It’s been more than a month since I Tumbled anything, so I’d better make this good. Umm…
Here’s an amazingly weird funked-out jam by the guy who did “King Fu Fighting” all about an ultra-bloody and dark minor classic from the Vincent Price filmography?
Yeah, that’s the stuff.
I’ll just say this one thing about The Academy of Motion Picture Arts and Sciences/ The Oscars:
The rules regarding screenplays need to be changed, desperately. Ethan Hawke, Julie Delpy and Richard Linklater’s pitch-perfect, lovely and heartbreaking screenplay to “Before Midnight” was one of the best uses of language I’ve heard all year (that includes film, music, theater, television, literature.) It deserved to be recognized.
However, due to some arcane and not terribly well thought out rules, “Before Midnight” was nominated in the Best Adapted Screenplay category. It was deemed an adaptation because the category considers all sequels to be adaptations. This classification is due to the fact that they’re picking up on story threads established in previous pieces of work, I guess. Yet, David O. Russell and Eric Warren Singer’s screenplay to “American Hustle,” which was based on (or, one could say, adapted from) real life, was nominated for Best Original Screenplay. How does that make any kind of sense?
Now, don’t get me wrong. I have no problem with “12 Years a Slave” winning the Best Adapted Screenplay Oscar. I haven’t seen the film, so I can’t judge it. But, it was adapted from a memoir written by the true life equivalent of the film’s main character so, yes, it was a true adapted screenplay.
But still, “Before Midnight” got shafted. And this isn’t the first time this has happened, either. In 2004, the film that preceded “Before Midnight,” “Before Sunset,” was nominated in the Best Adapted Screenplay category, where it lost to “Sideways” (itself based on a book).
Sharon Van Etten taped an episode of “Pioneering,” the AV Club’s upcoming web series, at the Stone Pony this afternoon, and covered the Boss while she was at it!
Check out my recap here.
I watched Ben Whetley’s “A Field in England” last night. I’ll write up a more extensive review once I pick my brains up off the floor. But all in all, I greatly admire it, even if I wouldn’t go so far as to say I like it. Then again, I don’t think this is necessarily a film that’s asking to be liked.
35 tracks containing my favorite musical moments from Morrissey and the Smiths. Two hours of bouncy English sadness!
This is happening. Careena Melia and Kelly Bartnik are returning to the world of the Scottish Play. It’s for four nights only, and my lovely wife and I will be at one of them. Something wicked this way comes…