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Plans and Goals

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Yesterday The Screen Life turned 1 Week Old!!!* …aaaand I missed it. Yesterday was also the first day I didn’t get a chance to post anything.

My plan for TSL is to, as much as possible, post something once a day. It could be anything: original reviews, essays, or other commentary, or just something amusing I found online. I want to get into a habit of regular posting. If I miss a day here or there, it’s no big deal. But if I start to miss several in a row, it will quickly grow more and more urgent for me to pick up the pace. I’m hoping this method of self-motivation will help TSL from quickly going the way of the Coelacanth.

I’ve seen so many blogs follow the same track: A regular two-posts-per-week schedule gives way to one every two weeks. That becomes once a month, and then every two or three or six months. It gradually slips into hibernation, occasionally hiccuping to brief life once a year or so before going dormant again. Eventually it fades into just another relic in the flotsam of the internet.

I’m certainly not knocking those writers – many of you reading this have likely had similar experiences with your own blogs. In my own experience, among close friends and family, the cause of atrophy is not a lack of dedication. It’s a simple case of “I’ve got more important things to do with my time.” And it’s true: in the grand scheme of careers and families and lives to live, a personal blog has a hard time competing for importance.

But I do have a very broad goal for TSL and its place in my life. I want to use it to practice and improve my speed and skills as a writer. I want to think of myself as a journalist. I want to grow readership outside my extended friends and family. I want to grow a brand. I want to use TSL as a professional calling card. Perhaps even one day I could develop a following large and loyal enough to be able to sell ad space. In the most ideal scenario – and surely the most unrealistic – I will have self-started my very own career as a professional critic and journalist.

I’m probably setting my sights way too high. Perhaps I’m even setting myself up for failure. If I can’t keep up with my one-a-day plan, will I get dejected and give up entirely? Maybe. I have had that tendency in the past. But I’ve been developing the idea of this blog in my head for years. I’ve noted some of the common pitfalls. If I can keep up this pace, if I can take a different track, if it can give me a possible chance of success, I want to give myself that opportunity.

Despite what I said before, several of my friends have had success and longevity in their blogs.  I look to them as role models.  If that’s you, and you’re reading this, please please please impart all the secrets of success you have learned. The comments section is right down there. Let me pick your brain!

I made 14 posts in the first 7 days. Either way you look, I think that’s a good start.

And there’s more coming! In the next few days you can expect to see posts on lots more more nominations (from BAFTA, Costume Designers Guild, Cinematographers Guild, Art Directors Guild and more), plus a push for my favorite blog reader.

To all of you who have stuck with me for the first week, and the more to come, thank you for reading The Screen Life!!!

-Aaron

 

*My brother also turned ** years old, yesterday. Happy birthday, Jay Fram!!!

**In the interest of privacy I won’t reveal the exact age. But it’s a nice big round number. Totally the new [**-10].

DGA Nominations

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The Directors Guild Awards have traditionally been one of the best predictors of the Oscars. Missing out on a nomination or win from the DGA significantly lowers a film’s chances of getting the same from the Academy. Until last year, that is.

Last year all hell broke loose. No less than three of the DGA nominees were not nominated for the Best Director Oscar, including the eventual DGA winner, Ben Affleck. As you may recall, Affleck’s Argo also went on to win Best Picture at the Oscars – a feat which is rare enough without a corresponding Best Director win, but almost unheard of without even a nomination!

The cause for all that chaos and confusion was easily traceable to a simple schedule change. It used to be that the DGA nominees were announced well before the Oscar ballots were due, which meant voters were more influenced by the announcement. But last year they were announced shortly after the ballots were turned in. With a high number of viable contenders, it makes sense that the two groups had differing lists.

This year, the Oscar ballots are due tomorrow (Jan 8), one day after today’s DGA announcement. There could be some slight influence, but with only 24hrs in between, that effect will probably be negligible. That said, I wouldn’t be surprised if the two lists ended up looking very similar again, just like old times.

This year’s DGA nominees are all very strong contenders. Three of them – Cuarón, McQueen, and Russell – are pretty much locks for Oscar nominations, and the other two are really good bets. That said, there are still a number of very strong contenders that didn’t make today’s cut, including the Coen Bros. for Inside Llewyn Davis, Spike Jonze for Her, and Alexander Payne for Nebraska.

The DGA Nominees for Best Director of a Feature Film are…

David O. Russell, American Hustle
Paul Greengrass, Captain Phillips
Alfonso Cuarón, Gravity
Steve McQueen, 12 Years a Slave
Martin Scorsese, The Wolf of Wall Street

The DGA also awards directors for Television and Documentary Film. As of this this posting, those nominees have not been announced. I will update this page with that information when it becomes available.

EDIT 1/13/14 – Here are the documentary nominees…

Cutie and the Boxer
The Square
The Act of Killing
Stories We Tell
The Crash Reel

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Snow Day Screen Survival

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This is what my front patio actually looks like right now.

I’ve been stuck at home for 4 days in a row – at first by a nasty head cold and now by the biggest snowstorm I’ve ever seen in St Louis. High temps are in the negatives, my car is blocked by 2ft drifts, and my nose is still running like the Mighty Mississip. All of which leaves me to turn to – where else? My screens.

The oft-used metaphor of a screen as a window is an apt one. Trapped as I am, my computer is my window to the outside world, the TV to worlds beyond. I can still be socially present, keep up with everything that’s happening, create original work (this blog), and keep myself entertained. (I know my poor fiancé is getting cabin fever, but I’m actually kind of enjoying this.)

My daily screen schedule has consisted of, in various order:

  • Phone:
    • Texts
    • Notifications
  • Computer:
  • TV:
    • NFL playoffs
    • Game of Thrones on HBO Go
    • Netflix
      • Sherlock
      • Dr. Who
      • Futurama
      • Star Trek Voyager
      • Various movies
    • MarioKart on the Wii
    • Assorted DVD’s

That’s a lot of screen time. Thank goodness for Google Chromecast, by the way. For those of you unfamiliar, it’s a $35 thumb-drive-looking thing that goes into your HDMI port and lets you stream from Chrome and a handful of other apps directly to the TV. It’s still got a ways to go – needs more apps to support it – but already this little dongle has revolutionized our TV habits.

The arguments for screens separating us from the real world have their validity, but on days like today, they serve just the opposite. I mean, what else would I do with myself? Read a book? Oh wait, yeah, I could do that.

Six Documentaries from Oscar’s Shortlist Available Online

Stories We Tell

The Academy has shortlisted 15 titles for the Oscar for Best Documentary Feature. Thanks to Indiewire for finding six of them that are currently available for streaming online – even more if you have an HBO account. Check out the full list here.

This is a great find; it’s usually very hard for the average person to get a chance to see these films. Most of them opened in very limited release and didn’t stay in theaters long when they did. The only one I’ve seen so far is Blackfish – I highly recommend it to everyone – but I’ve also heard some really excellent things about The Act of Killing and Stories We Tell. The latter was directed by the extremely talented Sarah Polley. The former seems to be in the lead for the eventual Oscar win.

The six available titles are:
“The Act of Killing” (iTunes)
“Blackfish” (Netflix)
“Cutie and the Boxer” (Netflix)
“Dirty Wars” (Netflix)
“20 Feet from Stardom” (iTunes)
“Stories We Tell” (Amazon Instant Video)

All of them have a pretty good chance of making the final nominations, but especially The Act of Killing and Stories We Tell.

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WGA Nominations

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Of all the various guild awards, the Writers Guild nominations are traditionally the least likely to match up with the Oscars. This is because their eligibility rules are notoriously strict, and every year several major contenders are deemed ineligible. This year that list includes, among others, Blue is the Warmest Color, Fruitvale Station, Philomena, Rush, and the prohibitive winner of the Adapted Screenplay Oscar: 12 Years a Slave.

There are still surprises to be had, though. In the Original category, Inside Llewyn Davis was eligible but still missed a nomination. The excellent Dallas Buyers Club nabbed its spot. Gravity missed the boat too, which is a real shame, though not all that surprising. All the talk surrounding that film has been how it’s screenplay is its weakest link. This is totally bogus, of course; just because it’s dialogue is sparse doesn’t mean it’s not a deeply layered and inventively structured story. It wouldn’t be tied for the lead in the Best Picture race if it’s script was really as unmemorable as they say.

In the Adapted category, the biggest surprise is Lone Survivor, which gets its first mention of the season. I haven’t seen that film yet, but from everything I’ve been reading, if this weren’t such a competitive year, I imagine we’d be looking at a potential Best Picture with this one.

Here the full list of WGA nominees…

ORIGINAL SCREENPLAY

  • American Hustle, Written by Eric Warren Singer and David O. Russell; Columbia Pictures
  • Blue Jasmine, Written by Woody Allen; Sony Pictures Classics
  • Dallas Buyers Club, Written by Craig Borten & Melisa Wallack; Focus Features
  • Her, Written by Spike Jonze; Warner Bros.
  • Nebraska, Written by Bob Nelson; Paramount Pictures

ADAPTED SCREENPLAY

  • August: Osage County, Screenplay by Tracy Letts; Based on his play; The Weinstein Company
  • Before Midnight, Written by Richard Linklater & Julie Delpy & Ethan Hawke; Based on characters created by Richard Linklater & Kim Krizan; Sony Classics
  • Captain Phillips, Screenplay by Billy Ray; Based on the book A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea by Richard Phillips with Stephan Talty; Columbia Pictures
  • Lone Survivor, Written by Peter Berg; Based on the book by Marcus Lutrell with Patrick Robinson; Universal Pictures
  • The Wolf of Wall Street, Screenplay by Terence Winter; Based on the book by Jordan Belfort; Paramount Pictures

DOCUMENTARY SCREENPLAY

  • Dirty Wars, Written by Jeremy Scahill & David Riker; Sundance Selects
  • Herblock – The Black & The White, Written by Sara Lukinson & Michael Stevens; The Stevens Company
  • No Place on Earth, Written by Janet Tobias & Paul Laikin; Magnolia Pictures
  • Stories We Tell, Written by Sarah Polley; Roadside Attractions
  • We Steal Secrets: The Story of Wikileaks; Written by Alex Gibney; Focus Features
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“Blackfish” Poll Apparently Stacked by SeaWorld

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Blackfish is an amazing documentary about SeaWorld’s mistreatment of Orcas. (It made #12 on my best of the year list.) It hasn’t been very widely seen; box office returns were fairly low. Even still, it seems SeaWorld – giant corporation that it is – is doing everything it can to try to mitigate the damages. That’s not surprising: the film is incredibly damning. And since it release, they’ve battling backlash on all fronts. Several high profile musicians, including Willie Nelson and Trisha Yearwood and a bunch of others,  pulled out of their big concert series in response.

Not unexpectedly, many of SeaWorld’s efforts to contain the shitstorm have not reflected well on them. Just one example from the Orlando Business Journal…

On Dec. 31, Orlando Business Journal posted a poll asking readers: “Has CNN’s ‘Blackfish’ documentary changed your perception of SeaWorld?” As of midday Jan. 2, the results were staggeringly in favor of those saying the film hasn’t had any impact on their perception of the parks — roughly 99 percent siding in SeaWorld’s favor.

Sounds a little fishy, no? OBJ checked the numbers, and guess what they found.

…imagine our surprise when we noticed that one single Internet Protocol Address (IP Address) accounted for more than 54 percent of the votes, or about 180 of the total 328 votes. IP Addresses are typically unique Internet identifiers given to a computer or series of devices — say a multi-computer network in your office.

And who’s the owner of the domain name and company that address belong to? SeaWorld.com and SeaWorld Parks & Entertainment.

Read the full article here.

Blackfish is available for streaming from Netflix. You owe it to yourself to watch it.

 

EDIT: Here’s SeaWorld’s response. That makes sense, and it sure sounds legit and legal. But it still looks really bad. It looks like they’re willing to do anything they can to save face. It looks like they’re scared. Good.

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Top 10 Films of 2013

Tom Hanks

And here it is: my Top 10 for 2013! (In case you missed 11-20 and the rest, check it out here.) Without further ado, #10…

10. Dallas Buyers Club

One of the best films about the earlier years of the AIDS epidemic. While not a comedy, it’s surprisingly funny at times. It deftly avoids the overly sentimental treacle one often expects with this subject matter. Matthew McConaughey and Jared Leto give the best performances of their respective careers.

9. Philomena

Judi Dench has still got it (as if there were ever any doubt). Steve Coogan’s script could’ve easily treated its main character as just a stupid country bumpkin, and for a while you think it does. Before long though, you realize you’re looking at a deeply complex, intelligent individual and the Coogan’s big city journalist may me the short-sighted one. It also sheds much-needed light on a horrible true past, but to say more would be giving away too much.

8. Rush

Do you think this is a sports movie? Think again. This is a hugely enjoyable character study of two Formula One drivers whose complex relationship is one of the most riveting things on screen in years. Chris Hemsworth and especially Daniel Brühl are perfectly cast.

7. Mud

McConaughey continues his amazing “McConnaisance,” but the real stand outs are Tye Sheridan as main kid, Ellis, and director Jeff Nichols who continues his run of incredibly poignant portraits of rural American south. (His last, Take Shelter, was one of the most defining films of the decade.)

6. Captain Phillips

Paul Greengrass’ greatest gift is his ability to strip the sentiment and judgment away so that the only emotion left is genuinely your own. Tom Hanks’ final scene will break you.

5. Prisoners

What looks on the surface to be an average popcorn thriller, turns out to be a deeply layered, tightly wound, and deftly directed morality play. This will haunt you for a very long time after the credits roll.

4. 12 Years a Slave

Director Steve McQueen drops the pretension of his first two films (Hunger, Shame) but keeps the artistry to create the most powerful vision of slavery ever put on film. Chiwetel Ejiofor is outstanding as always in the lead and Michael Fassbender is terrifying as his brutal owner. Beware the hanging scene – I’ll say no more.

3. Gravity

The groundbreaking visual effects make better use of 3D than any film in history. That alone would make it one of the best movies of any year. But it’s the deceptively simple structure and struggle for survival at its heart that makes it one of the greatest films ever made.

2. Nebraska

Alexander Payne’s best film since Election is the most relaxing and pleasant time I’ve spent in a movie theater all year. It’s at once measured and hilarious. Bruce Dern gives a completely lived-in performance as Woody, but the biggest stand out is June Squibb as his un-self-censored wife. (See my review here.)

 -TIE- 2. Her [UPDATE: Added 1/21/14]

Spike Jonze hits refresh on the romance genre with this love story between a man and his computer. Set in a gorgeously designed near-future, this film moves beyond the usual genre tropes to explore the very concept of relationships. (See my review here.)

1. The Wolf of Wall Street

Martin Scorsese one-ups his own legendary repertoire by taking the true life of the worst of Wall St scumbags and making it an outrageous comedy. Leonardo DiCaprio gives the best performance of his illustrious career. But don’t confuse the deceptively light tone with a lack of seriousness. The raucous chaos at the very heart of the film paints an extremely poignant vision of corporate greed and excess. (See my review here.)

Agree? Disagree? Think I missed something? Let me know in the comments!

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Movie Reviews Are Coming!

If all goes according to plan, I expect movie reviews to be a regular feature here on The Screen Life.  I’m about to post my 4 most recent reviews, written before I started the blog: Nebraska, Inside Lleywn Davis, The Wolf of Wall Street, and American Hustle.

[EDIT: The reviews are now posted. Click on the titles to go read them.)

My philosophy in regards to movie reviews, and criticism in general, is that the general public’s average attention span for reviews is several paragraphs shorter than the average professionally published review. I know mine is. This isn’t a bad thing. We just have a lot of other articles competing for our time, as we click from screen to screen.

Because of this I try to make my reviews shorter than most, giving the most useful critiques in less space. As a naturally long-winded person, the constraints should also help improve my writing skills, forcing me to be more economic with my words. At very least maybe I will fill out a niche, with people choosing my reviews over other to save time.

This is not to say I won’t have a few very long reviews. But I’m going to do my best to keep a healthy balance.

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PGA Nominees

PGA logo

Ever since the Oscars expanded their Best Picture category, the Producers Guild has synced up with the Academy more and more, with usually only one or two differences, if any. If you want to predict Oscar nominees, this is a good place to start.

The biggest surprises here are whats missing – namely Inside Llewyn Davis and The Butler. Nice to see Blue Jasmine in the mix though. I was starting to think most groups were forgetting that there’s more to that movie than Cate Blanchett.

The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures:
American Hustle
Blue Jasmine
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Saving Mr. Banks
12 Years a Slave
The Wolf of Wall Street

The Award for Outstanding Producer of Animated Theatrical Motion Pictures:
The Croods
Despicable Me 2
Epic
Frozen
Monsters University

The David L. Wolper Award for Outstanding Producer of Long-Form Television:
American Horror Story: Asylum (FX)
Behind the Candelabra (HBO)
Killing Kennedy (National Geographic Channel)
Phil Spector (HBO)
Top of the Lake (Sundance Channel)

The 25th Annual PGA Awards will be announced on Jan. 19th.

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The Films of 2013

What better way to begin this new blog on New Year’s Day than with a rundown of all the new films I watched over the past year! These are all the movies released in 2013 that I had a chance to see.*

I’ll announce my Top 10 in a separate post tomorrow. For now, I present #11-20. I divided the rest into 3 categories and listed them alphabetically.

This was an incredibly strong year for great movies. Even some of those I listed under “Very Good” could have made it into the Top 10 of another year with less competition. On top of that, this list leaves out several films I’ve heard great things about and still look forward to seeing, such as Her, Frances Ha, Stories We Tell, Blue is the Warmest Color, The Secret Life of Walter Mitty, and a bunch of others.

One final note: Every year someone will ask me why my list skews so far toward the positive. Surely there must be far more bad movies out there than good; everybody knows the average quality of Hollywood’s output has been on a steady decline for decades, right? Every year my answer is the same: Research. Read reviews. Read this blog. Read ANYTHING, but read a lot. Save yourself from having to sit through dreck like Oz the Great and Powerful. Sure a few stinkers still slip through, but as expensive as movie tickets are, you owe it to yourself to do everything you can to spend your money wisely. That’s what I do.

Enjoy my list! It’s by no means definitive. If you disagree with any of my rankings, let me know in the comments!

TOP 11-20
11. This Is the End
12. Blackfish
13. Out of the Furnace
14. Much Ado About Nothing
15. The Hunger Games: Catching Fire
16. Inside Llewyn Davis
17. Ernest & Celestine
18. Frozen
19. The Conjuring
20. Blue Jasmine

VERY GOOD
All Is Lost
American Hustle
Elysium
The Fifth Estate
Fruitvale Station
Kon-Tiki
Monsters University
Pacific Rim
Side Effects
Star Trek Into Darkness
Warm Bodies
The Way Way Back
White House Down
World War Z
The World’s End

OK
42
The Butler
The Croods
The Hobbit: The Desolation of Smaug
Iron Man 3
John Dies at the End
Mama
Saving Mr. Banks
Spring Breakers
Thor: The Dark World
The Wolverine

BAD
Carrie
G.I. Joe: Retaliation
The Great Gatsby
The Lone Ranger
Man of Steel
Now You See Me
Oblivion
Oz the Great and Powerful

*Kon-Tiki made last years Oscars for Best Foreign Film, but didn’t open here in St Louis until this past spring.