2011 Oscar Winners

I don’t remember the last time I watched the Oscar telecast. It might have been the year Titanic won. I dunno. But I watched a portion of the 2011 telecast online last night from an ABC feed. I’d never seen the Red Carpet foolishness before. Wow. I knew Hollywood was shallow, but that was obscene. Actresses answering questions about what kind of dress they had on. Who cares about that? I also saw Melissa Leo’s acceptance speech, which is proof that it’s better to appreciate the art and forget about the artist. I liked her in Tremé, but even if she was nervous, man, she seemed like a total nut.

I don’t care too much about the awards, but this year I actually saw most of the nominated movies, and I’ll at least give them this: All movies nominated for best picture (the 8 that I saw anyway) are intelligent and literate and aren’t just throwaway entertainment. And the winners are…

Picture: The King’s Speech
Directing: Tom Hooper – The King’s Speech
Lead Actor: Colin Firth – The King’s Speech
Lead Actress: Natalie Portman – Black Swan
Supporting Actor: Christian Bale – The Fighter
Supporting Actress: Melissa Leo – The Fighter
Foreign language film: In a Better World
Animated feature film (aka The Pixar Award): Toy Story 3
Cinematography: Wally Pfister, Inception
Documentary feature: Inside Job

“Public Enemies” is Underwhelming

I saw Public Enemies last night, directed by Michael Mann, starring Johnny Depp. It’s the dullest movie I’ve seen this year. I like the trailer more than the movie.

From FilmJerk.com:

Rarely has a wonderland of hardened gangsters, flighty dames, and widescreen bank robbing been rendered this lifeless… “Public Enemies” is stuck in neutral and it’s difficult to isolate the primary flawed component of the picture. There’s so much inertia and crummy decision making in play here, reducing “Enemies” to a 140-minute-long countdown to nowhere; a film blessed with a massive budget to go damn near anywhere it pleases within a neglected genre, and Mann picks a dead air, faux-cerebral approach to dramatize the (sorta) life and times of John Dillinger.