It would seem to me that the awards season should be used to reward the best films, the best performances in terms of the measurable quality of the product put out rather than the popularity of the nominees. The Golden Globes, as if edging, as my podcast colleague Tommy suggested today, towards becoming a glorified version of the MTV Movie Awards, has this year chosen to nearly-exclusively reward the popular choices.
I have no real problem with James Cameron getting best director; Avatar is an incredible achievement from a technical standpoint. But to reward that film, a confused hodgepodge of political allegory, predictable plot and stock characters, the prize for the best picture seems ridiculous. It is a huge milestone for technical filmmaking, but when put into 2D and playing on television screens across the land after its DVD release, the massive problems with the story and characters will become increasingly clear. To suggest other winners could easily be written off as me just griping that my favourite films didn’t win, but I don’t think many could deny that the success of the vision of The Hurt Locker or Inglourious Basterds far, far surpasses that of Avatar as a piece of storytelling.
Outside of that, witness the prize handed to Sandra Bullock for The Blind Side, a mawkish TV movie-style sleeper hit, beating the nuanced skill of Carey Mulligan in An Education. Witness The Hangover, winner of Best Musical/Comedy, rewarded for managing to convince an entire audience that it was funny despite having only one good performance and then three douchebags, one terrible cameo and one borderline-racist gangster. It was a weak category, but at least (500) Days of Summer spoke to a sense of truth and actually could fit into being both comedy and musical.
There should be some sense of duty for awards that, rather than pander to bringing in the largest possible audience for the truly pointless televising of the ceremony, they should seek to reward those filmmakers that have made films which, even if they failed to connect with audiences, have something to say beyond ‘see how fucking cool this looks!’
You can listen to us discussing these films at length on the podcast on the show, but please do check out the list below for perpetuity. Sam’s list is annotated and included below, Tom’s is not annotated and its right here. This just means you will have to check out the podcast to hear Tom’s viewpoints. So check out Sam’s choices after the jump, along with a few choice thoughts and honourable mentions. Enjoy!
So here’s Tommy’s list of the top ten films of 2009. No annotations, so you’ll just have to listen to the podcast to hear his thoughts. For just the list, jump in. Continue reading →
So, in the wake of Transformers revenging the fallen all over our minds, we were in need of cooling down from the sheer anger and exhaustion felt in the studio. Though Sunshine Cleaning should have been a great example of an indie to bring us back onto home turf, it ended up an underwhelming experience. The eminently crushworthy pairing of Amy Adams and Emily Blunt, along with the solid Alan Arkin and roles for Steve Zahn and Clifton Collins Jr, just couldn’t quite drive us into anything beyond a tepid lack of satisfaction. Ideas involved were strong, but the execution was half-hearted, even if all of the above tried really hard to elevate the material. Continue reading →
The return of the Cooper! Jon Cooper comes back to the podcast to have a chat about Adventureland. Tom and Sam have a think about (500) Days of Summer and the gents all think about the YouTube rental model. They go on to reminisce about Hackers, praise Fish Tank to the hills and have a good ol’ natter about Supernatural. The conclusion sees Tom depart and Producer John step in to talk about music in movies.
Show notes coming in later post.