Oh man! It’s a film based on this brave, brave book that had the courage to put wealthy white women at the forefront of the civil rights battle, making wealthy white women (the kind that vote for things like the Oscars) feel pretty damn pleased with themselves.
The film has gotten generally positive reviews, but in a sort of Fried Green Tomatoes way, which is to say it’s a solid movie, focusing on women, with decent performances, but doesn’t prove to be engineered to “wow” anyone into giving it a Best Picture vote.
It’s really just an honor to be nominated.
Oscar law says that Marty Scorsese’s works have to be nominated. Unfortuantely, with the exception of The Departed, Oscar law also says that Marty Scorsese’s films have to lose.
Hugo was a really great children’s film. It had striking production design, arguably the best use of 3D since Avatar, and wonderful performances by lead Asa Butterfield Ben Kingsley, and Sacha Baron Cohen.
All that said, it’s still very much a children’s movie and feels a bit like a vanity project, considering all the “whimsy” given to the magic of film, which is no doubt the direction that Martin Scorsese wanted to take things. The film is imminently likeable, and very well done, but it has to make a big leap to be considered a contender.
The Woody Allen renaissance is in full swing, with Midnight in Paris generally making most institutions’ and critics’ top ten lists. Allen directs Owen Wilson, Carla Bruni, Kathy Bates, and Adrien Brody in this romantic comedy (aren’t they all?) that focuses on a group of Americans that happen to be in Paris.
It’s widely considered to be the best film in his recent catalogue, but its charm and humor don’t offer the depth that his earlier films do. Of course, Billy Crystal is hosting the Oscars, so everyone might just say “F*ck it. Let’s give Woody the Oscar.”
It’s Woody Allen’s 41st film, by the way. That’s a lot of films.