Tag Archives: Jodie Foster

Slouching towards Elysium

The militarized and highly protected exclusive space station for the rich and over-privileged looms over Earth in the 2013 science-fiction and social-justice film “Elysium.”

It is ironic that in the same week that we finally focus our attention on the fact that the heartless, fascistic, unelected Pussygrabber regime is keeping non-citizen Latino children separated from their parents and in cages, “President” Pussygrabber himself demands that we create a/the “space force.”

Gee, how might militarized space play out in the future?

In the 2013 Neill Blomkamp sci-fi film “Elysium,” the rich and powerful live in luxury on a space station (named Elysium) that orbits above Earth, visible in the sky from the surface of the planet. Below on Earth, we’re shown a desperate population that deals with poverty, pollution, overpopulation, hunger, sickness and disease, crime, shit jobs and general misery.

Most of the action on Earth takes place in a futuristic Los Angeles, which is comprised of a lot of Latinos and which is fully bilingual; our white protagonist, played by Matt Damon, was raised by a Spanish-speaking Latina woman and he speaks Spanish as well as English himself, and his best friend, played by Diego Luna, is Latino, and the woman and her daughter whom he tries to help (the latter is in need of a significant amount of health care that isn’t available to her on Earth, but is readily available to the denizens of Elysium) are Latina.

The miserable residents of Earth, who are kept in line by robot thugs, routinely attempt to reach Elysium via small spacecraft, usually if not only for life-saving medical care, but they much more often than not are shot down by the denizens of the space station before they can reach it; the rabble’s success rate of reaching the militarized and weaponized Elysium is quite small.

Elysium’s security is handled by a heartless Department-of-Homeland-Security-head-type she-Nazi played by Jodie Foster, who apparently was the inspiration for our current, real-life head of Homeland Security.

Elysium’s super-computer recognizes you as a citizen or a non-citizen of Elysium; your citizenship status is all-important, as it determines how (and pretty much even whether) you live. And, again, robot thugs, not unlike the U.S. Border Patrol and other law-enforcement thugs, keep the desperate masses in line for the elite of Elysium.

All sound familiar?

Admittedly, “Elysium” is a flawed film — for example, at the end of the film we are to believe that the space station, which is tiny compared to the planet, has enough resources to save everyone on Earth — but its set-up and its social commentary are fairly brilliant.

And it’s fairly visionary, because it is the direction in which we already are headed: an over-privileged few have far more than they’ll ever need — and they protect their over-privilege and their overabundance with violence and with the threat of violence — while the masses don’t have enough.

There are solutions to our problems. To name just one solution: birth control. Overpopulation causes so much pain and misery (hunger, homelessness, pollution, overcrowding, the rapid spread of disease, etc.), which is one of the reasons that while I love my Latino peeps, I oppose the backasswards and ultimately evil Catholick church, with its emphasis on its adherents having more and more children and its official prohibition against even contraception (and, of course, abortion).

No, I don’t advocate forced sterilization or forced abortion or anything like that, but I do advocate totally free birth control and totally free sterilization (and totally free abortion [within the first trimester, and later if medically called for]) for those who want it and request it.* The money that we’d pay toward controlling the population would be a drop in the bucket compared to what we spend because we don’t sensibly control our numbers.

We are at a junction where we still can put our collective foot on the brakes and enact policies to stem such preventable problems as even more overpopulation and even more pollution and even more climate change. And, of course, we must oppose the militarization of space, for fuck’s sake.

Or, we can just sit on our collective asses and wait until “President” in Perpetuity Pussygrabber gets his “space force,” which we’ll pay for, of course, and which he and his henchtraitors only will use against the rest of us — “Elysium”-style.

P.S. Slate.com’s Jamelle Bouie wrote a pretty good piece positing that perhaps this time the Pussygrabber regime really has gone too far. In his piece, Bouie concludes (the links are Bouie’s):

… The common thread among each administration official is that they have grossly mischaracterized the situation at the border, hoping to justify their actions by portraying asylum-seekers as vectors of criminality, when they have a legal right to seek asylum, and when their offenses [crossing the border illegally] [usually] are only misdemeanors.

They’ve gotten scant support from fellow Republicans, who seem to see political danger, if not the moral challenge at hand. “The president should immediately end this family separation policy,” said Sen. Ben Sasse of Nebraska in a Facebook post, calling the policy “wicked” and correctly framing it as “a new, discretionary choice.” Many Republicans rightfully fear a backlash at the polls, should the policy continue.

[“Alt-right” Pussygrabber whisperer] Stephen Miller may have successfully trolled his opposition, but like the attempted “Muslim ban,” his weapon of choice is a moral travesty and a political disaster in the making. Instead of bolstering his boss, it may weigh him down with another crisis, jeopardizing his party’s hold on Congress and the administration’s ability to operate with impunity.

We’ll see. I truly had thought that the “Access Hollywood” tape probably would do Pussygrabber in, but for the most part we heard crickets from the Repugnican Party on that one. Now, though, we’re hearing even from the likes of Laura Bush that separating non-citizen children from their parents and keeping them in cages is a shitty fucking thing to do.

Even the perpetrators of this latest evil have admitted, sideways, that it’s evil, because they continue to knowingly falsely blame the Pussygrabber regime’s entirely voluntary policies and procedures on the Democrats.

And Homeland Security head Nazi Kirstjen Nielsen recently proclaimed: “We cannot detain children with their parents. So we must either release both the parents and the children — this is the historic get-out-of-jail-free practice of the previous administration [blame the Democrats!] — or the adult and the minor will be separated as a result of prosecuting the adult.

“Those are the only two options. Surely, it is the beginning of the unraveling of democracy when the body who makes the laws — rather than changing them — asks the body who enforces the laws not to enforce the laws.”

Here we see again the Nazi-like false, propagandistic claim that we have “only two options” (in this case, not separating children from their parents only for the “crime” of illegally entering the U.S. entirely is an option) and the Nazi-like attempt to fall back on “law-and-order” bullshit in order to try to justify doing evil to other human beings.

When the law results in the pain and suffering of innocent human beings, fuck the law. The law is made for and should serve human beings — NOT vice-fucking-versa.

We allow neo-Nazis like “President” Pussygrabber, Attorney General Jeffrey Beauregard Sessions III, Pussygrabber puppeteer Stephen Miller and Homeland Security boss Kirstjen Nielsen to hide behind “law and order” at our own peril; they can try to use “the law” against the rest of us at any time. (First, they came for the undocumented, brown-skinned immigrants…)

P.P.S. Finally, I should note that of course the fictional space station Elysium and “President” Pussygrabber’s proposed Great Wall serve the same purpose: to keep the rich and over-privileged — and mostly white — people safe from having to share any of their (well, “their”) shit with the poorer, often-brown-skinned “others.”**

This is why Pussygrabber’s wall hasn’t faced the backlash that it should have: many, mostly white, Americans are fully on board with protecting — and growing — what they (we) have while others continue to suffer without (and make no mistake: our selfish excess most definitely comes at their loss).

We don’t want to admit that (our selfishness, our materialism, our racism, our xenophobia, our tribalism, our heartlessness, our willful blindness, etc.) outright, so we talk about “law and order” instead in order to try to make our motives appear to be much, much higher than they actually are.

And we call ourselves “Christians.”

P.P.P.S. Seriously, here is a photo of U.S. Department of Homeland Security Secretary Kirstjen Nielsen —

Kirstjen-Nielson-rtr-img

Reuters news photo

— and here is Jodie Foster as Elysium’s head of security:

Image result for Jodie Foster Elysium

Give Nielsen a haircut and we’re there.

Seriously, though, while there are calls for Nielsen to resign — and I think that she should resign — why would the cadre of stupid white men who gave her her marching orders get to keep their jobs?

Nielsen is nauseating, but all of the Nazis in the occupied White House need to go. Just one token head rolling won’t do, and methinks that a focus on Nielsen’s removal only whiffs of sexism, as much as I don’t want to defend Nielsen in regards to anything.

*No, I don’t advocate paying people to get sterilized or to use contraception or to get an abortion. That would open up a huge ol’ can of worms. But there is no good reason not to provide birth control for free to those who want it, and with a reduced population, or at least with a population whose growth rate is being managed, quality of life for everyone would improve.

And, of course, the Catholick church, which has demonstrated amply how much it truly cares about children, can and should go fuck itself. I see precious little difference between right-wing “Christians” trying to dictate the law for everyone and Sharia law. Both are theofascist.

**In my review of “Elysium” I compared the space station to our gated communities. Of course, Pussygrabber’s Great Wall would just make the entire nation one big gated community.

It’s much easier to build even a ginormous gated community that an exclusive, humongous space station, but hey, with a/the “space force,” maybe a real-life Elysium is in the cards…

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Greatness eludes ‘Elysium,’ but Blomkamp is getting better

Film review

This film image released by Columbia Pictures-Sony shows director Neill Blomkamp, left, and Matt Damon on the set of "Elysium." The film, opening nationwide on Aug. 9, is a rogue burst of originality _ a futuristic popcorn adventure loaded with contemporary themes of wealth discrepancy, immigration and health care. (AP Photo/Columbia Pictures, TriStar, Kimberly French)

Associated Press image

Writer and director Neill Blomkamp directs Matt Damon on a set of “Elysium,” Blomkamp’s second big entry into the sci-fi genre.

Like his “District 9,” writer and director Neill Blomkamp’s “Elysium” is a worthwhile and entertaining but imperfect sci-fi venture in which Blomkamp takes the opportunity to inject social justice.

“Elysium” hits much closer to home here in the United States than “District 9,” which is set in Blomkamp’s native South Africa, did, however.

“Elysium” takes on at least four large American sociopolitical issues: immigration, class-based access to health care, the environmental degradation of planet Earth, and the phenomenon of the gated community, which is a euphemism for what actually are becoming privately militarized compounds as the filthy rich get richer and the rest of us get poorer and the rich want to keep the shit that they’ve stolen from us safe from us.

Set in the year 2154, in “Elysium” Matt Damon plays Max, a member of the poor working class in a future Los Angeles whose residents speak both English and Spanish. Most of Max’s companions, including his best friend Julio (played by Diego Luna) and his love interest Frey (played by Alice Braga), are Latino.

Like poor Mexicans attempt to get into the United States (although not nearly with the same frequency since the U.S. economy crashed and burned, like everything else did, under the watch of George W. Bush), poor and desperate Earthlings attempt, via spacecraft, to get into Elysium, the name of the gargantuan wheel-like space station that orbits Earth in space like the moon, and that like the moon, is visible on Earth. (The full backstory of the construction of Elysium is not given in “Elysium”; like the moon, it’s just taken as a given, which is OK, since we don’t really need the backstory anyway, since we already have a very good sense of how Elysium came to be.)

Protecting Elysium from the poor and desperate Earthlings who wish to reach it — the “illegals” — is the space-station plutocrats’ defense secretary, the sometimes-French-speaking Delacourt (an icy Jodie Foster) and legions of humanoid robots that keep the “illegals” (who even on Earth are deemed “illegals,” because they are not allowed admittance to Elysium) in line, mostly on Earth but also on Elysium should any of the “illegals” actually make it to Elysium.

Max, whose job is in a factory that manufactures the robots that keep the “illegals” in line, is exposed to a lethal dose of radiation while on the job — there is no OSHA in Blomkamp’s dystopian Los Angeles — and is given five days to live, and he finds out that Frey’s daughter has terminal leukemia.

The elites on Elysium have the automatized technology to cure a human being of any malady (as long as he or she is still alive, anyway), and Max’s underground associate Spider (Wagner Moura), who is a futuristic coyote, has a plan that could take Elysium down, and so the film takes off from there.

True, as others have noted, “Elysium” does go off the rails a bit, as it goes from a social-consciousness movie into a typical Hollywood action flick, but then, it more or less saves itself at the end, when it returns to its social-consciousness beginning.

Matt Damon carries “Elysium” well. He is a reliable workhorse of an actor. And as his own sociopolitical views lean strongly leftward, my guess is that he infused his performance with the sense that with Blomkamp he is furthering good causes (because, methinks, he is).

I found Jodie Foster’s performance, however, to be remarkably stilted and lifeless. I mean, she was nominated four times for the Best Actress Oscar and won twice. Foster’s character is supposed to be icy, I get that, but Foster nonetheless seems to have phoned it in. Some of this might be Blomkamp’s fault, however; as we get no backstory on or real development of Foster’s character, perhaps the two-dimensional portrayal is about the best that she could do.

And while Blomkamp apparently likes Sharlto Copley enough to have put the star of “District 9” in “Elysium” as well, Copley’s villainous Kruger, a mercenary who is on Delacourt’s payroll, is, as others have noted, over the top. Indeed, this villain, when compared to the other characters in the film, even that of Delacourt but perhaps especially that of Max, seems to have been cut and pasted from another film entirely… (Ditto for Kruger’s immediate associates, who also seem like refugees from a “Mad Max” movie.)

And like “District 9” does, “Elysium” suffers from some inconsistencies and some explanations that don’t make sense, as though Blomkamp hadn’t really thought all of it out.

The ubiquitous humanoid robots that keep the “illegals” in line on Earth suddenly go mostly or even entirely missing when the action moves from Earth to Elysium, and while our protagonists and antagonists battle it out on Elysium, I found myself asking myself, “Where the hell are all of the robots? They’re all over Earth, but they’re missing in action on Elysium?”

Apparently a “reboot” of Elysium’s “core” (its central computer) somehow is going to remove President Patel (Faran Tahir) — whom the right-wing, merciless Delacourt despises because she considers him to be too soft and too merciful toward the “illegals” (whose spacecraft she just wants to blow from the sky as they try to reach Elysium, without exception) — and, presumably, put Delacourt in the deposed Patel’s place.

How, exactly, the mere rebooting of a central computer would achieve that change of guard, Blomkamp doesn’t explain. Nor does he explain how the mere reprogramming of Elysium’s “core” to recognize all Earthlings as citizens of Elysium would magically mandate that all Earthlings automatically are to receive the level of medical care that the denizens of Elysium get.

I mean, it’s not like reprogramming a computer, no matter how powerful it is, is the same as reprogramming human beings. (That said, the craniums of the denizens of Elysium apparently are linked with implanted, wireless circuitry that at the least allows them to communicate hands free [Google and/or Apple is/are working on this right now, right?], and there is a character [a CEO whose corporation Max works for, played by William Fichtner] who, much like how R2-D2 held the plans to the Death Star, holds the plans to “reboot” Elysium inside of the small computer that is implanted in his head, where he has downloaded the plans, but, presumably, the over-privileged denizens of Elysium cannot be reprogrammed into believing that they actually had elected someone else as their president or that the destitute denizens of Earth suddenly now are their sociopolitical equals.)

Also, if we are to buy the central premise of “Elysium” — which is that the rich and the powerful tiny minority (the 1 percent, if you will) have fled the increasingly overpopulated, diseased and polluted Earth for their own mega-gated community in the sky, and that they have done this in order to protect and to preserve the limited, apparently scarce reserves of life-enhancing things for themselves — then how can we buy “Elysium’s” ending, which apparently portrays the 1 percent’s hoarded resources, or at least their hoarded medical-care resources, as being enough to serve at least the entire area of Los Angeles, but apparently even the entire Earth?

This does not compute…

Still, despite “Elysium’s” flaws, it’s a more than watchable film, it’s an improvement over “District 9” (and so Blomkamp seems to have a promising career ahead of him), and it’s great, of course, to see a mainstream film take a socialist-y stance on current hot topics such as immigration, access to medical care, environmentalism, and, of course, the ugly phenomenon of the gated community, which is but a manifestation of the insanely great class division that we see in the United States of America today.

I don’t expect American wingnuts to love this film, and that’s a great thing.

My grade: B+  

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On Jodie Foster and ‘privacy’ vs. shame

This image released by NBC shows Jodie Foster, recipient of the Cecil B. Demille Award, during the 70th Annual Golden Globe Awards at the Beverly Hilton Hotel on Jan. 13, 2013, in Beverly Hills, Calif. (AP Photo/NBC, Paul Drinkwater)

NBC/Associated Press photo

Actress Jodie Foster kind of officially, publicly came out of the closet the other night when she accepted an award at the Golden Globe Awards. Thankfully, the 50-year-old Foster’s apparent shame over her sexual orientation is rarer in our youthful non-heterosexuals today — no thanks to Foster, of course.

I don’t want this to be a repeat of what I wrote about lesbian astronaut Sally Ride’s posthumous outing in July, so I’ll quote what others have said about actress Jodie Foster’s recent quasi-coming out.

Matthew Breen, the probably-too-pretty editor of The Advocate, wrote this about Foster:

… Everyone should come out in her own time, but Foster was angry last night. One reason could be embarrassment at not having come out publicly (at least in her own estimation) until 2013. Last night’s speech clearly took a lot of guts for Foster to undertake. But too much anger was directed at a straw man of her own creation.

“But now apparently I’m told that every celebrity is expected to honor the details of their private life with a press conference, a fragrance, and a prime-time reality show. You guys might be surprised, but I am not Honey Boo Boo child. No, I’m sorry, that’s just not me, never was, and it never will be,” she said.

There’s where she’s got it wrong. By referencing Honey Boo Boo, a stand-in for all that is shamelessly confessional about celebrity in 2013, Foster’s implication was that the choices she faces as a public figure are few: (1) stay closeted, never acknowledge your sexual orientation in public, or (2) tell the world every sordid detail of your intimate life.

That’s a bogus comparison, and it’s one that reinforces the idea that being LGBT is shameful, worthy of being hidden, and that saying you’re LGBT is an invitation to the whole world to come into your bedroom. That’s patently wrong. There are numerous out celebrities who guard their personal lives: David Hyde Pierce, Anna Paquin, Zachary Quinto, Amber Heard, Anderson Cooper, just to name a few. … [Emphasis is all mine.]

Breen states in his piece on Foster that The Advocate’s policy on outing is this: “While we encourage everyone who doesn’t risk his or her own safety by coming out to do so, The Advocate has a policy of not outing people who are not actively doing harm to LGBTs through word or deed.”

That’s pretty much my personal view on outing, too. Those who can be out should be out, in my book. You can’t assert that someone who might face real physical danger and/or who might be tossed out of his or her home (or maybe even his or her job) should come out if you’re not the one who would have to face the consequences — but often closeted individuals exaggerate how awful it might be should they come out.

Still, that said, even if I strongly think that an individual should be out, in the end, in many if not most cases it’s up to the individual as to whether or not he or she should be out (assuming that everyone doesn’t already know or strongly surmise the individual’s orientation anyway — there are so many closet cases whose self-awareness is so low that they seem to think that no one knows that they’re not heterosexual when pretty much everyone does).

In my book, the individual deserves the “protection” of the closet until and unless he or she does not deserve it, such as if it’s a closeted guy who is not keeping to himself but is sexually harassing others at the workplace (as happened to me) or, of course, if it’s a closet case who actively is working against the “LGBT community,” such as a “Christo”fascist “leader” or a politician. No traitor deserves the “protection” of the closet.

Most people agree on that point, but there remains a sticking point — that of “privacy.”

I like what LGBT writer Nathaniel Frank has to say on this:

… It’s true that hiding [one’s sexual orientation] hurts. Research shows mental health consequences to holding major secrets over time. And yes, it’s absolutely a wasted opportunity for powerful, visible people who probably could come out unscathed to deny young LGBT people the nurturance of knowing that an admired public figure is gay.

Privacy and shame are closely connected. Adam and Eve covered their “privates” the moment they gained moral consciousness, an awareness of good and evil, setting the tone for a truism ever since: You don’t cover up stuff if there ain’t something wrong with it.

Any step a gay person takes to hide their identity that they wouldn’t take to hide the fact that they’re, say, Irish, vegetarian or left-handed is probably not a neutral quest for privacy but reflects their own doubt about just how OK it is to be gay. Foster’s reluctance to just pull an Ellen (“Yep, I’m gay”), and her tortured speech, with its resentful tone and its ultimate avoidance of the “L” word, made being gay and coming out seem tortured things in themselves. … [Emphasis mine.]

And that’s the deep and profound problem that I have with the widespread argument that one’s sexual orientation (if it is not heterosexual, and only if it is not heterosexual, of course) is “private”: The vast majority of heterosexuals don’t go around asserting that their attraction to members of the opposite sex is “private,” do they? And why is that? Because they’re not fucking ashamed of their sexual orientation, that’s why.

So to assert that one’s non-heterosexuality — not one’s specific sex acts, but one’s basic sexual orientation — is “private” is to keep alive the toxic, ignorant, bigoted, harmful belief that to be attracted to members of one’s own sex is shameful, abnormal, “sinful,” etc.

And to contribute to that toxic, heterosexist and homophobic environment — and yes, all of us are responsible for the environment, since all of us make up the environment — is only to add to the number of non-heterosexual people who become addicted to drugs and alcohol, who contemplate or commit suicide, who don’t protect themselves from STDs because (in their low self-esteem) they don’t find themselves to be worth protecting, and who are the victims of hate crimes, since they exist in such a heterosexist, homophobic environment that encourages such hate crimes.

You are contributing to the problem or you are contributing to the solution.

Lying that your basic sexual orientation is a matter of “privacy” — and lying that what others really want to know are the “dirty” details of your sex life when, in fact, no one is inquiring as to such details — is to try to excuse yourself for your own laziness, selfishness and cowardice for which there is no fucking excuse.

That is the problem that I have with Jodie Foster and with others like her who toss out the red herring of “privacy” instead of manning the fuck up already and working to make things better for everyone.

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Golden Globes gets it mostly wrong

Director Martin Scorsese poses backstage with the award for Best Director of a Motion Picture for the film "Hugo" during the 69th Annual Golden Globe Awards Sunday, Jan. 15, 2012, in Los Angeles. (AP Photo/Mark J. Terrill)

George Clooney poses with his award for best actor in a motion picture - drama for "The Descendants," backstage in Beverly Hills

Associated Press and Reuters photos

Martin Scorsese poses with his undeserved Golden Globe for best director for his overhyped “Hugo” in Los Angeles last night, and George Clooney poses with his undeserved Golden Globe for best actor in a drama for his role in the overrated “The Descendants,” which also unfortunately undeservedly took the Golden Globe’s award for best dramatic film. The Golden Globes snubbed Steven Spielberg, but at least gave the film “The Artist” the props that it deserves, naming it the best musical or comedic film and naming Jean Dujardin as the best actor in a musical or comedy for his leading performance in the film. (Below are pictured Dujardin, left; the director of “The Artist,” Michel Hazanavicius, middle; actress Berenice Bejo, far right; and Uggie the dog, far left.)

Dujardin, Hazanavicius and Bejo of "The Artist" pose backstage at the 69th annual Golden Globe Awards in Beverly Hills

Reuters photo

I haven’t written a movie review for a while, although I see a lot of movies, perhaps especially at the end of the year, when the Oscar bait is trotted out to the theaters.

Since I haven’t reviewed most of this year’s contenders for the big awards — but have seen most of them — I’ll comment on last night’s Golden Globe winners for film.

First up is the movie that got the Globes’ award for best drama, Alexander Payne’s “The Descendants.”

Yikes.

Payne has done so much better than “The Descendants,” such as “Sideways,” “Election,” and even “About Schmidt” and “Citizen Ruth.” That “The Descendants” stars Hollywood golden boy George Clooney and that its director has made better films doesn’t mean that “The Descendants” is worthy of being on anyone’s best-picture list, because it isn’t.

“The Descendants” has some nice visuals — it takes place in Hawaii — and I found the character of Sid to be adorable, but otherwise, “The Descendants” is overlong as it meanders and dawdles, with a plot that is mediocre at best and that never arrives anywhere, leaving its audience waiting for a point that never arrives. I give the film a “B-” at best. (Probably it deserves a “C” or “C+”, since I have little to no interest in viewing it ever again.)

“The Descendants'” competitors for the Golden Globes’ best drama were “The Help,” “Hugo,” “The Ides of March,” “Moneyball” and “War Horse.”

I didn’t see “The Help” because of its shitty reviews, and I have no interest in catching it on DVD.

“The Ides of March,” another George Clooney vehicle, while watchable, also doesn’t belong on anyone’s best-picture list. Clooney, Ryan Gosling and Philip Seymour Hoffman give decent performances in “Ides,” but the script is mediocre and nothing novel, just a rehash of political movies that we’ve seen before. I give “The Ides of March” a “B-” or “C+” also. This wasn’t actually George Clooney’s year.

“Hugo” I found to be fairly entertaining but overrated. Even the wildly talented Sacha Baron Cohen as a quasi-villain couldn’t really save Martin Scorsese’s self-indulgent flick that turns out to be more about the French director Georges Melies (played by Ben Kingsley) than about our young protagonist Hugo. I found the whole automaton thing rather senseless and strange and uncaptivating, and films about filmmaking often are about as good as are novels about writing novels, it seems to me. (“The Artist” is an exception; more on that shortly.)

“Hugo’s” 3-D effects were decent, and the film overall is entertaining, although a bit too long, and overall “Hugo” was just overhyped. Martin Scorsese, contrary to apparent popular opinion, does not shit gold. I give “Hugo” a “B.”

I wanted to see “Moneyball” but never did, so I’ll have to catch it on DVD, but I did catch Steven Spielberg’s “War Horse,” which is far superior to “The Descendants.” My guess is that even if I’d seen “The Help” and “Moneyball,” “War Horse” still would be my pick for best drama from the list of the Golden Globes’ six nominees.

“War Horse,” which garners a solid “A”, is reminiscent of the films of yore (we’ve had plenty of films about World War I and films starring horses or dogs as our protagonists), perhaps especially with its ending scene, which (fairly) has been compared to “Gone with the Wind,” but “War Horse” works quite well nonetheless. I found myself teary-eyed at the end of the film, and that’s fairly rare. And despite the film’s length, my interest in it never waned, which I cannot say for “Hugo” or “The Descendants.” Steven Spielberg still has it.

The Globes unusually has a second category for best picture, best musical or comedy. I have seen three out of four of the nominees in that category. (Not bad, right?)

The nominees were “50/50,” “The Artist,” “Bridesmaids,” “Midnight in Paris” and “My Week with Marilyn.” “Bridesmaids” is the only one that I didn’t see, due to its lackluster reviews.

“The Artist” won the Golden Globe for best musical or comedy, and I can’t complain about that. I saw the film this past weekend and it’s best-picture material, a solid “A” (maybe a rare “A+”). A film that mostly is silent and in black and white but can keep the audience’s attention nonetheless is an accomplishment. The protagonist’s heroic dog is a bit too reminiscent of the heroic dog Snowy of Spielberg’s “The Adventures of Tintin,” which I saw before “The Artist,” but “The Artist” is a solid film with good performances and a captivating, clever script.

“The Artist’s” protagonist George Valentin (played by Jean Dujardin), a silent-movie star, at first is an annoying, spotlight-hogging ham but becomes more and more likeable as the film progresses, and protagonist Peppy Miller (played by Berenice Bejo), also a movie star, is mesmerizing, although I don’t know that most starlets of the 1920s and 1930s looked like Bejo does; I’m not an expert on the films of the 1920s and 1930s, but she does look a little out of place. However, Bejo’s charisma more than makes up for that.

“50/50,” which stars Joseph Gordon Levitt, one of my favorite actors, also earns a solid “A,” but its material — a young man diagnosed with cancer — apparently wasn’t novel enough for it to win in its category. Still, “50/50” has some great lines and Seth Rogen does a great job as protagonist Gordon Levitt’s supportive-as-he-can-be best friend. (Unfortunately, in “50/50” Bryce Dallas Howard pretty much plays the same role that she played in the lacking Clint Eastwood vehicle “Hereafter.”)

“My Week with Marilyn,” which I can give only a “B” at best, isn’t a comedy or a musical, so why it landed in this category escapes me. Michelle Williams does as good a job as Marilyn Monroe as she can, but the film isn’t as compelling as it should be, and it’s not very believable that Marilyn Monroe essentially was a drugged-out bimbo who had enough occasional flashes of acting brilliance that an entire film could be cobbled together from these apparently brief and accidental episodes of talent.

“Marilyn” also suffers, I think, from being too self-referential. Again, the number of films about filmmaking that we’re seeing as of late seems to indicate that the filmmakers have run out of ideas, and so they’re now turning the camera on themselves.

“Midnight in Paris” would have won, I suspect, were it not for “The Artist.” Unfortunately, we’re used to good work from Woody Allen (although he’s made some lackluster films, too), and so he often unfairly is overlooked. “Midnight in Paris,” while not a complete departure from Allen’s past films, is a solid film that earns an “A.”

The Globes’ nominees for best director were Woody Allen (for “Midnight in Paris”), George Clooney (for “The Ides of March”), Michel Hazanavicius for “The Artist,” Alexander Payne for “The Descendants” and Martin Scorsese for “Hugo.”

As I did see all of these films, I can say that I find Scorsese’s win for best director to be disappointing. He apparently was awarded for his past work, because “Hugo” doesn’t deserve best director.

We can cross Clooney, Payne and Scorsese off of the best-director list right off, which would leave us with Allen and Hazanavicius. I probably would have given the best-director award to Hazanavicius, as much as I love most of Allen’s work. “The Artist” is quite an accomplishment and doesn’t deserve less only because Hazanavicius is new to us Americans.

The Globes gave best actor in a drama to George Clooney for his work in “The Descendants,” another mistake. Clooney is popular — I get that — and he is a solid actor, but there is nothing very remarkable about “The Descendants,” which, next to “Hugo,” might be the most overrated film of the year.

Unfortunately, I have yet to see Michael Fassbender in “Shame” (it comes to my city later this month, and I like Fassbender, so I’m there), and, as I noted, I have yet to see “Moneyball,” so I am not sure if I would have picked Brad Pitt or Fassbender, who, along with Pitt, also was nominated for the Globes’ best-actor award. Leonardo DiCaprio was nominated for his performance in “J. Edgar,” but that film (which I rather generously gave a “B”) is so flawed that it probably sank his chances, and I don’t feel that DiCaprio was screwed, not really. Ryan Gosling was nominated for his role in “The Ides of March,” but again, there is nothing special about that film, either.

I’m really fucked where it comes to the Globes’ nominees for best actress in a drama, as I haven’t seen any of the nominated perfomances, Glenn Close’s for “Albert Nobbs” (also arrives at my city later this month, and I’ll probably go see it, even though it seems “Yentl”-ish to me), Viola Davis’ for “The Help,” Rooney Mara’s for “The Girl with the Dragon Tattoo,” Meryl Streep’s for “The Iron Lady” (which is getting lackluster reviews and which I’ll probably wait for on DVD), and Tilda Swinton’s for “We Need to Talk About Kevin” (which seems to be an awful lot like her role in “The Deep End,” but I love Tilda).

My guess is that Streep, who won the Golden Globe, will end up getting the best-actress Oscar again — only because she more or less looks like Margaret Thatcher. “Saturday Night Live” achieves lookalikes all the time, so really, so what? Word is that “The Iron Lady” fairly sucks, with Roger Ebert giving it only two of four stars.

The Globes’ best actor in a comedy or musical went to Jean Dujardin of “The Artist,” which I confidently assert was a deserved win, even though I didn’t see Brendan Gleeson in “The Guard” or the good-enough-but-overrated Ryan Gosling in “Crazy Stupid Love.” (Really, are Ryan Gosling and George Clooney the only two actors that we have left?) Joseph Gordon Levitt was quite good in “50/50,” and Owen Wilson also was quite good in “Midnight in Paris,” but neither of them, nor the two other nominees, had a snowball’s chance against Dujardin’s performance.

The Globes’ award for best actress in a comedy or musical went to Michelle Williams for “My Week with Marilyn,” although, again, “My Week with Marilyn” is neither a fucking comedy nor a fucking musical, and it was no super-human feat to doll up Michelle Williams to resemble Marilyn Monroe any more than it was to make Meryl Streep look like Margaret Thatcher, for fuck’s sake. It’s too bad that Williams wasn’t given a better script to work with.

I’ve yet to see “Carnage,” which garnered both Jodie Foster and Kate Winslet nominations for best actress in a comedy or musical. I am there when “Carnage” comes to my city, however; the previews look compelling. (I love movies that give us insight into dysfunctional relationships, which is perhaps why I like Woody Allen’s work so much, and I liked Winslet in “Revolutionary Road.”)

I also have yet to see Kristen Wiig’s performance in “Bridesmaids,” but I like Wiig, so I might catch her peformance, which also was nominated for the Globes’ best actress in a comedy or musical, on DVD. Ditto for “Young Adult,” which garnered Charlize Theron a nomination in the category.

The Globes’ best supporting actor went to Christopher Plummer for his role as a gay man who comes out of the closet late in life in “Beginners.” I give “Beginners” a “B+”, but I have to wonder if Plummer was given the award more for his past work than for his role in “Beginners.” I could argue that Kenneth Branagh, who also was nominated for best supporting actor for his role in “My Week with Marilyn,” was more deserving of the award.

The Globes’ best supporting actress award went to Octavia Spencer, whoever that is, for her role in “The Help.” I can’t imagine that Spencer was better than Berenice Bejo, who also nominated for best supporting actress, was in “The Artist,” however, and it escapes me as to why Bejo wasn’t nominated for best actress, since her role in “The Artist” is equal to the male protagonist’s. (I remember when Heath Ledger was nominated for an Oscar for best actor for “Brokeback Mountain” but Jake Gyllenhaal inexplicably was nominated only for best supporting actor, even though his role was equal to Ledger’s.)

The Golden Globes’ winner for best screenplay went to Woody Allen for “Midnight in Paris.” It seems that the Globes wanted to recognized Allen’s film in some way and so gave it best screenplay, but arguably “The Artist,” which also was nominated for best screenplay, should have won. Why “The Ides of March” and “The Descendants” were nominated at all for best screenplay eludes me, as neither is a remarkable film in any way, and George Clooney doesn’t shit gold, either. Again, I’ve yet to see the also-nominated-for-best-screenplay “Moneyball,” but I can live with Allen’s win in the category.

The Globes’ best animated feature went to Spielberg’s “The Adventures of Tintin,” the only film in the category that I’ve seen (the others were “Arthur Christmas,” “Cars 2,” “Puss in Boots” and “Rango.”) “Tintin” is a solid, entertaining film (I give it an “A” or “A-“), perhaps a little overlong but quite watchable, although, in my book, not as good as Spielberg’s “War Horse” (“A” or “A+”). Still, with “Tintin” it’s apparent that Spielberg hasn’t lost his talents, and I have to wonder if the dearth of nominations for Spielberg in the Golden Globes means that he’s going to be given short shrift with the Oscars, too.

Spielberg should have been nominated for, and perhaps won, the Globes’ best director, in my book.

I have plenty of films to catch up on between now and the Oscars, but thus far my picks are “War Horse” or “The Artist” for best picture and Steven Spielberg (for “War Horse,” not for “Tintin”) or Michel Hazanavicius for best director.

At least the Golden Globes ignored the sanctimonious-as-Scorsese Terrence Malick’s God-awful “Tree of Life” (which I gave a rare “F”), and hopefully the Oscars will, too, but the Globes overlooked Lars von Trier’s “Melancholia” (which I give an “A” or “A-“, and which unfairly has been compared to “Tree of Life”) — a mistake that, hopefully, the Oscars won’t make.

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