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Crazy about Les Mis

Crazy about Les Mis

I’m obsessed with Les Misérables. I had no experience with the story in any form until this past Friday, when I saw the new movie by Tom Hooper. Since then, I’ve seen the film again, Youtubed live performances, listened to various cast recordings on Spotify, and read about various differences between novel, stage musical and film.

I would not have gotten into the whole Les Mis thing if not for the movie. That doesn’t mean that the movie is amazing or anything, nor that it should be fully credited for my new-found fascination.

The Les Mis story is like the most beautiful thing ever. It’s about redemption, self-sacrifice, love, romance, morality, the harshness of life and the hope for tomorrow, garnished with comic relief and action. The more I think about the story, the more I love it.

The other major strong point is the songs, obviously. The melodies are catchy and powerful, and the lyrics have hidden complexities beneath the simple surface of their words. There are heart-breakers like “I Dream a Dream” and “A Little Fall of Rain”, powerful songs of soul-searching like “Valjean’s Soliloquy”, the funny “Master of the House”, the dramatic “Confrontation”, the morale-raising “Do You Hear the People Sing”, the awesome “One Day More”, and tons more. I won’t say it’s all great stuff, but it’s not too far off, and it all gels together perfectly.

Neither the story nor the songs were created by the people who made the movie. The songs I have now experienced in other – generally superior – versions. The story itself I’ve still only taken in through Hooper’s vision.

Do I love the movie? I don’t know. I reckon I’ll always be thankful to it for introducing me to the whole Les Mis thing, but there are certainly things I don’t like about it very much. Russell Crowe has the physical presence required, but he does not have the singing voice to pull off the antagonist Javert character, with both his big solo numbers in the film coming off really flat and unmemorable. Comic relief duo Sacha Baron Cohen and Helena Bonham Carter bring the funny for sure, but both have a tendency to mumble and Carter seems to mostly be reprising her Mrs. Lovett character from Sweeney Todd: The Demon Barber of Fleet Street. The new song “Suddenly” which was written specifically for the film version is the dullest of the whole movie and despite being brief still grinds the movie to a halt.

Overall, however, the film is a major success. Hooper’s decision to have the singing done live on set is not as revolutionary as has been suggested – Across the Universe did the same thing back in 2007, for instance – but it does work wonders here in allowing more free form performances. “Valjean’s Soliloquy” is a great example, with Hugh Jackman pacing back and forth, into and out of light, battling with doubt with it the struggle clearly present in his face and his voice. It seems unlikely that lip-syncing to prerecorded singing would have the same effect. The other much debated style decision by Hooper is to use close-ups for many of the song numbers. Some call this suffocating; I call this intimate and effective. It’s not like it’s everywhere, as some suggest. Mostly, it’s kept to the more personal songs. There is a tune or two where a wider scope would have been preferrable, but as a whole, Hooper did a fine job here. He had a clear vision, and he followed through with it. Les Misérables is a stronger film overall than The King’s Speech, and certainly directing-wise.

Apart from the actors already I’ve already criticized, the cast ranges from good to great. The two clear standouts are Jackman and Anne Hathaway. The former pulls off a career-best transformative performance as Valjean, having me fully invested in the character’s journey while never making me think “Oh, it’s Wolverine singing.” Hathaway, of course, has the best scene of the film – and most likely of all of 2012 – with her performance of “I Dreamed a Dream”. The first time I saw the film, I was stunned and had goosebumps alll the way through her song. It’s such a heart-wrencher. She sings very well indeed, but even more impressive is the sheer power-acting involved. Her Fantine is truly a woman broken by all that life has thrown at her, and it’s expressed devastatingly here. It’s a major tear jerker. On my rewatch, I kind of steeled myself against it a bit, thinking I knew what I was in for. Then that penultimate verse hits, where Fantine first sings how she hopes her love will come back to her, but then she goes “But there are dreams that can not be”, and Hathaway throws her head back a bit and there’s a tear racing down her cheek, and fuck! Raw, powerful, amazing, and heart-breaking.

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But this wasn’t meant to be a review of the film. The point I want to make is that while the movie is very good, my love for it is smaller than my love for Les Mis as a whole. Or so I assume. What is it that I like better, really? I haven’t seen any full stage performance in person – though I now desperately want to – and what clips I’ve seen on Youtube are just singled out songs. The albums I’ve listened to are great, but is an album better than a film? It’s apples and oranges, no?

I can’t seem to find enough of an outlet for this new-found obsession. The film isn’t the kind of thing I can call all my friends and tell them that they just have to go see it. It’s not a film that can be discussed that much on an analytical level. I could read the novel, but past experiences have told me that me and old books don’t mix well. There are no live performances of the musical anywhere near here. I can – and will – listen to the songs again and again, but this is not enough, I fear. I feel like I’ve tweeted about Les Mis more than I should have already, and yet it’s all I can think of. My head is full of Valjeans and Fantines and Eponines and Thénardiers, all swimming around in an intermixing ocean of songs. I’m overwhelmed by it all.

Les Misérables is not the best movie of 2012. It’s no The Grey. It’s no Life of Pi. I’m not sure it’s even a The Dark Knight Rises or The Avengers. And yet it has done something that no other film from last year has been able to.

For better or for worse.

 
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Posted by on 23 January, 2013 in Misc.

 

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The Films I Watched In 2012 Awards

With 2012 drawing to an end, it’s time for my second annual year end awards. Just like last year, I have not had time to fully delve into all the films released this year to the degree I would like to, so I once again focus on what I saw this year, no matter when it was released.

Thus, I’m happy to present A Swede Talks Movies’ The Films I Watched In 2012 Awards!

I saw 204 movies this year (not counting rewatches), which is a slight step down from last year’s 229. This is fine, and expected. In matters not movie-related, this year was busier than the last one for me. I still got a lot of good watching done, knocking off some long-standing entries from my List of Shame, starting to explore new directors like Buster Keaton and Ingmar Bergman, venturing into Iranian cinema for the first time, and much more.

So without further ado, here are some random silly highly prestigious categories, and their respective victors!

Skärmavbild 2012-12-28 kl. 14.18.03Best Beatdown of a Puny God Award
Winner: The Avengers

I’m sure mine wasn’t the only theater in the world to erupt with laughter when Hulk went to town on Loki. I could hardly breathe myself due to laughing so hard. Unexpected, brutal, and hilarious. Surely one of the greatest moments in 2012 film.

Skärmavbild 2012-12-28 kl. 14.29.27Walken Award for Best Show-Stealing Performance In A Bad Film
Winner: Malcolm McDowell – Silent Night

Silent Night was quite the run-of-the-mill slasher flick, with nothing remarkable taking place throughout its running time. Nothing, that is, except for Malcolm McDowell as grumpy and in-charge Sheriff James Cooper. He is wildly off-key compared to the rest of the cast, chewing the scenery at every turn, and the writers seem to have expected this, as they’ve given him way funnier lines than anyone else in the film. “Big mistake: bringing a flamethrower to a gun fight!” If there is a reason to see the movie – and to be perfectly frank, there isn’t really – it’s McDowell.

GoodFellasBest Film That I Should Have Seen A Long Time Ago Award
Winner: Goodfellas
Runner-up: Jaws

I would say that Goodfellas and Jaws are the two movies I’ve gotten the most “You haven’t seen that one!?” comments about these last few years. It feels good to have finally gotten around to them, especially since both turned out to be pretty great films. Goodfellas is the richer of the two in my eyes, but it’s a close call. Prediction: If this category returns next year, I’d say Schindler’s List might be a potential frontrunner.

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Posted by on 30 December, 2012 in Year End Awards

 

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Monthly Report: May 2012

Compared to the previous two months, May was a bit disappointing in terms of both quality and quantity. The quality is unfortunate, but it’s due to knowingly dumb choices on my part. As for quantity, I was on my way to another movie-filled month until a certain video game called Diablo 3 derailed everything. No need to worry, though. I’ll be back in the swing of things sooner or later, with a planned Saturday viewing of Prometheus likely to get my film-watching back on track.

For now, enjoy this overview of the films I saw in May.

The Incredible Hulk (Louis Leterrier, 2008)
I wish I had gotten to see this one before seeing The Avengers, because it’s hard to be all that impressed with the action here after seeing what Hulk does in that other movie. To be fair though, The Incredible Hulk puts in a good effort action-wise, as the stakes are carefully ramped up throughout the film. The climactic battle is satisfying. More problematic is the story, however. Bruce Banner is an interesting character, arguably moreso than the other Avengers, and Edward Norton is quite okay in the part. Unfortunately, Norton’s Banner disappears when CGI Hulk jumps into the fray, and the disconnect is there. The lack of strong supporting characters also hurts the narrative aspects of the film. Still, this remains a decent movie. The tale of an unwilling and tortured soul of a superhero is compelling, and the action is solid. The Incredible Hulk ranks somewhere in the middle when comparing the pre-Avengers films.
3/5

Frantic (Roman Polanski, 1988)
Well-crafted thriller in which Harrison Ford – at the top of his acting game – tries to find his wife (Betty Buckley), who has gone missing on their vacation in Paris. The first half or so is particularly good. The Pace is methodical, everything is uncertain and tense, and there’s a realistic tone to everything. Unfortunately, the film eventually boils down to something we’re more familiar with from regular Hollywood thrillers, and the atmosphere weakens a bit – something not helped by a few unnecessarily humorous touches. Still, Ford himself performs admirably from start to finish, and the end result is a positive one even if it doesn’t quite measure up to the Polanski thrillers of earlier days.
3/5

The Straight Story (David Lynch, 1999)
There were scenes and moments in this road movie that I found quite beautiful, but they can’t make up for the dullness that surrounds them. The mood of the film never quite seized me, despite a stunningly wonderful performance by Richard Farnsworth. I could see myself growing to like this movie with time, but for now, it’ll have to settle for lower marks.
2/5

Puncture (Adam & Mark Kassen, 2011)
The problem with basing a story on real events is that you need to stick somewhat close to reality. Puncture features an interesting tale of lawyers trying to work against a health care conspiracy, one I found myself quite engrossed in. However, the lead character (a very good Chris Evans) is a junkie, and this aspect eats up too much of the screentime for my liking. It feels like an unwelcome distraction. Still, you couldn’t really make the movie without touching upon it, I suppose. This one could have been even better than it was had it chosen a different way to tackle parts of its subject matter. Enjoyable nonetheless.
3/5

You Don’t Know Jack (Barry Levinson, 2010)
Al Pacino shows that he’s still capable of great performances in this biopic on Dr. Kevorkian and his struggle to legalize euthanasia. Unfortunately, the rest of the film can’t match him. As important as the issue is, it doesn’t make for a very interesting story. Pacing is also an issue as there are slow stretches where the plot doesn’t go anywhere.
2/5

American Pie Presents: The Book of Love (John Putch, 2009)
There’s a scene in this movie where an old ugly hooker is performing oral sex on a guy and uses her dentures to nibble his nipples. That actually made me snicker for a split-second. It’s the comedic highlight of this movie, the rest of which is absolute horse manure. No, wait, that’s not fair. Horse manure at least has useful fertilizing properties. This movie is worthless.
1/5

Hesher (Spencer Susser, 2010)
To begin talking about Hesher the movie, one must mention Hesher the character (Joseph Gordon-Levitt). He has the kind of larger-than-life presence that commands attention. He’s a heavy metal Joker, only he’s in a family/grief drama with a slew of black comedy, rather than in a superhero movie. He operates on Hesher logic, something distinctively different from real logic. The movie is infected by his “agent of chaos” ways, and it makes for a really fun ride for the first half or so. It’s one of those movies where you have no idea where it’s going to go, which is a rare quality to have. That it eventually becomes apparent that not even the movie knows where it’s going is a shame, and Hesher the character becomes more of an ill-fitting obstruction than anything. When it’s all said and done, this film offers quite a few laughs and has some good acting on display, but it is also uneven and awkward. A for effort, but not for the end result.
3/5

The Boy in the Striped Pajamas (Mark Herman, 2008)
Holocaust drama from the eyes of a German child (Hugo‘s Asa Butterfield) who befriends a jewish boy (Jack Scanlon) stuck in a camp. The film does a pretty good job of filtering the unknown horrors of the situation through the main character’s innocence, and there’s little faulting the performances – I was particularly impressed by Vera Farmiga who plays the worrying mother of the protagonist. I’m a bit torn on the ending, though. It’s sad – like most holocaust films tend to be – but it also felt vaguely manipulative. I’m not entirely sure whether this was due to my own expectations of where the film was going or not. Nonetheless, I wasn’t entirely enamored by the way the story ultimately went. A fine film, but not a great one.
3/5

Beginners (Mike Mills, 2010)
Here’s a case where the selectiveness of the awards season can lead to conveying the wrong ideas about a film. Christopher Plummer got all the attention for his supporting performance as the old gay father, which had me thinking that this would be the sole stand-out quality of the film. Oh, how wrong I was. This is a wonderfully bittersweet movie from top to bottom. Oliver’s (Ewan McGregor) problems with love and commitment are juxtaposed with the situation his dad was going through, showing us the guards and masks we subconsciously put up in order to avoid hurting ourselves and others. This one tugs at the heartstrings in all the right ways, and the result is a great movie.
5/5

In the Name of the King: A Dungeon Siege Tale (Uwe Boll, 2007)
I’m torn on what score to give this video game adaptation. I watched it and its sequel back to back, and this first one is certainly the better one. That’s not saying much though, because this is still a bad film. Are there enjoyable parts of it? Sure. While most of the actors sleepwalk through the movie, there are at least some that realize what kind of movie they’re in and decide to ham it up quite a bit – Matthew Lillard in particular. And there is at least some modicum of effort evident in making the film look good design-wise. I’m tempted to give it a score of 2, but… no. The Lord of the Rings-wannabe script is ridiculous, and Uwe Boll has no idea how to shoot action scenes. This gets a 1 and likes it. Only recommended for Jason Statham completionists. Like me. And even I regret seeing it. Uwe Boll has done it again.
1/5

In the Name of the King 2: Two Worlds (Uwe Boll, 2011)
And again. Because if there was one thing missing from the first one, it was a fish-out-of-water angle to the story where a guy gets transported from our world to medieval fantasy. And Dolph Lundgren in the lead instead of Statham. And tracing the plot of The Matrix rather than Lord of the Rings. This movie is an utter failure, even when compared to the already bad first film. In that one, there was at least budget (60 million dollars!) to get some name actors onboard and to stage big battle scenes. This one, by comparison, feels like some dozen guys running around the woods in shoddy LARP costumes. An even bigger problem is the fact that nothing really happens for most of the film. It’s not just a bad movie, but also a boring one. Stay the fuck away from this one.
1/5

Total # of new films seen: 11
Average score: 2.5 / 5
Best film of the month: Beginners
Worst film of the month: In the Name of the King 2: Two Worlds

 
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Posted by on 31 May, 2012 in Monthly Report

 

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50 MORE Things I Love About Films

Well over a year ago, I wrote a post called 100 Things I Love About Films on my old blog, which I later reposted here at A Swede Talks Movies. This is the sequel, adding 50 more things to the original 100. I’ve tried to avoid repeating movies and actors I mentioned in that first post, though a few have slipped through anyhow.

Credit for the original concept goes to Beau Kaelin. Thanks also to gentleman and scholar Travis McClain for bringing the idea to my attention. The original description:

Rather than posting your 100 favorite films (which has been done and overdone), you simply post your favorite things about movies.  I dig the concept, because instead of obsessing over whether the films you put on a list are “objectively good enough” to put on said list, you simply jot down 100 moments/lines/visuals that have made a lasting impression on you or sneak their way into running gags between you and your friends. Just read below and you’ll get the idea.

Why only 50 this time instead of 100? Because… quality over quantity? Yes. Let’s go with that.

1. Emily Watson in Breaking the Waves, the fear and agony on her face raw enough to make me gasp in sympathy.

2. The wonderfully trashy dialogue in Bitch Slap. I love the fact that someone actually put the words “Lube my boob, skank twat” to paper.

3. Natalie Portman‘s joy-stricken face when she phones her mother from the bathroom stall in Black Swan.

4. Michelle Williams‘ dorky dance in Blue Valentine.

5. When actors produce their own films, showing a real desire to have the movies made.

6. The brief cameo by Jason Statham reprising his role from The Transporter at the beginning of Collateral. Crossover stuff of that nature should happen more often.

7. The 20th Century Fox fanfare.

8. Robin Williams capping off his love declaration in The Fisher King with the words “But I still don’t drink coffee”.

9. The shot of the sugar lump in Three Colors: Blue.

10. Watching Casablanca for the first time and finally getting some context for all the well-quoted lines of dialogue. “Round up the usual suspects” put a big smile on my face.

11. Penelope Cruz performing A Call From the Vatican in Nine. I don’t mean to sound crass, but… hubba hubba.

12. The chase sequence through the construction site in the 2006 Casino Royale.

13. The Remains of the Day lunch box in Waiting for Guffman.

14. The whole sequence with the trunk in The Ice Harvest. Great mix of tension and humor.

15. Kat Dennings trying to pronounce Mjölnir in Thor. “What’s Myeh-myeh” indeed.

16. Danny DeVito trying to look scary to John Travolta in Get Shorty.

17. Sven Nykvist‘s gorgeous cinematography in Persona. I’ve never seen black & white look better.

18. Mark Ruffalo‘s “Why the fuck did I just say that?” grimace after stating that he loves lesbians in The Kids Are All Right.

19. Speaking of Ruffalo: The Hulk in The Avengers. Every awesome second of him.

20. When a movie just leaves me completely baffled about whether I like it or not, or whether it even matters. It’s annoying too in a way, but I love how it questions the very idea of why I watch films and what I take away from them. Funny Games would be a recent example of this kind of movie for me.

21. The ending of On Her Majesty’s Secret Service. Teriffic execution of a sequel hook.

22. Those performances that become so utterly convincing that my brain eventually has to break me out of the trance by going “Uh, Emil, you do know that this is an actor playing a character, right? It’s not a real person.” And then I go “Shut the fuck up, brain.” A recent example: Richard Farnsworth in The Straight Story.

23. Seeing an actor I’ve never heard of before in a film and immediately wanting to find out what else they have been in since they’re so good.

24. The climax of Sherlock Holmes: A Game of Shadows, a sequence that tops anything else in either of Guy Ritchie‘s Sherlock films.

25. Tippi Hedren waiting outside the schoolhouse in The Birds. Cue me gasping for breath and muttering “Oh shit…”

26. Kirsten Dunst looking stunning in the wedding dress in Melancholia.

27. Hugo reminding me that 3D can indeed be used to great effect. Thank you, Martin Scorsese.

28. Tom Cruise scaling the Burj Khalifa in Mission: Impossible – Ghost Protocol. Absolutely jaw-dropping.

29. The scene in 50/50 where Joseph Gordon-Levitt goes in for surgery and suddenly realizes that he might never wake up again.

30. Michelle Duncan‘s adorable Scottish accent in Driving Lessons.

31. This exchange in The Fugitive: “I didn’t kill my wife!” “I don’t care!”

32. The opening of Grave of the Fireflies. It’s good on the first watch, but it’s heart-breaking on a rewatch.

33. The lone penguin wandering off towards the mountains and certain death in Werner Herzog‘s Encounters at the End of the World.

34. The dream-like atmosphere of Robert Altman‘s Images. The kind of stuff that makes you realize how inaccurately the term “dream-like” tends to get thrown around.

35. Ellen Page in Juno. And Jennifer Garner. And Jason Bateman. And Allison Janney. And J.K. Simmons. And everyone else.

36. ))<>(( from Me and You and Everyone We Know.

“What business is it of yours where I’m from… friendo?”

 

37. The tense scene in No Country for Old Men where Javier Bardem makes the gas station attendant call a coin flip.

38. Seeing a scene that for some reason doesn’t work for me, only to much later have a revelation on what it meant. Guaranteed to make me love the part next time I watch the film.

39. Everything about Catherine Keener in Being John Malkovich, but particularly her dismissive reactions to everything John Cusack says and does in the early goings.

40. Uggie playing dead in The Artist.

41. The meet-cute between Ewan McGregor and Melanie Laurent at the costume party in Beginners.

42. This poster for 127 Hours.

43. The entire showdown between Uma Thurman and David Carradine in Kill Bill: Vol. 2. Had me at the edge of my seat when I first watched it.

44. The very recognizable video game scene in Swingers.

45. Brad Pitt‘s ridiculous accent when speaking Italian in Inglourious Basterds.

46. The suffocating atmosphere of Seven.

47. The big fight on the rope bridge in Indiana Jones and the Temple of Doom.

48. George Clooney‘s fine-tuned and low-key performance in The American.

49. Robert Downey Jr. sucking at math in Kiss Kiss Bang Bang.

50. Shea Whigham‘s brief part in Bad Lieutenant: Port of Call New Orleans, repeatedly uttering “Whoa!” in the funniest fashion.

 
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Posted by on 22 May, 2012 in Lists

 

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Monthly Report: April 2012

Looks like this will be a recurring feature after all! Here are the films I saw for the first time during the month of April, along with mini-reviews and ratings.

Horrible Bosses (Seth Gordon, 2011)
There are a few fairly funny lines in this one, but the real reason it (barely) succeeds is the cast. They have fun with their characters and find the right tone for the material – Kevin Spacey in particular is spot-on as one of the bosses. I have some pretty big problems with the plot, which is contrived in a non-funny way and feature more logic gaps than what’s easy to swallow. Overall, I guess the movie was okay, but I don’t see myself ever revisiting it.
3/5

Pleasantville (Gary Ross, 1998)
It’s always a delight when a movie grows as it goes along and becomes something richer than you expected. I had figured this one would be merely a fun-poking of old 50s sitcoms, and it looked that way at first. But then it changes and evolves, finding nuances in unexpected places and bringing up thoughts and ideas I though would be left unexplored. And what a stunning blend of black & white and color! Wonderful stuff. I wish I had seen this one before I made my Top 10 of 1998 list. It would have made the cut for sure.
5/5

We Bought a Zoo (Cameron Crowe, 2011)
Very formulaic for sure, with few surprises to behold to anyone who has seen this kind of drama-comedy before. But it’s sweet, it’s charming, it offers a surprisingly high amount of laughs, and the cast all put in solid efforts – from Matt Damon and Thomas Haden Church to Angus Macfadyen and Elle Fanning.  We Bought a Zoo might not be Cameron Crowe’s most daring work, but it has a lot of heart.
4/5

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Posted by on 30 April, 2012 in Monthly Report

 

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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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