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Gazing into the crystal ball for 2012

Now that I’ve done my required looking back at the year that has been, it’s time to look forward to 2012 and make some predictions. Some of these will be bold, while some while fall more into the “well, duh” category. I suspect a lot of these will not come true, but that will solely be blamed on the crystal ball being flawed rather than any perceived incompetence of the fortune teller. These are not thing I necessarily want to see happen, I should add.

The Dark Knight Rises will of course be a juggernaught at the box office and will receive plenty of praise from both critics and movie-goers alike. There will be no massive love for any particular performance a la Heath Ledger, however. General consensus will be that Anne Hathaway‘s Catwoman is vastly inferior to Michelle Pfeiffer‘s in Batman Returns.

The Artist will not win Best Picture at the Oscars.

Despite a strong marketing push, Ridley Scott‘s Prometheus will underperform business-wise. Noomi Rapace‘s Hollywood career will be off to a rocky start, and she’ll return to Sweden before the year is done.

A film premiering at Sundance will be showered with critical acclaim, and by the end of the year, it will be considered one of the leading contenders for the Best Picture Oscar.

The Hunger Games will do respectable numbers at the box office but will not become a mega-hit, because the main character is a girl and it’s not Twilight. Jennifer Lawrence will start heading towards mediocre romcom hell, following in the footsteps of Kate Hudson. Winter’s Bone will seem a lifetime ago.

Ryan Gosling will be able to maintain his fame and prominence from 2011 better than both Michael Fassbender and Jessica Chastain.

The Avengers will be torn to shreds by critics. Words like “bloated” and “overblown” will be thrown around. American cinema audiences will flock to it regardless, but international reception will be lukewarm.

Daniel Day-Lewis‘ performance in Lincoln will be hailed as one of his best ever. The film in general won’t fare as well.

Pixar will bounce back from the critical failure of Cars 2. Brave will be a major hit and restore everyone’s faith in the studio. The Best Animated Feature Oscar will seem imminent.

The surprise hit of the summer: Rock of Ages. “The musical is back!” review quotes will proclaim in ads.

Michael Cera will do nothing to show versatility and make himself more respected in the world of film. He’ll still rake in money doing his usual schtick, though.

Norway will emerge as a major player in the field of international cinema. Swedes will groan and moan.

Mel Gibson will go a full year without any PR catastrophes.

Lars von Trier won’t, despite his self-imposed vow of silence.

The Amazing Spider-Man will do about as well as Superman Returns did, in all fields.

The ratings for the Oscars broadcast will be up a bit from previous years. Billy Crystal will be announced as returning to host the 2013 ceremony as well. Bloggers will cry out about how the Academy are a bunch of old phogeys scared of change. Then AMPAS will change the rules of Best Picture nominations again.

News will emerge that Jason Statham has signed on for a family comedy in which he will play some form of child caretaker. When questioned about this, Statham will debunk the rumor with harsh words not fit for print. To drive home the point, he will then announce plans for seven new action films to be released in 2013, including a third Crank movie and his directorial debut.

Speaking of third films in a series, a sequel to Before Sunset will be formally announced.

Last but not least: lots of great films will be released. Some expected, some not. 2012 will be a good year.

Have a great New Year’s Eve, everyone! See you in 2012!

 
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Posted by on 30 December, 2011 in Misc.

 

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Review – Beyond (Svinalängorna)

When we experience bad things in our lives, our natural instinct seems to be to distance ourselves from them. We do our best not to dwell on them. We move on, hoping that if we just ignore them they will fade away. Often, this works. Maybe we’ll carry the memories with us for the rest of our lives, but as long as the bad things in our past don’t affect our current lives, we’re content. This is what Beyond‘s main character Leena (Noomi Rapace) tries to do. She’s married and has two daughters and seems to lead a happy life. But as it tends to do in films, the past rears its ugly head. A phonecall from a distant hospital informs her that her mother Aili (Outi Mäenpää) is on her deathbed and that she very much wants to see her daughter before her time is up. Leena curiously rejects the idea, but her husband Johan (Ola Rapace, Noomi’s real-life husband at the time) talks her into it. Off goes the entire family on a trip to the farthest reaches of Sweden where Leena’s mother is waiting.

That’s one of the two time periods the movie hops back forth between. The other one is back when Leena was a 12-year old girl (played by Tehilla Blad), and we get to follow her life as her family moves into an apartment and tries to settle into the community, having just arrived from Finland. Her mother is constantly suspicious of others. Her father Kimmo (Ville Virtanen) is a recovering alcoholic, but one where a fall off the wagon seems more a matter of “when” than “if”. And her younger brother Sakari (Junior Blad) quietly and curiously observes everything the way some children do. Moving in to the new home is a joyous and hopeful time for the family, but we alreade see the warning signs of what may come. As the film progresses, the tumultous family life becomes more and more evident and we see just why adult Leena is none too keen on getting back in touch with her mother.

Beyond (Swedish title Svinalängorna) is the feature directorial debut of veteran actor Pernilla August. Swedes know her from many films, whereas those of you from other parts of the world might be most familiar with her from her role as the nanny Maj in Fanny and Alexander or her part as Anakin’s mother in the Star Wars prequel trilogy. Beyond is an impressive directorial effort, especially in the ways it ties together its two different time periods. We might see something of present Leena that seems odd, only to have its origin explained in a flashback much later on, only for the film to segue back to the present with another cause-effect detail. This might get a bit too explicit at a point or two, but for the most part it’s engagingly orchestrated. I found myself fascinated by the story and structure, which lends the movie a potent mystery feel amidst all the drama. The two time periods are given equal importance, constantly intersecting and showing parallels. The fact that the present parts start out during daytime only to then take place entirely at night is another nice touch, providing a sense of a journey into darkness as Leena reconnects with her childhood.

It’s the actors who stand out in this film, however. Noomi Rapace garnered plenty of well-earned praise when she portrayed hard-as-nails Lisbeth Salander in the Millenium trilogy a few years ago. She’s even more impressive here, almost toying with the lingering memory of the Lisbeth role as Leena first starts out seeming stoic and indifferent only to gradually crack. Perhaps even better is her younger counterpart Tehilla Blad (who also played Lisbeth as a child in those three movies). There’s so much to recognize in the ways she copes with the mounting distress in her life, the way she hurries off to occupy herself with some mundane task when her parents fight or how she looks after her brother just as much for her own sake as for his. And yet happiness shines through in the rare times when she’s met with her parents’ approval. This is a tough task for someone so young, but Blad nails the performance. The supporting parts are equally good, with Mäenpää and Virtanen in particular providing brutal emotional energy to their parts. And in a less flashy role we find Ola Rapace, playing husband Johan as a calm and collected supporter, rolling with the punches to the best of his abilities. I’m somewhat reminded of Stanley Tucci‘s fine turn as Meryl Streep‘s husband in Julie & Julia, even if that film was decidedly more light-hearted than this one.

It took a little time to win me over, but I ended up really liking Beyond in the end. It’s a potent tale of domestic hardships, showing that the past can be hurtful no matter how much distance we put to it. There are scenes here of great discomfort, such as the icy indifferent stare of Leena as she watches her mother in the hospital bed, the painful arguing going on in her youth and how this manifests itself in the present with her and her own family. It’s a heavy film, not so much in content as in emotional toll. The story doesn’t break any new ground perhaps, but it’s fascinating and gripping nonetheless. Pernilla August has put together an impressive movie, and I’m eager to see what she’ll come out with next.

Beyond is Sweden’s submission to the Academy’s Foreign Language Film Oscar this year. I’m guessing the Academy will like it, but whether that’s enough or not to win the award is anyone’s guess. I do hope it makes it past the first round or two of the nomination process, if only so that more people will become aware of it and check it out. It’s a film well worth seeing.

Score: 4/5

 
10 Comments

Posted by on 29 September, 2011 in Reviews

 

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