Posts Tagged ‘An Education’

Short Take: Just the bounce back from “Cars 2″ that Pixar was primed for

Directors: Mark Andrews, Brenda Chapman, Steve Purcell

Screenwriters: Mark Andrews, Brenda Chapman, Steve Purcell, Irene Mecchi

Cast: Kelly Macdonald, Emma Thompson, Billy Connolly, Julie Walters

Length: 1h 33m

Synopsis: Merida (Macdonald) is a Scottish princess, but you wouldn’t know it to look at her. With long, unkempt, fiery red hair and a fondness for tomboyish hobbies she doesn’t often get along with her mother the Queen  (Thompson) who, loving though she may be, relentlessly stresses the importance of obedience and propriety. Merida’s crude but kind father, King Fergus (Connolly), plays the peacemaker whose mannerisms and childish immaturity are not the example Queen Elinor wants for their daughter, yet the three get along fairly merrily all the same. One day, however, Elinor schedules a competition for young men seeking Merida’s hand in marriage. The princess impulsively becomes infuriated. A heated argument is had between the two, and in the midst of Merida’s outburst she runs off into the woods and discovers a secluded cabin where a temperamental witch (Walters) dwells. In an effort to change her fate Merida has the witch conjure a spell that would cause Elinor to change – and boy does it ever. The Queen turns into a giant bear, the land’s most feared and hunted creature. Merida is immediately remorseful, but before too many suns have set she and her mother must work together to break the spell before it becomes permanent. Will the rambunctious teenager save her mother’s fate in time, and succeed in mending the bond broken between them?

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Are rebellious teenage girls like Jenny (Carey Mulligan) part of an on-screen trend? If so, what's behind that trend?

Between last October and now there have been several high-profile movies released that touch upon the subject of teenage girls trying to fight to avoid their planned futures – or to be more accurate, their futures which others have planned for them. Some examples of these movies are An Education, Whip It, and the recently released Alice in Wonderland.

Jenny (Carey Mulligan), the lead girl in An Education, sees herself as different from the other girls in her high school class, perhaps in terms of maturity, worldliness, intelligence, or simply personal goals. Unlike the other girls in her class she, like so many teenagers, begins to show contempt for the scholastic system within which she sits. Told to be ladylike and that her education is of the utmost importance, Jenny tires of hearing how the only way to success is through the strictly mapped pathway that the education system provides. As a result she rebels against structure and experiments with uncertainty. Likewise, Alice (Mia Wasikowska) is trying to avoid a marriage that both her mother and society have set up for her, either ignorant or indifferent to the fact that she has no romantic feelings for her suitor. The sole rationale behind the union is that she is both young and attractive and her fiancé-to-be is financially comfortable. But worse, Alice is expected to bear the young man’s children so as to fulfill her social role as a woman. Naturally, when she finds herself falling down the rabbit hole and trapped again within the world of Wonderland, she’s not very eager to get home.

Both of these films touch on the same subject occurring at different time periods (Jenny the 1960s, Alice the Victorian era – both in England), which is the illumination of the social role of young women and their rebellion against that role. The question becomes: why do these movies – released within months of each other – ask for our interest in this matter? Is it that the issue is so inescapably attributed to our conception of the average teenager? Moreover, is the issue so inescapably attributed to our conception of the average teenage girl? Bliss (Ellen Page), the main protagonist in Drew Barrymore’s Whip It, is forced to deal with wanting a different future than what her mother has planned for her (roller derby vs. beauty pageants). It would appear that the society within which Bliss resides is not pressuring her to fulfill any kind of specific social role, but she nevertheless feels naturally compelled to resist being led on any path that she herself has not devised. If these representations of teenage girls, depicted across three different time periods, are indeed intended to be considered authentic and representative of the archetype they illustrate, then one must ask what the relevancy is in bringing these characters to our attention at this point in time. Read the rest of this entry »

It's neck and neck between Sandra Bullock and Helen Mirren for the Best Leading Actress Oscar, but Bullock slightly leads thanks to awards by Critic's Choice, Golden Globes, and SAG

It’s almost time! Going through the final few categories will hopefully help you get in the mood for tomorrow night’s festivities, which are sure to be as exciting as ever. Enjoy our newest analysis!

Also See: Best Supporting Actress, Best Supporting Actor, Best Leading Actor, Best Original Screenplay

Best Actress in a Leading Role

This year’s Best Leading Actress pool is filled to the brim with deserving talent and performances, arguably more so than usual. What isn’t unusual is that it’s a tight race for who is actually going to win the gold statuette. The competition is stiff, but it would appear that the two leaders are Sandra Bullock and Helen Mirren, followed closely by Meryl Streep. Bringing up the rear is, of course, the younger two of the nominees, Carey Mulligan and Gabourey Sidibe, respectfully. Helen Mirren’s performance is said to be the most powerful, however Bullock has earned the majority of the Leading Actress awards leading up to the Academy Awards. Read the rest of this entry »

According to Diane Garrett, "Up in the Air" is just one of this year's films that acknowledge the frequency of infidelity

Diane Garrett of Variety.com wrote in an article the other day how it seems the topic of infidelity is hot this year in Hollywood. The reason for this suspicion – 4 out of 10 nominated films for the Best Picture Oscar deal directly with the subject.

Up in the Air, Precious, An Education, and A Serious Man are those 4, and aside from these there’s still those films that weren’t nominated, such as It’s Complicated and Nine.

Garrett notes that, socially, infidelity is a topic that the country can’t seem to avoid, with news breaks about Tiger Woods, John Edwards, Mark Sanford, David Letterman, and John and Kate Gosselin flashing day and night. For something that’s supposedly so immoral, it sure seems to happen quite a lot. Could this be why it’s such a popular topic in recent films?

On the contrary, Garrett makes a different conclusion, chalking the timeliness of the subject up to its versatility in the field of writing.

“It’s interesting, it’s common, and it’s juicy,” says Wesleyan U. film scholar Jeanine Basinger. “You can tell it as comedy, drama, whatever.” – Variety

Infidelity is an issue that audiences seem to have a strange interest in. Strange, that is, because the negative effects of it are well known (scarred children, emotional pitfalls, birthed insecurities, etc.) but because it’s so common it’s traversed from being a serious taboo to fodder for entertainment. And beyond the incorporation of the topic in this year’s four nominees, Garrett insinuates they treat it as a common indiscretion like the most of us. This contrasts, she says, with films like Unfaithful which explicitly claim that such an act should not be tolerated.

To add to Garrett’s article, at least this year’s films aren’t in any way condoning the act of cheating.

With Oscar season now officially upon us, it is time to take a look back and see which films have made Movie-Thoughts’ Top 10 of the year. Granted we’ve only been around since last August, so our list isn’t as well crafted as it might be if we were around for a whole year. However, such lists are just meant to be fun anyways, right? So let’s get to it.

Our list is based solely on how writers Clifford Bugle and Marisa Carpico rated all the movies they reviewed on a scale of 1.0 to 10.0. There were lots of ties, but they were sorted out according to the suggestions of the writers.

1. Avatar -  9.0
2. A Single Man -  9.0
3. Inglourious Basterds -  8.5
4. An Education -  8.5
5. The Hurt Locker -  8.5
6. District 9 -  8.5
7. 500 Days of Summer -  8.5
8. The Book of Eli -  8.5
9. Precious -  8.0
10. The Merry Gentleman -  8.0

How does our list compare with yours? We’re excited to know, so send us your list of the Top 10 movies of the year via our Contact page or this post’s comments section.

It's that time of year again!

Oscar nominations were released today! See which of your favorite movies/people were nominated, and tell us if you disagree with any of them. Are there any snubs?

We here at Movie-Thoughts are soon going to be starting a continuing piece dissecting these nominations one category at a time, so be sure to check back regularly!

The 82nd Academy Awards will be aired on March 7th, and will be hosted by Steve Martin and Alec Baldwin.

Best picture
“Avatar”
“The Blind Side”
“District 9″
“An Education”
“The Hurt Locker”
“Inglourious Basterds”
“Precious”
“A Serious Man”
“Up”
“Up in the Air”

Best actor
Jeff Bridges, “Crazy Heart”
George Clooney, “Up in the Air”
Colin Firth, “A Single Man”
Morgan Freeman, “Invictus”
Jeremy Renner, “The Hurt Locker”

Best actress
Sandra Bullock, “The Blind Side”
Helen Mirren, “The Last Station”
Carey Mulligan, “An Education”
Gabourey Sidibe, “Precious”
Meryl Streep, “Julie & Julia”

Best supporting actor
Matt Damon, “Invictus”
Woody Harrelson, “The Messenger”
Christopher Plummer, “The Last Station”
Stanley Tucci, “The Lovely Bones”
Christoph Waltz, “Inglourious Basterds”

Best supporting actress
Penelope Cruz, “Nine”
Vera Farmiga, “Up in the Air”
Maggie Gyllenhaal, “Crazy Heart”
Anna Kendrick, “Up in the Air”
Mo’Nique, “Precious ”

Best director
James Cameron, “Avatar”
Kathryn Bigelow, “The Hurt Locker”
Quentin Tarantino, “Inglourious Basterds”
Lee Daniels, “Precious”
Jason Reitman, “Up in the Air”

Best foreign-language film
“Ajami” Israel
“El Secreto de Sus Ojos” Argentina
“The Milk of Sorrow” Peru
“Un Prophete” France
“The White Ribbon” Germany

Best adapted screenplay
Neill Blomkamp and Terri Tatchell, “District 9″
Nick Hornby, “An Education”
Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche, “In the Loop”
Geoffrey Fletcher, “Precious”
Jason Reitman and Sheldon Turner, “Up in the Air”

Best original screenplay
Mark Boal, “The Hurt Locker”
Quentin Tarantino, “Inglourious Basterds”
Alessandro Camon and Oren Moverman, “The Messenger”
Joel Coen and Ethan Coen, “A Serious Man”
Bob Peterson, Pete Docter, Tom McCarthy, “Up”

Best animated feature film
“Coraline”
“Fantastic Mr. Fox”
“The Princess and the Frog”
“The Secret of Kells”
“Up”

Best art direction
“Avatar”
“The Imaginarium of Doctor Parnassus”
“Nine” “Sherlock Holmes”
“The Young Victoria”

Best cinematography
“Avatar”
“Harry Potter and the Half-Blood Prince”
“The Hurt Locker”
“Inglourious Basterds”
“The White Ribbon”

Best sound mixing
“Avatar”
“The Hurt Locker”
“Inglourious Basterds”
“Star Trek”
“Transformers: Revenge of the Fallen”

Best sound editing
“Avatar”
“The Hurt Locker”
“Inglourious Basterds”
“Star Trek”
“Up”

Best original score
“Avatar,” James Horner
“Fantastic Mr. Fox,” Alexandre Desplat
“The Hurt Locker,” Marco Beltrami and Buck Sanders
“Sherlock Holmes,” Hans Zimmer
“Up,” Michael Giacchino

Best original song
“Almost There” from “The Princess and the Frog,” Randy Newman
“Down in New Orleans” from “The Princess and the Frog,” Randy Newman
“Loin de Paname” from “Paris 36,” Reinhardt Wagner and Frank Thomas
“Take It All” from “Nine,” Maury Yeston
“The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart,” Ryan Bingham and T Bone       Burnett

Best costume design
“Bright Star”
“Coco Before Chanel”
“The Imaginarium of Doctor Parnassus”
“Nine”
“The Young Victoria”

Best documentary feature
“Burma VJ”
“The Cove”
“Food, Inc.”
“The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers”
“Which Way Home”

Best documentary short
“China’s Unnatural Disaster: The Tears of Sichuan Province”
“The Last Campaign of Governor Booth Gardner”
“The Last Truck: Closing of a GM Plant”
“Music by Prudence”
“Rabbit a la Berlin”

Best film editing
“Avatar”
“District 9″
“The Hurt Locker”
“Inglourious Basterds”
“Precious”

Best makeup
“Il Divo”
“Star Trek”
“The Young Victoria”

Best animated short film
“French Roast”
“Granny O’Grimm’s Sleeping Beauty”
“The Lady and the Reaper (La Dama y la Muerte)”
“Logorama”
“A Matter of Loaf and Death”

Best live-action short film
“The Door”
“Instead of Abracadabra”
“Kavi”
“Miracle Fish”
“The New Tenants”

Best visual effects
“Avatar”
“District 9″
“Star Trek”

Short Take: It's message is clear as crystal, but what's impressive is how it sends it

Director: Lone Scherfig (English debut)

Screenwriter: Nick Hornby (About a Boy, High Fidelity), based on memoirs by Lynn Barber

Cast: Carey Mulligan (Brothers), Peter Sarsgaard (Jarhead), Alfred Molina (The Hoax), Rosamund Pike (Surrogates)

Length: 1h 35m

Synopsis: A 16 year old girl in 1960s England falls for an older man who promises to take her away from her boring life and show her the cultures of the world that she only dreamt of seeing. They enjoy many glamorous times together, but at the cost of the girl’s chances at getting into Oxford University. Eventually, the girl must choose which life to pursue, and her decision is a reflection of how smart she truly is.

Analysis: The basic story of a girl being wooed by an older man who is able to show her exciting places and things is hardly new. Many films and even sitcoms have by now seemingly exhausted this simple tale, and so I withhold no trepidation in spoiling the ending of An Education because you the reader are already intuitively aware of it. However, like with many films, it is the journey and not the destination which matters most. This being said, it is indeed the journey within An Education which separates it from much of its company. Read the rest of this entry »

Maryl Streep as Julia Child in "Julie and Julia"

An article on HollywoodReporter.com, written by Steven Zeitchik, talks about how up to this point in time in the Oscar race very few actresses have made much of an impression. Maryl Streep will likely be nominated (yet again) for her role as Julia Child in Julie and Julia, and Zeitchik claims that only two other leading actresses (Carey Mulligan and Gabourey Sidibe for An Education and Precious) have a shot at taking home the gold statuette.

One possible reason that Zeitchik postulates deals with the kinds of roles available for women in mainstream Hollywood. Independent films (such as An Education and Precious) offer many more dynamic, “serious” leading roles for women than Hollywood does (the reasons for which are up for speculation), but being in an independent flick doesn’t downgrade one’s performance in the eyes of the award voters. The Academy is not averse to giving the Best Leading Actress award to a “new face,” so-to-speak (ex. Jennifer Hudson, Marion Cotillard, etc.). Zeitchik later argues that unless you’re the likes of Angelina Jolie or Hillary Swank it’s hard for a woman to land a “serious” part in mainstream Hollywood. So shallow is the Oscar nomination pool for leading actresses, Zeitchik says, that Sandra Bullock is getting award buzz (for her role in The Blind Side).

Those who don’t think much of this year’s lack of standout performances by leading actresses chalk the issue up to the cyclical nature of each category, while some others speculate that it relates to bigger (supposed) issues like Hollywood making less award-worthy films. Zeitchik attempts to debunk such a speculation by noting that the Best Leading Actor category is overflowing with quality nomination possibilities (ex. George Clooney, Colin Firth, Jeff Bridges, Jeremy Renner, etc.).

You can read the full article here, which includes other related topics such as the possibility for three women to be nominated for Best Director, which is an unprecedented feat.

Quick Opinion: I can’t be certain that the number of quality leading roles for women in Hollywood is going down, if for no other reason than because it’s a more complex issue than one might think at first. Sure, maybe this year’s crop isn’t all that extensive, but last year saw 5 great actresses in the nomination pool, which led to hugely diverse speculation before the awards show about who was going to win. And being that Hollywood is still a big supporter of patriarchal ideology (for better or worse), there is and probably always will be plenty of quality leading roles available for men. Who’s to say, though, that there simply aren’t a lot of good scripts with great leading roles for women making the rounds around Hollywood? Script ‘X’ may have a dynamite female lead character, but if its overall story stinks then it doesn’t matter. Studios don’t typically buy works-in-progress. In any case, why would they take a chance on a lousy script just to satisfy a male/female ratio of leading roles? I’m all for equal representation of the sexes in the arts, but the film industry is a business (the biggest financial risk-takers being Hollywood studios) and if it were to adopt some brand of affirmative action to assure such equality I would speculate that the industry would suffer both financially and artistically. Simply put, you can’t tell an industry dealing in creativity what to create.