With the sun finally hitting the UK, I decided my long hair of previous was getting too unmanageable, and thus, in trimming it, I've gone from Alicia Vikander in The Light Between Oceans length to Jessica Chastain in Miss Sloane length! And, in keeping consistent with the Chastain look, I've duly painted my nails black, like Liz Sloane had!
Dress: Marietta dress from Hobbs
Earrings: Amazon
Glasses: Red or Dead
The Marietta dress is now the third dress from Hobbs I own (the other two: un et deux). Their dresses are perfect for the kind of aesthetic I'm going for at work: elegant and demure.
I find clothes definitely help with the 'fake it 'til you make it' mentality, by which I mean, even if I'm in a sub-optimal mood, if I'm at least sharply dressed at work, I feel better about myself. This then helps to improve my frame of mind, and how I carry out my work.
Mark Twain absolutely nailed it when he said 'clothes make the man'.
Previous years' eye candies, if you want to inspect my taste! The only constraint on the list is that it has to be someone from a film I've actually watched.
I'm off to New York for five nights later, but before I left, thought I'd give a list of the prettiest women in a 2012 film (that I've seen), as 2012 was a very decent year for female eye candy!
10. Kristen Stewart, Snow White and the Huntsman (new entrant)
So,
after waiting, and waiting, and waiting, the BBFC Annual Report for 2016
dropped! Here it is, and having pored over it, here are my major takeaways from
reading it!
I’m
glad my many hours of wasting time watching films purely for BBFC research
purposes (such as Fairy Tail: Dragon Cry), poring over BBFC minutes and lurking
who complains to their Twitter account has paid off, because my
prognostications for the films that would cause them the most complaints were
even better than my Oscar predictions (and the Oscar goes to…. La La
Land! No, Moonlight! #stillgloating).
I saw this on the Greatest Actress Ever (ahem)'s Instagram:
A sci-fi featuring Dane DeYawn (so called because of those prominent bags under his eyes and his yawn-inducing acting performances) and Upstart Delevingne, to me, just screams Razzie. I can't think of a more sexless couple than DeHaan and Delevingne (other than Dane DeHaan and Felicia Vikander, or Cara Delevingne and Joel Kinnaman).
I can't wait to hate-watch it and tear it to pieces on my blog. 🎬
In the theme of throwing shade at films I've not yet seen, I believe The Big Short is about to have its title stripped as the Most Smug Film of All-Time:
The trailer for Ben Wheatley (director of my pick for the worst film of last year, High-Rise)'s insufferable-looking crime caper was the most wannabe Tarantino thing ever. Just a lot of shooting in a warehouse, Sharlto Copley being incomprehensible and lame banter between caricatures.
From the BBFC's extended information for Raw. What's a woman's 'public hair', just wondering?
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I love movie stars (films, food and football are my entire life), but I won’t be staying up tonight for this dross. The dressing up box mafia preaching about politics at the BAFTAs was cringe AF and I won’t be subjecting myself to a bunch of millionaires lecturing me again, in addition to the yawn-tastic Blah Blah Land love-in.
Film
Who will win: La La Land
Who should win: Moonlight
Who might win: In the infinitesimal chance LLL doesn’t walk away with this, Moonlight has about a 0.0007% chance of an upset.
Who might win: Kenneth Lonergan for Manchester by the Sea. Although the odds of Damien Chazelle losing this is even slimmer than LLL not taking Best Picture. He’s got this sewn up.
Who should have been nominated: Ken Loach for I, Daniel Blake. Although had he won, he would have just taken the opportunity to hector the audience about what terrible people they were and how he knows better than all of us had he won, so on second thoughts…
Actor
Who will win: Creepy Affleck for Manchester by the Sea
Who should win: Honestly, I wasn’t enamoured with any of the three performances I've watched (Washington, Affleck, Gosling), but if I were to judge them on quality of the acting, Denzel owns this.
Who should win: So once, I was on a date with insufferable clown who kept acting like he was the authority on The Wolf of Wall Street (even though he hadn't seen it). I'm afraid I'm now going to be a massive hypocrite and emulate said clown and say Isabelle Huppert, despite not having seen Elle. Because she’s a brilliant actress who’s long overdue, and everyone’s been raving about her icy portrayal of a complex character.
(and also because I'm hella salty towards Yellowface and the overrated film she was in).
Who might win: Isabelle Huppert for Elle
Who should have been nominated: Amy Adams for Arrival(!!!!) and Emily Blunt for The Girl on the Train. Note: I haven’t seen Aquarius or 20th Century Women.
Supporting Actor
Who will win: Mahershala Ali for Moonlight
Who should win: Mahershala Ali for Moonlight
Who might win: Unfortunately, Dev Patel is going to run Ali close for this Oscar. I think the balance is currently 51/49 in Ali’s favour, but it's so finely judged right now I wouldn’t be surprised if I checked the results tomorrow morning to see Patel has won. I’d be devastated, but not surprised.
Who should have been nominated: Trevante Rhodes for Moonlight (stunning performance and my favourite of the year by far) and Alden Ehrenreich for Hail, Caesar!
Supporting Actress
Who will win: Viola Davis for Fences
Who should win: Viola Davis for Fences. Knockout performance, despite the clunkiness of Denzel Washington’s slightly vain direction doing her no favours. Plus she's a screen queen who never phones it in (see: Suicide Squad) who's well overdue.
Who might win: Michelle Williams for Manchester by the Sea
Who should have been nominated: Lily Gladstone for Certain Women and Hayley Squires for I, Daniel Blake.
Original Screenplay
Who will win: Kenneth Lonergan for Manchester by the Sea
Who should win: Taylor Sheridan for Hell or High Water
Who might win: Eric Heisserer’s slow-burning, cerebral script for Arrival has a fair bit of awards momentum, but if anyone’s going to trump Moonlight it’ll be Lion’s script due to the sheer brazenness of the Weinstein Company’s campaign. Just remember how hard they and Felicia Vikander campaigned for her fraudulent category Oscar last year. And Felicia saw the gold, so.
(Sidebar: The Weinstein Company are really trying to make that wannabe Leonardo DiCaprio, Dane DeYawn happen. Just check out this (unintentionally) hilarious trailer to Tulip Fever, which stars DeHaan and their girl Felicia:)
Who should have been nominated: Liu Zhenyun for Someone to Talk To and Whit Stillman for Love and Friendship
Editing
Who will win: Hacksaw Ridge. The vast majority of my predictions are copy+paste jobs from Nathaniel’s blog, but I disagree with him that LLL has this locked up. Hacksaw Ridge won the BAFTA in this category and seems to have ‘more’ editing in the in-your-face meaning of the word, so I’ve gone for that for my prediction.
Plus, this category, in recent years, has thrown up a few surprises, particularly The Girl with the Dragon Tattoo’s win in this category, meaning Editing is no long an automatic vote for the film Academy voters enjoyed the most.
(Obviously, I’m just deluded and refuse to accept a LLL sweep).
Who should win: Moonlight
Who might win: La La Land
Score
Who will win: La La Land
Who should win: Jackie
Who might win: Passengers, because the fact that Thomas Newman (who's haunting scores for Finding Nemo, The Shawshank Redemption, American Beauty and Road to Perdition are part of the reason I persevered with the violin when the going got hard) doesn't have an Oscar but Jennifer Lawrence does is a bit *clown music*. But I think LLL's got a tight grip on this, so he'll have to keep waiting for his Oscar.
Song
Who will win: 'Shitty of Stars', La La Landdespite the fact that Ryan Gosling and Emma Stone's duet of it hurt my ears even more than the Boston accents in Manchester by the Sea did
Who should win: 'How Far I'll Go' from Moana
Who might win: there’s a chance that due to Blah Blah Land having two bland songs in this category ('Audition' being the other), they might split the vote, with some people voting for 'Shitty of Stars', and the others voting for 'Yawndition', there’s a glimmer of hope that Moana might be the beneficiary. I would love this.
Who should have been nominated: ‘Never Give Up’ by Sia, for Lion. It played over the closing credits whilst set to footage of the real Saroo’s journey and that in itself was more poignant than the majority of the movie.
I most certainly would not have nominated Shakira's song in Zootopia, which despite me loving both the film and the singer, was one of the most saccharine songs ever, and downright irresponsible in its suggestion that 'I wanna try everything
I wanna try even though I could fail'. I daresay parents of children who decide to try to fly off the top of a building wouldn't be quite as fond of such a lyric.
Cinematography
Who will win: La La Land
Who should win: Moonlight
Who might win: Lion Sound
Who will win: La La Land
Who should win: Arrival
Who might win: Hacksaw Ridge
Who should have been nominated: Kubo and the Two Strings Sound Editing
Who will win: Hacksaw Ridge
Who should win: Anyone other than La La Land. I couldn't hear what they were mumbling half the time!
Who might win: La La Land
Who should have been nominated: Kubo and the Two Strings Animated Film
Who will win: Zootopia
Who should win: Zootopia, although I love Kubo and the Two Strings, too. Both are 8.5/10s in my book and in my current top 6 of 2016.
Who might win: Kubo and the Two Strings. The surprise BAFTA win will definitely give their producers some hope, but ultimately, I think Zootopia’s charm is too strong.
Who should have been nominated: Nothing I can think of. Certainly not that over-long and over-convoluted Your Name, or that phoned in, disappointing sequel, Finding Dory. And DEFINITELY not that unbelievably unfunny, wannabe edgy Sausage Party. #ByeFelicia
Documentary Feature
Who will win: The 13th
Who should win: Haven’t seen any of them.
Who might win: OJ: Made in America
Foreign Film
Who will win: The Salesman. London Trafalgar Square is actually hosting a screening of this film today at 4:30pm, which I was intending on going to, but unfortunately I have some freelance programming work that needs to be done, so guttingly, I’m sitting this one out.
Who should win: Haven’t seen any of them.
Who might win: Toni Erdmann.
Who should have been nominated: Julieta
Makeup and Hair
Who will win: Star Trek Beyond
Who should win: Don’t care
Who might win: Suicide Squad
Who should have been nominated: A bit random, but I would go with Moonlight, for how they transformed Naomie Harris (who is 40 in real life but looks younger than Emma Stone, 28 #JustSaying) from the sleek Moneypenny we’re used to seeing, to a haggard druggie.
Visual Effects
Who will win: The Jungle Book
Who should win: Kubo and the Two Strings, hands down. Those origami battles were astonishing.
Who might win: Inception with A-levels, aka Doctor Strange
Who should have been nominated: Not Batman v Superman or Suicide Squad's distractingly bad effects, that’s for sure. I’m just surprised the Academy voters didn’t honour La La Land here, seeing as they seem to be giving out nominations to that Hollywood-fellating movie like smarties.
Production Design
Who will win: Unfortunately, La La Land
Who should win: Arrival
Who might win: Fantastic Oscar-Beggers and Where to Find Them
Who should have been nominated: Love and Friendship and Jackie
Costume
Who will win: I refuse to believe LLL will take this for some suits & skinny ties and Emma Stone’s colourful dresses. That would be one of the most egregious and lazy wins in Oscar history. I refuse to believe it and am refusing to predict it, even though it probably will. But I’m stubbornly predicting Jackie
I don’t predict short films, so I make that 8 wins for La La Land, which is excessive, to say the least, but given that they actually could win 13 (ties aren’t possible under this preferential ballot system), I’ll cut my losses and take 8. No more, please!
And if Mahershala loses to Dev Patel, then the Weinstein Company will have done their worst. As misdirected penance, I will write a scathing review of Tulip Fever on my blog (although let’s be real, it stars Dane DeYawn and Felicia Vikander. I was totally planning on doing that regardless). That'll teach them.
Best film Arrival I, Daniel Blake La La Land Manchester by the Sea Moonlight
Aside from the inclusion of the very British (and very fine, my second of the year so far) I, Daniel Blake, the other four are all now considered locks when Best Picture at the Oscars get announced.
Best British film American Honey Denial Fantastic Beasts and Where to Find Them I, Daniel Blake Notes on Blindness Under the Shadow
Best film not in the English language Dheepan Julieta Mustang Son of Saul Toni Erdmann
Elle and The Handmaiden weren't eligible because they're not being released here until March and April, respectively. Son and Saul and Mustang, which were nominated at last year's Oscars, weren't eligible in time for last year's BAFTAs, but were obviously too strong to be forgotten, so they have their belated nominations now.
Best documentary 13th The Beatles: Eight Days a Week – The Touring Years The Eagle Huntress Notes on Blindness Weiner
I haven't seen any of these because documentaries bore me to tears. #SorryNotSorry
Best animated film Finding Dory
Kubo and the Two Strings
Moana
Zootropolis
Haha at BAFTA not being able to find five Animated films they felt passionately about. Whilst I'm glad that means the overrated Your Name doesn't get nominated, I do feel When Marnie Was There deserves to be in the pantheon of the films listed; particularly Finding Dory which it was far superior to.
Best director
Denis Villeneuve (Arrival)
Ken Loach (I, Daniel Blake)
Damien Chazelle (La La Land)
Kenneth Lonergan (Manchester by the Sea)
Tom Ford (Nocturnal Animals)
Barry Jenkins not getting nominated for Moonlight will damage the film's credentials as the main competitor to La La Land for Best Movie at the Oscars. :( I'm happy to see some recognition for Ken Loach, however. He crafted a really touching and powerful film in I, Daniel Blake and deserves to be nominated. Not so sure about Tom Ford, on the other hand.
Best original screenplay Hell or High Water
I, Daniel Blake
La La Land
Manchester by the Sea
Moonlight
Jesus, dat adapted screenplay category. It's a shame that Screenplay is the only place where Hidden Figures is recognised; I hear it's quite good. And no Fences in adapted but Nocturnal Animals and Hacksaw Ridge are present? Damn. The shade of it all.
I'm also disappointed that the very British treat Love and Friendship, an adaptation of a Jane Austen novella, wasn't recognised here, given it featured some of the wittiest one-liners in 2016.
Best actor
Andrew Garfield (Hacksaw Ridge)
Casey Affleck (Manchester by the Sea)
Jake Gyllenhaal (Nocturnal Animals)
Ryan Gosling (La La Land)
Viggo Mortensen (Captain Fantastic)
No Denzel, BAFTA???? WTF???? It's crazy that BAFTA have never nominated Denzel Washington.
I ain't even mad about David Oyelowo's snub for A United Kingdom, as well as A United Kingdom's absence on the list overall. I presume they didn't send screeners (or I'm just gonna tell myself that).
I love Jake Gyllenhaal a lot (Brokeback Mountain is my sixth favourite film of all time and he was snubbed of an Oscar nomination for Nightcrawler) but he was, dare I say it... a little hammy in Nocturnal Animals, especially in the scene where he breaks down in front of Aaron Taylor-Johnson's redneck. It would be a shame if he got nominated for an Oscar for his awards-begging turn.
Best actress Amy Adams (Arrival)
Emily Blunt (The Girl on the Train)
Emma Stone (La La Land)
Meryl Streep (Florence Foster Jenkins)
Natalie Portman (Jackie)
With Isabelle Huppert out of contention due to her film's late release, this was pretty expected. I did expect BAFTA to use that fifth spot on their very own Emily Blunt, who was fantastic (my number 1 in Leading Actress so far) in the otherwise terrible The Girl on the Train, but, given they overlooked Charlotte Rampling last year for 45 Years, I couldn't be sure.
The fact that Jackie only has two other technical nominations indicate to me that BAFTA didn't love the film, thus they'll probably give the win to the Yellowfaced Felicia for playing Emma Stone in the Emma Stone Biopic. However, I'm praying for a curveball; Emma Stone doesn't need a BAFTA yet and Amy Adams or Emily Blunt deserve it more. I certainly haven't seen them taking any whitewashed roles.
Best supporting actor
Aaron Taylor-Johnson (Nocturnal Animals)
Dev Patel (Lion)
Hugh Grant (Florence Foster Jenkins)
Jeff Bridges (Hell or High Water)
Mahershala Ali (Moonlight)
What a week Gorgeous Taylor-Johnson is having. A few weeks ago he wasn't in the Oscar race, with most preferring Michael Shannon's work in Nocturnal Animals. Now he has a Golden Globe win under his belt, and his home nation have gotten behind him. I'm not surprised BAFTA nominated ATJ; they liked Nowhere Boy a lot (which is where he met his missus, 50 Shades of Grey director Sam Taylor-Johnson). His acceptance speech at the Golden Globes was very humble and concise and it's clear he loves his wife a lot, which I really adore. Would LOVE for all this momentum to result in an Oscar nomination. His days of being wooden in Anna Karenina are long-forgotten!
The BAFTAs aren't above category fraud themselves, then.
Best supporting actress
Hayley Squires (I, Daniel Blake)
Michelle Williams (Manchester by the Sea)
Naomie Harris (Moonlight)
Nicole Kidman (Lion)
Viola Davis (Fences)
Delighted for Hayley Squires, who is currently fourth in my personal ballot. The food bank scene in I, Daniel Blake was gut wrenching and her acting in it was understated perfection.
The other four ladies on this list are probably locks for Oscar nominations now.
Best original music Arrival Jackie La La Land Lion Nocturnal Animals
Best cinematography Arrival Hell or High Water La La Land Lion Nocturnal Animals
Best editing Arrival Hacksaw Ridge La La Land Manchester by the Sea Nocturnal Animals
Best production design Doctor Strange Fantastic Beasts and Where to Find Them Hail, Caesar! La La Land Nocturnal Animals
So they saw Hail, Caesar, then? Then where's Alden Ehrenreich's nomination for his unforgettably charming, perfectly comedic turn??
Overall, this is... pretty weak stuff. The suspect acting nominations, the category fraud, the shutout for Moonlightin direction and editing, all points to a sweep for Step Up 9: The Emma Stone Biopic in the manner of their massive Golden Globes wins on Sunday. It looks like BAFTAs have tried a wee bit too hard to predict the Oscars, and the results, bar Emily Blunt and ATJ's nominations, utterly, utterly inspiring.
I really hope they throw some curveballs when announcing the winners!
The ultimate date movieGone Girl is on Netflix, which allows me to pore over every shot and admire the precision with which David Fincher bought the novel to life. A touch I particularly liked was displaying Amy's undergraduate and Masters certificates:
Like the scheming eponymous lead, I also hold an undergraduate and a Masters degree. Unlike Amy Wexford Elliot Dunne, however, they're from institutions slightly less distinguished than Harvard and Yale.
All that being said, if my brother succeeds in graduating from Cambridge, then gets his MSc from Oxford or an American Ivy League, then he can consider himself as decorated as Amy!
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I saw The Light Between Oceans yesterday. I thought it was absolutely bloody awful (Light Between Oceans? More like SHITE between Oceans), bloated, over-sentimental, and various characters' actions didn't seem consistent with their personality that they'd exhibited previously. It was even worse than The Place Beyond the Pines, if that's possible.
Although Michael Fassbender and Alicia Vikander both gave strong, affecting performances as the parents who are blighted with miscarriage upon miscarriage, I'm starting to find Alicia Vikander's continual thirst for Oscar glory a little trying. You just won one girl, calm down a bit!
This frustrates me because there's no doubt that Vikander is a great actress (loved her work as the alluring robot Ava in Ex Machina), but I feel her talents would be put to better use if she didn't try so hard. That she won the Oscar this year for her work in The Danish Girl, a film which encompasses the Trifecta of Awards Thirst: Eddie Redcarpet, director Tom Hooper and Alicia, illustrates that begging for awards can reap its desired effect.
Personally, I'm not averse to an actor campaigning relentlessly if I thought they deserved the gold (#YouDoYou), which is why I'm a lot more forgiving to Anne Hathaway for working the awards circuit, hard, in 2013, because she slayed as Fantine.
But it's just a shame Alicia had to win and in doing so, stealing Rooney Mara's Oscar for such a brazenly awards-orientated role of the put-upon supportive wife, as opposed to her more intelligent and restrained performances in Ex Machina or The Man from U.N.C.L.E, performances that were far more engaging and allowed her natural grace to shine, rather than sobbing incessantly, which was all she did in The Danish Girl. I like my Oscar-winning acting turns to come with a bit more nuance.
I do like Alicia (when I saw her first in 2012's Anna Karenina I described her as 'a very pretty Swedish actress'), and those big brown eyes of hers were just made for emoting. And despite The Light Between Oceanscraving awards, it probably won't receive them, as the film has (rightly) been received with muted reception in the US, so graciously, I won't have to resent her more during this year's Oscar season.
But with another Oscar-begging title out next year, Tulip Fever, I'm afraid I'm going to have to brand Alicia Vikander the female Eddie Redmayne in terms of serially appearing in awards-bait. Eddie Redmayne has a less-than-flattering monicker 'Eddie Redcarpet', given in reference to how he played a disabled character and a transgender character, back to back, in order to receive an Oscar win and a nomination, respectively. Alicia Vikander is approaching this level of strategic film choices, and thus, I have no choice but to dub her, Felicia Vikander.
Side note: Alicia wasn't the only one guilty of being a little too keen to win her Oscar this year, as Leonardo DiCaprio and Brie Larson were campaigning endlessly, to the point where it also turned me off Brie (I thought Saoirse Ronan should have won for her majestic performance in Brooklyn). Between those three, they made 2016 the desperate Oscar campaign I'd ever had the misfortune of witnessing. (I love you Leo, but was The Revenant a cold shoot by any chance? You hadn't mentioned).
These three's Oscar thirst was further accentuated when compared to the behaviour of Brit Mark Rylance, winner of Best Supporting Actor, who did zero campaigning, and didn't even show up to BAFTA, the movie award body of his homeland, to accept his gong, because he was acting on Broadway at the time.
So, whilst thirst paid off in Leo, Alicia and Brie's cases, it's encouraging to see that some actors don't feel the need to try so hard, and were happy to let their acting do the talking.
Derek Cianfrance, the director of the sobering romantic drama Blue Valentine as well as the ambitious but ultimately disappointingThe Place Beyond the Pines, both starring Ryan Gosling, has another film out this year, not starring Ryan Gosling. The film in question has a clunky title to rival its predecessor: The Light Between Oceans.
This film is already out in the States but is not released here until November, although it has been given a BBFC rating. It is rated 12A, unsurprisingly, given it got a PG-13 in the States (and as you should know by now, ~90% of PG-13s align to 12As here, and if they don’t, I usually write a blog discussing/questioning why).
The short insight made me cackle, as, if I didn’t know better, I would think the BBFC were throwing shade at the movie’s male and female leads:
The film revolves around a lighthouse keeper and his wife, who discover a baby washed up on the shore. Having grappled with conception and several heartbreaking miscarriages, they decide to raise the baby as their own. The protagonists are played by Michael Fassbender and stealer of Rooney Mara’s Oscar this year Alicia Vikander, who are a couple in real life.
However, the more cynical of moviegoers don’t buy this, and think that their relationship is a Weinstein Company-manufactured showmance, created for the PR of The Light Between Oceans; a belief given further fuel during the BAFTA ceremony this year, when the Kiss Cam centred on them and they refused to smooch. One person believes this showmance theory so much they even have a Tumblr account about it.
I’m undecided about the veracity of the claims on that Tumblr account, and frankly, celebrities’ love lives are none of my goddamn business anyway. But I was tickled by the BBFC insight, and immediately wondered if the BBFC were in their own way, giving a veiled message about how much they bought into the Fassbender/Vikander relationship.
As if describing their sex life as ‘infrequent’ wasn’t bad enough… ‘moderate’, too. Dayum.
(Or, you know, they were just genuinely describing the content of the film and I could be reading too much into three words and need to stop assuming everyone is as Shady McGrady as I am.)
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In other sort of BBFC-related news, when my brother turned 18 this year, I couldn’t resist using it as an excuse to a) give a shoutout to my favourite film certification board and b) plug three excellent films that I'm always hollering at him to watch in order to enrich our level of repartee and inside jokes at others' expense.
Channel 4 pulled a blinder on Sunday night, screening The Wolf of Wall Street, so I forced Tom to watch it, which is good because for the sake of completeness, we’ve watched practically all the Jonah Hill movies together now (minus True Story, but I have zero interest in that film; it looks like a prolonged, failed, Oscar beg on his and James Franco’s part and no one got any time for that. It was gruelling enough having to sit through Jonah’s WoWS co-star beg for his Oscar).
Tom, being the good man that he is, said he enjoyed it a lot, especially given that he’d caught an outdoor screening The Big Short in London last week and found it dry A F. I’m glad his mathematical prowess translates to being able to determine the wheat from the chaff in terms of films about finance, too.
As I’ve said before, several of the clown dude-bros who I’ve had the serious misfortune of going on dates with fancy themselves a kind of Leo in WoWS-type character, so it was funny to watch the film with Tom and delve into the psyche of these clowns (or so they wish).
Next up from that Facebook status, I’ll be bullying my brother into watching Gone Girl, so he can understand the psyche of the woman these clowns have chosen to go on a date with.
I'd planned on doing more blogging during this movie awards season, but I am the worst procrastinator in the world. I've actually done a decent job this year keeping afloat of seeing all Best Picture contenders, so there's still time (quick FYI: I'm championing Carol this year). Once the Oscar nominations get announced, I'll try my darndest to analyse each category like I did once upon a time. But for now, Golden Globe predictions for the awards tonight! Picture – Spotlight Director – Todd Haynes (a girl can dream!) Picture, Comedy – The Martian Screenplay – Spotlight Actor, Drama – Leonardo DiCaprio, The Revenant Actor, Musical/Comedy – Matt Damon, The Martian Actress, Drama – Brie Larson, Room Actress, Musical/Comedy – Maggie Smith, The Lady in the Van Supporting Actress – Alicia Vikander, Ex Machina (or Kate Winslet, Steve Jobs. Difficult to call as AV is a double-nominee and they may not want her to leave empty-handed). Supporting Actor – Sylvester Stallone, Creed Animated- Inside Out Score – Carol Song – See You Again
These are all fairly standard predictions, bar Haynes for director. But he deserves to win; much of the beauty of Carol was thanks to his direction, and I'm praying the star f_ckers at the Golden Globes recognise that!
Adultery. It’s always made for some of the most delicious film, TV and book storylines. Indeed, between 1873 to 1877, Leo Tolstoy used it as the basis of his novel, which he published in eight parts. Joe Wright, always one for a literary classic (Pride & Prejudice, and to a lesser extent depending on how much you rate McEwan, Atonement), adapted this 19th century Russian lit classic to the big-screen.
After scouting across the continent for filming locations, he finally settled for the unusual, somewhat Dogville-esque of having the vast majority of the film filmed on a stage.
The big difference between Anna Karenina and Dogville however, though, is where the latter barely had any set at all, with the locations and props chalked into the wooden floorboard, the set of Anna Karenina, whilst discernibly all a stage, is vast and opulent, with moving backdrops and richly designed interiors aplenty.
The purpose of Wright choosing to having the movie filmed on a stage was because he said that Anna felt like her entire life was “on a stage”, and, indeed, the scenes where she faces society and stylistic touches are added (such as dancing couples freezing into a tableau whilst she dances with Count Vronsky) are certainly very effective indeed.
