amy Adams; as Penelope at traffic school, also with Amy Adams; as Jennifer Tilly on Celebrity Apprentice; and as the Target Lady, with Jonah Hill. Forgive me if some of the videos don't work.

Tina Fey emerged to be the only good thing to come from the hasty media obsession with Vice Presidential candidate Sarah Palin, showcasing the thespian side of our favorite hot, rimmed-spectacled gal. Like my experience in seeing Christine Ebersole play Little Edie on the Broadway version of Grey Gardens (which was lame otherwise), Fey didn’t just impersonate the similar-looking Palin, but became her in such a way that I could barely tell the two apart. “It seems that when cornered you become increasingly adorable.” Who knew even better things were to come for Fey at the beginning of 30 Rock’s third season? Check NBC's website, under the "Most Popular" category, to see the sketches.


Had this been the final season to any other show, I probably wouldn’t have included it. But as it’s The Wire, the smartest show in HBO’s illustrious history, I can put my reservations aside. Cramming a shitload of information into a meager ten episodes, not the least of which involving a “serial killer,” season 5 felt as though it rushed through everything the show so deliberately laid out in seasons past (it was especially hard to try to top Pryzbylewski’s staggering stint as a mathematics teacher in Season 4). I would have allowed the show the sinister killing of its best character had the writers stuck with the raw, unforgiving nature we’d become used to by that point. Characters got off too easy in the show’s finale, developing an attachment the creators swore they’d never display. All that aside, The Wire was the most uncommonly compelling show of the decade (I keep Six Feet Under in a different basket), and I’m sure its legacy will last through DVD, even if no other show comes close to touching its vigor. All five seasons are currently available on DVD. [On a side note, I’m working on a piece which examines how The Wire has changed, for the worse, my cinema obsession. Look for it as soon as I finish these lists.]

What began as a nice alternative to the multi-camera sitcoms that the networks kept throwing at us evolved into the cleverest show on NBC and a more-than-welcome replacement for the void Arrested Development left. Fey’s writing was never in question, but in the early episodes of season 3, she’s finally eluded the Dorothy Petrillo Zbornak curse, in which the lead actor of a sitcom is consistently upstaged by their co-stars (not that I don’t love you, Bea Arthur!). Baldwin, Morgan, Krakowski and McBreyer are uniformly hilarious, and though Friedlander leaves something to be desired, he finally got laughs out of me when, in season 2, he shows up at a gay disco where they’re playing a club mix version of Krakowski’s smash hit in Europe, “Muffin Tops,” and, in season 3, when he responds “yes” emphatically when Morgan, dressed as a white woman for a Freaky Friday experiment, asks if he wants to make out with him. With guest stars including Oprah Winfrey, Jennifer Aniston and Steve Martin, I can’t help but think 30 Rock is on the upslope. Season 3 is still in progress; seasons 1 and 2 are available on DVD, and you can catch all the episodes streaming on NBC.com.

Lost would be nowhere without Twin Peaks, as you can imagine. It followed the show’s entire mold: intrigue your audience in the first season before fully introducing the supernatural head-scratching in the second. Ending the otherwise lackluster third season with a real mind blower, Lost cut its episodes by around ten, making it even more concise and wonderfully infuriating than it ever had been. With a deal made by the creators and ABC, which will conclude the show’s run in 2010, Lost will have what Twin Peaks never could… an ending. Heartbreak, anger, elation and confusion will be brought to us for another two seasons with the possibility of our Oceanic Six making their way back to the island. For the especially amazing episodes of Season 4, check out “The Constant,” in which the island’s lone Scotsman Desmond Hume (Cusack) discovers with the help of wormy Daniel (Davies) the two-way nature of time travel, or “The Shape of Things to Come,” which answers and poses more questions about that fucking smoke monster. Season 4 was just released on DVD, though you can watch every episode streaming on ABC.com, and Season 5 will begin early 2009.
Gay, straight, man, woman, I dare you to resist the charms of Project Runway (I’ve heard many hilarious confessions of friends who’ve caught their fathers watching the show). Cramming a season and a half into 2008, my would-be guilty pleasure (I’m seldom guilty about anything I like) awarded its top honors to the two most deserving winners in both seasons. Keep in mind that Project Runaway is the only reality contest that actually awards creativity over meager talent and mutiny and, without being too invasive, introduces you to plenty of wonderful (Chan Marshall look-a-like Leann Marshall and the endearing Sweet Pea), memorable (Christian Siriano) and detestable (I’m looking at you, Kenley) contestants. Sure, plenty of the players weren’t up to snuff in the past two seasons, but could you really live without the addition of “hot tranny mess” into your vocabulary? For shits and giggles, here’s Amy Poehler playing Siriano on SNL, and despite his best efforts, Blayne’s catch phrase “licious” will never catch on. Season 4 is available on DVD; no word yet on season 5 (or when the show will be rid of its legal troubles).

I’m ashamed to admit that I’ve only caught a few episodes of the latest season of the fantastically mean-spirited sitcom about five selfish assholes and the Philly bar they own, but what I’ve seen leads me to believe that, like 30 Rock, the show is only getting better. Politically incorrect, undeserved narcissism hasn’t looked this good in a while. No word on when Season 4 will hit DVD, but the previous three are already available for you to catch up.


Alan Ball’s television follow-up to Six Feet Under hasn’t yet lived up to its predecessor, but in laying the groundwork for a sexy, Louisiana vampire tale, the show definitely has promise. Six Feet Under really hit its stride in its second season, so I won’t fault True Blood in allowing the viewer time for a little establishment. Sure, Sookie Stackhouse (Paquin) is a stubborn, self-righteous pistol, and yes, it appears as if the show can’t figure out how it feels about bar-owner Sam Merlotte (Trammell). However, in Tara (Wesley), the viper-tongued best friend with the most hideously unlikable mother (Porter) in television history, and Bill (Moyer), the tender-hearted vampire love interest, the show more than makes up for the issues it raises with the other characters. The biggest faults so far involve a lame, convenient serial killer plot and the show’s lax nature in killing off major characters, which doesn’t allow for the institution of a world where no one’s safe as much as it does in ridding the show of characters that haven’t been given the chance to grow. The show will be available on DVD on 12 May 2009, with the second season beginning sometime in the summer.

I’ve been reprimanded by many of my friends for never allowing myself to get into Adult Swim, but things may change after seeing HBO’s version of Cartoon Network’s R-rated animated comedies. The premise is fairly simple: generally nice guy Tim is thrown into awkward situations involving hookers, mistaken identity and misconstrued good intentions, escalating in each 15-minute episode. After watching at least three episodes, The Life & Times of Tim quits feeling like the cringe-inducing, prone-to-failure antics that made the shitty Meet the Parents films so successful and becomes the perfect time killer for an aimless day of browsing the On Demand section of your cable provider. The best laugh I got all season occurred when Tim (writer/director/co-creator Steve Dildarian) asks Debbie (Bob Morrow), the surly lady of the evening, for help in learning gospel songs, only for Debbie to break out in Eddie Murphy’s “Party All the Time,” innocently mistaking that for a beloved church-going tune. Season 1 will be available on DVD on 24 March 2009.

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