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My 2010 Film Awards

08/01/2011 2 comments

I’ve just returned from holiday, so this is a little late, but I decided to round off the year with an awards-esque thing. This is what I made of the year:

Best Screenplay: This is easy – Aaron Sorkin’s The Social Network was incredible. No question about this one.

Best Soundtrack/Score: I’m going for the Shutter Island score, assembled by Robbie Robertson. Mark Kermode described it as “honking and quacking”. I loved it. It fit the film perfectly.

Best On-Screen Chemistry: Riz Ahmed and Kayvan Novak were hilarious in Four Lions, so I’m giving this one to them. Really great performances and a really touching relationship.

Best Villain: It has to be Lotso from the wonderful Toy Story 3. What a bastard.

Best Horror: I haven’t seen a lot of horror this year, so this is going to Frozen. This one caught me unawares, a real pleasant surprise.

Best Sci-Fi: No doubt that this has to be Inception, one of the films of the year. As everyone keeps on saying, it proves that popular cinema does not have to be dumb.

Best Comedy: I’m going back to Four Lions again. Hilarious. And I haven’t seen a whole lot of comedies this year.

Best Supporting Actress: Emily Blunt in Wild Target. Not a great film, but I enjoyed watching her, and she was very funny.

Best Supporting Actor: Stanley Tucci for The Lovely Bones and Easy A. I enjoyed both movies, and Tucci is the man.

Best Actress: Ruth Williams as not-Cherie Blair in The Ghost. An excellent performance from an excellent actress.

Best Actor: DiCaprio for Inception and Shutter Island. The man is infinitely watchable.

Best Director: I think I’ll say Chris Nolan for Inception because it was so spectacular, but with a massive nod to David Fincher.

Best Film: Definitely The Social Network. Perfect in every way.

And, just to end on a downer:

Worst Film: Vampires Suck. Easily the worst thing I have ever paid to do.

This is what I had to choose from, I think I saw 42 in total:

127 Hours (8/10)

A Nightmare on Elm Street (4/10)

Buried (6/10)

Clash of the Titans (2/10)

Devil (8/10)

Easy A (7/10)

Four Lions (9/10)

Frozen(8/10)

Get Him to the Greek(7/10)

Green Zone (8/10)

Harry Potter and the Deathly Hallows Part 1 (8/10)

Inception (10/10)

Invictus (8/10)

Iron Man 2 (7/10)

Kick Ass (8/10)

Knight and Day (5/10)

Let Me In (5/10)

Monsters (8/10)

Predators (7/10)

RED (5/10)

Remember Me (7/10)

Salt (6/10)

Scott Pilgrim Vs. The World (7/10)

Shutter Island (8/10)

The American (7/10)

The Bad Lieutenant – Port of Call: New Orleans (7/10)

The Book of Eli (6/10)

The Expendables (7/10)

The Ghost (9/10)

The Human Centipede (First Sequence) (4/10)

The Killer Inside Me (6/10)

The Lovely Bones (8/10)

The Other Guys (7/10)

The Road (6/10)

The Social Network (10/10)

The Town (8/10)

The Wolfman (4/10)

Toy Story 3 (10/10)

Up In The Air (7/10)

Vampires Suck (1/10)

Wild Target (7/10)

Winter’s Bone (8/10)

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The Town – Oscar Contender?

I’ve been looking around the web at various bits of Oscar-related news and came across WB’s “For Your Consideration” page for Ben Affleck’s The Town. Not convinced. I liked The Town. I’d even go so far as to say that I very much enjoyed it, but Oscar contender? Not for me.

It is one of the most straight-forward, down-the-line, simple films I have seen this year. Affleck’s direction and acting is good, but not world class. I could see Jeremy Renner or Rebecca Hall getting Supporting nominations, perhaps, but the big two are never going to happen, and the day Affleck wins an Oscar for his acting is the day Hell freezes over. And I say that as a fan.

To be fair, Renner and Hall were excellent in this movie – they did everything required of them well and convinced me of their somewhat two-dimensional characters – but there are probably five better nominations I could think of having only seen about 30 films this year – Mark Ruffalo and Ben Kingsley (Shutter Island), Stanley Tucci (The Lovely Bones), Nic Cage (Kick Ass), Robert Duvall (The Road), Andrew Garfield and Armie Hammer (The Social Network) are all better bets for Supporting Actor than Jeremy Renner, and I would venture that Rachel Weisz (The Lovely Bones), Emily Mortimer and Michelle Williams (Shutter Island), Amy Ryan (Green Zone), Eva Mendes (Bad Lieutenant) and Helena Bonham Carter (Harry Potter) all did better jobs than Rebecca Hall in their respective roles. OK, maybe it’s a stretch to suggest that the likes of Kick Ass and Harry Potter will get Oscar noms in the big categories, but they deserve them more.

I genuinely liked The Town, but it is no more than a solid film with solid direction and solid performances. It is, in a word, solid. Solid. Although, given that nowadays we get 10 Best Picture nominations, it is possible that The Town will get one of these. I won’t support it, but it’s possible.

The Lovely Bones (February 24th 2010)

27/10/2010 2 comments

The Lovely Bones seems like an odd film for Peter Jackson to make, much like Heavenly Creatures was in 1994. Instead of being known for oddball splatter films as he was then, he is now known to be the man who made Lord of the Rings and King Kong – two of the more epicly scaled projects of the last decade or so. So where does The Lovely Bones fit into this? It doesn’t. It is really a very small, confined story about one family and one paedophile, and while it uses a lot of CG trickery and other-worldly landscapes, it cannot be compared to Jackson’s previous two films at all.

That is not to say that this film is a mis-step on his part; it is a very well constructed and engaging story, and contains some moments that would rank among the finest of Jackson’s distinguished, and in my opinion unblemished, career so far.

Let’s focus on the CGI landscapes of the “in-between” for a moment.King Kong and, to a lesser extent, the Lord of the Rings trilogy were both criticised for slightly ropey CGI in places, but there are no moments like this in The Lovely Bones. Even the water effects – notoriously difficult to construct – looked fantastic here.

However, as everybody knows, good CGI is far from a backbone to build a film around; a lesson that Roland Emmerich might want to learn from. Thankfully Peter Jackson knows what he is doing when it comes to film-making and there is barely a flaw in this film. Even the casting of Marky Mark is spot-on, and when it comes to finding actresses to lend some emotional weight to your film, you cannot go wrong with Rachel Weisz. I do feel that Saoirse Ronan may be a tad young to carry such a big film, and at times she does seem to over-egg this cake somewhat. Having said that, she certainly isn’t bad, but perhaps she suffers from a slight lack of experience. She does, however, outshine the fairly sidelined love interest, a young man by the name of Reece Ritchie who seems intent on becoming the Asian version of Orlando Bloom, given his ridiculous “I am acting now” voice.

The main attraction to this film, for me, is Stanley Tucci. This guy has been around a while, but this is easily his most impressive role as George Harvey. He underwent something of a physical transformation for this role, and while they do seem to have played up to a fairly stereotyped image of a loner/paedophile, his creepiness really is a winner. Some of the involuntary noises his character makes when interacting with Saoirse’s Susie Salmon are truly disturbing.

As I said way back towards the start of this review, this film contains some of what I would say is Jackson’s best work. A scene where Susie’s little sister Lindsey breaks into Harvey’s house, only for him to return home, is comparable to Hitchcock’s absolute mastery of suspense. The tension is tangible and excruciating, and the thrill of the ensuing chase is joyous. Equally, a scene immediately following Susie’s murder is one of the more horrific things youa re likely to see in a 12A movie. She enters a bathroom that is caked in blood and dirt, with a faceless body in the bathtub. There is little to say that won’t ruin the scene, but it evokes the same feelings as the Pale Man scene in Del Toro’s Pan’s Labyrinth.

For all this eulogising, you would be forgiven for thinking that this is a flawless movie. Rest assured, it is not. There is one moment that feels so out of place it could be easily mistaken for a different film. A montage of Susan Sarandon, playing Susie’s grandmother, struggling to get to grips with household chores, accompained by some fairly jaunty music is horrifically out of place in what is otherwise a sombre, serious film. If Jackson was aiming at some sort of tension relief or artful juxtaposition, he really missed the mark here.

Otherwise, The Lovely Bones is a very praiseworthy movie. It is no more than entertainment, but it is told so well that it needn’t be more than this. As long as Peter Jackson keeps making films, I will keep going to see them, because in the simplest terms, he is yet to make a bad one. Rest assured that this film could really be anybody’s cup of tea, and I would recommend to not judge it based on the trailer or the basic concept of it, as it is much more than either of them would suggest. Highly recommended.

8/10