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Category: Culture

Kirk sings

You ought, perhaps, to be watching Boston Legal.

Yeah, it’s a David Kelley show. He’s flashy and he goes for the cheesy drama too often and he allows his shows to slip into the precious. What’s worse, this one co-stars William Shatner, the very avatar of kitsch. Can the acting stylings of James Spader overcome these handicaps? Surely not.

But yes, because it’s fucking brilliant. Let me tell you about last Sunday’s episode.

The key plotline all season has been the relationship between Spader and Shatner, both lawyers; Shatner is a partner at the firm. He is becoming senile; the other partners are worried about the effect this will have on the firm, but Shatner is also the best rainmaker they have, so they can’t push him into retirement, and as a partner he can’t be stopped from taking cases. Spader is his only ally, and clearly his closest friend.

Last episode, Shatner took a case on his own, forgoing any assistance so as to prove a point to the partners. (Rene Auberjonois and Candice Bergen, by the by, who are quite good as always.) Spader, at the behest of the partners, asserts himself as second chair and flatters Shatner’s ego until he gives in. They’re defending a doctor who prescribed an unapproved weight-loss medication in order to keep his patient from dying of a coronary. Shatner does a great job, a surprisingly great job, of defending the client.

Then it’s time for his closing. William Shatner stands up, and braces himself, and tells the jury that he is at risk for Alzheimer’s. And then he looks down, and he’s embarrassed, and he pushes his way through it. He tells them that they wouldn’t know what it’s like to be losing it, to be slipping. He meets their eyes and you believe that it’s only because he has to. He tells them about the unapproved prescription drug he’s been taking, and how it feels to get your memory back. He finishes and walks away both relieved of a burden and weighed down by a new one, a burden he has taken voluntarily. It was great acting, lifted above the merely good by the conscious appropriation of Shatner’s typecasting. You come into this show expecting Shatner to play an aging egotistical goofball, and Shatner quietly works from that base to show you how much more there is to the character he’s playing.

It’s going to get too cute for its own good in a season or two, because it’s a David Kelley show and that’s how these always go. It’s almost too cute right now: Al Sharpton’s been a guest star twice, playing himself both times. But man, those first seasons? Those are always a rush, and this one has James Spader and William Shatner, and the older man is focused like a laser on the job of burning away everything we always laughed at about him. And he’s using his own reputation, his own myth of whimsical senility to do it. I’ve never seen anything quite like it.

It's a boring envelope

The Oscar nominees have been announced. My reaction is, as usual, lukewarm. From the top (of the page):

DiCaprio did not deserve a Best Actor nod. Jude Law might have. Bill Murray might also have, but I didn’t expect anything there — the Academy seemed unlikely to recognize his work twice in a row. You only get one quirky nomination per decade, or something. Paul Giamatti, however, is the big slight. What’s up with that? My choice would be Clint Eastwood, but if Giamatti had been nominated it’d have been a tough choice.

Alan Alda for Best Supporting Actor? Uh. Also, Morgan Freeman? Uh. This is just the halo effect; the Academy likes giving the hot films lots of nominations. Peter Sarsgaard deserved a nomination for Kinsey. I give this one to Clive Owen either way, though.

As I’ve mentioned before, Natalie Portman should have been nominated as Best Actress, not as Best Supporting Actress. That’s purely people not wanting to piss off Julia Roberts. Laura Linney also deserved a nomination for Kinsey. If Portman had been nominated, she’d be my choice; failing her, I think Kate Winslet, but I have no strong opinion.

If Natalie Portman had been nominated for Best Actress, Cate Blanchett would be my choice here; as is, Portman will win and probably deserves to win. It’s an immensely strong category, though. Hey, there’s Laura Linney! I couldn’t really object to any of the nominees winning; this is a very strong group.

How cute. They nominated Shark Tale to fill out the Best Animated Feature group. Incredibles will win and should win.

Art Direction, Cinematography — I think these are deserved for The Aviator. It looked incredible.

Directing, um. Nothing for Gondry? How about Brad Bird? Although there’s a long argument to be had about animated feature directors; in some ways it’s apples and oranges. But it’s tough, directing an orange, so I tend to think Bird deserves a nomination here. Of the nominees I’m hard-pressed to choose, but I guess either Million Dollar Baby or The Aviator. I thought the latter was directed well; the problems come from DiCaprio’s acting and the meandering screenplay. But the Best Director of the year was Richard Linklater, for Before Sunset, an absolutely outstanding achievement.

No opinions on some of these… The Aviator again for Film Editing. No, wait, Collateral is nominated. That was awesome. Actually, where’s the Collateral nomination for Cinematography?

Hm — ah, Last Life in the Universe was submitted for the 2003 Best Foreign Lanaguge Oscar and, regrettably, was not nominated. Hero was nominated in 2002. And didn’t win. Man, those Academy voters are dorks.

I wouldn’t give Best Picture to any of the nominees. Admittedly, I didn’t see a couple of them, so what do I know? If I had to choose, it’d be Million Dollar Baby, but I don’t see how Closer wasn’t a better film.

Since when is Before Sunset an Adapted Screenplay? Weird. Give it the win in this category, especially since I’m not enthralled by any of the other nominees as screenplays. Too many structural flaws. And, again, where’s Closer?

And finally, I would just barely choose The Incredibles for Best Original Screenplay over Eternal Sunshine. It’s a very close call. Move Before Sunset to this category, and I throw my hands up and declare a three-way tie.

Stoneface

For my birthday, I got the amazing Kino Buster Keaton boxed set. 11 DVDs, 11 movies, 20 short features, and a ton of archival material. Much of yesterday was spent in front of the television basking in it.

And lemme tell you, Keaton was one ironic fellow. The Playhouse has him playing every single role in a stage company, plus the audience, with as many as nine Keatons on screen at once. Being Buster Keaton, indeed.

Uncanny

In the lobby of the Lowes Harvard Square today, while waiting for Million Dollar Baby, I saw the following two posters side-by-side, much like they are below if your browser window is quite large.

Constantine poster Batman Begins poster

Both these movies are distributed by Warner Brothers. They’re both comic book adaptations. They ought to both appeal to a similar audience. What are the execs at Warner Brothers thinking? This is why Marvel-based movies are on a fairly strong run, while DC-based movies are not.

Next up

Bill Condon’s next movie will apparently be Dreamgirls. I’m quite happy that I won’t have to wait another six years for his next. It’ll be a remake of the stage musical, which I know nothing about; the storyline isn’t terribly compelling to me. But hey, it’s Condon.

2004 vision

Screw it — while there are three or four 2004 movies I want to see that I could see if I was willing to delay this puppy another couple of weeks, I’m gonna go with what I’ve got. The rules, as per last year:

This is the list of my ten favorite movies of 2004. I didn’t see every movie I wanted to see, so I can’t claim it’s the ten best movies of 2004. I’m also being a little liberal about foreign flicks; if it was made in 2003 but was released in the US in 2004, or if it hasn’t been released in the US yet but I saw it in 2004, I’ll count it as a 2004 movie within reason. E.g., Days of Being Wild was released in the US in 2004, but was made in 1991, so it doesn’t get on the list.

Without further ado, the lists, not in any order: 30 movies plus a special mention for a 2003 flick of rare quality.

Sine Qua Nons

  • Closer: they say there’s a new cruelty in the arts, but if you ask me this sort of thing is as old as the movies. I loved Closer for being pure and elegant and unrelenting, not to mention for the acting.

  • The Life Aquatic with Steve Zissou: Wes Anderson continues to make the movies he wants to make, and I continue to love them. Everyone’s talking about Bill Murray, but has anyone else noticed the way Jeff Goldblum is quietly slipping away from his typecasting back into indie film?

  • Kinsey: fearless and ballsy and committed. This was the movie which struck me as being the most personal directorial statement of the year.

  • The Incredibles: Pixar transcends animation by virtue of the decision to bring in the remarkable Brad Bird. It’s a great movie not because of the marvelous CGI, but because of the story and the voice acting and the perfect production values.

  • Gozu: Takashi Miike made a movie about growing up and being a son and all that kind of thing; it just happens to be phrased as a surrealistic yakuza movie.

  • Last Life in the Universe: “Hi, we’re from Thailand and we would like you to pay attention to our cinema.” It convinced me. If it hadn’t been for Hero, this would have been the most beautiful movie of the year.

  • Zatoichi: Kitano deconstructs the classic Zatoichi story with gleeful abandon. His use of sound to echo Zatoichi’s perceptions of the world is icing on the cake.

  • Eternal Sunshine of the Spotless Mind: in a year full of surrealism, this movie won. There’s a richness to the story that comes from the surrounding characters; Joel and Clementine wouldn’t be all that they were if it hadn’t been for Patrick and Mary and Dr. Mierzwiak.

  • Before Sunset: my review is coming, but until then, I’ll just say that this was the perfect companion piece to Closer — I want to show a triple bill with Before Sunrise, Closer, and Before Sunset. The technical skill it took to make a movie that a) was tightly scripted, b) exists in real-time, and c) appeared so spontaneous amazes me.

  • Hero: questionable politics, yes; it’s still a movie that took the vocabulary of wuxia movies and used it to create an art film. An audacious reconstruction of the martial arts genre.

How Could I Miss

Million Dollar Baby? Cause it hasn’t released wide yet. Finding Neverland? I’m just a little wary of biopics, even though I shouldn’t be. Goodbye, Dragon Inn? Sheer inertia. When Will I Be Loved? Cause I didn’t hear about it, damn it, which pisses me off. The Saddest Music in the World? Came and went too quickly. Infernal Affairs? Fell asleep the one night it played in Boston. Hotel Rwanda? Another late opener. We Don’t Live Here Anymore? And I claim to be a fan of Peter Krause. Purple Butterfly? Hasn’t opened in Boston yet, but it’ll be eligible for next year’s list. I’ll Sleep When I’m Dead? Another one that slipped under my radar.

But now I’m depressing myself. Time to talk about more movies that I actually saw.

Best of the Rest

Honorable mentions go to Shaun of the Dead, which I never reviewed but which perfectly married comedy and zombies; Spider-Man 2, which combined with The Incredibles and Hellboy to create the best superhero movie year ever; Sky Captain and the World of Tomorrow, which will never be less in my eyes than a perfect evocation of pulp as it was; House of Flying Daggers, which nearly beat out Hero for the top ten list; Garden State, which I just enjoyed; Sideways, in which a flawed story was mitigated by some of the very best acting of the year from an unexpectedly good cast; Kill Bill, as a whole, because I can’t really consider either of the two movies complete without each other; Collateral, which should be shown as a double feature with To Live And Die In L.A.; and Spartan, for Val Kilmer and David Mamet.

Special mention to Fog of War, which didn’t open wide until 2004 but which was a 2003 movie. It deserves to be on one of my top ten lists.

Ooops slipped

I liked Lemony Snicket’s A Series of Unfortunate Events more than I thought I would, for several reasons. First, Jim Carrey played a role which a) allowed him to stretch out and use his immense gift for physical comedy in a way which served the movie, rather than detracting from it. By my count he hasn’t been able to do that since 1997, in Liar Liar, which is a borderline success; really the only time before this that we’ve seen a perfect match of gift and role is The Mask. But in Unfortunate Events, Carrey’s playing an actor and it’s a surrealist world anyhow, which means that his mugging is in perfect tune with what you’d want him to be doing.

Second, the kids are charming.

Third, it is a quirky kid movie without Danny Elfman music. I like Danny Elfman but it is time we branched out in our choices for soundtracks for quirky kid movies. Thomas Newman, the composer, has a nice career that is not restricted to the quirk and I loved his score for this one.

Fourth, Luis Guzman cameos. So does Dustin Hoffman.

Fifth, there are aspects of genuine tragedy to the movie which are not quickly papered over. People die. It’s grim!

I think that about covers it.