bernardovillela

BAM Best Picture Profile: Central Station (1998)

Posted on December 18, 2013 by bernardovillela

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM Nominee and winner lists (Any omissions will be fixed this year). However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

Central Station (1997)

Central Station would be the first time the BAM Awards ventured to foreign soil to pick a Best Picture winner. However, maybe it’s more apropos to say that it ventured to soil foreign to the US. For I am a dual citizen of the US and Brazil. In fact, I first saw this film while visiting family in Brazil and I believe I later revisited it when I was back home.

It is so great, so big a hit and important enough that I did discuss whether or not it was the emblematic Brazilian film, first with regards to how the film was cast:

If you hire an amateur child from substandard living conditions you should, as Walter Salles did for Vinícius de Oliveira in Central Station, help improve their station in life. At that point you truly are picking a lottery winner rather than just casting a role.

Then about the film in general:

What of Central Station then? Central Station made quite a bit of money in the US. It was nominated for an Oscar for Best Foreign Language Film and Best Actress. Brazil has more a pedigree on the high-end of world cinema than most would expect. What separates Brazil from most is the consistency of product and, of course, due to the dictatorship there was censorship and artists had to fend for themselves. Now, the government is more active in promoting the arts, the major studios have a presence in the country and so forth. Yet, the fact that Brazil has been up for the Oscar, is the only Latin American nation to win the Palme d’Or (O Pagador de Promessas) and has also scored at Berlin (Elite Squad) is not what is going to dictate the most Brazilian film. Those are just indicators of quality.

Therefore, what’s the quality of Central Station? It has memorable source music, it’s a heart-wrenching drama, it tells a tale of a letter-writer and poor illiterate boy. It crosses that divide and it check off a lot of the qualities I’m looking for in a film representative of Brazil. Not to mention that it’s named after the largest train station in the country, therefore it’s a metaphor for the country and the letter-writer hears many stories from people of all walks of life that are indicative of the country and its people. The blend that exists.

Central Station is one of a long list of, I believe, far more enduring films that didn’t win Best Foreign Language Film. It didn’t win because America had a momentary brain fever and decided to ignore the issues of suspension of disbelief and taste that had Benigni’s film win everything. I can’t say I didn’t fall under it at the time to an extent, but not such that I thought it should win.

However, thanks to that foreign language film nomination it did allow one of Brazil’s great actresses to be nominated for an Oscar and be seen on the world stage. Sure, I’m as cynical about the Oscars as anyone. Had it not been for my own opinion splitting with theirs so violently I wouldn’t have created my own awards, however, I still recognize that it’s a great show and of great significance.

Central Station is a moving an enduring film that has been renowned the world over. Although it may not have won many of the prizes it was up for it surely wasn’t a case of me reaching very far afield for a winner.

BAM Best Picture Profile: Sling Blade (1997)

Posted on December 17, 2013 by bernardovillela

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM nominee and winner lists. However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

Much like my first selection, this film was one I first viewed on video and a year later than its initial release. Although, Sling Blade being a highly acclaimed film unlike my first choice, was a later-in-the-year release poised for awards season.

I have revisited Sling Blade again recently enough such that I didn’t feel the need to see it again to be able to write about it comfortably. One thing that bears noting is that since a fair amount of time has passed, and considering the trajectory of Billy Bob Thornton’s career; this is a film that deserves to be talked about and remembered. Trajectory more in terms of the kinds of roles and films Thornton has made more often since then. Sure, Sling Blade has its comedic and heart-warming moments but at its core there’s a classical dramatic arc to the story. He’s played a lot more straight comedies since this film than dramas or even dramedies.

All of that is meant to underscore the fact that Sling Blade may be one of the greatest “showcase” type films ever created. Actors often will, and at times are encouraged, to develop their own idea to showcase a side of themselves they can’t seem to in other films, or simply to prove themselves in a meaty role. They do happen, but few are this complete a film and as accomplished works by said actor in all phases he/she participates. In this case Thornton wrote, directed and starred in the film.

However, a film that exists merely to highlight one actor has a hard road to getting to “Best Picture.” What is needed is not only a great supporting cast, but also a great narrative. In story terms it’s not only a tragedy at its heart, but also a story of redemption and looking beneath the surface, there’s a Southern Gothic element.

The cast features great actors, both character and not, like Robert Duvall, J.T. Walsh and John Ritter, but it also features revelations like Lucas Black, whom was a virtual unknown since American Gothic was a very low-rated show; and the film incredibly impressive film debut of country-music star Dwight Yoakam.

What is also worth noting is that while more features than you realize are first born as shorts there’s not many you get to see, and fewer than are just a prelude. Sling Blade is one of those. I was lucky enough to find a copy of Some Folks Call It A Sling Blade and watched it and I was amazed that’s its really just the interview scene, one that’s emulated in the feature, and a great set-up for who Karl is and who he is perceived to be. You can watch it below:

If you can watch that and not want to see the feature if you’ve not there’s nothing else I can say to sell you on its greatness. I’ll close with perhaps the best one-line encapsulation of the film offered by Roger Ebert:

If “Forrest Gump” had been written by William Faulkner, the result might have been something like “Sling Blade.”

It’s sheer brilliance. Enough said.

BAM Best Picture Profile: Mulholland Falls (1996)

Posted on December 16, 2013 by bernardovillela

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM nominee and winner lists. However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

This may prove, by the end of this retrospective, to be the one and only film I had to go back and watch over again. As I dusted off my ancient VHS I first realized that I’ve never seen this film in its proper aspect ratio, but rather have only in pan & scan. It’s sort of a testament to how old this film is by now, relatively speaking, and how young I was when I saw it. Now, I’m not about double back on this film. Granted it may not retain the luster that some of the Best Pictures I’ve revisited. In fact, some of the “retroactive” BAM Winners that I created (and no longer acknowledge because they weren’t truly picked at year’s end) are much stronger films.

However, this was what started it all. In 1996, I sat there and perhaps for the first time I paid close attention to Awards Season as the nominations were coming out. I was quite young (15) and I was very unaware to the process, critical buzz and the like. Regardless, I needed an outlet to express my opinions. Therefore, with the aid of ticket stubs, and I would suppose the IMDB (as this film was a rental that I had viewed during the year), or maybe even just memory; I started assembling my first nominations. Even back then I refused to bow to release dates and did pick a 1995 title as my favorite film of the year because of my lack of a reasonable chance to see it.

I’ve since gotten a bit more strict about that rule, but the spirit of it remains the same. So being my first Best Picture, from my first award slate (one if I recall correctly had about 25% or less the total eligible titles this year will likely have), sure, there was reticence to revisit it. However, I long since stopped engaging in revisionist history. It’s a snapshot. I still like the film, moreover, I still know exactly what it was that had me respond in so enamored a way then even though the surprise, and to an extent, some of the thrill is gone.

Back then I was far more actor-oriented and there are many in it I tracked closely at the time (Nick Nolte, Melanie Griffith, Chazz Palmentieri, John Malkovich) some I’ve since come to know better (Kyle Chandler, Jennifer Connolly, Treat Williams, Chris Penn, Stephen Baldwin, Ed Lauter). Perhaps more noticeably I realize now that many behind the scenes names are know more well known to me Sally Menke (Editor most known from Tarantino’s works; May she rest in peace), Haskell Wexler (Legendary DP perhaps best known for One Flew Over the Cuckoo’s Nest and Who’s Afraid of Virginia Woolf?) and Lee Tamahori (Director who broke out with Once Were Warriors)

While the film may not be technically a noir tale, its got many of the elements that I was just recently introduced to and starting to become enraptured by so that most definitely captured my imagination. Aside from the titillating aspects, it’s also the multi-pronged plot wherein Hoover (Nolte) was squared off against the the military and FBI in the interests of solving a case that has personal significance for him. He goes rogue, for lack of a better word; and it’s not like he’s a by-the-book kind of guy as the film takes its name from how he and his team deal with the organized crime element in LA.

I enjoyed, and still do, many of the performances. And upon revisiting it not only remembered many of the lines I connected with but the line readings (“They brought me a film” as Malkovich says as he’s sick and “You broke my heart” as Melanie Griffith says to close it out; to name a few).

Aside from using film itself as a storytelling element, the narrative also starts with a simple case and opens up into a more complicated, entangled mystery much bigger than the players involved. The professional and personal co-mingle and the characters take justice into their own hands. All these things and more are what I connected to.

In conclusion, it’s not that I regret this choice, as I’ve stated it was most definitely true and correct at the time (and that’s the least you can ask) but it’s one, perhaps the only one, that I feel really dates me. It is still a solid, entertaining mystery that I believe can pack a punch on first-viewing.

Film Activism: The Dreamlands

Posted on December 15, 2013 by bernardovillela

During this past 61 Days of Halloween I discovered a new, and great Lovecraft adaptation. It was produced in Germany and titled Die Farbe, or as it is know here The Color Out of Space. Albeit another adaptation of this oft retold tale it has its own slant and a great take.

As it turns out that same production team, including writer/director Huang Vu are embarking on a new Lovecraftian journey. This one entitled The Dreamlands purports to be the first feature-length film treatment of Lovecraft’s dream cycle.

While this other side of Lovecraft’s oeuvre has also inspired writing, most notably Brian Lumley’s Dreamlands Sequence; this would be a cinematic treatment of a very visually conducive subset of Lovecraft’s writings.

The Dreamlands has an interesting, fitting set-up:

Roland, an orphaned boy with a troubled past is led into another world by a mysterious old man. A world that has been created by the great dreamers of mankind in their sleep during the preceding thousands of years. There the old man rules as a king and he wants to educate Roland to be his successor. But Roland is unable to overcome the dark shadow that weighs on him, and he must decide whether he wants to use his abilities to further expand the Dreamlands, or to destroy what others have built.

The production team has released a teaser trailer:

I am posting about this early to spread the word ahead of the unveiling of this film’s Kickstarter campaign from March 1-31, 2014 because all too often these crowdfunding opportunities sneak up on us and don’t give us, prospective donors, time to prepare. Therefore, I wanted it known early so that the word could spread. Based on what this team did with The Colour From Out of Space they should definitely get a shot at The Dreamlands which would incorporate elements of Celephaïs, The White Ship, The Strange High House in the Mist and The Dream-Quest of Unknown Kadath.

Be on the look out.

Short Film Saturday: Last Letter to Santa

Posted on December 14, 2013 by bernardovillela

The last time I did a short film post it was just after Thanksgiving, and though a great film it wasn’t really one that jibes with the holiday mood. I now bring you one that though a little bittersweet does have it’s uplifting side and is holiday season appropriate! It comes from Zachary Maxwell again this time writing Santa about his doubts. It’s quick, sweet and should get most anyone into the holiday spirit.

2013 Holiday Viewing Log

Posted on December 13, 2013 by bernardovillela

The end of the year for any movie watcher typically puts you in scramble mode. Regardless of what kind of movies your trying to watch: new releases, classic cinema or Holiday-themed films.

Therefore, rather than have both the Year-End Dash run overly-long, I figured it’d be good to siphon off the holiday-themed offerings. If any films are new and holiday they will link from the other posts to text here.

For a reference to what my ratings mean, go here.

The Christmas Ornament (2013)

The first thing that needs to be said is that the initial offerings are all Hallmark originals for the holidays. On the rare occasion these can surprise. Those found in these reviews here are not the case. Furthermore, what’s not included here was one that I could not finish watching due to how insipid, and in the end, predictable it was.

All these three have their moments, but ultimately fall short. What’s pleasant in this tale are some of the performances and that some of the obvious realizations are not held off for too long. Certain factors that I thought would only come in to play late are out fairly early here. Other than that nothing special.

5/10

Pete’s Christmas (2013)

This film does feature a Groundhog Day like tale that is unusually, in a good way, heavy in montage and features a good cast Bruce Dern, Zachary Gordon, Bailee Madison and Peter DaCunha. However, given its trappings it doesn’t do anything to special with the formula and does, sadly, meander a bit through the second act taking too long to figure out what its ultimate path was aside from trying to improve how setpieces and tropes are handled.

5/10

Christmas Star (2013)

This may not have been the straw that broke the camel’s back in regards to my tolerance for Hallmark’s formula, but it was the low ebb prior to having to call one quits early. Essentially what you have in this film is an unrealistic and highly predictable scenario, inadequate performances save by one given by the youngest cast member (Kyle Harrison Breitkopf), uncomfortable staging and glacial plot movement and add to that, for the most part, really grating country music stylings. It just fails in nearly all aspects.

2/10

Foreign Language Film Issues 2013: Introduction (Part 1 of 5)

Posted on December 12, 2013 by bernardovillela

As has been the case in years past I will here look at some of the issues plaguing the Best Foreign Language Film nomination process at the Oscars. Since this year I am touching on a large array of interrelated topics I thought it best to post my thoughts in a weekly series.

Introduction

The time has come again in the year when I look at the the Best Foreign Language submission process. As opposed to years past when I looked at the overall process and discussed pie-in-the-sky solutions here I’ll look at some more microcosmic issues that will illuminate some other issues with the process that need to be looked at; some of these issues will have been discussed prior but here are looked at under a different guise and others have not been discussed. This time I’ve not contacted as many people as I did in previous years but I did glean some insight and just want to get some issues mentioned. Every year, at least in the trades, this process is brought up so it’s one that even the Academy will admit is imperfect and constantly tweaked. A majority of the discussion highlighting what is not taken into consideration under current rules.

One Film Per Country

One of the key Oscar rules that, I have frequently hearkened back to, is one film per country submission policy. In the past I discussed the possibility of adding more viewers and a “merit-based” quota. This year aside from tossing out potential alternate systems I did want to discuss some of the things that create issues in the current system. This is one of the first and foremost offenders. And, yet again, I found new ways in which this can be limiting.

To be continued

Christmas Special Review: O Natal de Todos Nós

Posted on December 11, 2013 by bernardovillela

Introduction

I didn’t, as of yet, stockpile a bunch of new Christmas specials for this year so I am unsure how many of these reviews will be posted, and how many titles will be added to this year’s Holiday Viewing Log (to be posted soon) in addition to the first class.

O Natal de Todos Nós

However, I did see this short special through the year. It’s interesting that this universally loved group of characters in Brazil in essence did one special did kind of what I suggested in this piece. The film goes through short iterations where we see disparate characters, one-by-one, have their own Christmas preparations and they all coalesce in the end and join into one story.

The stories deal with the following characters: Horácio, Jotalhão, Mônica, Cebolinha, Cascão, Magali, Bidu, Franjinha, Chico Bento, Astronauta, etc. and is made up of shorts produced from 1966-1986. It includes a preponderance of voice over, emphasis on montage and stills. Techniques aside there are quite a few interesting thematic touchstones in it such as, mainly, the fact that there are dinosaurs and Jesus, thank you, Brazil! Aside from the co-existence of science and religion in the same special, which would be unheard of here; there is also fantasy and reality side-by-side such as acknowledgment of the true nature of Santa Claus and embracing it nonetheless. There are other aspects touched upon both universal (midnight mass) and culturally specific (trying wine with parental consent), more creative touches (a celestial Christmas tree and the Big Bang) and voice talent up the wazoo.

Perhaps what’s best is, that at least for the time being, I found it on YouTube (Sorry, I did not locate English dubbing or subtitles). Enjoy!

2009 BAM Award Winners

Posted on December 10, 2013 by bernardovillela

In the last of the remaining re-posts here is a list of my 2009 BAM Award Winners complete with my rationale for each. Again, the text (save for minor grammar and syntax corrections) is mostly unchanged, in order to preserve my thoughts from the time accurately.

These awards and their winners are based on my opinion alone.

Best Picture

Where the Wild Things Are

One of the most emotionally engaging experiences from beginning to end in a long time and also a purely visual film. When comparing all other Best Picture nominees, all of whom where great, nothing quite lives up to this.

Best Director

Spike Jonze Where the Wild Things Are

It always takes something very special to split Best Picture and Best Director and that didn’t happen this year. However, here you have a case of a film thriving due to the vision of its director. A man amongst the few who can truly be called a visionary and who had such a clear concept of this adaptation that Maurice Sendak endorsed it in featurettes leading up to the release. Spike Jonze made this film happen beginning to end struggles with the studio and all.

Best Actor

Colin Firth A Single Man

A performance which is reserved when the character is trying to be as such is great, however, it is when that reserve cracks that the true greatness bubbles over: when he’s questioned by Charley, when he’s trying not to let his voice crack on the phone and tears are rolling down his face, when he’s allowing himself to be happy and many other moments.

Best Actress

Michelle Monaghan Trucker

During this performance Monaghan reminded me of several different leading ladies such that her persona was unique and all her own. She plays a frustrated, somewhat immature, lonely woman and while she never fundamentally changes who she is. We do see her change in her attitude and behavior. She’s a gritty, tough character who does not hesitate to run out into the street and protect her estranged son at the first sign of trouble. It is a moving and complete performance and it is great.

Best Supporting Actor

Christoph Waltz Inglourious Basterds

Absolutely the easiest decision to make. This performance is the work of a virtuoso in action. How Waltz remained unknown to the American public this long is a mystery and it’s a credit to Tarantino that he cast him.

Best Supporting Actress

Diane Kruger Inglourious Basterds

A strong an impactive part very deftly played by Miss Kruger. She is believably a movie star, a lady of society and a spy. She is quite convincing in pain and like Waltz perfromed in more than one language astutely which is very admirable indeed.

Best Cinematography

Norman Cohn and Félix Lajeunesse Before Tomorrow

This is a film which spends a lot of its time in the cramped confines of a tent or cave but also shoots majestic arctic vistas. However, landscape and wilderness cinematography is not enough to win there is framing and exposure to consider and how these shots tell the simple story of the film which is just enchanting. The fire-lit scenes inside allow for added intensity in the simplest scenes and day scenes in tents allow for diffused backlight.

Best Makeup

The Unborn

Creepy and effectively done job on several fronts where makeup and not effects were used.

Most Overrated Film

Paranormal Activity

Hyperbolic critical acclaim not withstanding this film never escalated whatever tension it did build far enough to be a satisfactory experience. How it can be cited by some as one of the scariest movies they’ve ever seen is a mystery.

Most Underrated Film

Aliens in the Attic

A grossly underrated family film that is reminiscent of 1980s family films and sci-fi. It’s funny and a pretty good action film at the same time.

Worst Picture

Orphan

The tagline says it all: “There’s something wrong with Esther.” This is a movie that starts going downhill and never stops.

Best Editing

Mark Day Harry Potter and the Half-Blood Prince

This film feels so much shorter than its running time. Everything is always visually clear the story is told well and none of the cuts leave you scratching your head.

Best Song

“Quiero Que Me Quieras” Gael Garcia Bernal Rudo y Cursi

As catchy as the original, if not catchier, “I Want You to Want Me,” however, this version has a Northern Mexican flair and also a very comedic side as can be witnessed here.

Best Score

Carter Burwell and Karen O. Where the Wild Things Are

The score to Where the Wild Things Are not only made itself instantly felt and known but also played on a loop in this critic’s head for at least a solid week.

Best Sound Editing

Avatar

This version of the award truly combines the edit and the design and both, from what can told in a single screening, are great in this film.

Best Visual Effects

Avatar

Probably the most impressive display of effects that has graced the silver screen in a long time. This is truly a technical milestone and it appears WETA has surpassed ILM at least for the time being.

Best Cast

A Single Man

The intimacy of scene in A Single Man is as cinematic as you can get. There are flashbacks, two-person parties, conversations in hushed tones and all demanding that scene partners match Firth. While it’s true he’s frequently alone it is through his character’s interactions with the world that we learn about him and for that the whole cast needs to be up to snuff, whether it be leads or smaller characters like Carlos and Jennifer Strunk.

Best Performance by a Child Actor

Bill Milner Is Anybody There?

As stated in the review of the film Bill Milner is the greatest actor of his generation, meaning professional child actors around his age, there is seemingly nothing he can’t do just based on this performance and Son of Rambow. Should he continue taking smaller independent work he’ll be allowed to grow and could transition quite seamlessly into an adult career as currently his talents seem boundless.

Best Original Screenplay

Quentin Tarantino Inglourious Basterds

It’s an original. The title takes its inspiration from an Italian film of the late 70s about American GIs behind enemy lines but similarities end there. Tarantino doesn’t second guess himself once and he created one of the most unique and enjoyable films of the year.

Best Adapted Screenplay

Spike Jonze, David Eggers and Maurice Sendak Where the Wild Things Are

Jonze spoke about how he worked with Sendak to get something he felt was true. Sandak was quoted as saying he felt this film elevated his work. It was a brilliant adaptation which lead to a brilliant film. It was the rare adaptation which allows for expansion of tale as opposed to its contraction and it succeeded due in part to that fact.

Best Art Direction

Is Anybody There?

This is a film that not only dresses a house but its roof, the yard, a train station, Clarence’s magic lorry and a cemetery amongst others. There is a muted tonality to everything in the film and there are great conscious decisions made all over the sets and appearing in frames all over.

Best Costumes

Where the Wild Things Are

Thankfully CG was only needed for the faces of the Wild Things, and a great job was done there, however, if the Wild Things has been all CG it would’ve greatly diminished the overall effect and charm of the film.

No Worst or Most Overrated Picture Ever Again

Posted on December 10, 2013 by bernardovillela

Recently the BAM Awards had a change in which two categories were contracted. I never really elaborated as to why. No with Awards Season upon us the time has come for me to adequately explain this decision.

Last year, in reaction to the Razzies slate I debated compiling a list of stupidest Razzie nominations/wins but I didn’t feel like wasting my time. My point in slamming the Razzies is not to sanitize movie opinions. My point is that they’re lazy/pointless.

I personally, through the BAM Awards, do not want to partake in worst lists anymore. That doesn’t mean I’ll not express my opinion honestly. It’s prioritizing for me and a preference. I used to pick a worst, but felt like moving on. I write an awards slate, top films, horror list and older movies list so fatigue is a small factor. I’d just prefer not to dwell on the bad more than is necessary. Being excited about finding a film you love is a much more rewarding thing.

That reward is multiplied when you inform people that this is a movie they might (even by word of mouth) or express how you were affected. This is also why on my blog I don’t force myself to write reviews. Some, especially the bad ones, are like pulling teeth. I always want to be certain I’m contributing something that I find to be of value to the conversation on a given film.

As for overrated, and in a way underrated. In the case of those monikers what the perception of others is plays into it and if I’m making a list that really shouldn’t factor very much. Overrated is devoid of meaning if you ignore the commentary of others. It’s when you get to the bottom of it a meaningless putdown as it’s usually stated alone with not other statement. It’s crutch and replacement for actual thought. You can like or dislike whatever you see fit so long as you are prepared to defend it and that’s what I felt was the most crucial thing to learn.

Therefore, saying underrated alone, or even quantifying what was highly rated that I just didn’t like started to feel like a waste also. However, seeing as how there is still a positive impetus behind the underrated selection process, I will keep the thought and have changed the name to Most Overlooked Film. This may seem like merely a semantical change, but what it does is more accurately reflect my thought and decision-making process. In the past two years both with Toast and lat year’s Kauwboy I chose films I felt desperately needed a wider audience.

In other words what this means is that a $100 million-dollar-grossing film that was nearly unanimously slammed isn’t a front-runner anymore. Rather a film with little to know distribution that is great is.

So these are the most recent, significant changes to the BAM Awards and they should be fairly permanent. Now, with these explications they’re more formalized. Onward to the 2013 slate!

The Movie Rat