Sehban,

Halle Berry and I hail from the same area so there will be no questioning her enormous talents on my watch. Besides, she did just a fine job in Monster’s Ball. That scene where she walks out of the water in that orange bikini was classic. (I might be confusing my films here)

As an aside, did Billy Bob Thorton sell his soul? Someone needs to look into this. How else can you explain his marrying Angelia Jolie and then performing in Halle Berry’s first ever topless scene? In the history of Hollywood could you come up with a less likely man than Thorton to pull off such a feat? Without a doubt Berry and Jolie are two of the most beautiful women to grace the silver screen over the last thirty years and a dude named Billy Bob — and only Billy Bob — has been with both of them. What?

Since Mrs. Berry and I share a close geographical connection (probably the only connection of any sort we’ll ever share) I don’t want to leave you feeling lonely so let’s talk about a Hollywood figure to whom we’re both connected: Julie Taymor. What of Julie Taymor? How about the piece of crap that was Across The Universe. I hope you didn’t submit yourself to ATU. I mistaken did one autumn afternoon and by the time the final credits rolled I had watch a good thirty minutes of the film through my fingers, which were covering my eyes while simultaneously plugging my ears, a feat nearly as impressive as Thorton’s, but not quite.

Taymor has a history of thinking big — think one person can change the world? — and her Broadway revision of The Lion King was the most imaginative re-imagining of an already spectacularly imaginative work. Anyone who hates her Lion King does not have a soul (Billy Bob?). The Lion King was great. I also happened to be a fan of Titus. Anyone willing to take on one of the truly great pieces of crap Shakespeare ever wrote gets high marks in my book. High marks also go to her for getting Anthony Hopkins to eat people (Demme should have claimed copyright infringement).

With Across The Universe Taymor once again swung for the fences, but this time she threw her back out whiffing at the pitch. Or to put it in your terms: The bowler tossed a nasty wobbler and Taymor passively batted it to the Short-Mid Wicket before retiring for tea, which she promptly spilled all over her all-whites. I think ATU was my least favorite film of the year. I suggested to a friend that we go and upon leaving the theater I actually apologized to her.

I quickly want to recognize one of my favorite films of the year. There is no doubt that I am but one of many to sing its praises, but let’s give some love to Ratatoullie. When you combine talent with consistency Brad Bird might be the best mainstream filmmaker working in Hollywood today. The man can do no wrong.

Joel

Sehban Zaidi is a Chicago-based filmmaker.

Joel,

Thats a pretty chilling indictment of Wes Anderson’s work, Joel. And one I entirely agree with. He has made a career out of alluding to himself, thus the one occasion where he allowed satire (and dare I say wit) to creep into the Allusion it was markedly more successful than the other bollocks he’s put out. The AmEx commercial worked for all the reasons his more recent films don’t, and Jason Shwartzman was bearable in it. Which is no small feat on it’s own.

I watched Paris J’Taime last year and didn’t like it as much as I had truly wanted to, although the Cohen brother’s short was a nice bit of foreshadowing to the brilliance they were about to return to this year. I mention this because that disappointment was sort of the reason I stayed away from I’m Not There. It felt like a movie I should probably watch but for some reason I didn’t find myself at the box office. But with all the stellar reviews from mates I trust I’m going to have to watch it. And Cate Blanchett needs to redeem herself after the fiasco with the films with the hobbits. Vigo has come full circle with Eastern Promises, and I forgive him. I imagine I‘m Not There is Ms. Blanchett’s apology.

Speaking of his brother, the only opportunities I’ve had to hear his views outside of farcical Kevin Smith films was on Real Time with Bill Maher. And I was duly surprised by how thoughtful and informed he was. Not Edward Said, but a lot more than I would expect from someone who tolerated Jennifer Lopez for well longer than the sex would stay novel.

I don’t think there is any danger of Javier Bardem not winning for best supporting actor. His portrayal was measuredly epic, or epically measured or some such collection of words that have no business being lumped together but are needed to describe the immenseness of how brilliant he was when he said “call it”.

And while Hoffman and Wilkinson were class, I don’t think their performances were comparable to Bardem’s.

I don’t think there were ever such clear cut favorites in the best actor and best supporting actor categories. I will be gobsmacked if Day Lewis and Javier don’t win. Although you know they might call Halle Berry in and give her both awards to make up for shunning her magnificent turn in Catwoman. Good Christ how does that woman have an Oscar.

Sehban

Sehban Zaidi is a Chicago-based filmmaker

Sehban,

You make a great point about the difference between a good filmmaker and a great auteur. One can certainly seen the Apatow crew running that risk, especially since all the films are similar not only in tone and style but also in ensemble. Seth Rogan was everywhere last year and it’s clear he isn’t going anywhere soon. Same with Micheal Cera (although I hope the rumored Arrested Development movie comes to fruition).

Since you mentioned it, The Darjeerling Limited sucked. Wes Anderson needs to give it a rest. The best piece of work he’s done in seven years was an American Express commercial. And if I never again see a bearded, morose Bill Murry — we get it, Bill, you can act; now go back to being funny — or watch another slow motion montage set to an obscure song by some semipopular indie band from Austria — corduroy and bad haircuts doesn’t mean you’re that sort of un-hip hip that confuses all the people over 37 — then I won’t say my world will burn any less brightly. I think I could get by without those things.

Speaking of ensemble casts, did you see I’m Not There? The best female performance this year was Cate Blanchett as Bob Dylan. She stole the movie and was strong enough that even the terrible final sequence with Richard Gere didn’t ruin the film. With her Oscar nomination for Elizabeth: The Golden Age she has a chance to sweep the female acting Oscars, which has never happened before. That would be quite a feat, but I don’t see it happening.

How’s this for a clunky transition: Amy Ryan, another female actor, is nominated for the Best Supporting Actress Oscar for her role in Gone Baby Gone, a move with 3.5 good-to-great performances that was on the whole awfully disappointing (and not just because I went to the Chicago premier and suffered through Ben Affleck not sucking in a way I thought he was going to suck during his post-film Q&A. Seriously, the dude seemed pretty nice and thoughtful, even if he rolled in late and with a posse of 15 people.) What was terrible about Gone Baby Gone, a movie that was received by critics far better than I ever thought possible? How about the ending. How about the hitch in the middle that made the film feel like a crooked tree branch. But seriously: How about the ending? When the lights came up I was slack-jawed in bewilderment that this was an adaptation of the same author who wrote Mystic River. Could the ending really be that bad? Answer: yes. Casey Affleck was solid and any movie that features cast members from The Wire is never going to go down as a total failure. But still...

Since we’ve touched on a few supporting actor/actress performances so far why not go all the way and list our two favorites? I’ve already handed the Supporting Actress award to Blanchett. For Supporting Actor I have to give it Javier Bardem. As much as I want to give the nod to Philip Seymour Hoffman for Charlie Wilson’s War, there is just nothing particularly memorable about what he did. Yes, he was funny and typically outstanding in his own PSH sort of way, but other than when he flips out in the office can you name me two other memorable scenes? (OK, one other scene. He was great in the office scene with Hanks when he delivers the bottle of scotch.) Bardem stays with you long after the credits roll. That’s a sign of something and in a year when there are a number of viable candidates I’m giving it to the guy I still think about (but not in that way).

Joel

Sehban Zaidi is a Chicago-based filmmaker 

Joel,

I’ve always been a bit averse to the term “thinking man’s action hero.” It implies a disconnect between the world of action and a film that is intellectually engaging. Indiana Jones, V, The Man Without a Name, any Steve McQueen character — there are numerous action heroes who appear in films that one doesn’t have to check their brain at the door. I’ve never heard the term “non pseudo drama protagonist,” and lord knows there have been enough films that demand the distinction to be made.

Never got around to watching United 93 (wanted to avoid the odd stares when a brown boy picks it up at the blockbuster. I’m being facetious…mostly). I do concur though on Greengrass’ deftness with the hand held camera. I’ll always be partial to how it was utilized during the French New Wave, but I think Pauly boy has put it to the best use since Inarritu used it in Amores Perros. The sense of authenticity you spoke of is an interesting concept cinema and I think depends entirely on the adeptness of the director. And the lack of authenticity isn’t restricted to camera technique. I have often mentioned to you how obviously contrived all of Sophia Coppola’s work seems to me.

I thought Daniel Craig’s best film was Munich. I adore that movie. I should admit I’m a massive Spielberg fan. Munich is one of his most masterful works, a brilliant action movie, with enough dimensions to give MC Escher a migraine. And the manner in which Spielberg employs breathing to build tension and motif in Munich reminds me of another technique (alluding to your earlier comment on handheld camera work) that is often overused and trite, but in the hands of the proper director is brilliant. He used it in the opening sequence of Amistad as well, interesting how both represent a hunter and hunter scenario. Incidentally what film beat out Munich for the Oscar?

I don’t want to slag Judd Apatow off too much. He is clearly talented. I do find his movies a bit formulaic though. Especially in tone a trait that Wes Anderson has fallen into as well. It seems Forty Year Old Virgin, Superbad, and Knocked Up all exist in the same universe. I think the same can be said of The Life Aquatic, The Djarjeeling Limited, and Royal Tenebaums (although I think Bottle Rocket is a comic feat of epic proportions). I think an good filmmaker crafts one world and exists forever inside it, a great auteur creates numerous filmic universes.

Sehban

Sehban Zaidi is a Chicago-based filmmaker 

Rating: 77

Rating: 47

Sehban,

Let’s not get started about the travesty of Crash or any of the other tragedies in Academy Award history. If we do we’ll be here forever. I’m sure we’ll have more than enough gripes about this year’s crop of nominees and winners. There’s only so much negativity one can take, you know?

I’m with you on The Bourne Ultimatum. The entire trilogy has been great and this year’s installment really moved the Bourne movies into the pantheon of all time action flicks. Matt Damon is phenomenal as an action hero, even if all his dialogue in each film could probably fit on a napkin. But isn’t that part of what makes him great? The calm and focused demeanor vying to contain that explosive element brewing beneath is what draws me to Bourne. He is at once highly explosive and a study of control. The back and forth is what makes the character dynamic and the struggle between the two — how to control it, how it started, how can it be stopped — is what lends the character pathos. I can’t remember the last time there was an action hero that rose above the demands of the genre in quite the same way Damon does with Bourne.

I’ve heard people describe Jason Bourne as the thinking man’s action hero. I assume we leave that distinction to MacGuyver. Besides, it’s the visceral experience of watching the Bourne movies that I love. One of the most impressive elements of Ultimatum — an element inseparable from the experience of watching the film — is that for all the wild camera work and fast-paced editing Ultimatum is never confusing and never feels excessive. Which is remarkable. Much credit must go to Paul Greengrass, who directed both Supremacy and Ultimatum (and who directed United 93, the best film I saw two years ago). He does something in Ultimatum few directors ever do well. But it’s not for a lack of trying. So many directors have appropriate that style in order to make their films look more realistic. The inevitable sloppiness that accompanies spontaneity does suggest authenticity, but only to a point. You can’t just shake the camera harder and expect the result to look realer. The line between authentic and incomprehensible is thin and sudden. (The same thing is true of films that mistake confusion with complexity. Just because no one can understand your film doesn’t mean it’s smart, pretentious film school asshole.)

Speaking of action heroes: Daniel Craig kicked ass as James Bond. Casino Royal was fantastic. This might be the golden age of action movies.

As for comedies, I must speak up for Judd Apatow. I thought both Knocked Up and Superbad were terrific. I provided a brief explanation of why I liked Superbad in my Quick Hit review, and everything I said applies to Knocked Up. I don’t think I’d want to see another of his films anytime soon, though. They’re good, but only in doses. This isn’t necessarily a criticism. When I was a kid I ate a whole bag of coconut after enjoying just a taste. To this day the thought of eating coconut makes me ill, not because coconut grosses me out but because I can’t think of coconut in amounts that wouldn’t make me sick. Coconut = yum –> bag of coconut = gross. I don’t want the same to happen with Apatow films.

Joel

Sehban Zaidi is a Chicago-based filmmaker 

4 parts annoying stereotypes
3 parts cliché
2 parts cutesy ideas
1 part typical ending

Mix until slightly congealed. Place the mixture into a preheated oven at 500 degrees. The high temperature will ensure that the outside cooks much faster than the inside, leaving a burnt exterior containing a sloppy interior.

Slice and put on decorative plate. Have Keri Russell serve. She’s attractive enough that maybe the customers will ignore the crap they’re about to eat.

Rating: 41

* Has anyone ever been to a restaurant where the waitress is also the head pastry chef? I didn’t think so. So how is it that Jenna is both a waitress — and there are only three — and a chef? Does she work 14 hours a day, 6 baking pies and 8 serving them? (Answer: no) Moreover, the restaurant in Waitress is a pie place. Its main draw are these pies Jenna makes. So Jenna is both head waitress and head chef. This makes no sense.

Joel,

I think any conversation I have about the Oscars should be prefaced with the statement “Halle Berry? Really? Really?” Or perhaps a more fitting: “Crash? Are you being bloody serious?” Or “Tita?” Actually I could do this for a while. That being said I actually watch the Academy Awards every year so…

Best Picture:

I didn’t go watch Atonement either. Parity and balance are wonderful things. Nothing against Jane-Austen-Follow-Up-Oscar-Bait-Epics, but I’ve just not been in that sort of mood lately.

You should really watch There Will be Blood. As trite as this sounds, Daniel Day Lewis is beyond description through any of the adjectives I have at my disposal. What I loved most about Paul Thomas’ latest offering was how it felt. I don’t mean emotionally. But rather every granule of sand, every drop of oil, was tangible. The score, cinematography, acting, and direction complimented each other. It’s a rare thing and one definitely worth experiencing. I know you haven’t watched it yet, so I’m going to keep my reservations about the conclusion close to vest. I will say that the end tempered my excitement for the film in its entirety.

I’m a bit fed up with the Judd Apatow brand of hipster humor. The lack of wit or conceit matched with the ridiculously formulaic approach to film making sort of turned me of comedies for a while. I don’t know if it’s unfair of me to lump Juno is with these films, but I did and now it’s like creamed corn to me — nauseating. That being said, if you told me it was two hours of someone taking a bat to Michael Cera’s face then I’d rush over to the theatre.

I definitely share you enthusiasm for Eastern Promises. The tone of the film is spot on and my brother and I walked around for weeks afterwards slapping our index and middle fingers against our jugulars.

When I hit 26 in November I began to feel a bit vechio and the age I think has made me appreciate the journey more and place less value in the finale. Unless the finale is a bit of a disappointment tainting the journey (refer back to ‘Blood) I mention this because it left No Country for Old Men feeling very close to perfection for me. Bardem’s performance would be the best of the year if it wasn’t for Day-Lewis’ turn. But more than that I loved watching Kelly McDonald again. I fancied her ever since Trainspotting — “Too young for what?” — and I thought she was wonderfully measured in No Country.

That being said, I think Michael Clayton was the best film of the year. Like you the film crept up on me. I’d liken the experience to walking by a jasmine tree, the visual beauty of the moment is satisfying but it is the enchanting smell that lingers that is truly enchanting. And there was a humanity in the protagonist, an endearing helplessness. To strip power away from a performance and yet have it be commanding is a rare skill and requires a director and actor at his best.

I will mention a film that most people will reckon has no place on the list of Oscars: The Bourne Ultimatum. It was one of the best action films I’ve ever seen. Exciting, engaging, and yet it didn’t ooze of testosterone. The best of series in my opinion. The moment when Matt Damon wraps torn cloth around his palms to scale a glass coated wall I was sold. Even Julia Stiles couldn’t ruin the film for me — and I have more of a bat-to-face reaction to her than to Michael Cera. The physical negotiation through the crowded London terminal was visually operatic (haven’t been that impressed with spatial direction since Black Hawk Down) and for me Bourne should have been on this list.

I can’t understand why a film that has clear heft on so many levels can’t be considered for best picture, but then I remind my self “James Cameron? James Cameron…? Bloody Muppet!”

Sehban

Sehban Zaidi is a Chicago-based filmmaker. 

I know we agreed to inaugurate this feature by discussing Charlie Wilson’s War. Certainly that film offers much to discuss — Philip Seymour Hoffman’s mumbling genius is worth 2,000 words alone. However, I thought that it might be fun to widen the focus a little bit. So instead of talking solely about Charlie Wilson’s War I think we should talk about the Oscars (an award for which PSH has been nominated, and deservedly so). I think we’ll be able to squeeze a few sentences about CCW into a conversation of the year’s best films.

Since neither of us are film critics I don’t expect that we’ve seen and thought seriously about all of the films and performances that have been nominated this year. I know I haven’t. But I don’t think that’s a problem. I trust that we’ve both seen enough of what’s been nominated to be able to talk thoughtfully about those films (or at least enough so that we can rely on our liberal arts education to fake appearing thoughtful). For the rest… Well, there’s a lot out there and much of it gets passed over by the cadre of Oscar voters. Maybe we can fill in those gaps as well.

I’ll start and I’ll start at the top: Best Picture.

Didn’t see Atonement (and I doubt I will) and I’m ashamed to admit that I still haven’t seen There Will Be Blood (aiming to take care of that this weekend), but I saw Juno, Micheal Clayton, and No Country For Old Men and I’ll say this: Eastern Promises was way better than Juno. I mention Eastern Promises in particular because it beat out Juno for the top prize at the Toronto Film Festival. For the life of me I can’t see how Juno is superior to Eastern Promises. This is not to discredit Juno. I like it quiet a bit. Ellen Page carried the film in a way that was pleasantly surprising, and Micheal Cera was perfect as The Guy Micheal Cera Always Plays. But come on. Could you see either of them naked in a steam room fighting off two hired thugs, finishing the last one off by knifing him in the eye? And if there ever were a litmus test for awesomesness then it surely is naked man-fighting that manages to be bad ass.

As for No Country For Old Men, it was typical Coen Brothers, which is a good thing in my book. I’m not sure I’m feeling the ending as much as some people, but if you get typical Coen Brothers for the first two hours then what do you expect from the ending? *** SPOILER WARNING *** Of course it was going to end with “And then I woke up.” That’s how they do it. There weren’t going to cut things off with Anton Chigurh limping away after the accident. (Speaking of Anton Chigurh — what a character! Javier Bardem has been nominated for Best Supporting Actor and rightly so.)

The last Best Picture nominee is Micheal Clayton, a film that has grown on me considerably since I saw it a few months ago. Walking out of the theater I was deeply satisfied by both George Clooney and Tom Wilksinson’s performances, but on the whole I didn’t think the film would crack my top five of the year. Then I sat quietly atop a mountain and found a great sense of satisfaction. As someone pointed out to me, MC is a seriously efficient film. Nothing is wasted and each element is used to great effect. And if you weren’t equal parts excited and curious by the opening monologue then I don’t think you have a pulse or active imagination. Wilksinson does bluster like no other. He sounds like a stage actor, but not in that annoying way stage actors sound on screen, if that makes sense. I’d gladly watch him freak out any day of the week.

Joel

Sehban Zaidi is a Chicago-based filmmaker