Commentary: 2012 Academy Awards (Predictions)

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2012 marks the very first year that I have successfully managed to watch every film that's up for consideration in the Academy Awards Best Picture category. That means I am now fully prepared for fooling people into believing that I know what I'm talking about. Whether a personal favorite wins or loses, it's always fun to make a guessing game out of Hollywood's biggest night. So without further adieu, here are my predictions for the films and respective people that will win a naked golden man trophy.

Writing (Original Screenplay)

Woody Allen's habit of turning down ceremony invitations had me wondering about The Academy possibly snubbing him out of thin-skinned retaliation. I could see that happening to young blood, but I think Allen has too much respect from his peers to have that happen to him. Midnight in Paris is a wonderful screenplay that deserves an award and I think it will get one with or without Allen's presence.

Writing (Adapted Screenplay)

I was impressed with Moneyball's success with adapting subject matter for a niche audience into a drama that outsiders can appreciate.

Visual Effects

Although I felt Rise of the Planet of the Apes was overrated in the visual effects department, it seems to have enough favoritism to make it the front runner. Harry Potter and the Deathly Hallows Part 2 might give it a run for its money, but that's all it will amount to.

Sound Editing and Sound Mixing

These are actually two separate categories but the awards usually go to the same winner anyway. I'm going with Transformers: Dark of the Moon because the Academy loves loud stuff. (As you can see, I put a lot of thought into these answers.)

Music (Original Song)

"Life's a Happy Song" should be the real winner but Bret McKenzie's Oscar will be for the second best song from The Muppets. "Man or Muppet" for the win.

Music (Original Score)

This category always drives me crazy because The Academy usually chooses films that have almost no original score at all or ones that hint that the Academy doesn't understand the difference between "songs" and "scores". From what I understand, the voting process is open to all Academy members; even those who have never worked in the music department. So maybe I'm not far off. Having said that, if the projected winner (Ludovic Bource) takes the trophy, I won't be upset because the context of a silent movie makes his work challenging and successful results very noticeable.

Makeup

The makeup award usually goes to movies that have weird looking creatures. There are plenty in Harry Potter and the Deathly Hallows Part 2, right Potter fans? Throw me a hint here, people. I've got nothing.

Oops. Wrong movie.

Foreign Language Film

A Separation is the only foreign picture being talked about in the U.S. mainstream press. So it wins.

Film Editing

I project a close race between The Artist and Hugo with The Artist barely edging out.

Directing

It's rare for the director of the Best Picture Winner not to receive his reward.

Costume Design

Mark Bridges probably had some fun on this project. The Artist wins again.

Art Direction

I would give it to Hugo but something tells me The Artist has this one locked up.

Cinematography

If The Tree of Life doesn't win this, art is dead. Okay, maybe not dead. But it will definitely get its feelings hurt.

Animated Feature Film

With Pixar out of the running, this category has become interesting for the first time in a long time. I'm going with Rango because it's well respected by the critics and the masses.

Actress in a Supporting Role

Octavia Spencer because of her many memorable scenes in The Help. Melissa McCarthy is only there to help prolong the affirmative action campaign to get more females in comedic starring roles.

Actor in a Supporting Role

Jonah Hill isn't quite ready yet but I'm happy for his success nonetheless. I bet even he wasn't expecting this honor to come so soon. Max von Sydow was solid in Extremely Loud and Incredibly Close. But I think Christoper Plummer will win because the media is manipulating me into feeling foolish for choosing anyone else.

Actress in a Leading Role

Nothing against Viola Davis, but she clearly did not play a lead role. That will cost her come consideration. Meryl Streep has the biggest producer-backed campaign but she's being taking for granted at this point. I'm going against the odds by choosing Michelle Williams.

Actor in a Leading Role.

George Clooney's big night has finally arrived.

Best Picture

Everyone and their ancestors are choosing The Artist and so will I.

Billy Crystal

Billy Crystal will appear in a sketch opener where he occupies the worlds of all nine Best Picture nominees. This will be followed by a musical number monologue. He will then more or less disappear for the remainder of the night.

[Rec] 2

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Title: [Rec] 2

Year of Release: 2009

Date Viewed: February 8th, 2012

MPAA Rating: R

In the spirit of a typical slasher villain, the horror genre will not die. You can mock it (the Scream franchise), kick it around (repackage the same stories and camera tricks) or just plain abuse it (countless amateur video productions) but it will always return so long as people enjoy having their personal sense of security scared away. The prime clients will search high and low for the next real shocker. My hat is off to them. The searches are often very long. A favorite stored quote from the years of servicing video store patrons originated from a conversation between one of the aforementioned horror aficionados and a co-worker. The common question "What's a good horror film you've seen lately?" was answered with the even more common "There are no good horror films." When someone says that, what he actually means is the system has failed to deliver anything fresh within a recent period of time. Horror gets away with a steady track of financial success by recycling the dependable methods. But for it to shine, innovation is mandatory: a rule that most other genres are lucky enough to elude without short-term repercussions.

At first glance, [Rec] 2 doesn't have much reason to offer something new. As a follow-up to a highly successful Spanish production that spawned an American remake and as a crowned grandeur to the ongoing "found footage" phenomenon, expectations are tied to familiarity. We want to see that formula work again. But the artists are a few steps ahead. The camera view, monsters and moments of panic all return. And there are new ideas presented here as a way of informing us that the [Rec] franchise is not just a one-gimmick ride. It's a chronicle that is destined to be remembered.

The big reason behind the series' initial attention is the unconventional approach to inducing scares. How often have we found ourselves waiting for trademark horror silence to be broken by loud noise? Or a long shot abruptly cutting away to something grotesque. [Rec] has that in scarcity but depends on psychological terror for bait. The film's "search procedure" narrative allows us to directly enter the viewpoint of the peril. Infected "monsters" appear in deep focus and stay within the frame for a considerable amount of time. It isn't always obvious when the threat is legit; a procedure that the film loves to exploit. Unless the "monster" is lurking in an adjacent room, we rarely lose awareness of the space the threat is occupying. The ones in deep focus don't stay that way for long. They thirst for blood and will swarm toward the camera because a living being is holding it. An effective merge of scientific and cinematic reasons for events.

[Rec] 2 begins almost immediately from where the previous film left off. With no surviving characters or cameras to continue the story, the perspective switches to a SWAT team's video camera. The officers are uninformed about the true story behind the quarantined apartment building. But the undercover clergyman that accompanies them understands everything; especially the importance of his role. One of the story's new spins that the previous film hinted at is revealed through this character's monologues. He explains that the infected apartment residents are now pawns of the Devil. They can be temporarily subdued by prayer, but a spreading outbreak is impossible to control unless an antidote is found; Its key ingredients are believed to reside within the blood of an early victim that lived in the apartment.

The sequel offers better chances for analyzing the infected behavior by the way that they're kept in the frame longer during attack scenes. Inspiration from The Exorcist is evident. The infected facial features are given an exaggeration makeover. They can imitate voices from living characters and behave rather comically when bound to furniture. Vomit scenes are thankfully absent.

Since the SWAT team has access to optimal monitoring equipment, the film switches between hand-held and headset camcorders. The latter presents a videogame-like style especially in scenes where the infected are attacking aggressively and the victim has to navigate through the labyrinth of apartment rooms to find safety. Another neat twist is the abrupt introduction of secondary characters. Some kids in the neighborhood pay the price for causing too much mischief by getting themselves trapped in the same apartment building. In a cleverly constructed sequence, the SWAT team's camera and the kids' camera intercept at the same storyline checkpoint. The film then detours into the kids' story and documents the events leading up to that encounter.

There's another twist that doesn't deserve to be spoiled. I'll just say that it ties all story angles in a way that's difficult to anticipate and it paves the way for future chapters. [Rec] 2 is a friendly reminder that not only do good horror films still get made but that the "found footage" gimmick that's currently losing steam in its reputation may not have even scratched the surface as far as how it can satisfy the thrill cravings.

Rating: 8       

Mortal Kombat: Annihilation

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Title: Mortal Kombat: Annihilation

Year of Release: 1997

Date Viewed: January 31st, 2012

MPAA Rating: PG-13

If there's one thing that Mortal Kombat: Annihilation does absolutely right (and that's not really an "if"), it's living up to the pace of action that videogame players associate with the Kombat franchise. There are fight scenes. Lots of them. But someone failed to inform the producers that the fights are supposed to serve a purpose. Underneath all the violence lies a rich backstory driven by passionate creativity from the game developers. The backstory had to take a backseat in order to make room for fast button mechanics. That means being kept buried from the public eyes save for the loyal fans who cared enough to find it. Obviously, none of those fans took part in the production of this follow-up to 1995's surprisingly fun Mortal Kombat film adaptation. The man largely responsible for the original film's critical praise, Paul W.S. Anderson, was replaced by Anderson's cinematographer whose resume suggests that he knows very well how to shoot a scene but not film a scene. Scenarios like this only reaffirm my thesis that major studios do not take videogames seriously. Mortal Kombat: Annihilation is one from an abundance of cash grabs from a built-in audience that ultimately condescends those very people.

With the exception of Liu Kang (Robin Shou) and Kitana (Talisa Soto), all the surviving characters from the previous film have been re-casted. While I've never been one to write off sequels because of partial or total cast replacement, the absent faces are sorely missed here because of the actors' natural traits that I have grown to appreciate. Raiden's intimidating aura has been watered down (especially when he gets that infamous haircut). Sonya's feistiness is weaker and Cage's charisma is completely missing. To be clear, the new actors didn't hand in particularly bad performances. They simply held too many inconsistencies from the old gang to carry over adequate character continuity.

Turns out however that the revamped cast was the least of the film's problems. There are barely any traces of a coherent plot. The film opens with a brief recap of the previous movie's events and then resumes at the cliffhanger finale. A new menace is threatening Earthrealm even though the Mortal Kombat tournament victory was supposed to protect the human race's existence for another millennium. The reason behind this? "What can be closed can be opened again," says Raiden. That's about as deep as the story gets.

Sonya is sent to locate and team up with her military partner Jax without any explanation for why he was hanging out at a science lab in the middle of nowhere, how Sonja knew he was there, why he upgraded his body with artificial arms or why he's even important in the first place. Best to get settled with this idea because there's a tiring pattern of characters showing up for no apparent reason. Clearly someone in charge was afraid to go longer than five minutes without a fight scene. Hence why we're treated to watching random supporting characters arriving out of nowhere to fight the random hero in tune with the techno music soundtrack. It's assumed that everyone watching this movie has the attention span of a five year-old.

Judging Annihilation from a pure visual standpoint would yield the only passable scorecard. The fight scenes range from moderately amusing (Sub-Zero versus Smoke) to laughable (Battle of the Animalities) with a few unintentionally hilarious ones thrown in for good measure (Jax versus Motaro.) The only thing I was consistently impressed with was the set design which looked like it was directly inspired by the videogame's ingenious environments.

The dialogue is atrocious. The timing is even worse. At one point, Sub-Zero lectures Liu Kang about how dangerous it is to embark on the quest completely alone. He then immediately leaves him completely alone.

The build-up to Liu Kang's final battle with Shao Kahn includes this gem. "I want to fight Kahn but I don't know if I'm ready." We're left to only take him at his word thanks to the script's negligence to provide any non-expositional evidence to the character's fears and internal conflicts. Doing that required deleting some random nonsensical fight scenes. So that was obviously out of the question. It takes a certain talent to get someone like me to complain about over-dependency on action sequences considering how I'm probably one of the most generous bloggers that the summer blockbuster formula will ever see. 

The movie's tagline warns us to "Destroy All Expectations." Enough said.

Rating: 3

The Cove

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Title: The Cove

Year of Release: 2009

Date Viewed: January 25th, 2012

MPAA Rating: PG-13

On the evening of January 25th, 2012, Oakland University hosted a screening of the 2010 Academy Award winning documentary The Cove. The film's director, Louie Psihoyos, took the podium afterward to share stories and answer audience questions. An organized conversation between him and several of the university's Cinema Studies students took place earlier in the day. I was part of the privileged group that got to participate.

Five minutes prior to the event, Psihoyos and I happened to be using the same washroom. As I was drying my hands with a paper towel, his stalwart voice asked "Are you finished using that?" I turned around in surprise when I realized he was talking to me. It wasn't his presence that triggered the startle. I already knew he was there. The man's tall stature made him difficult to miss. It was about what he was pointing at. The water faucet I had used to wash my hands had been unintentionally left running. I quickly apologized, corrected the error and allowed Psihoyos to have a little chuckle at my expense. Situations like this would normally instigate annoyance. It wasn't a big deal and the witness could easily rectify a problem like that on his own instead of confronting the guilty. But I couldn't blame an environmentalist like Psihoyos for being a stickler for those sort of details. I call him an environmentalist instead of a director because that's what his real occupation is. He just happens to use film as a tool for advancing his missions.

The main mission being discussed that day was the topic outlined in The Cove: the campaign to end man's killing of dolphins, most notably the slaughter that takes place in Taiji Japan every September to March. In making this documentary, Psihoyos and a team of animal experts including former famed dolphin trainer Ric O'Barry infiltrated a fisherman's cove in Taiji where dolphins are routinely captured and sold to captivity or slaughtered for meat. The cove is hidden off the map and guarded by a group of fishermen that want to keep it that way.

Taiji is described like a place out of The Twilight Zone. Dolphins are artistically displayed on gift shop merchandise, sidewalks and welcome signs. One of O'Barry's many quip-worthy observations is that based on the town's image, it's easy to assume that the people who live here love dolphins. Oh, they do alright. But not in the way they want us to believe. Dolphin sales is a big money business. Trainers from all over the world travel to Taiji to select which of these animals will become the next attraction at their respective water parks. The rejected ones are left to die under inhumane methods. None are ever spared.

As always with documentaries, I approached this one with caution because of filmmakers' natural tendencies to present one-sided or manufactured realities. I was already aware of the long-running standoffs regarding what is morally or culturally acceptable to kill and consume. I don't support animal cruelty but do eat meat, which is reason enough for people like Psihoyos to think less of me. But what should be made clear to anyone who passes early judgment on a film like this is that the arguments are not as emotionally charged and black-and-white as detractors claim; Nor is it particularly complex like sceptics such as myself hypothesized. This is not a "Dolphins are cute and therefore shouldn't be harmed" public service announcement. It's about so much more importance; namely mankind's long term future becoming jeopardized by their own actions.

A common preconceived notion rejects the idea of any animal as food being off-limits. The revelation of dolphin slaughter is enough to stir curiosity just about anywhere because of how the meat doesn't fit into anyone's idea of a well-balanced diet. Yet cultures are also aware about how some differences in tradition are viewed as strange to those from the outside looking in. If there's no knee-jerk reaction, an inquirer might consider that there must be a reason for dolphins being eaten. After all, people in the Western Hemisphere eat cows and chicken without thinking anything of it. Maybe that's the way it is with dolphins in Japan. It's the sushi capital of the world after all. That's how the Taiji fishermen defend their practice. It's a cultural difference. Nothing more, nothing less. But a basic investigation snuffs out that theory.

Turns out that dolphin consumption is not a recognized part of Eastern tradition. Very few people in Japan were even aware that the slaughter was taking place mainly due to the country's strong censorship power over their media outlets. The public awareness has grown considerably following the release of this film. Most of the time, dolphin meat is not even correctly labeled and are riddled with such high quantities of mercury that you'd have to be insane, desperate or ignorant to even think of touching it.

So the lie is exposed. The companies behind the dolphin slaughter are not doing it for reasons related to culture or survival. But if that condition were to change, would it then become acceptable? No way, says Ric O'Barry. This man's story is fascinating enough to warrant its own separate documentary. Besides being one of the world's leading activists (his criminal record suggests that he might be the ultimate leader), his knowledge gained from years of close contact with dolphins relates insight into why they may have better use than being water park attractions and how they would be ultimately better left off in the wild. The ironic part about this thesis is that O'Barry was one of the pioneers of dolphin captivity and exhibition. His work on the popular Flipper television series helped build the public's fascination and the market for these water park shows which he has now grown to hate.

The Cove is a call to action and one that opts to aim at the emotional heartstrings to get that action rolling: a most necessary strategy in social issues like this no matter how many facts on paper are available. For their ace in the hole, Psihoyos and his team plant hidden cameras in the Taiji cove under the town's watchful radar in a sequence reminiscent of a Hollywood spy thriller. It's less cohesive than the aforementioned analogy but expected for an authentic operation that only has room for one take. The aftermath is a crowning achievement in the activists' cause as they finally succeed in exposing the slaughter footage that the perpetrators would have literally killed to have permanently kept out of the public eye.

Big budget movie studios calculate paying customers as fifteen dollar items in the seats, totaling the cost of an admission ticket with concessions. Activist filmmakers like Louie Psihoyos prefers to think of spectators as minds in the seats. That was his motivation for exposing The Cove to the world. One of the most memorable quotes from him in the film is the declaration that there is no middle ground between an activist and an inactivist. At the post-screening Q&A, I asked him what the precise difference was. His response included a reference to a popular philosophy that appropriately summed up his life's mission. "The only thing necessary for the triumpth of evil is for good men to do nothing."

Rating: 9