Why So Serious?

As a firm supporter of Team Heath (last year I was Team Casey) I'll be launching these FYCs left, right and centre. across the web so be warned. Surely a cinematography and score nomination is deserved too?

The Hunchback of Notre Dame (Gary Trousdale and Kirk Wise - 1996)

Loosely based on the classic Victor Hugo novel, The Hunchback of Notre Dame opens with a puppeteer's tale of a gypsy woman murdered by minister of justice, Frollo (Tony Jay). In her arms was a deformed baby who Frollo reluctantly agrees to care for to save his own soul. The boy, Quasimodo (Tom Hulce) grows up isolated in the Notre Dame bell tower with only 3 talking gargoyles for company (or does he?). His decision to spend one day out in the city on the Feast of Fools leads to trouble with Frollo and the dancer Esmeralda (Demi Moore.)

I hadn't seen this film before a few weeks ago but I'd heard it was a little different from other Disney films so I thought I'd give it a go. It's dark. It's really dark. I am in complete disbelief that this film managed to get past the censors with a U rating. In the opening 5 minutes, a woman is thrown against the steps of a cathedral and killed, her baby almost thrown into a well and there's a discussion of the eternal damnation of the soul! The religious symbolism contained in the film is definately not for kids. It's obviously not as dark as the Hugo novel but it's pretty intense stuff for a predominantly family friendly studio to make. Directed by the team behind Beauty and the Beast, it's a brave movie, no question about it. The reason for this can be summed up in one character - Frollo.

Never has a Disney villain, usually the breeding ground for camply dressed panto cast mombers, had such utter evil contained inside, such human evil. He's a corrupt man, obsessed with the idea of eternal damnation and escaping it himself. He also lusts after Esmeralda, singing about his fear of the consequences in the song 'Hellfire.' He can't decide whether he wants to rape her or kill her! Tony Jay was clearly having a great time voicing him. His deep tones are positively moustache twirlingly evil. Listening to him tell Quasimodo that his extreme ugliness is evil makes your gut wrench, especially since Quasimodo is so sweet. The 3rd Tom Hulce movie I've watched in recent weeks, he brings a real innocence to the role and makes the character someone you can't help for root for. Plus he's a bloody good singer. Kevin Kline is an enjoyable hero, always a man with excellent comic timing even in animated form. Surprisingly Demi Moore is pretty good too. Esmeralda is a stunningly beautiful character, both in body and spirit. It's a shame she doesn't do her own singing.

The music is often seen as a weaker entry for Disney and Alan Menken but I do really enjoy several of the songs. They don't immediately have the catchiness or recognisable qualities of better known films but they have their charms. Some I could have done without because they jar with the rest of the film's tone, but Hellfire and Out There are wonderful.

With such a serious tone in the film, there isn't a lot of time for jokes. The 3 gargoyles have their moments but feel out of place somehow. It feels like sometimes there are two different films running together. It feels like they desperately tried to shove in some cute moments to keep the younger kids amused, not necessary in my opinion. The animation is, of course, stunning. Joyfully for me, there is minimal sentimentality. The message of the movie - beauty is only skin deep - is handled well and not in a patronising manner at all.

There was a lot of speculation that Disney regretted making this movie. They shouldn't have because it's one of their most underrated films. for sheer guts it's their bravest film, it's also one of their most beautiful. How refreshing to see a Disney film with an adult message, although it was clearly not what the producers wanted. I'd love to see the film get more credit and recognition because it truly deserves it. It's maybe not suitable for little kids though.

2008 in review.

Movie of the year:

I haven't seen a lot of movies this year sadly due to lack of money. This was a tough tie between The Dark Knight and Wall-E. I simply can't choose between the two! The Dark Knight was comic book movie perfection while Wall-E was the most romantic thing I've seen all year. Both were beautiful in their own way, contained memorable characters, had fantastic music, moved me in many ways and entertained me throughout. Nolan had the brains, Stanton had the heart. A perfect mix.

Song/Album of the year:

Books of the Year:

New - Once again, most of my reading hasn't been new releases. English Literature lectures will do that to you. But two books were definately worth picking up (haven't got Beedle the Bard yet!). Neil Gaiman's latest book, The Graveyard Book, was another brilliant story by one of the best storytellers today. He's one of my instant buy authors, I'm constantly surprised by him. The other book was Black Butterfly by Mark Gatiss. Writer, comedian, actor and member of the League of Gentlement (he's also written for Doctor Who), Gatiss is the creator of Lucifer Box. Imagine if Oscar Wilde and Ian Fleming had created a character together who was charming, reckless, ruthless, sarcastic, bisexual and willing to do anything to get the job done. He's an incredibly entertaining character. Black Butterfly is the 3rd book, with Lucifer being much older but not any wiser. I got my copy signed by the gorgeous Mark Gatiss (I'll take a picture of it for you). If you're looking for something different, pick up Gatiss or Gaiman.

Old -

TV Shows of the year:

Two shows were the television highlights of the year for me. The first was Mad Men, a wonderfully stylised look at the mad world of advertising executives in 1960s New York. Told with impeccable detail, sharp scripts and a fantastic leading performance by John Hamm, it was fantastic in every way.

Pushing Daisies was described by one critic as something Tim Burton would have done if he had become head controller of CeeBeebies or if he'd remade Amelie. A wonderfully sweet fairytale romance about an awkward pie maker with a gift to raise the dead with a touch (and kill them again with another) who brings back his childhood sweetheart had me grinning from ear to ear when I first saw it. The beautiful colours, the cute chemistry between the gorgeous Lee Pace and Anna Friel, Kristen Chenoweth's singing third wheel Olive, the absurd but hilarious deaths and the occasional sarcasm from Emerson Cod was perfection for the 8 weeks it was on. The fact that it's been cancelled is heartbreaking - why do all the shows I love get cancelled.

Doctor Who also warrants a mention for bringing in the best assistant yet, Donna Noble.

Best songs of 2008.

I've been really slack on music this year, damn lack of funds. Spinner put up their top 25 songs of the list and it's got some rather interesting inclusions. My favourite song and album of the year was Viva La Vida by Coldplay. It just made me sit up and listen. I've had that album on so many times and it never gets old. The fact that it didn't make the list and the Jonas Brothers did is painful to me. And get the Ting Tings off of there! They're dull, extremely formulaic and scream of desperation to be accepted by NME. Here are a few other songs I liked.

American Boy - Estelle
Sandcastle Disco - Solange
Violet Hill - Coldplay
A Punk - Vampire Weekend
Cold Shoulder - Adele
Warwick Avenue - Duffy
Why Do You Let Me Stay Here? - She and Him
Spotlight - Jennifer Hudson
Fascination - Alphabeat

So as we can see, my music taste hasn't exactly improved from last year. Music was never my strong point anyway. My dad quite liked Chinese Democracy (he's been waiting quite some time for it) but it's not my thing at all. I have recently been listening to a lot of songs from the Spring Awakening soundtrack but I feel like a bit of a fake because I haven't seen the musical (damn lack of money and inconvenient location!) What music did everyone repeat to death in 2008?

SAG Award nominations.

Outstanding Performance by a Male Actor in a Leading Role

RICHARD JENKINS / Walter Vale - “THE VISITOR” (Overture Films)
FRANK LANGELLA / Richard Nixon - “FROST/NIXON” (Universal Pictures)
SEAN PENN / Harvey Milk - “MILK” (Focus Features)
BRAD PITT / Benjamin Button - “THE CURIOUS CASE OF BENJAMIN BUTTON” (Paramount Pictures)
MICKEY ROURKE / Randy - “THE WRESTLER” (Fox Searchlight Pictures)

Outstanding Performance by a Female Actor in a Leading Role

ANNE HATHAWAY / Kym - “RACHEL GETTING MARRIED” (Sony Pictures Classics)
ANGELINA JOLIE / Christine Collins - “CHANGELING” (Universal Pictures)
MELISSA LEO / Ray Eddy - “FROZEN RIVER” (Sony Pictures Classics)
MERYL STREEP / Sister Aloysius Beauvier - “DOUBT” (Miramax Films)
KATE WINSLET / April Wheeler - “REVOLUTIONARY ROAD” (Paramount Vantage)

Outstanding Performance by a Male Actor in a Supporting Role


JOSH BROLIN / Dan White - “MILK” (Focus Features)
ROBERT DOWNEY, JR. / Kirk Lazarus - “TROPIC THUNDER” (Paramount Pictures)
PHILIP SEYMOUR HOFFMAN / Father Brendan Flynn - “DOUBT” (Miramax Films)
HEATH LEDGER / Joker - “THE DARK KNIGHT” (Warner Bros. Pictures)
DEV PATEL / Older Jamal - “SLUMDOG MILLIONAIRE” (Fox Searchlight Pictures)

Outstanding Performance by a Female Actor in a Supporting Role

AMY ADAMS / Sister James - “DOUBT” (Miramax Flms)
PENÉLOPE CRUZ / Maria Elena - “VICKY CRISTINA BARCELONA” (The Weinstein Company)
VIOLA DAVIS / Mrs. Miller - “DOUBT” (Miramax Films)
TARAJI P. HENSON / Queenie - “THE CURIOUS CASE OF BENJAMIN BUTTON” (Paramount Pictures)
KATE WINSLET / Hanna Schmitz - “THE READER” (The Weinstein Company)

Outstanding Performance by a Cast in a Motion Picture


DOUBT (Miramax)
FROST/NIXON (Universal Pictures)
MILK (Focus Features)
SLUMDOG MILLIONAIRE (Fox Searchlight Pictures)
THE CURIOUS CASE OF BENJAMIN BUTTON (Paramount Pictures)

Television Nominees.


I can see a few patterns forming here. Sean Penn is a lock for a nomination, as is Kate Winslet (yay!) I guess my hopes for Michael Sheen will rest on the BAFTAs, he's a very underrated actor and deserves some recognition for his work. Slumdog Millionaire is building a lot of momentum too. Doubt is definately an actor's movie. Streep, Hoffman, Adams, and Davis (who is apparently a revelation) and the ensemble nominations are a sign of that. I'm very surprised that Clint Eastwood doesn't have a nomination for Gran Torino, he's so popular with his peers. But I'm thoroughly pleased that Jolie has a nomination after her Mighty Heart snub. Anybody else love the idea of a Brad and Angelina double nomination at the Oscars? Ledger and Downey Jr! Brilliant! I'm pretty pleased with this lot, here's hoping my teams do well at the Oscars.

Come on AMPAS...

You know you want to!

Beauty and the Beast (Gary Trousdale and Kirk Wise - 1991)

Belle, the beautiful but odd girl who has bigger dreams than her life allows her to lead, lives in a small town with her eccentric inventor father reading lots of books, fighting off the unwanted affections of the neanderthal-like Gaston and dreaming of something more. After her father goes missing, she tracks him down in a castle being held hostage by a terrifying beast. She agrees to take her father's place and the pair soon begin to form a strange relationship.

This film is probably Disney's crowning glory. Critically adored, highly successful and Oscar nominated in the Best Picture category, the only film to have this honour, you can't help but wonder if the film lives up to the hype. Short answer, it does. It's probably the most eye catching Disney film ever made. Take the famous ballroom scene. With sweeping cameras, surroundings of architectual brilliance and a floor that reflects the dancing pair's every movement, this is eye catching stuff. It was an early use of computer animation that still stands up to scrutiny today. You can pause at any moment during the film and see so much detail and colour and vivacity in each scene. Such painstaking attention to detail is a joy. Fantasy and animation go hand in hand. Even with the amazing technology we have today in film-making, nothing could be as other wordly and stunning as the film's visuals in this context. The castle is a painting come to life, the wolves are genuinely frightening, the stained glass window opening is stunning and the beast himself is a fairytale nightmare before your eyes.

But beautiful visuals are nothing without a good story and strong characters, which Beauty and the Beast has both of. Belle is a great character - gorgeous, caring, intellectual and not constantly pre-occupied with finding a husband. She actually has - shock, horror - ambitions and she stands up for herself. On that note, Disney actually do a lot of good female roles, they're not just plot devices! The screenwriter, Linda Woolverton, keeps things fresh and interesting, making even the smallest characters quirky and watchable. The gimmick of inanimate objects coming to life doesn't feel cheesy and you actually root for them to be human again. Never in film has a talking candlestick and clock double act been so funny. Gaston is a villain of pantomime proportions, strutting like a swan on show and caring about nothing but what he wants. But beneath the laughs he produces, he has a real sinister edge. The polar opposite of Belle, he thinks a woman's place is in the home, rubbing his feet while she worships him. His obsession with having Belle for himself is frightening stuff and his death is enough to make you cheer.

Music is a key part of any Disney animation, and Beauty and the Beast is full of wonderful songs that are immediately recognisable. It's easy to see why the film was adapted into a Broadway musical, the numbers are perfect for the stage. My viewings of all these Disney movies have led me to the conclusion that Alan Menken, Disney's most famous composer, is a genius. It's a strange experience going back to re-watch movies that played such a massive part of my childhood.


Animation has always fascinated me and I've held a deep love for Disney for as long as I can remember. I don't think it's an exaggeration at all when I say that Beauty and the Beast is one of the greats in animation, and one of the great movies of the 90s. If it hadn't been for a certain cannibal I'm sure it would have walked away with the Oscar. If I really must nitpick at the film, my only real complaint is that the human version of the beast is unintentionally hilarious. When your leading man looks better as a carnivorous beast than a man, it's a little weird. But overall, it deserves every good review it's got. With the 3D IMAX re-release coming soon, there will be a whole new generation of fans.

Unlikely Sex Symbols

While I usually avoid the Daily Mail like all good people with decent morals, I couldn't help but love this article, talking about Britain's Unlikely Sex Symbols.
As a girl who has the worst taste in guys, this made me very happy. It's great when women admit to fancying the more shameful sorts, it makes you feel a little less alone when it comes to the typically embarassing types. Every girl's got one - even Helen Mirren has one (Andrew Marr) While I don't agree with the entire selection (Clarkson? Not on this plane of existence!) a few made me nod in agreement.
The truth for me is if he can make me laugh, I'm probably smitten. If he's over 40 and/or gay, then my mind seems to love that too (damn you brain!) The more obscure, the better. I think my regular readers are pretty aware of the unlikely but massive crush I have on John Sessions (ridiculously intelligent, funny, cute, curly hair, good actor and reads a lot - perfect!) but I also must admit to adoring Stephen Fry, Mark Gatiss, Tom Hulce (1980s model preferrably) and I used to have a huge thing for Michael Stipe from R.E.M. So everyone needs to spill their own now!

Actress tag.

This one was a wonderful piece of essay procrastination from Rants of a Diva.

I was supposed to pick 20 but to be honest it was a big enough struggle to get to 16 so here you go.

Angelina, Kate, Nicole, Helena, Judi, Meryl, Dianne, Virginia, Audrey, Emma, Cate, Catherine, Michelle, Naomi, Maggie and Fiona.

I couldn't put any of these women into a specific order (except for #1 - Winslet.) I just tried to think what actresses would I be perfectly willing to watch in anything and came up with these 16. Some are modern, some are classics and some are there because one single performance had me sold for life (That performance was in A Town Like Alice, go watch it!) I'll probably hit mysrlf later and my brain will magically come up with four more but for now I am satisfied with my neat, square list. It's an open tag!

2009 Golden Globe Nominations

Best Drama
Benjamin Button
Frost/Nixon
The Reader
Revolutionary Road
Slumdog Millionaire

Best Comedy/Musical
Burn After Reading
Happy Go Lucky
In Bruges
Mamma Mia
Vicky Cristina Barcelona

Actor - Comedy
Javier Bardem - Vicky Cristina Barcelona
Colin Farrel - In Bruges
James Franco - Pineapple Express
Brendan Gleason - In Bruges
Dustin Hoffman - Last Chance Harvey

Supporting Actress
Amy Adams - Doubt
Penelope Cruz - Vicky Cristina Barcelona
Viola Davis - Doubt
Marisa Tomei - The Wrestler
Kate Winslet - The Reader

Director
Danny Boyle - Slumdog Millionaire
Stephen Daldry - The Reader
David Fincher - Ben Button
Ron Howard - Frost/Nixon
Sam Mendes - Revolutionary Road

Supporting Actor
Tom Cruise - Tropic Thunder
Robert Downey Jr. - Tropic Tunder
Ralph Fiennes - The Duchess
Philip Seymour Hoffman - Doubt
Heath Ledger -The Dark Knight

Actor - Drama
Leonardo DiCaprio - Revolutionary Road
Frank Langella - Frost/Nixon
Sean Penn -Milk
Brad Pitt - Benjamin Button
Mickey Rourke - The Wrestler

Actress - Drama
Anne Hathaway - Rachel Getting Married
Angelina Jolie - Changeling
Meryl Streep - Doubt
Kristin Scott Thomas - I’ve Loved you So Long
Kate Winslet - Revolutionary Road

Actress - Comedy
Rebecca Hall - Vicky Cristina Barcelona
Sally Hawkins - Happy-Go-Lucky
Frances McDormand - Burn After Reading
Meryl Streep - Mamma Mia
Emma Thompson - Last Chance Harvey

Opinions:

Double Winslet! I am so desperately rooting for her this year at the Oscars, she is seriously overdue. I don't want her to end up like Peter O' Toole with so many nominations and no win. glad to see Angelina Jolie up there too, Changeling is mixed with the critics but she deserves lots of credit. She was robbed last year of a nomination. I shouldn't be as happy as I am to see Mamma Mia up there, I know it was terribly flawed, but I loved it too much. Amanda Seyfried was the best actress in the film though, but Lady Meryl is always a welcome fixture on the awards sheet. A double for her too, Doubt is building up speed. I will make no secret of it, I want Heath Ledger to win. It's the best piece of acting I've seen all year and deserves to go down in history. I am worried that his death may lead people to accuse the academy and other awards committees of sympathy voting, but it really isn't the case. There's only been one posthumous acting winner at the Oscars. Ledger for the win! Tom Cruise nomination is a surprise, but Robert Downey Jr fully deserves his. I must admit I was hoping to see Keira Knightley up for The Duchess, she would have fully deserved a nomination. No Michael Sheen either. But Langella does have the showier role. I haven't seen any of the nominated drama films but my heart is telling me to go with Revolutionary Road. It's an amazing book, totally heartbreaking, Mendes is an excellent director and Winslet just needs a win badly! It's not going to happen but Mamma Mia all the way!

Aladdin (John Musker and Ron Clements - 1992)

Based on the Arab folktale made famous by a million pantomime adaptations, Aladdin is the eponymous hero of the story. A street-rat stealing to survive, and dodging the blade while he's at it, he becomes smitten with the Sultan's beautiful daughter Jasmine. Unfortunately, she is being forced to marry a prince, whatever prince comes along, so they cannot be. The Sultan's grand vizier Jafar is plotting total domination but needs some magical intervention to help him. In steps Aladdin to retrieve a lamp containing something very special that could change his whole life.

This was the very first film I saw at the cinema and it's probably the earliest moment I have of my life, so the film has always held some importance for me. It's been an age since I last saw it so I'd forgotten how fresh and funny the film was. Written by both directors and the screen-writing duo behind Pirates of the Caribbean, Ted Elliot and Terry Rossio, it's full to the brim with jokes, pop culture gags and references that will go right over the head of little kids. What makes the film stand out in terms of comedy can be said in one name. Celebrities in cartoons was nothing new when Robin Williams was cast as the genie. Today it happens to almost every animated film in production, to the point of overkill (yes I'm looking at you, Dreamworks!). But Williams did something genius with his role. Refusing to stick to the script (not recommended when you're in a cartoon) he improvised countless gags, celebrity impressions and moments of sheer madness, and it's brilliant! It gives the film a real self referential edge, not common with early Disney films. Try to keep a straight face when he's in full genie mode. I dare you... Gilbert Gottfried is slightly grating as Yago the parrot, but he does have some funny lines. The hero of the story is a loveable thief who does the traditional Disney thing of learning a valuable lesson over a good song. It's great to see a Disney hero, and princess as well, who isn't the typical blonde haired, pale skinned Ken and Barbie doll set. While they are definately Americanized characters, it's still a step in the right direction. (Look out for the first black Disney Princess next year in The Princess and the Frog.)

The music plays an important part in the film, moving along with the plot instead of being a series of show stopping numbers. There is the obligatory big number that slows everything down, the ridiculously catchy Friend Like Me. The most famous tune is of course A Whole New World. Forget the ear shattering covers by the peurile likes of Jordan and Peter Andre *gag* and listen to the original. It's a truly beautiful song.

The period between The Little Mermaid and Tarzan was known as The Disney Renaissance. The overall quality of their films improved vastly, made a ton of cash, gave the studio back their critical respect and earned them the first, last and only Best Picture nomination for an animated film. Much of this success comes down to their new rule - don't just make a film for the kids. Look at Pixar or The Simpsons. Aladdin is just as entertaining for me now that I'm 18 as it was when I was 3. My entire family adore it and I have yet to meet a single person who doesn't like at least one Disney film from this period. Aladdin has some great action sequences too, like the cave escape scene. It's a real shame the 2D animation became, as John Lassiter called it, the scapegoat for bad storytelling, because some moments in this film are far more exciting than anything Michael Bay's directed. There's a certain class about this film, the standards were set pretty high in every aspect. It wasn't afraid to poke fun at itself, they weren't just trying to make money from tacky merchandising opportunities. It was about telling a story that appealled to everybody. Entertainment for entertainment's sake. Aladdin is funny, moving, clever and probably one of the most hilarious animated films ever.

I've got 2 more Disney reviews to post soon so stay tuned!

How Tim Burton made the best Xmas movie ever.

With Christmas edging ever closer, and one more week of university until I board that big Megabus to home, I thought I'd get in the festive mood. I'm sort of spoiling my top 30 by putting this on, but I truly feel it's the best Xmas movie ever made and I'm going to wildly stab my way through this trying to explain why.

In the dark, creepy setting of Hallowe'en Town, where the inhabitants include vampires, evil scientists and the dead, the leader Jack Skellington is growing weary of the constant celebrations of Hallowe'en. He's bored and losing his spirit. After stumbling accidentally into the much happier and more colourful Christmas Town, Jack decides he wants the holiday for himself and has Santa Claus held hostage so he can become leader of Christmas.

When you think of traditional Christmas movies, there is undoubtedly the thought of saccharine, sickly sweet sentimentality somewhere. It's a wonderful celebration (albeit one without any religious meaning for me) that's been clouded over with tackiness and commercialism. One often wonders if it is at all possible for someone to make a movie about the season that doesn't have some soaring violin at the end with a hugging family in the snow smiling after they've learned the true meaning of Christmas. I have a very sensitive gag reflex. The joy in Henry Selick and Tim Burton's film is that it encasulates the joy of the season without shoving it down your throat covered in sugar. There's a real romanticism in the film for both seasons. While Burton clearly prefers the eccentricities and gothic sensibilities of Hallowe'en, when you first hear Jack's joyous song "What's This?" as he explores Christmas Town, you feel the same about the season. The sense of togetherness, the colours, the smells, the happiness, it's all there in glorious stop motion. Jack has more subtle facial expressions than a million Orlando Blooms.

While I'm here I might as well talk about the rest of the film. I'm so glad that stop motion isn't used as often as other types of animation, it makes the film feel more special, along with it's sort of companion piece Corpse Bride. It's a film full of vivacity and love. Each movement was done by hand and it pays off beautifully. Some moments of great comedy pop up too, my personal favourite being the Easter Bunny making an appearance. The imagination contained in the film seems boundless, from the different characters that inhabit the world to the surroundings and the songs. Danny Elfman, Burton's musical go-to man, provides some catchy songs with witty lyrics that leave you humming them for days. Oogie Boogie's song is my favourite:

Christmas isn't about presents, or giving into all that crap they advertise on TV. Even if you don't believe in the Nativity story or God, the season is still an important one. It's about bonding with your family, being with your friends and being happy. Actually, the whole purpose of life is the pursuit of happiness. Jack Skellington doesn't think he'll find happiness in his own world so takes solace in Christmas. Eventually he realises that what will make him happy is love with Sally. When they kiss on Christmas day, on a snowy hill, that's happiness. My sister is a Burton maniac and this is our film. It makes us happy. It's how our Christmas should be.