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  August '08


   

Could “Avatar” Win Best Picture?

By Brett Hogan

 

Last week, the trailer for James Cameron’s sci-fi experiment “Avatar” debuted. While initially unimpressed with the teaser, I began to wonder: Could this film win best picture? 

 

Buzz has been generating for this movie for years. Years. The technology to make this movie didn’t exist when Cameron conceived it, so he invented it. When is the last time you heard of a director spearheading the invention of anything? The casting started in 2005. Most movies these days, even epics, are done in half that time. I could go on. 

 

The most important thing to take away from all of this is that people are saying this will be the future of movies. Now, I don’t agree with the idea that CGI will become more prevalent than it already is. But I do believe that this will set the bar miles higher for sci-fi. I mean, that is what Titanic did. And that won some awards if memory serves.

 

I’ll bet you’re asking yourself, how can you even suggest that a film like this will win Best Picture when the initial trailer was nothing better than visual stimulation? Well, there are a couple of reasons. First, the Academy has expanded Best Picture to ten films. This doesn’t guarantee anything other than improved chances for most films on the cusp.

 

Second, after last year’s Oscars debacle, which saw the best film of the year, “The Dark Knight,” not only get shafted in awards but nominations as well, the Academy is pulling out all the stops to appease those with the loudest voices in the film industry, the fanboys. Now, the Academy probably didn’t lose anything because of that other than some viewers of the award show. Perhaps if people are again outraged with the winners or nominees, the heads of the Academy would lose their jobs. So this is all about the Academy protecting itself, which is not so outrageous.  

 

 

Third, there is an economic motive here. I’ve heard this film will cost $190 million, not counting the R&D costs associated with Cameron’s inventions or the cost of getting 3-D cameras into every theater in the country. The Academy will do everything in its power to get people into the seats and make this the next “Titanic” or “The Dark Knight.” But the Academy doesn’t have much power, besides nominating and awarding, so they will slap the “Nominated for Best Picture” moniker onto every commercial and print ad to get the people who didn’t believe the critics to relent and see this movie.

 

Of course, all of this is pure conjecture, and no revolutionary film (Terminator 2, Jurassic Park, etc.) has ever won the Best Picture category because it changed the game. Except maybe Titanic. But still, could this movie actually win? My answer is no but a nomination is certain and who knows what could happen from there. We’ll know more come February 2010.


   

Gilroy Fixes up an Excellent Thriller
 
By Bob 11/24/2007
 
In Tony Gilroy’s legal thriller Michael Clayton, George Clooney stars as the titular character that becomes engulfed in the aftermath of a coworker’s maniacal outburst. The film depicts several characters who are affected by an ongoing class-action lawsuit, and who must deal with the ramifications of their actions. Characters are at the center of this story, and they are meticulously brought to the screen by Clooney, Tom Wilkinson, Tilda Swinton, and Sydney Pollack. 
 
Clooney portrays Clayton as the troubled lawyer who must do whatever it takes to solve the problems of his firm. Clayton’s position as the firm’s fixer is one which nobody really seems to understand, but the firm highly values. When he enters a room of lawyers, he commands it, but as the viewer soon discovers his personal life is in shambles. He is disconnected from his son, is gambling excessively, hates his job, and has mounting debt from a failed restaurant venture. However, Clayton has talents nobody else has which allow him to help the firm’s clients get of of problems.
 
Setting the plot in motion for Clooney’s Clayton is Arthur Edens (portrayed fearlessly by Tom Wilkinson). Edens is one of the senior litigators for the firm, which makes him go crazy when he must defend a chemical company that is clearly guilty of endangering many people (by doing what we are never really certain). Eden’s insanity allows him to say the things that Clayton only wishes he could say; it gives him complete freedom in the vicious corporate world. Wilkinson’s performance here is definitely the highlight of the film, as the audience is sucked in to his terror, his sorrow, and his desire for something greater out of life. 
 
The third major player in this story is corporate climber Karen Crowder (Tilda Swinton). Crowder is the lawyer for the corporation Edens is representing, the one which causes him to go crazy. She is prepping herself for a big promotion within the company, and will do anything to make sure that the pending lawsuit does not get in the way of her success. Swinton portrays Crowder excellently as the consummate professional in front of others, but as a person who clearly is having a moral crisis over the things she must do to get ahead in the company.
 
While the pacing might at times be slow, Gilroy brings the three characters together exceptionally to create an interesting critique on the effects of American corporatism. There is a perfect amount of confusion throughout the film to leave the viewer always at the edge of their seat, but never lost within the plot. In the end, it all comes together and the viewer is left to contemplate the implications of what happened.  Each character has unique motivations and a unique perspective which, when brought together, paint a horrifying picture of what happens to these lawyers as their lives slowly eat away at their souls. I give the film 9/10 salty stix, and highly recommend it.