Funnier than the Oscars! Do you want to F&#@ Ben Affleck? Jimmy Kimmel does!

So here's a little post Oscar video of fun. Watch it for yourself. Discuss.

And the Oscar goes to....

Real quick. Here's the Oscar winners, because I have way more coverage to do. Over all I think the show was pretty lackluster. Though you can't blame it on its time. The montages were forced. Not too many stars showed up who weren't nominated or associated with the films or presenting. For this they rushed the strike? This is the one big show of the season? Well at least there were quality films up. Oh well. ONCE won best song!!!! Yeah! I need to do a write up for that film.


Best Picture - No Country for Old Men
Best Actor- Daniel Day-Lewis
Best Actress- Marion Cotillard
Best Supporting Actor- Javier Bardem
Best Supporting Actress- Tilda Swinton
Best Director- Coen Brothers
Best Original Screenplay- Daiblo Cody
Best Adapted Screenplay- No Country for Old Men
Best Cinematography- Robert Elswitt
Best Editing-Bourne Ultimatum
Best Art Direction- Sweeney Todd
Best Costume Design- Elizabeth: the Golden Age
Best Makeup- La Vie en Rose
Best Score- Atonement
Best Original Score- Once
Best Sound- Bourne Ultimatum
Best Sound Editing- Bourne Ultimatum
Best Visual Effects- The Golden Compass
Best Animated Feature- Ratatouille
Best Foreign Film- Die Falscher
Best Documentary- Taxi to the Dark Side
Best Documentary Short- Freeheld
Best Animated short- Peter & the Wolf
Best Live Action Short- Le Mozart des Pickpockets

Oh, and for those who missed it, here's Best Song, "Falling Slowy" from Once by Glen Hansard & Marketa Irglova .

The Truth is Right Here, possibly for a limited time

So what we have here is someone video taping the X-File 2 trailer they saw at Wondercon.







First reactions? Well, not going to lie, the sight of Mulder and Scully at it again makes me very, very happy. And, they both look really good (that's not just my crush on Gillian Anderson going for you). Also Billy Connolly? Sweet! And all X-Files andventures are better in the snow, expect when Scully somehow miss the freaking Titanic sized spaceship abocve her in the first film.

I'm trying to keep myself on the outside of this one, so I can just go in and watch the movie clean. The X-files always holds a place in my heart, and while the later seasons took it down a notch, there are at least 4 seasons of thorough asskickery for me to enjoy.

July 25th 2008 people. Mark you calenders X-Phillies.

Oscars 2008 or How They Learned to Settle the Writer Strike So There Would Be a Red Carpet

So it’s that time of year again, when glistening gowned starlets and well tuxed leading men come together for one, five-hour extravaganza that is the Oscars. Well, hopefully not five hours. I’ve loved watching the Oscars since childhood. It was always kind of a family event. A film geeks Superbowl. As I’ve matured, and now have actually seen most of this years nominees, speculating on who will walk away with the gold man is some good fun. Since the Oscars are a very political affair (featuring such things as the “We Owe You” rule W.O.Y ie. Russell Crowe winning for Gladiator the year after he should have won for The Insider; Marty winning for The Departed instead of Raging Bull, and so on) I like to break down my picks into the standard Will Win and Should Win, which aren’t always necessarily the same thing. The following are my picks on limited categories denoted by color, with some explanation. In the event of a Will/Should similarity the winner will be Yellow. I’ll have the winners updated Monday. Here’s hoping I win the office pool.







Best Motion Picture of the Year

• Atonement-Tim Bevan, Eric Fellnwe, Paul Webster
• Juno-Lianne Halfon, Mason Novick, Russel Smith
• Michael Clayton- Sydney Pollock, Jennifer Fox, Kerry Orent
• No Country For Old Men- Ethan Coen, Joel Coen, Scott Rudin
• There Will Be Blood- Paul Thomas Anderson, Daniel Lupi JoAnne Sellar

While I would love to see PT Anderson win (W.O.Y for Magnolia) I highly doubt it is going to happen. Though he’s my solid number two. Atonement was the foreign press (Golden Globes) little darling, and I think it will get snuffed here maybe picking up Costume and Score. That leaves safe bet and awesome film No Country the clear winner.


Best Performance by an Actor in a Leading Role

• George Clooney for Michael Clayton (2007)
• Daniel Day-Lewis for There Will Be Blood (2007)
• Johnny Depp for Sweeney Todd: The Demon Barber of Fleet Street (2007)
• Tommy Lee Jones for In the Valley of Elah (2007)
• Viggo Mortensen for Eastern Promises (2007)

Nice crop of talented and deserving actors, but Daniel Day-Lewis (literally) pummels the competition to be drinking his milkshake holding a little gold man. Nuff Said.


Best Performance by an Actress in a Leading Role

• Cate Blanchett for Elizabeth: The Golden Age (2007)
• Julie Christie for Away from Her (2006)
• Marion Cotillard for Môme, La (2007)
• Laura Linney for The Savages (2007)
• Ellen Page for Juno (2007)

Marion Cotillard, who won the Golden Globe, clearly deserves this one. However Julie Christie fans cried foul and we might see her get it here. Dark Horse, Ellen Page if they want to push her as a hot new talent.


Best Performance by an Actor in a Supporting Role

• Casey Affleck for The Assassination of Jesse James by the Coward Robert Ford (2007)
• Javier Bardem for No Country for Old Men (2007)
• Philip Seymour Hoffman for Charlie Wilson’s War (2007)
• Hal Holbrook for Into the Wild (2007)
• Tom Wilkinson for Michael Clayton (2007)

Any other year, Tom Wilkinson would have this locked. Too bad Bardem cattle gunned his chances in the head. Hoffman had his gold man with Capote. Affleck might get it, but I’m betting he’ll be returning with a win in years to come. I love Hal Holbrook, but he’s just happy to be there. Winner: Bardem, and rightfully so, friendo!


Best Performance by an Actress in a Supporting Role

• Cate Blanchett for I’m Not There. (2007)
• Ruby Dee for American Gangster (2007)
• Saoirse Ronan for Atonement (2007)
• Amy Ryan for Gone Baby Gone (2007)
• Tilda Swinton for Michael Clayton (2007)

Cate pretty much has this locked up. Her Dylan was the type of performance that the Oscars love. And she totally deserves it. Which is a shame cause Amy Ryan feels like she was pulled off the streets nonactor in Affleck's underappreciated Gone Baby Gone. I give Ryan her nod for authenticity, but I’m happy with Cate going home with the gold. Long shot: Ruby Dee winning a lifetimer for the slap heard around the world.


Best Achievement in Directing

• Paul Thomas Anderson for There Will Be Blood (2007)
• Ethan Coen, Joel Coen for No Country for Old Men (2007)
• Tony Gilroy for Michael Clayton (2007)
• Jason Reitman for Juno (2007)
• Julian Schnabel for Scaphandre et le papillon, Le (2007)

Love PTA but it’s the Coen’s year, and plus possibly the only time both brothers will get the directing nod instead of just Joel. Schnabel made a cinematic gem with Diving Bell, but the Golden Globes already got him, though he’s a good third bet. I’d love to see Gilroy get it too, but not before the rest, and I have a feeling he’ll return here. Reitman makes Daddy proud out doing the old man. And he’s just happy to be in the group, and companies get to market him as Oscar Nominated director Jason Reitman.


Best Writing, Screenplay Written Directly for Screen

• Juno (2007): Diablo Cody
• Lars and the Real Girl (2007): Nancy Oliver
• Michael Clayton (2007): Tony Gilroy
• Ratatouille (2007): Brad Bird, Jan Pinkava, Jim Capobianco
• The Savages (2007): Tamara Jenkins

All of them are good but Daiblo Cody wins for her heartfelt, though I feel flawed, first screenplay. She’s the Hollywood it thing. I’d love to see Gilroy and I think he’s her only competition in the field with his tight, intelligent, and thrilling Clayton.


Best Writing, Screenplay Based on Material Previously Produced or Published

• Atonement (2007): Christopher Hampton
• Away from Her (2006): Sarah Polley
• Scaphandre et le papillon, Le (2007): Ronald Harwood
• No Country for Old Men (2007): Joel Coen, Ethan Coen
• There Will Be Blood (2007): Paul Thomas Anderson

Anyone who has read the book knows that the Coen’s film is one of the finest and faithful translations to screen ever. Any divergences are for the improvement of the piece. No Country had this before the others even showed up. Wildcard is Diving Bell.


Best Achievement in Cinematography

• The Assassination of Jesse James by the Coward Robert Ford (2007): Roger Deakins
• Atonement (2007): Seamus McGarvey
• No Country for Old Men (2007): Roger Deakins
• Scaphandre et le papillon, Le (2007): Janusz Kaminski
• There Will Be Blood (2007): Robert Elswit

Can I give it to all of them? No? Oh well. God, tough choices. First lets give some respect to Deakins for his double duty. Elswit too, though Clayton wasn’t nominated. Honestly I’d be happy with any of them. Unfortunately I think Deakins might knock himself out. Which leaves Elswitt and Kaminski in my mind. Both have some W.O.Y coming to them (Elswit for Magnolia and all PTA films, plus Good Night and Good Luck; Kaminski for Schindler’s List, redefining the look of a war film in Private Ryan, and Munich) Close call, but I think Kaminski wins on just the lensing used to put you in Bauby’s world.


Best Achievement in Editing

• The Bourne Ultimatum (2007): Christopher Rouse
• Scaphandre et le papillon, Le (2007): Juliette Welfling
• Into the Wild (2007): Jay Cassidy
• No Country for Old Men (2007): Ethan Coen, Joel Coen
• There Will Be Blood (2007): Dylan Tichenor

Love to see Tichenor get some W.O.Y for this and also Jesse James. Welfling has a shot for jump cut eye blinks. But Oscar tradition goes best picture goes best editing, so look for the Coens to run out of speeches.


*Special Note: I want to wish Best Song for Once. Everyone who hasn’t should go see the film. And Buy the Cd. I’m just so happy to see them perform. Truly love this movie. Should win hands down in my book.

So that’s it for my picks. Sorry for the categories that got short changed, but I don’t want to be here all night.

If you are intested in others opinions, check out the man himself, Mr. Clooney’s right here. Also please leave your own thoughts in the comments.

If you would like to fill out an Oscar ballot of your own, make sure you print out a copy awesomely provided by IMDB here.

So with that, I’m off to cover the Oscars. Toodles!

Who Watches the Watchmen

Just wanted to post this sweet pic from a little film called Watchmen. I'm not sure how to feel about this project yet. It's been through development hell for years before getting this far. Watchmen is hands down, in my and many others opinion, the greatest comic of all time. Can a two hour film really do this dense literary superhero epic justice? I reserve hope. And I pray for Allan Moore.

Little Piece of my Childhood

Like many kids from my generation, I'm sure we remember the joy of a little book called, Where the Wild Things Are by Maurice Sendak. Below is some of test footage from the live action film, currently in post production, by amazing director Spike Jonze (of Being John Malkovich & Adaptation fame).

While this is only a sample of the awesomeness to come, I can't help but smile at it. I am a huge Jonze fan and can't wait to see the final product. By these indications, things look to be in good hands. Supposedly, the Wild Things where filmed with static faces and manipulited with cgi to give expression. However they do it, looks good to me. James Galdofini with voice the monster in the final version.




Watch the Wild Thing version of Fight CLub

Advanced Screenings: Diary of the Dead

Believe me, this was not how I imagined spending my Valentine’s Day.

Seeing an add in the Village Voice my friend and I sent an email to get two free tickets to a screening of George Romero’s new entry into the zombie world, Diary of the Dead. Not twenty seconds later we received an email back. And we knew we were seeing the movie.

Romero’s latest is something totally different from his previous zombie films. Gone are the mass extra filled frames of his previous efforts. Gone are the big names and Hollywood action that comprised his previous entry, Land of the Dead. Diary consists of “found footage” culled from two on scene cameras, as well as various web videos, security, and handi-cam footage. This entry follows the makeshift film school crew, who in the mists of making there own horror film, inadvertently discover the scarier documentary in the world around them, when the dead rise. Their film is The Death of Death.

I don’t claim to be a Romero enthusiast or disciple. The only previous film I have seen of his is the cult classic Dawn of the Dead. While I certainly respect Romero’s brand of B-horror/social commentary, Dawn wasn’t exactly my cup of tea. Diary however I find far more fascinating.

It is interesting that Romero has chosen the “found footage” technique for this piece. It’s also unfortunate that it will probably garner comparison to the other found footage movie of late, Cloverfield. While the two films are wildly dissimilar, they share the same narrative problem:

Why, for God’s sakes, are you still filming this?

While Cloverfield addresses this problem up front and then moves on to the good stuff, Romero has other plans. George is more interested in the fact that they are still filming, unfortunately his why, the director's incessant need to document the situation, falls flat under the numerous, and unlikely occasions it is addressed. Romero is offering up a zombie filled criticism on the Youtube generation mass media machine. It’s a brilliant point he’s driving; the problem is that he drives it a little too hard and often. Dairy’s heavy handedness is it’s undoing.

The stilted “meaning of life, why is this happening” dialogue of the film counteracts the inherit realism it is trying to achieve. At no point do the events we view feel real, and Romero is too much of a showman to pass of up cool tricks. The fact the kids would take the time, while in the middle of a zombie filled world, in a black militia encampment to steal their surveillance footage to enhance their doc is asinine. While it provides us the cool “oh look they are editing the scene we just watched” moment, it also detaches us from the film. So does the director, refusing to drop his camera and run after witnessing a friend shoot two zombie’s dead to remain in the same room with the corpses tethered to the wall as the camera charges while the rest of his posse goes off to experience off screen horrors. These and numerous other instances feel false to the real world aesthetic and only take you out of the picture. However, it’s this same detachment that Romero wants to examine.

If it’s not on camera it doesn’t happen.

That’s the mantra repeated numerous times throughout the film. Unfortunately no human would be this compulsive to get things on camera. After the director/cameraman Jason’s girlfriend’s family is found zombified and the killed, he doesn’t even stop the camera to console her. Romero does afford the couple some feeling; Jason puts down the camera in an out of focus shot to console Debra. He then rudely, immediately resumes his camera duties. How great would it be to have him talk to Deb, see her grieving, turn off the camera and then only see them in the aftermath of their talk? It would be akin to what Rodriguez did in Planet Terror with his missing reel, allowing character relationships to move forward with the climax unseen. The viewer then fills in the blanks for themselves. But then again:

If it’s not on camera it doesn’t happen.

Romero isn’t interested in a character study, this is social commentary we are talking about, and thus, moments like this are missed.

Don’t get me wrong though, Romero does nail some things perfectly on the head. The opening scene is enthralling and totally sets up the piece. Every zombie attack and death is handled with horror buff delight. The tension and dread are readily apparent when not uncut by the comical. And then there are the overtop, cheesy touches that just fill you with geek glee.

Samuel the deaf Amish zombie killer, anyone?

Oh yes indeed. But unfortunately there is too much cheese in Diary to make it a tasty or thoughtful dessert. Romero aspires to great things, and for that I applauded the effort, unfortunately the film ends up coming short. If I cared about these characters, it’d be one thing. If I was allowed to forget the gimmick and go with the movie, it would be another. But sadly, neither is true, which leaves Diary a fascinating if stunted experience. It’s worth a look for diehards, and horror buffs, but nothing to write on your Myspace page about. But hey, on the plus side, it was a free ticket for a 95 minute ride.

And I got an email from George Romero.

Diary of the Dead opens Friday February 15th in select cities.

Castaways: And So it Begins, the Beginning of the End

***Castaways is a feature dedicated to one of my favorite TV shows, Lost. I am a huge fan (though not nearly as obsessive as some) and this feature will spotlight episodes reviews and other theories/discussion on a weekly/Biweekly schedule during the course of the season. WARNING. The following article assumes you have seen the respective episodes to date. If this is not the case, please beware of spoilers.***

Episodes Reviewed:
4.1-“The Beginning of the End”
4.2- “Confirmed Dead”
Mobisode 13- “So it Begins”


So with last week we began with the highly anticipated fourth season premiere of Lost “The Beginning of the End.” When last we left our favorite Losties in the series changing finale “Through the Looking Glass”, Charlie had sacrificed himself to allow a radio transmission for help, though not before warning Desmond that it was “Not Penny’s Boat.” Savior Jack had brought his people up the mountain, captured Ben, and called Naomi’s freighter friends for help. But not before Locke and risen from the skeleton pit to knife Naomi in the back.

So things should be good, right? Help is on the way. Well of course not, this is Lost, and we all know that the future is a foreboding one of Jack hopped up on meds with a scraggly beard, wanting to jump off of bridges and yelling to Kate that they have to go back. But how exactly did they get to this predicament? Well this week’s flashforward does not offer up the answers to this particular question, but it does provide us a solid Hurley story, which we haven’t really seen since “Dave.”

Hurley flips out in a convenience store and after a short-lived OJ chase, is brought in by the cops. He pleads to go back to the nuthouse and they gladly grant it. There he meets the effectively creepy Abaddon who offers to get him out of the hospital, and wants to know what happened to the rest of the Oceanic 815 survivors. Hurley flips, he leaves, but Hurley is haunted by Charlie. Later on relaxing outside, a very lucid Charlie visits Hurley, clearly accepting the fact that he is dead, but yet is here. He warns Hurley that “you know they need you.” Whatever that means. A not yet bearded Jack shows up at the end to play a round of horse with Hurley. Jack’s afraid that Hurley will “tell their secret” and Hurley assures he won’t, and admits to Jack that he was wrong to go with Locke.

This Hurley flashforward offers up some good stuff. The first of which is the short haired Charlie. This seems to differ from his visions of imaginary friend Dave. He knew, only what Hugo did. Vision Charlie (as I like to call him) seems to be far more aware of things than Hurley does. He admits to his own death, but also to the importance of Hulrey’s mission. If Vision Charlie was purely a figment of his imagination (ala Dave) why would Hugo imagine him with a haircut, one of which Hurley has never seen him with? Maybe its just me, but I tend to recollect people the way they were, not as if they have changed. Maybe that’s just me. In this way Vision Charlie is startlingly like the old woman who visited Desmond in last years “Flashes Before Your Eyes.” Vision Charlie seems to want to correct the timeline though albeit in a cryptic manner.

Also good is the inclusion of the Oceanic Six. So far we know Jack, Kate, and Hurley with three others got off the island (I know who the other three are, but that would be telling.) I like that the surviving six have kinda become celebrities in the future, this can lead to interesting things is future flashforwards, especially when Jack mounts his return to the island. Theory: Jack and Kate return to the island and thanks to some weird time paradox become the Adam & Eve skeleton in the cave of season 1.

Back on the island in “present time” Desmond returns to warn of Charlie’s death and the freighter people in general. The beach group heads off to tell Jack. On their way to do so, Hurley gets separated and finds himself at Jacobs cabin. After seeing Christian Shephard through the window, along with Jacob’s eye. Hurley meets up with Locke, and decides Jack’s wrong. Meanwhile not quite dead Naomi has run off, and the freighter people are getting suspicious. After all, are girl can only be collecting firewood for so long. Kate finds Naomi in a tree, they tussle and Naomi covers for the Losties, radioing her last message to the boat “Tell my sister love her.”

The 815ers finally all get together and mourn Charlie’s death, and the great schism occurs, splitting the survivors into two groups. Team Locke, comprised of Hurley, Calire, Alex, Carl, Sawyer, Rousso, Ben, and tons of extras who are heading back to the New Otherville barracks for safety to fight of the supposed rescuers. And Team Jack of Kate, Juliet (way to go with both ladies Jack!) Desmond, Sayid, Sun, Jin, Rose, Bernard, and way fewer extras who want to hitch a helicopter ride home and wait for the freighter people. Oh how quickly people loose faith in Jack. The Man of Science, Man of Faith lines are now clearly drawn. And we are left with Upham from Saving Private Ryan, parachuting down to rescue Jack’s people.

Lost seasons premieres seem to follow the reverse Star Trek movie motif, the odd ones are amazing, the evens are just good. While season four’s premiere isn’t bad, it does feel a tad like filler. There is a lot positioning of the chess pieces on the board to establish what looks to be a fascinating season four. Unfortunately, it kinda seemed poorly written, which is odd considering its from creators Carlton Cuse and Dameon Lindeloff who penned many a key and awesome episode over the course of the series, including the aforementioned season three finale. There are several scenes where we cut back and a character says “So that’s what happened to Charlie” or something to that affect. I understand why they do it. People need to get information and you don’t want to repeat it too many times, especially since it would take away from the very moving “I’m going with my friend” speech Hurley gives to divide the Losties in twain. But it all seems like a stall tactic til the rescuers come. I mean, anyone who thought Naomi was really dead from Locke’s knife last season is delusional. Mikhail (aka Patchy) died what, like three times last season? People on Lost have more lives than a cat (still waiting for that zombie season Carlton and Dameon) with maybe the exception of Pablo and Nikki. Still, “The Beginning of the End” is reminiscent of season two opener, where we spent three episodes around the first ten minutes of opening the hatch (remember the days of the Hatch, oh how far we’ve come.) Basically the episode is an IOU, a promise of ass-kickery to come.

This kicks into high gear with great affect in episode 4.2 “Confirmed Dead.” Now this is the season premiere we wanted to see. “Confirmed Dead” introduces us to the rescuer (or the bizarro Fantastic Four as I like to call them), each one of the four with their own flashback. We really get to see the crashed Oceanic 815 that Naomi eluded to last season in “D.O.C” There are a lot of questions raised. Why do they want Ben? How do they have a picture of adult Ben if he has never left the island? Is Abaddon Dharma? How did a Dharma polar bear end up in Tunsia? Why was Charlotte looking for it? Why was she not surprise to find it? Why was Daniel crying at the sight of the wreckage? How does Miles communication with the dead fit into all this? Why were these people chosen for a reason? How will Hurley seeing Jacob affect things to come? Whose Ben’s man on the boat? The list goes on. This is the true awesomeness of Lost, to give us these mysteries. Not only that, we get some nice character moment.

Kate: Why didn’t you tell me we had back –up?
Jack: I gave you the wink, thing…

I love that. Sawyer calling Locke Col Kurtz. Its all great with some nice action thrown in. Leave it up to Lost vet Drew Goddard, fresh off the success of Cloverfield to give the fans everything the want. How the hell is Locke still walking? I screamed during the opener, and here he at least gives a reason why they aren’t digging another grave. “Confirmed Dead” sets the stage for an awesome season to come. And honestly, I can’t wait.

Finally lets talk about something that some fans might have missed, the Lost mobisodes (which ironically enough, is something the WGA strike is about) that were a Verizon marketing scheme. to download to your cellphone but are also featured a week later on ABC.Com. Instead of being throwaways featuring non-cast members these short 2-3 minute eps are like deleted scenes of the series. Most of them are trivial little things like Juliet looking at Ben’s X-rays and knowing he has cancer, but as a whole they are very enlightening. Several feature Jack, Michael, and Sun and Jin as well as Ben and Juliet. One would expect that these are the key figures in season 4. However the most important installment is called “So it Begins” the final episode, thirteen. It features Christian Shephard walking around in a suit on the island, and telling Vincent to go wake up his son, cause he has “work to do.” This leads directly into the first scene of the pilot. This little missing piece could possibly the most important of all and its so awesome that the creator did it in this way.

Christian Shephard’s presence on the island has been a contention among fans for the whole series. Ever since Jack started seeing him in the first season, there has been much speculation of his role in the overall scheme of the show. Many even wondered if he was indeed Jacob himself.

With this episode we have Christian walking around, able to communicate with Vincent, and aware of some higher purpose for Jack. This is the first time we’ve seen him minus a person (Jack seeing him) Speculating that he is like Yemi is a tad premature because Yemi clearly stated to Eko that he wasn’t his brother. Christian states to go get “my son” meaning Jack. Is he the smoke monster? I don’t know. But this is the first time a vision has appeared without a witness, unless you count Vincent, which I don’t. It also makes Christian appearance to Hurley in Jacob’s cabin, even more monumental. I have a feeling Christian Shephard will be an integral part of season four.

So with these three things my obsession with all things Lost has once again kicked into to high gear. Watch enjoy, and speculate. I’d love to hear others thoughts. And for all the fans of the show please check out Lostpedia.com, which is where I obtained all photos. It’s a great site for all Lost fans.

Until next week….




Coming Soon: 4.3 "The Economist"

Bond, James Bond: Teaser Poster

First off, I'm a huge James Bond fan. Have been for years. And while I wasn't blown away by Casino Royale, I fully support Daniel Craig in the role. He is one dark, kick ass James Bond. The next film is the oddly named Quantum of Solace. I'm excited.

On the Cutting Room Floor: La Vie En Rose

I think we’ve gone about as far as we can go with the musician biopic. The new Hollywood trend born from the gushing reviews of Ray and Walk the Line, has, at least in my mind, come to an end. This is the year that has seen the genre mocked to a tee with Walk Hard and then deconstructed and risen like the phoenix to a new level of artistry in the densely abstract I’m Not There. Honestly where is there left to go? What new ground is there to explore? With Control (a movie I am pining for on DVD) I think the genre bore enough fruit for now. Time to replant and wait a few years for something new to sprout. So where, pray tell, does it leave this undiscovered pearl of a film, La Vie En Rose?

Well it is everything that a musical biopic has become. It has a standout performance by lead, Marion Cotillard, who better win the Oscar, beautiful cinematography and directing with exceptional period production design. So what sets it apart form its Hollywood brethren? One thing, structure.

This day and age everyone and your mother knows the basic plot a music bio. Starts off as a youth, is discovered, gets into drugs, fights addiction, either succeeds or pulls a James Dean. La Vie en Rose (or La Môme, French for "the kid" as the Oscars call it) is definitely guilty as charged. However where it differs in getting from A to B is that the film is presented as a memory; fluidly and reflexively moving back and forth through out Edith Piaf’s life to show you what you need to see and when, for dramatic effect. In this way, Rose one ups it’s Hollywood siblings putting an effectively beautiful spin on a genre

What I knew about Edith Piaf prior to this film could be summarized like this; she was an old popular French singer. And while that it is true, I had no idea the depth of her story. Piaf’s life started out in the brothel and ends in her deathbed looking much older than her 47 years, riddled by drug addiction and harsh living. Surviving her tumultuous youth, Piaf is discovered at an early age and grabs life by both hands wrangling all she can from it. Director Olivier Dahan deftly shifts from old age, youth, and height of her popularity with stunning effect. Themes and traits are shown across her life, benefiting from looking at Piaf’s life as a whole and dissecting it in that fashion. We start with her collapsing on stage, and that immediately informs what we then experience in her childhood. We know that this sweet little girl will one day be a collapsing singer and thus we are immediately drawn into her tale. The films non-linear style creates an absorbing and dense study of a fascinating woman.

All this would not be possible without Cotillard. As with most biopics, this a career making role. Cotillard (along with the exceptional and impeccably cast child actress Pauline Burlet) richly sketch the interesting Piaf. Cotillard particularly inhabits Piaf in a way DeNiro once (and will forever in the minds of viewers) inhabited Jake LaMotta. The beautiful Cotillard is physcially transformed into Piaf from age 17 all the way to 47, and she never once feels false. In fact she becomes Piaf to me, and probably many others, with her slumped shoulders, awkward jog, and deeply expressive eyes. Did I mention Cotillard has to play half the film drunk? That’s a hard job for any actress, but Cotillard never loses the realism. She is the anchor that keeps the film perfectly grounded. Unlike her US brothers La Vie en Rose never exalts Piaf as a saint. Quite the opposite. Cotillard is literally laid bare for all her imperfections to be seen. There is never a Hollywood gloss that surrounds so many musicians’ lives, just the tale of one deeply talented and troubled woman.

Centered by Cotillard breathtaking portrayal of Piaf, La Vie en Rose isn’t afraid to get dirty. It’s always honest about its subject, she is what she is, and the film does not judge her for it. That’s up to the viewer. In that way La Vie En Rose is less Walk the Line. It’s more like the French Raging Bull. Pull quote that. The structure is straight forward yet reflexive, a snapshot of memories leading to a sensational finale. The last half-hour, depicting Piaf's final day reveal insights and experiences that even Piaf might not want to admit to herself. Hunt for La Vie en Rose on DVD, and enjoy the gut-wrenching life of this talented forgotten performer. Its well worth it. Go Marion!

The Perfect Team Killer

I know these past two entries haven't been about my chosen topics. I don't care. All my life, I've seen my father watch sports. I have a saying that to be a New York sports fan, is to suffer. I don't know how many Sundays I've seen my father hang his head in shame. Well tonight, some of that suffering ended. Tonight I saw my Dad hop around the room like a little kid. The Giants won the Superbowl. They said it couldn't be done. 18-1 New England, couldn't make the perfect one count. Wow, that was an amazing game. 17-14. I'll be updating with some true reviews later this week.

The Giants won the Superbowl. I still can't believe it.