2014 BAM Award Considerations – October

I decided that with the plethora of BAM Awards-related post towards the end of 2013 and the start of this year it was best to wait to the end of this month before officially recommencing the process.

I will post these lists towards the end of the month to allow for minimal updates. By creating a new post monthly, and creating massive combo files offline, it should make the process easier for me and more user-friendly for you, the esteemed reader. Enjoy.

Eligible Titles

Dracula Untold
Hellaware
Summer of Blood
Mercy
Alexander and the Terrible, No Good, Very Bad Day
Annabelle
Ouija
St. Vincent
The Day the Series Stopped
In the Heart
Abuse of Weakness
Moebius
1,000 Times Good Night
Fury
For a Woman
Cannibal
Finn
The Judge
Gone Girl

Best Picture

St. Vincent
Fury
Finn
The Judge
Gone Girl

Best Foreign Film

1,000 Times Good Night
Finn

Best Documentary

The Day the Series Stopped

Most Overlooked Film

As intimated in my Most Underrated announcement this year, I’ve decided to make a change here. Rather than get caught up in me vs. the world nonsense and what a film’s rating is on an aggregate site, the IMDb or anywhere else, I want to champion smaller, lesser-known films. In 2011 with the selection of Toast this move was really in the offing. The nominees from this past year echo that fact. So here, regardless of how well-received something is by those who’ve seen it, I’ll be championing indies and foreign films, and the occasional financial flop from a bigger entity.

Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day
1,000 Times Good Night
Finn

Best Director
St. Vincent
Fury
Finn
The Judge
Gone Girl

Best Actress

Kim van Kooten In the Heart
Isabelle Huppert Abuse of Weakness
Juliette Binoche 1,000 Times Good Night
Mélanie Thierry For a Woman
Olimpia Melinte Cannibal
Rosamund Pike Gone Girl

Best Actor

Luke Evans Dracula Untold
Bill Murray St. Vincent
Koen de Graeve In the Heart
Jae-hyun Jo Moebius
Nikolaj Coster-Waldau 1,000 Times Good Night
Robert Downey, Jr. The Judge
Ben Affleck Gone Girl

Best Supporting Actress

Melissa McCarthy St. Vincent
Eun-woo Lee Moebius
Vera Farmiga The Judge

Best Supporting Actor

Youg-ju Seo Moebius
Logan Lerman Fury
Jan Decleir Finn
Robert Duvall The Judge

Best Performance by a Young Actress in a Leading Role

Lauren Canny 1,000 Times Good Night

Best Performance by a Young Actor in a Leading Role

Chandler Riggs Mercy
Ed Oxenbould Alexander and the Terrible, No Good, Very Bad Day
Jaeden Lieberher St. Vincent
Mels van der Hoeven Finn

Best Performance by a Young Actress in a Supporting Role

Emma Tremblay The Judge
Adrianna Cramer Curtis 1,000 Times Good Night
Kerris Dorsey Alexander and the Terrible, No Good, Very Bad Day

Best Performance by a Young Actor in a Supporting Role

Dario Barosso St. Vincent
Art Parkinson Dracula Untold
Joel Courtney Mercy

Best Cast

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge
Gone Girl
Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day

Best Youth Ensemble

1,000 Times Good Night
Finn
Mercy
Alexander and the Terrible, No Good, Very Bad Day

Best Original Screenplay

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge

Best Adapted Screenplay

Gone Girl
Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day

Best Score

Fury
Finn
Gone Girl
Dracula Untold

Best Editing

St. Vincent
Moebius
Fury
Finn
The Judge

Best Sound Editing/Mixing

Fury
Finn
The Judge
Gone Girl
Dracula Untold

Best Cinematography

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge
Gone Girl

Best Art Direction

St. Vincent
Moebius
Cannibal
Finn
Gone Girl

Best Costume Design

St. Vincent
Moebius
Fury
Cannibal
Finn
Dracula Untold

Best Makeup

St. Vincent
In the Heart
Moebius
1,000 Times Good Night
Fury
The Judge
Gone Girl

Best Visual Effects

Dracula Untold

Best (Original) Song

St. Vincent
In the Heart
1,000 Times Good Night
Finn
The Judge

Review: Moebius

In synopsizing this film too many sites, like the IMDb, have versions of the story that are far too reductive. So much so they are dangerously vague and would leave the potential viewer woefully ignorant. I’ve frequently written of the benefit of going in to a film with a clean slate. However, in some cases an ounce of prevention is worth a pound of cure. To be almost equally cutesy one could categorize this film as the Bobbit case extrapolated into Greek domestic tragedy, or a vicious cycle of betrayal and attacking manhood, or you could visit Ram Releasing’s site for an even more exact version of the story. With all the severing and revenge going about you do want to be somewhat prepared.

This is another film that could be far more sensationalistic with its squeamish subject matter. As opposed to Cannibal this one does occasionally show rather than imply, however, such a happenstance is rare. Those instances are noteworthy because the balance between the grotesque and comedic aspects of the narrative at play are probably some of the lesser moments of the film. This is in terms of tonal equilibrium which is a far less subjective criteria than the nearly irrevocably prudish “good taste.” For once you make the commitment to take the journey of this story you have to realize that it’s not a rabbit hole you’re going down, but rather a Möbius strip, so if you are perturbed by a beat or revelation once, odds are some refraction of that very same narrative iteration will recur.

Another consideration about this film is that is one where there is almost no dialogue. Specifically, I don’t recall there being any after the opening sequence in the film. To it’s credit it doesn’t need any dialogue over 90% of the time. A few of those situations where it is needed are just those where it’s hard to believe nothing would be said by any party involved. Even more rare is the scene that would’ve been illuminated by some piece of dialogue.

As such it is a film that relies and tells its story visually. The images do communicate are perfectly composed and artfully lit. Yet it also stays true to environment and the story, only toward the end in a dream sequence, and the climactic one, are there any affectations that are not entirely diegetic.

Sometimes a story can be twisted, can shock and place its characters through the wringer, not have them be particularly likeable and it all works, even when ostensibly the play’s the thing and it’s not seeking to expound upon some deeper meaning. In Moebius’ case it almost begs for more. Perhaps that is something that will come with further reflection and reviewing. It being a film lacking in dialogue it allows the audience to plumb its depths (which are pretty deep considering where we begin) for some other meaning if we want. One can easily infer commentary, but it’s almost too superficially preoccupied too much of the time such that deeper psychological portraiture of these people is forfeited to an extent.

However, any film is unique in the way it plays to the individual audience member, and Moebius will be no exception. It will garner a wide range of reactions and perhaps reads. It may repel or fascinate, engage or bore, but it refuses to be ignored and for that any film enthusiast must be thankful. For in an age where far too many films are safe here is one that doesn’t dare to be divisive it insists on it.

7/10