I got a call this morning as I was just sitting down at my desk at work. It was from my mom.
Mom: Hi, honey. I have a question for you.
Me: Morning…sure. What?
Mom: Do you remember what I gave you for your high school graduation?
Me: Sure do. Nothing. Well, you co-signed on my car, but I made all the payments. So, yeah, nothing.
Mom: And your sister?
Me: Pretty sure nothing, as well. Why?
Mom: I’m giving your brother $150.
Me: That’s better than nothing. I think he’ll be happy with it.
I didn’t wake up early to watch Salma Hayek make the announcements this morning. But I did check Yahoo’s homepage when my alarm sounded. I’ll admit I had to rub the sleep from my eyes as a few surprise nominations, well, surprised me.
Oscar.com has posted a downloadable .pdf in which you can print out, cast your ballots and forget about it all until February 25th. I’ve done one better. I marked my Oscar hopefuls in green and who I think will actually win in yellow.
A brief discussion on why I’m rooting for who I’m rooting for:
Actor
Ryan Gosling was one of the surprises. Half Nelson was a little known independent film (scored by Broken Social Scene!) about a drug-addicted teacher. A good story, no doubt, but when was it in theaters? Ryan Gosling is subtle, often refined, but this usually plays out in the most natural contexts.
I really think Will Smith will win. I haven’t seen The Pursuit of Happyness but the extended promos in theaters left me as weepy as after watching a Hallmark commercial.
Actor – Supporting
I’m rooting for Alan Arkin. Did you ever see Slums of Beverly Hills? He plays a complete schmuck with three kids who just can’t seem to get his life together-though he’s constantly trying. His role in Sunshine is a little bit of the same. Grandpa can’t get his act together, but when it comes to helping his granddaughter, he makes a commitment that outlives him.
I’ve heard a lot of great things about Dreamgirls. I’m not the biggest musical fan, though I can appreciate them, and I’ll probably do so with Dreamgirls on dvd. If ever Eddie Murphy had a comeback role, I’d assume this would be it.
Actress – Leading
I read Little Children months ago. I haven’t seen the movie, but I have every confidence that Kate Winslet’s cinematic translation was everything the literary character was. Tragic, hopeful, brave, delusional…
I did see The Queen and Helen Mirren blew me away. I think she did an incredible job encompassing a controlled, demure, old-fashioned (still-living!) monarch and because of this will win the award.
Directing
I think The Queen set a powerful tone. A Southern Californian, I felt every bit the Brit during this movie. Weak argument for directing? I don’t think so -isn’t that the job of the director…to bring us into the script’s world?
I haven’t seen United 93 but the subject matter and nomination lead me to believe that many, many people felt this portrayal was pretty close to reality. For accuracy and sentiment, Greengrass should win.
Costume Design
Marie Antoinette wasn’t the blockbuster it had the potential to be. With sugary sets and costumes made from divinity, I feel this film should win the Academy Award.
Dreamgirls
I’ve seen Beyonce everywhere lately. And she’s always glittery. I assume she’s wearing the costumes from her role in the film?
Best Picture
Little Miss Sunshine. A film with heart, a good message, comic relief and a cadaver. C’mon, Academy!!!
Babel
I haven’t seen it, but the clips look powerful, well-acted (Cate Blanchett is always good), and a little bit raw.
Screenplay – Adapted
Little Children. I’m going to see the movie this weekend, but I still stand behind the vote based on Todd Field’s prior writing efforts and LC’s literary counterpart.
Borat. People loved it. I didn’t see it.
Screenplay – Original
Little Miss Sunshine. I loved this movie. And as a writer, sitting in the theater, I was constantly surprised how quirky, yet real the tone of the script was. And it’s hard to write “funny”.
The Queen. Anybody who can put words into the mouth of the Queen warrants an award.
Actress – Supporting
Notes on a Scandal. I need to see this. Cate Blanchett gets my vote of confidence though.
Dreamgirls was quite popular at the Golden Globes, and I heard Jennifer Hudson really embodied the role. I wonder what it feels like to be an American Idol competitor nominated for an Oscar?
I love independent movies. I live for them.
Coming Soon . net’s Sundance blog is for me what candy is to a baby. I thought I’d go over some of the films that I hope make it to my multi-plex or independent movie house, whatever. As long as I can see the movies, I don’t care where I go for them:
Dedication
Actor Justin Theroux’s directing debut. It’s a romantic comedy with a bit of a twist. A children’s book author, played by Billy Crudup, gets inspiration for his next book from watching porn, with Mandy Moore as the naive artist who steps in to assist Crudup when his regular artist (Tom Wilkinson) falls ill.
Why I’m going to see it: Billy Crudup as a twisted author? He plays flawed convincingly, while always maintaining the protagonist’s signature likeability.
Broken English
Zoe Cassavetes’ debut feature as a director stars the always-classic Parker Posey as Nora, a New Yorker seeking a romance as ideal as her best friend’s (Drea de Matteo).
What sets this story apart from every other Parker Posey indie tagline? Gena Rowlands as Nora’s mother.
Why I’m going to see it: Gena Rowlands’ subtle instincts as an actor will definitely challenge Posey to rely less on her neuroses and idiosyncracies. And, it should be funny. Parker Posey is always entertaining.
The Good Night
Jake Paltrow directs Martin Freeman (Love, Actually) in a love story where an unsuccessful musician falls for an exotic beauty (Penelope Cruz).
Why I’m going to see it: I like romances. And I’m curious to see Gwyneth Paltrow’s return to acting after a bit of a hiatus.
Grace is Gone
A husband widowed when his wife is killed serving in Iraq, takes his daughters on a road trip to a Florida theme park with his liberal brother.
Why I’m going to see it: John Cusack + Little Miss Sunshine – National Lampoon’s Vacation = a poignant, funny independent feature?
The Nines
John August’s directorial debut places Ryan Reynolds, Hope Davis, and Melissa McCarthy in three separate scenarios that are loosely connected.
Why I’m going to see it: Sounds like Go with a twist.
The Savages
Tamara Jenkins, director of the very funny Slums of Beverly Hills, returns to Sundance with her second feature, which stars Philip Seymour Hoffman and Laura Linney as estranged siblings who reunite to care for their aging parent.
Why I’m going to see it: Good cast. Good director. Sure to be good writing.
Smiley Face
Greg Araki’s latest presents Anna Faris as a struggling actress who mistakenly eats her roommate’s pot brownies and must spend the remainder of her day trying to remain under control.
Why I’m going to see it: Greg Araki is consistently unconventional in the most unexpected ways. Anna Faris is equally unconventional in every role she inhabits. And John Krasinksi plays an obsessed guy. I think he’s adorable. Should be good fun.
Snow Angels
Everyone who has not seen David Gordon Green’s All the Real Girls should immediately add it to their Netflix queue. His latest film
tells the stories of three couples, one, a high schooler named Arthur (Michael Angarano) dating his former babysitter (Kate Beckinsale), whose marriage is disintegrating, as is Arthur’s parents.
Why I’m going to see it: David Gordon Green’s storytelling is so poignant that he could direct a story ripped from US WEEKLY’s headlines and make it compelling and Oscar-worthy.
The Ten
A comedy based on the Ten Commandments with a cast that includes Adam Brody, Gretchen Mol, Liev Schreiber, Winona Ryder, Paul Rudd, amongst many talented others.
Why I’m going to see it: Paul Rudd and Liev Schreiber are at their best in dry, witty independent comedies. I can’t afford not to see it.
Movie Monster – Sound Team
A Movie Script Ending (live) – Death Cab for Cutie
Debra – Beck
How I Met Your Mother continues to impress me. Talk about quality continual hilarity. This sitcom integrates pop culture into storylines like no other comedy on television today. And it’s funny.
Last night’s episode was no exception.
Watch Barney’s “first time”.
The Elected’s album Sun, Sun, Sun is a warm, smooth, sarcastic piece of Americana. From the opening Song of the Southish Clouds Parting (8:14 A.M.) to the second to last Biggest Star, Sun, Sun, Sun feels a little like the bastard child of Hotel California with less drugs and more honest to goodness yearning.
Blake Sennett’s side project from Rilo Kiley has turned into a pretty big project of its own. While it may not have sold one million copies, Sun, Sun, Sun deserves to. The honey soaked sounds coupled with honest, raw, sweet, and, like I said, sarcastic lyrics make it an album unlike anything else released this year. With right hand man Mike “Caveman” Bloom handling guitars, steel pedal and backup vocals, the quality ante is constantly being upped between Sennett and Caveman. They know how to speak with instruments and the album most definitely benefits from their comfortable rapport.
This is another one of those albums that while there are definitely stand-out songs it’s good on the whole. File it behind Hotel California under albums that will be good for rotation in another twenty years.
I’ve never really thought of myself as a country fan, even though over the past years my tastes have broadened. I truly enjoy a good Dolly Parton song; same goes for Johnny Cash. I have even given Brad Paisley a spin or two in iTunes. To me, though, Dixie Chicks have always been more of a crossover band. If I can hear them on non-country radio, then they’re not really country, right? Not that country’s a bad thing.
Anyhow, I really liked Goodbye Earl for its sass and spunk, as well as Cowboy Take Me Away for its romance and whimsy. Then I just stopped listening to the Dixie Chicks. And it had nothing to do with what was said about the President. After listening to their latest album, I’ve got a pretty good idea of what they went through after utilizing the freedom to speak their minds.
Taking The Long Way is a great album. Most definitely a standout on my list because I think everything else is independent. And this album is mainstream. And since it’s been proven that they can’t speak freely in an open forum, what better way to make confident statements about life, love, loyalty and Texas…but in an album, complete with signature strings and solemn guitar strums.
The Dixie Chicks have definitely evolved with this album. There’s less chaos and more cohesivity. There’s a definite warmth, even though they look pretty tough on the album cover and sound pretty staunch on songs like Not Ready to Make Nice and Bitter End, while I Like It belongs somewhere in the middle of a romantic comedy.
All in all, I guess I took the long way in finding the Dixie Chicks music again. But it was well worth it.
I think Stars are one of the best bands producing music today. Years ago I downloaded Heart because of the band’s name…Stars. I’m one of those girls that can’t get enough of them. I love to doodle them when I’m bored, enjoy wishing on them when they fall, and now I love their good Canadian pop music, too.
But Stars didn’t release an album this year. Their female lead singer did, though, and it’s fantastic. If you scroll through my Top 11 list, you’ll see, I really like albums from solo artists in bands that I adore. Amy Millan’s Honey From the Tombs is no exception. When Arts & Crafts released Skinny Boy as the promotional single, I really could not wait to download and listen. And I loved it. I loved the music, the imagery, the mellow delivery. I really expected the album to be 10-12 Skinny Boys.
What Honey From the Tombs is is a great piece of modern day Americana. It feels a good bit like what the lovechild of Johnny Cash and Loretta Lynn would produce. The plucky Blue In Yr Eye and the lonesome rambler Baby I are album highlights, though each song tells a vivid story culled from hazy whiskey soaked days and nights.
Amy Millan’s debut is a departure from Stars in the best possible ways. It’s supplemental, sure. But it’s also original, layered and presents good storytelling with a shot full of hard liquor for a hard-livin’ effect.
Skinny Boy – Amy Millan
He Brings Out the Whiskey in Me – Amy Millan
It’s taken me a while to get into Lindsey Buckingham. This is an astonishing admission considering how obsessed I am with the music of Fleetwood Mac. I mean, I’ve even owned Christine McVie solo records for decades and yet now, with the record released on his birthday, Under the Skin, all of a sudden not only do I enjoy Lindsey Buckingham, but I love Lindsey Buckingham.
Live, he’s a true talent. Nobody can discount that. But for some reason I’ve always directed more towards Stevie Nicks solo efforts. But what Lindsey Buckingham has that nobody else in Fleetwood Mac does is his relationship with the guitar. It’s completely organic and it’s effortless. I am continually astonished by the chemistry between Lindsey and his guitars. Truly, the way he plays, the music seems to be an additional voice in his music; sometimes a backup, sometimes the forefront.
What’s nice about this album is there are small nuances, lyrics, sounds that you can cull from Say You Will and now pinpoint his exact place in the production of that record. As a fan, I think it’s nice. As for Under the Skin as its own work, it’s soft like a lullaby, yet aggressive in its ideas. Maybe progressive is a better word. Either way, it’s a solid album and Lindsey shines.
Classic Lindsey: Brushes (Never Going Back Again) – Fleetwood Mac
Modern Lindsey: It Was You – Lindsey Buckingham
I was going to save Rabbit Fur Coat til the very end of my Top 11, but decided otherwise this morning. In regards to this album of songs, I’ve been pretty lucky. I think I was at the very first showcase for these songs years and years ago during a songwriters “in the round” sort of thing with Jenny Lewis, Blake Sennett, Jake Bellows and Johnathan Rice (though I can’t remember if he was officially on the Hotel Cafe bill). There were Elected songs, maybe a Rilo Kiley song or two, and the titular Rabbit Fur Coat as well as other songs that made their way to the album.
I really love this album. I love the subtleties, the honesty, the tongue-in-cheek lyrics. It’s a pretty fantastic debut. From the beginning guitar plucking in Run, Devil, Run to the haunting Born Secular (one of the most perfectly constructed songs that I’ve ever heard), this album is full of surprises, not one song sounds like the next, yet it almost feels like a concept album with its cohesiveness.
The press has compared RFC to Laura Nyro, Loretta Lynn and other women that hark back to the more country side of music pre-disco, but I think this album is pretty modern. It could even be groundbreaking if you consider the other music released this year: Janet Jackson, Gwen Stefani, Nelly Furtado all released albums in 2006 that cull from R&B and dance…all interesting efforts, but RFC brings something else to the turntable: a simplistic, yet layered album of stories (not disposable hit singles) that will be as resonant in twenty years as they are today.
Rabbit Fur Coat can be downloaded in its entirety from Team Love Records or purchased from amazon.com.
The Big Guns (live) – Jenny Lewis and the Watson Twins
Born Secular (live) – Jenny Lewis and the Watson Twins
I’m really slowly making my way up this Top 11 Albums of the Year list. I’ve got a few weeks to speed through the rest, though. This is a bittersweet mention as this band released what I think is their greatest album to date, Catastrophe Keeps Us Together only to announce months later that they were permanently closing down shop.
Rainer Maria have been an up-and-coming band for years now. Their time has truly come with this album, which opens with Catastrophe strongly driving into Life of Leisure, a song of relationship cat-and-mouse confusion with some playful lyrics, Talk is cheap, but the phone bill is not. I love tongue-in-cheek grooves.
The album is solidly produced with every song holding its own sonically; ballads Already Lost and Burn exemplifying a forceful and direct ambition – an overall confidence that wasn’t as present in RM’s other albums. This is a great concept album, even though I don’t think it was intentionally concieved that way. Rainer Maria’s strong suit has always been honest lyrics with raucous sounds.
Southpaw begins Cracked knuckles, and my fists are bandaged up for the fight. Am I ready? There’s the bell. How many rounds can I go? Which is the question of the hour for this band. People say it all the time in regards to art, the whole adage about wanting to make a grand exit on a high note. I think Catastrophe is a sound example of this.
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