"Martha Marcy May Marlene" Trailer

(via Awards Daily)

I've had a wary eye on this movie ever since it started getting early buzz for actress Elizabeth Olsen (sister to Mary-Kate and Ashley), and this trailer did not disappoint. It looks like this film will have that extra punch of grittiness and unsettlingness that I wish had been more prevalent in the impossible-not-to-compare-to "Winter's Bone". John Hawkes's presence is very reassuring (he looks sufficiently creepy but lovable) and as a proponent of the elder Olsens, it should be fascinating to see what their sister does in what looks to be a very actressy vehicle.

How about you? Are you yay or nay on this Sundance drama? Comments below!

Golden Cornea Awards 2011: The Actresses

Coming up with a top five for this category was a surprisingly simple task, since there were exactly five performances that really, really stood out to me this year. Of course, there were several women who didn't quite make the top five but would have been totally deserving - it was such a strong year. Anyway, the top five!

5. Kim Hye-Ja - "Mother"

When I first saw this film, the only adjective I could use to describe Kim's performance was operatic. The range of emotions she goes through to portray her character are so expansive and thus so marvelous to watch unfold. Her final shot is simply haunting - the entire performance is a magnificent piece of work.

4. Nicole Kidman - "Rabbit Hole"

Almost the polar opposite of Kim Hye-Ja, Kidman plays Becca with such a quiet force of emotion. Her cold exterior is never alienating and Kidman's handling of the long grief period her character experienced before the start of the movie is masterful. Kidman gives a simply beauiful performance - those park scenes are perfection.

3. Emma Stone - "Easy A"

Compared to the other women on this list, and many of the other fantastic performances that didn't make the top five, Stone's performance may seem a bit lightweight. Take a second look though, and you'll see that in "Easy A" Emma Stone delivers an absolutely brilliant, radiant comedic performance. She elevates every single aspect of the movie, and every single line from her mouth, every single facial expression, and every little twitch or bodily reaction is perfectly timed to achieve the ultimate comedic affect. A star-making turn that leaves you wanting more.

2. Annette Bening - "Mother and Child"

It's Bening's performance in "The Kids are All Right" that's been getting the most praise (and it is a fantastic performance) but it's her work in "Mother and Child" that I remember, and will remember, the most. Bening is perfect at being cold, even mean, but she knows Karen so, so well that it's impossible for us not to connect. The way she paces her performance is also great, so that the big emotional moment in her performance is truly heart wrenching. Limited screentime does not hinder this magnificent work.

1. Natalie Portman - "Black Swan"

It's hard to really formulate thoughts around this epic performance. Portman gives the performance of a lifetime as the mentally deteriorating Nina, balancing her innocent persona in the first act marvelously with her unraveling character in the second act. Even disregarding the physical effort that this performance required, Natalie Portman's complete immersion in her character hasn't got a single gap and is horrifying, beautiful, and awesome all at once. And that scene in the bathroom stall? Best acting all year.

Honorable Mentions:

It was difficult to not mention Michelle Williams who does beautiful, multilayered and age-spanning work in "Blue Valentine"; Greta Gerwig's quiet, non-actressy performance is so marvelously simple in "Greenberg" as she becomes the film's unlikely hero; Jennifer Lawrence carries "Winter's Bone" so well with a raw naturalism that is rarely seen done so well; Hailee Steinfeld shows acting skills beyond her years as she gives her character remarkable candor and yet, perfect subtlety.

Just Missed It:

Catherine Keener in "Please Give", Julianne Moore in "The Kids Are All Right", Rachel McAdams in "Morning Glory", Mary Elizabeth Winstead in "Scott Pilgrim Vs the World"

Supporting Actress Blogathon 2010: Ellen Wong in "Scott Pilgrim VS The World"

It's nearly impossible to single anyone out from the stellar ensemble in "Scott Pilgrim VS The World", especially when it comes to supporting actresses. Every single member of the cast adds so much to the overall movie that when thinking back on who shined the most, there's no real correct answer. Mary Elizabeth Winstead was the perfect fantasy girlfriend and allowed her shady past to shine through her indie exterior; Anna Kendrick was a bundle of adorableness as Scott's sister; Allison Pill delivered her lines with masterfully deadpan sardonicism, and when the true emotion breaks through it's utterly affecting; and Brie Larson, Aubrey Plaza and Mae Whitman have some of the greatest moments in the film.

However, there is one actress in "Scott Pilgrim" who, in my opinion, does shine just a little bit brighter than the others, and that is Ellen Wong as the seventeen-year-old Knives Chau.

Knives is a student at a private, Catholic high school that the 23 year old title character Scott Pilgrim (Michael Cera) began dating some time after a messy breakup, much to the dismay of his friends, who want him to ditch what they call his "fake high school girlfriend" and move on. However, Scott dreads the thought of ditching the sweet and innocent little Knives and even

when he meets his dream girl Ramona Flowers (Mary Elizabeth Winstead) he can't break it off.

We first meet Knives at the very beginning of the movie, where she comes to one of Scott's band practices. From the get go, she completely geeks out about the band and her absolutely unflinching adoration of Scott is made perfectly clear. Throughout the first part of the film, we get an overview of her and Scott's relationship, which consists of dishing about high school drama and playing arcade games. In these scenes, Wong gives Knives an appropriate level of over-the-top immaturity and bubbliness without being annoying - making the audience instantly fall in love with her.

And that's why what I consider her best scene is so heartbreaking. Knives and Scott are doing their regular platonic activites - but this time, we know that Scott plans to break up with her. Knives begins to invite him over to dinner at her house, saying that she wants him to meet her parents. As he continually makes excuses, she keeps affirming her love for him, Wong making each line transform gradually from having a childlike infatuation to being more and more completely sincere. When she finally confesses that she is "in LOOOOOVE" we all feel terrible inside, knowing what is to come - and when Scott does finally deliver the news, Wong's reaction is so perfectly poignant.

However! All is not lost - Wong returns in later scenes as an embittered (but still totally lovable) Knives who wants revenge on Scott. She flirts with Scott's friend Neil, and dyes half of her hair blue in an attempt to counteract Ramona's dyed hair. However, behind this facade lies the Knives we all know and love. Her completely genuine reading of the line "I read your blog" to Brie Larson's character gives me chills.

Of course, it's that very last line that seals the deal. "Go ahead, I'm too cool for you anyway." Wong's delivery is absolutely pitch-perfect. The tiny tinge of sadness in her eyes, the reconciliation in her voice, and that absolutely irresistible smile all work together to make Knives's last words some of the most memorable in the film.

Though it may not seem like much, Knives is absolutely in no way an easy character to play. The energetic naivetee at the beginning of the movie could have totally come off clingy and annoying, and the character arc that she experiences throughout the film (from sweet high school girl, to vengeful ex, to total badass ninja girl, to an even more lovable and more mature young woman) could have completely fallen apart.

But, thanks to Ellen Wong's, it's impossible to see this movie and not feel love and sympathy for Knives, and for many people I know (including myself) she ends up leaving the biggest impression on the movie. She's endearing, funny, naive, and perfect - a fully fledged character out of what could have been a comic-book caricature. Wong's work may not get her anywhere remotely close to an Oscar nomination, but it's still an absolutely fantastic display of supporting actressing - and I sincerely hope that post "Scott Pilgrim", Ellen Wong gets some more opportunities to show the world what she's capable of.

This post is for StinkyLulu's awesome annual Supporting Actress Blogathon. Go check it out and see what other bloggers thought of the wealth of amazing supporting actresses this year!

Mother (2009)

Joon-ho Bong's "Mother" is a film that intrigued me ever since it became Korea's submission to the Oscars last year and its exciting trailer started circulating the blogosphere. Then, I watched (and heartily enjoyed) Bong's prior, more famous film "The Host". Enjoying that film so much made me extremely interested in seeing what he would do with such an interesting and actressy concept. Being matched up with it for the Film Community Potluck at Anomalous Material finally gave me the incentive to watch it and I was not disappointed.

Hye-ja Kim plays the titular character, an elderly woman who loves and lives alone with her son, Do-joon (Bin Won). She is completely devoted to Do-joon, and her entire world (which is pretty much solely based on her role as his mother) is completely torn apart when he is convicted of the murder of a young girl in their small village. Convinced of his innocence, she begins her own rogue investigation of the crime. But not everything is as it seems and soon the story grows more and more twisted.

"Mother" is really a masterfully written spin on the age old plot device that is being wrongly accused of a crime. As each layer of the story stacks up perfectly the audience is left in awe and suspense, all with beautifully rounded characters. Bong avoids the problems that I feel he encountered in "The Host" - "Mother" is much more focused (though it does admittedly drag a bit in the second act) and the humor is executed flawlessly, not awkwardly.

Speaking of execution, "Mother" is a stylistic masterwork. Bong's direction is sharp and tense, and with very little score he is able to make single shots excruciatingly suspenseful. The film is also beautifully shot - the cinematography is often breathtaking. The opening and closing shots in are particularly memorable in their beauty and motivic significance.

Of course, the most stunning achievement of this film is Hye-ja Kim's performance. She truly is a tour-de-force. Her love for her son is unbelievably strong, almost to an unhealthy level that Kim is absolutely not afraid to explore. One word that kept coming to mind in regards to her work is "operatic". The fearless, unhinged and raw emotion so often seen in opera is rarely found in film (simply due to the differences in the mediums), yet Kim's work is nothing short of operatic, and it's breathtaking to watch her.

Joon-ho bong has truly created a classic to be in the crime genre. Though it may not be a perfect film, it is crafted so skillfully that it is impossible to ignore. Hye-ja Kim's performance alone can simply not be praised enough - it is unique and brilliant. I absolutely recommend "Mother"...don't wait like I did, watch it ASAP!

9/10

Wendy and Lucy (2008)

Not much can be said about this film besides the brilliance of Michelle Williams as Wendy. After all, the story is rather limited - in so many words, it's basically Wendy screaming for her dog the entire time - yet, somehow, thanks to Williams and the director, Kelly Reichardt, it works so well. Williams is SO effin' good in this movie! Add her to the growing list of horrible Oscar snubs in 2008, because she gives one of the best performances of that year, if not the entire decade. She inhabits so completely this character - even the way she walks is brilliant. It's really remarkable, how wonderful Williams is. Also, I think something should be said for all the bit-part actors. I feel like in these one-man-show indie films, the supporting players are usually not that good, but in this film, they were all quite impressive! So, despite being somewhat limited, it works so, so well and everything feels so real. What an achievement.

9/10

Now Playing: Scott Pilgrim VS The World

"Scott Pilgrim" was probably one of, if not THE film I wanted to see the most this year. Ever since I watched the first trailer, I was engrossed by what looked to be an exciting, funny, and creative movie, one that would fit me perfectly. Well, after finally seeing it, I can say that it lived up to my expectations and so much more.

The film follows the titular Scott (Michael Cera, of course) a 23 year old living in Toronto. He's in a band, he has an awesome gay roommate, and he's dating a high schooler...until he falls in love with the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead). Little does he know that he will have to fight her seven evil exes in order to truly be able to win her heart. Craziness ensues!

This was truly one of the most fun experiences I've had at the movies in a long time. First of all, "Scott Pilgrim" is extremely well written and it is very, very funny. There are literally dozens of lines that remain quotable even a few days after seeing the movie ("I'm BI FURIOUS!" "I'm in lesbians with you" "YOU PUNCHED THE HIGHLIGHTS OUT OF HER HAIR!" "Don't you know, Todd's VEGAN."), and past that, there are so many visual and auditory gags that just leave you rolling in your seat asking for more.

Of course, this hilarity is helped heavily by the stellar cast. Michael Cera does his best work since "Juno" here, but the supporting cast is truly worth noting. Each of the exes is played perfectly, especially those of Chris Evans, Mae Whitman and Brandon Routh. Kieran Culkin and Anna Kendrick are both scene stealers, and Mary Elizabeth Winstead does a great job of giving her character multiple layers. I loved seeing Brie Larson, who was obviously having a ball with her role, and the Sex Bob-ombs and Audrey Plaza were comedic gold. However, if there was a best in show, it would probably be Ellen Wong, whose Knives Chau was both ridiculously cute, hysterically funny, and heart-meltingly sensitive.

Edgar Wright's accomplishments with the style of this film can NOT be understated. The comic book/video game visuals were absolutely marvelous and so unlike anything else. They were seamless and made the movie just that one bit better than most others of its genre. The fight scenes as well benefited from this, as each was so engaging, different from the last, and well put together. Incidentally, I feel this movie succeeds more in the action department than Inception.

Sure, it's not the greatest movie of ALL TIME! Nor is it a movie that everyone will like, or appreciate, or understand, or even want to see. I'm the target generation who grew up with the comics and video games that it's paying homage to. It's not any piece of powerful, thought-provoking cinema but it is sure as heck one of the most entertaining movies I've seen in a long time. And to find such a funny, sincere movie with characters that actually mean something is a rare occurrance.

9/10
(I'd give it a 10 because I loved it that much, but it really isn't a 10 movie. Hehe!)

P.S. I'll be first on the bandwagon of campaigning this movie for Oscars in Editing, Art Direction, Sound Editing and Mixing, and Song. I would wishfully think it had a chance at Best Picture and Screenplay but that ain't happenin. :P Anyone else with me on this?

Two by Ingmar Bergman

I have a sad confession to make - before this past week, I had never seen a single film by Ingmar Bergman. While browsing the library of the Banff Centre (where I am currently doing mad piano stuff) I came upon a large collection of his films, and realized that it was time. So, here are my thoughts on two of his films.

Persona (1966)
I'm a big fan of "Mulholland Dr." (which was influenced by this classic), so obviously I would end up liking this mind-bending tale of two women whose personas begin to meld. Bibi Andersson's performance is really quite something to behold. She gives her character everything that it needs from beginning to end.

Additionally, many of the cinematic techniques that Bergman uses are just hauntingly good. The frightening montage of disturbing images at the beginning is perfect for setting up the mood of the film, and some of the influential imagery (like the melding of the two faces) is just monumental. It's amazing how Bergman gets into the heads of these characters in just about 80 minutes. A haunting piece that still lingers in my mind.

Autumn Sonata (1978)
This film is a simply beautiful piece of work that truly gets under the skin of two very complicated characters, and shows how a mother and daughter can truly destroy each other. Liv Ullman and especially Ingrid Bergman both give appropriately lauded performances. Both of them know when their characters need to lie to give the impression of happiness, and it is simple brilliance.

I think I preferred this to "Persona" simply because I was more easily able to relate to it. Obviously the fact that the movie had to do with a concert pianist helps, but it's also interesting because it does show what a performer has to give up to achieve success. It's an excrutiating career, that can take a toll on even those you love the most.

By the way, amazing, AMAZING performance by Lena Nyman. I know it's the same old mental-disability thing that everyone would consider Oscar bait, but she does it so well and with so much sensitivity. At first I questioned the manipulative nature of using a mentally disabled girl as a plot point, but Bergman definitely makes it work. Oh, and beautiful cinematography as well.

In both of these films, I find it fascinating how Bergman studies the way that human beings put on a facade in order to appear "all right" for those who they want to satisfy, and how this false display of contentment hurts more often than it helps. Instead of honesty, we lie to those we love and it frays relations to the utmost. Both of these two Bergman classics examine such complex human relationships in such different ways, with compact skill and brilliant acting.

I can't believe I've missed out on the work of this genius for so long.

What are your thoughts on these two films, and Ingmar in general? Do you love him, or are you one of his dissenters (are there any? please speak up if you are one!)?