Oscar-winner Norbit? I couldn't make this up

Now I didn't bother to see "Norbit," a k a Eddie Murphy's ultra-classy career move directly after getting his first acting Oscar nomination, but believe it or not - if you look deep enough - you'll indeed find it buried in Tuesday's Oscar nominations.

Facing off with the folks behind the maquillage in "La Vie en Rose" and "Pirates of the Caribbean: At World's End" in the Achievement in Makeup category, Rick Baker and Kazuhiro Tsuji have a solid chance of walking away with one of those little statues primarily for, well, putting Eddie Murphy in a fat suit. Sheesh.

In much better news about a much more worthy nominee, cinematographer Roger Deakins has pulled off an impressive double dip that we haven't seen since 1971.

The cinematographer's nominations for "No Country for Old Men" and "The Assassination of Jesse James by the Coward Robert Ford" are the first double in the category since Robert Surtees was nominated for "The Last Picture Show" and "Summer of '42."

Nominated five times previous to this year, Deakins is best known as the primary cinematographer for the Coens, having filmed nine of their movies thus far (and how in the world did he not win an Oscar for the wild look of "O Brother Where Art Thou?"), but among his other various credits you'll also find great flicks like John Sayles' "Passion Fish," Frank Darabont's "Shawshank Redemption" and Martin Scorsese's "Kundun."

This year, his competition comes from (besides himself): Seamus McGarvey for "Atonement," Janusz Kaminski for "The Diving Bell and the Butterfly" and Robert Elswit for "There Will Be Blood."

Of those, I haven't seen "The Diving Bell and the Butterfly" or "The Assassination of Jesse James By the Coward Robert Ford," and "There Will Be Blood" certainly had a singular look to it, but no movie left a stronger or longer-lasting visual impression on me in 2007 than "No Country for Old Men," so here's hoping this artist finally gets the recognition he clearly deserves.

New hope for an end to the strike?

"Ironic" is a term I've tried to stop using too often because I'm fairly certain I use it incorrectly, but it would certainly seem to fit the latest development in the WGA strike.

As the scribes have stood strong in the picket line, the leeches who produce reality TV have jumped into the void with zeal, filling my TV set with simply unwatchable crap. Now, in what can only be called fair play in my book, it seems that in informal talks Tuesday that will hopefully lead to solid negotiations, the writers have dropped a demand to unionize the folks who create reality fare (the fine folks in the animated division apparently got cut loose too, unfortunately.)

And in another hopefully promising development, both sides have agreed to a "news blackout" until some deal can be reached. Now, people, can't we all just get along?

Why is this advertised at my multiplex?

For at least three months now there has been a poster at one of my local multiplexes, the AmStar 16 (or The Grand, or whatever it's called now), for "The Hunting Party," a flick which I've wanted to see for a long time.

So, imagine my surprise when, surveying this week's DVD releases, I found the Richard Shepard flick starring Terrence Howard, Richard Gere and Jesse Eisenberg (of "The Squid and the Whale.") In the serio-comedy, the trio embarks on an unauthorized mission to find the No. 1 war criminal in Bosnia and gets mistaken for a CIA hit squad.

Now, I'm very happy I'll finally get to see this flick, which has just been moved to the top of my (fully stocked, thanks to the readers of this site) Netflix queue, but is it too much to ask that the poster promising its mythic big-screen appearance in Macon be taken down? Peace out.

Oscar predictions: Just how wrong can I be?

On the odd chance that I somehow do get these mostly right, be assured that I did indeed type this in early Tuesday morning, well before the actual nominations were announced on the TV. And though I have no idea which celebrity will help with the announcing, here's hoping it's someone with even a tenth the charm of last year's Salma Hayek (and please, God forbid, not John Travolta in a fat suit and drag.)

So, without further ado, here are my predictions for seven of the top categories, along with, in some cases, which names you would be hearing if I ruled the world.

Best Picture
"There Will Be Blood"
"No Country for Old Men"
"Atonement"
"Sweeney Todd"
"Juno"

If I ruled the world: My picks for the top five movies of 2007, whittled down from the top 10, are: "Into the Wild," "No Country for Old Men," "Once," "Ratatouille" and "The Savages," and as I've stated in this space many times, my imaginary vote would be loudly for "Ratatouille" as the big winner.

Note: Unlike the academy, I always think the directors of all the Best Picture nominees should be automatically nominated for Best Director, so I would predict the nominees will be Paul Thomas Anderson, Joel & Ethan Coen, Joe Wright, Tim Burton and Jason Reitman.

Best Actress:
Keira Knightley, "Atonement"
Helena Bonham Carter, "Sweeney Todd"
Ellen Page, "Juno"
Julie Christie, "Away from Her"
Laura Linney, "The Savages"

If I ruled the world: Marketa Irglova's sublime performance as "The Girl" in "Once" would definitely be on the above list.

Best Actor:
Daniel Day Lewis, "There Will Be Blood"
Johnny Depp, "Sweeney Todd"
James McAvoy, "Atonement"
Denzel Washington, "American Gangster"
George Clooney, "Michael Clayton"

If I ruled the world: It's hard to argue with Lewis, who I'd have to call the prohibitive favorite in this category, but I'd also love to see Emile Hirsch in "Into the Wild," Javier Bardem in "No Country for Old Men"(supporting actor my ass!), Chris Cooper for "Breach" and, yes, why not Micheal Cera for "Superbad" on this list too. Comedies need love too, after all.

Supporting Actress:
Saoirse Ronan, "Atonement"
Kelly Macdonald, "No Country for Old Men"
Ruby Dee, "American Gangster"
Amy Ryan, "Gone Baby Gone"
Allison Janney, "Juno"

If I ruled the world: I think this is easily the strongest category this year, and can't quibble with any of these if they are indeed the nominees. My money would be on Ruby Dee to win, but if there could be more than five nominees I'd love to see Catherine Keener for "Into the Wild" and Jennifer Jason Leigh for "Margot at the Wedding" each get some props.

Supporting Actor:
Hal Holbrook, "Into the Wild"
Phillip Seymour Hoffman, "Charlie Wilson's War"
Javier Bardem, "No Country for Old Men"
Tom Wilkinson, "Michael Clayton"
Paul Dano, "There Will Be Blood"

If I ruled the world: I'd have to predict Bardem will win this one fairly easily, but I'd still say no one defined the role of supporting actor better in 2007 than Holbrook, who just took over "Into the Wild" for the short time he was on screen. I would also nominate Robert Downey Jr. for "Zodiac" and, heartily, Peter O'Toole for the voice of Anton Ego in "Ratatouille."

Adapted Screenplay:
"There Will Be Blood," Paul Thomas Anderson (novel by Upton Sinclair)
"No Country for Old Men," Joel & Ethan Coen (novel by Cormac McCarthy)
"Atonement," Christopher Hampton (novel by Ian McEwan)
"Into the Wild," Sean Penn (novel by Jon Krakauer)
"Kite Runner," David Benoiff (novel by Khaled Hosseini)

If I ruled the world: Though it won't happen, I'd love to see some love for Marjane Satrapi and Vincent Paronnaud for adapting Satrapi's graphic novels into the fine flick "Persepolis."

Original Screenplay:
"Juno," Diablo Cody
"The Savages," Tamara Jenkins
"Michael Clayton," Tony Gilroy
"American Gangster," Steven Zaillian*
"Waitress," Adrienne Shelly
* This was actually adapted from a newspaper article by Mark Jacobson, so may not qualify in this category.

If I ruled the world: A final plea, sure to fall on deaf ears, for some recognition for "Ratatouille," here for the often-magical script by Brad Bird.

And there you have it. I'll update this today if I have time, but if not, please feel free to add your two cents in the comments, and believe me, no amount of venom for the Academy is forbidden today. Peace out.

Atonement: The power of secrets and lies

Before diving any further into Joe Wright's often very challenging movie about the novel by Ian McEwan, let me predict that you will hear the word "Atonement" more than any other when the Oscar nominations are announced Tuesday morning. That's not really an assessment of how much I liked the movie (which I mostly did), just an observation about what we can expect very soon (and why, of course, it was given a not-at-all-coincidental wide release this week.)

If I was unable to fall in love with the movie, that fact comes from the built-in structure of both the novel and the flick. I won't spoil the major twist, which feels perfectly natural in McEwan's book but a little forced at the end of a two-hour movie, but I will say that by design it gives a remoteness to the love story at the tale's core (the love story which, of course, gives them a double dose of movie-poster eye candy with Keira Knightley and James McAvoy, even if this movie in so many ways belongs to young Saoirse Ronan as Briony Tallis.)

The movie is at its strongest in the first 45 minutes or so, when Wright almost perfectly captures the atmosphere that nurtures all the best and worst aspects of Briony's budding creativity. Though the almost constant clacking of typewriter keys turns into a gimmick far too quickly, it's easy to see how she could be led to (willfully?) misinterpret what she saw one evening at the manor house where she was raised, an act of betrayal which will permanently alter the lives of her sister Cecilia (Knightley) and Robbie (McAvoy), the son of a family servant who lusts for Cecilia (and, in particular and understandably, a certain part of her anatomy.)

I don't want to give away any more than that, because much of the magic of this opening portion comes in discovering through whose eyes you're watching it all unfold. At its best, in particular with the closing shot of Robbie returning home with the defiant twins in tow, it's as good as and strongly invokes Jean Renoir's "Rules of the Game."

It's at this point, when the flick shifts to the wartime lives of Cecilia, Robbie and Briony, that it develops a rather severe distance (again, much of that can be credited to what we learn at the end, but I stlll found it to be a drag on the viewing experience.) There's just, as hard as Knightley and McAvoy tried, a lack of passion to the tale that prevents you from growing more attached to either of them, or to Briony (who will be played by two more actresses as the story continues.)

Which isn't to say there aren't some stunning visual sequences in the second half, particularly the five-minute-or-so scene on the beach at Dunkirk, where Robbie and two of his fellow soldiers arrive in pretty rough shape. It's probably the most impressive set piece of 2007 (though I still prefer the arrival of Remy in the kitchen at Gusteau's in "Ratatouille"), and rivals what Alfonso Cuaron put together at that burned-out building in "Children of Men.") Just as an aside, I was waiting to see if Wright would let the black soldier in their ragtag group have any lines at all, which made me laugh way louder than I should have when he finally gets to utter his two-word, dead-on assessment of their rather dire straits.

In all, I would urge that you don't let any of my qualms let me stop you from seeing this fine flick, the kind of satisfying fare for adults (an impressive 50 or so of whom turned out for my 11 a.m. showing Friday morning) that we just don't get often enough for me. And as far as the Oscars go, it hopefully sets up a great battle royale in the category of Best Supporting Actress between Amy Ryan for "Gone Baby Gone," Kelly Macdonald for "No Country for Old Men" and young Ms. Ronan for her superb work here (and hopefully an appearance from Allison Janney for "Juno" too.) My heart's with Macdonald and my money's on Ryan, but I wouldn't count out Ronan either if "Atonement" goes on the awards roll I'm expecting.

And now, if you'll excuse me, I have some bills to pay, some grocery shopping to do and then a John Sayles (huzzah!) movie to watch at my local multiplex. Peace out.

Tyler Perry's ready to cross the color line

The big news out there today, of course, is the Directors Guild of America has reached a contract deal with the studios that averts any possibly labor action that could have come in June. In it, the helmers got much of what their writing brethren have been on the picket lines for for about six months: A new way of being reimbursed for digital downloads of their work.

I don't fully know the details of this, which is really above my pay grade (which is zero), but it can't be anything but good news. I have to assume the writers will come into the fold soon if they're given a similar deal, and maybe TV will be saved after all (and David Milch, as you'll find out below, will have a lot to do with that.)

The only question I had yesterday was this: Were the studios so quick to deal with directors but not writers because of a serious lack of respect for the written word? Given the unscripted excrement that the TV networks quickly scooped up to fill the void I have to believe this is the case, and if so the wounds may well fester long after the strike has ended.

But enough of that. There are three potentially good movies, "Atonement," "Cloverfield" and "Honeydripper," opening in Macon this weekend, and lots of other news to talk about, starting out with, thankfully, Tyler Perry.

His next flick, "Meet the Browns," sounds like standard Tyler Perry fare, not an insult just an observation. In it, Angela Bassett (huzzah!) plays a single mother who takes her clan back to her Southern hometown for the funeral of the father she never knew, where she will surely meet a lot of colorful characters (including Madea.) Tyler Perry movies were just made for reunions like this.

It's with his next project, however, that things could really get interesting. Jennifer Hudson is about to sign on to star in "Tyler Perry's the Family that Preys," which will make his sixth flick for the Lionsgate studio. Sanaa Lathan, Kathy Bates, Alfre Woodard and Rockmond Dunbar have already signed on.

And now, for our SAT style question of the day: Which of those names doesn't fit? I you guessed Kathy Bates, take your gold star. The flick is described as being about "two families from different sides of the tracks that become intimately involved in love and business."

That would be one black family and one white family, along with being one rich and one poor. I sincerely wish that weren't such a revolutionary concept, but how many white directors can say they've directed a drama in which up to half of the characters are black? Tyler Perry certainly didn't have to cross the color line, but he's shown himself to be nothing but savvy about business so far, and this just makes sense, but why it doesn't for a lot more people will always be just a bit beyond me.


"Deadwood" fans rejoice: Milch is officially back on HBO

In spite of the one-season-only run of "John from Cincinnati," David Milch, the creator of "Deadwood," is definitely now ready to move on with HBO (which I now pay for to watch "The Wire," so huzzah!)

Milch, one of the main masterminds behind "NYPD Blue," will return to familiar territory for "Last of the Ninth," a gritty drama set in the New York Police Department in 1972.

"It is about an older detective's mentoring of a young detective returned from Vietnam in a department fiscally crippled, under attack by revolutionaries, and which has been brought by allegations of systemic corruption into public disrepute," Milch told the Hollywood Reporter.

So, when will we ever get to see this goodness? Production will begin when the writers' strike ends, so please folks, settle this thing soon.

I know the kids rule the world, but ...

I was ready to skip over this one entirely because, of course, I'm far too old to concern myself with what Zac Efron may or may not be doing. I had to read to just about the bottom of this story, however, to get to the actual good part: The return of Richard Linklater.

Efron will indeed star in and Linklater will direct "Me and Orson Welles," what actually sounds like a pretty cool story from the novel by Robert Kaplow. Set in 1937, it's about a high school student (Efron, natch) who happens upon the yet-to-open Mercury Theatre and lands a bit part in "Julius Caesar," the production that would bring international acclaim to Mr. Welles, who will be played by newcomer Christian McKay.

Making this a Linklater family affair, the script was penned by Holly Gent Palmo, a production coordinator on "Dazed and Confused," and Vince Palmo, first assistant director for many of Linklater's flicks.

There's some other cool stuff out there today, but I have to wrap this up now if I'm gonna make it to the movie theater in time to watch "Atonement" before I have to go to work. Peace out.

A John Sayles movie in Macon? Bring it on!

It seems like forever since I've bothered to review a movie in this space, and there are valid reasons (beyond the most obvious one - sloth.)

Mainly, still not being paid to do any of this, I don't bother to see movies that I know, even before the credits start to roll, I'm going to hate. That usually makes January a very bleak month for me, but this weekend there are actually three that at least slightly peak my interest in Macon, and I'm gonna review them all in this space, starting Saturday (with a day off Monday, probably, for Oscar predictions.)

First up is "Atonement," based on the simply fantastic novel by Ian McEwan. If you haven't read this, I can't recommend it highly enough. Even if, as the always reliable DC Movie Girl says, there is a bit of remoteness to the love story at the movie's core, I'm still confident I'm just gonna fall in love with this one.

Second, but the one I'm least looking forward to, is "Cloverfield." This feels like more of an obligation than anything else, and here's why: With apologies to my friend Chris Stanford, who rather excitedly dragged me to see "The Blair Witch Project" way back when in D.C., I simply hated that movie to its core (and didn't really make that clear immediately, so as to not ruin Mr. Stanford's day.) I could be wrong here, but from everything I've read so far, "Cloverfield" sounds like the same kind of animal: A gimmicky "monster" movie with tons of hype and very little payoff. Here's hoping I'm somehow wrong.

And third, in a real surprise, we're getting a John Sayles movie here in Macon this weekend, at the Regal Rivergate 14. How is this possible? Well, I have a strong feeling that some enterprising students at Clark Atlanta, Florida A&M and other traditionally black colleges are to thank for this. In a "Business of Film" seminar last fall, these lucky students had as their main project to come up with a marketing scheme for Sayles' movie "Honeydripper," which thankfully involves getting it into Southern markets like my little corner of the world. A hearty huzzah to them!

As for the movie itself, well, I passed on seeing it in New York because it looks more than a bit like a Disneyfied view of the South, and specifically the advent of electric blues. Even with those fears in mind, a great, mostly all black cast and the Sayles brand are enough to guarantee I'll turn out for this one now in Macon, most likely Sunday afternoon.

I've always had more than a little soft spot for Sayles because he always seems to do exactly whatever he wants to and because his movies, even when flawed, just have an earnestness to them that is sorely lacking in most of our big-screen fare. Also, his funky and fun "Brother From Another Planet" came along at just the right time in my life to show me there were all kinds of movies out there, if you bother to look hard enough, and for that I'm eternally grateful.

So, in honor of "Honeydripper" and the man himself, here are my seven favorite John Sayles-directed movies (he's actually helmed, written or starred in a lot more than these, including directing at least three music videos for Bruce Springsteen: "Born in the U.S.A.", "I'm on Fire" and "Glory Days".) And, for once, this list is indeed in order of how much I like the movies, but they're all well worth a rental, if you can find them. Here goes:

1. Passion Fish
On the surface, the plot for this one makes it sound like the worst kind of Hallmark tripe, but it's actually one of my all-time favorite Southern movies and a moving look at an odd relationship (everything, in short, that "Driving Miss Daisy" wanted to be but clearly wasn't.) In it, Mary McDonnell plays a former soap opera star who finds herself confined to a wheelchair after an accident, and Alfre Woodard is the only nurse she can stand to have around her back home in the Bayou. David Strathairn even turns up in this 1992 flick to pitch a little woo (if you haven't seen this one, you'll just have to believe me that it's much better than I'm making it sound here.)

2. The Secret of Roan Inish
This odd little "children's" movie actually showed for about a month ago for two weeks at the Cox Capitol Theatre in downtown Macon, and it was just as good as I remembered it being. The Irish fairy tale, based on the Rosalie K. Fry book "The Secret of Ron Mor Skerry," about the magical seal island is just one of my favorite tributes to the power of imagination.

3. Lone Star
Directors just seem to love the task of juggling multiple story lines. Many (Robert Altman, Quentin Tarantino and Alejandro González Iñárritu among them) have succeeded but at least as many (Stephen Gaghan ["Syriana"] comes to mind, at least in my estimation) have failed. Sayles pulls it off with style in "Lone Star," which weaves the stories of many people, played by Kris Kristofferson, Matthew McConnaughey, Elizabeth Pena, Chris Cooper, Joe Morton and many others, into one intriguing piece that sets you right square in the heart of Texas.

4. Sunshine State
This is one of Sayles' angriest and yet also funniest movies, and while its probably more than a little too preachy for its own good, it hit me at just the right time. I had just been to visit my brother in south Florida, where he was toiling for an alternative weekly in Fort Lauderdale, so I could attest that everything Sayles has to say here about real estate developers none-too-slowly killing the state of Florida is dead-on.

5. Brother from Another Planet
Like I said earlier, this one came along at just the right time to show me there were many movies beyond my local multiplex, and despite its clearly low-budget look, a recent reviewing showed that, for me at least, it's sly commentary on immigration stands up well over time. I still smile every time I see Joe Morton's name appear in movie credits, and when I was 15 years old or so I thought that scene where he pulls out his eyeball to spy on the bad guys was just about the coolest thing I had ever seen.

6. Matewan
Chris Cooper may not have gotten mainstream acclaim until his turn as Marine Col. Frank Fitts in "American Beauty," but he's yet to ever put in a better performance than he did as the union organizer Joe Kenehan in this flick about a coal mine-workers' strike and attempt to unionize in 1920 in West Virginia (just Cooper's second big-screen acting credit.) The labor movie is now just about a dead concept in America, but if you ever want to see just how powerful they once could be, you could do a whole lot worse than this Sayles flick.

7. Eight Men Out
Without taking a hard look at the figures I'd have to assume this 1988 flick about the 1919 Black Sox scandal is probably the Sayles movie that's made the most money. It works so well because it's not only a solid historical document, but also shows that Sayles, like me, has an undying love for baseball, even with its many clear problems.

And there you have it. Feel free to check back starting Saturday for reviews of, probably in this order, "Atonement," "Cloverfield" and "Honeydripper." Peace out.