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by Chris Barsanti

26 Feb 2013


In a different universe than ours, the idea that the Academy Awards would one day be presided over by the likes of Seth MacFarlane would seem to be a godsend. A onetime insurgent in the Fox television conglomerate, MacFarlane is a guy who spun post-post-post-modern webs of non-sequitur animated bafflement into an empire of offensiveness. His favorite movie is The Sound of Music, he has a Broadway-ready singing voice, recorded a Grammy-nominated album of standards, is (for an animator) strangely comfortable before huge crowds, and his sense of humor ping-pongs from layered multi-referential ironies to vaguely cretinous bathroom stall jokes.

In other words, he ticks a lot of boxes, from purportedly shocking humor to bring in the young ‘uns to classic glitzy “That’s Entertainment!” revues that the old folks like. Of course, in reality, the young ‘uns barely know what the Oscars are and the old folks are DVR’ing NCIS.

by Bill Gibron

25 Feb 2013


Argo producers Ben Affleck, Grant Heslov and George Clooney during the show at the 85th annual Academy Awards, Sunday, February 24, 2013. (Robert Gauthier/Los Angeles Times/MCT)

It was a night of firsts: Daniel Day-Lewis became the first ‘actor’ to win three Oscars for best lead performance (Katherine Hepburn still has four - and the “-tress” delineation - while Jack Nicholson’s trio are divided between major and ‘minor’ divsions); Ang Lee won a second award for directing Life of Pi, more or less confirming that anyone tackling (and successfully, mind you) an ‘unfilmable” project is bound to get a bucket full of accolades. Quentin Tarantino surprised everyone by besting Mark Boal and Zero Dark Thirty and Michael Haneke for Best Original Screenplay, proving that a provocative use of period appropriate epithets and homage-heavy cinematic copycatting is worthy of the night’s greatest prize, while Argo won the war of partially fictionalized history (read: Best Adapted Screenplay) over Lincoln.

by Bill Gibron

18 Feb 2013


What were they thinking? No, honestly, what WERE THEY thinking? John McClane in Russia? Running around Chernobyl to stop a scientist from unleashing his secret stockpile of nuclear grade Uranium on a world flush with rogue terrorist bomb makers? (Oops - sorry…spoiler alert?). Before, our befuddled cop often transplanted to places outside his flatfoot comfort zone, has taken on bad guys in a building, drug thugs in an airport, a bomb-happy heckler from his past, and a computer whiz wanting to destroy the world’s information grid. So nukes aren’t such a bad idea…or are they? Indeed, as the latest installment in the Die Hard series (given the precursory clip “A Good Day to...”) eats up an unhealthy portion of the President’s Day weekend box office, one has to wonder if this was the best approach to keeping a once healthy franchise flourishing.

by Bill Gibron

11 Feb 2013


Identity Thief

Ah, the shitstorm that commences when one cultural (crack)pot calls another a catty black. Or in this case, fat. About four decades ago, Rex Reed was hailed as a rising voice in film critique. He was seen as saucy and flamboyant, a combination of everyman and his sassy, spill the beans brother.  Fast forward 40 years and he’s the punchline of many an aging, out of touch jibe, a constant source (along with Armond White) of ridicule among those who call themselves critics…as they blog about their beloved b-movies. True, his desire to play cinematic stand-up often collides with the requirements of the craft, but with the wealth of weak-willed, quote-whoring studio shills out there more than happy to mine the mainstream for as many page hits as possible, he’s no worse.

by Bill Gibron

4 Feb 2013


In what many pundits believe is an indictment of the Academy’s recent snub of Argo helmer Ben Affleck, the Director’s Guild of America has honored the film, and its maker, with its 2013 recognition as the year’s best. This comes hot on the critical coattails of the film’s win at the Producer’s Guild Awards, as well as with the Screen Actors. All totaled, the based on a true story thriller about the Iran Hostage Crisis has pulled in a stunning set of accolades. It has a pair of Golden Globes (for Picture and Affleck), several pending international nods, and acknowledgement from at least a dozen critic’s groups. While AMPAS has seen fit to bestow seven nominations on the film, the given for its director is nowhere to be found. Instead, Oscar has seen fit to ignore three of the DGA’s nominees (Affleck, Kathryn Bigelow, and Tom Hooper) for a telling trio of its own (Michael Haneke, David O. Russell, and Behn Zeitlin).

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