Tangled Up In Wires » Michael

84th Academy Award Nominees: Who Will Win, Who Should Win, and Who Was Snubbed

Michael — Tue, 24 Jan 2012 17:04:57 +0000

The nominations for the Oscars went out this morning and with them, the first round of quick reactions and predictions. After several months of following smaller, but not insignificant awards, here are our official predictions and complaints. Agree? Disagree? Let us know!

Best Picture

The Artist

War Horse

Moneyball

The Descendants

Tree of Life

Midnight in Paris

The Help

Hugo

Extremely Loud and Incredibly Close

Who Will Win: The Artist. It’s had all the steam throughout the early awards season, and it doesn’t appear any of the other films have the clout to take it down.

Who Should Win: Really it’s a wide open category if The Artist loses, but look for The Descendants to take the statue if Oscar voters aren’t into French silent films.

Who Was Snubbed: Young Adult. Not a single nomination for Jason Reitman’s latest. It’s surprising The Girl With the Dragon Tattoo got nothing, but the lack of any love for Young Adult is a travesty.

Best Actress

Meryl Streep, The Iron Lady

Viola Davis, The Help

Michelle Williams, My Week With Marilyn

Glenn Close, Albert Nobbs

Rooney Mara, The Girl With the Dragon Tattoo

Who Will Win: Michelle Williams. She’s clearly been the front runner through most of awards season and though Meryl Streep has had a lot of buzz, Williams is by the far the safest bet of all nominees.

Who Should Win: If not Williams, it will be Meryl Streep. The other three nominees are all deserving, but Oscar politics always trump anything else.

Who Was Snubbed: Tilda Swinton. I’m not sure if We Need to Talk About Kevin was eligable for the Oscars, but if it was, it’s a travesty she didn’t get a nod. Also deserving: Charlize Theron, who carried Young Adult.

Best Actor

Jean Dujardin, The Artist

Gary Oldman, Tinker Tailor Soldier Spy

George Clooney, The Descendants

Brad Pitt, Moneyball

Demián Bichir, A Better Life

Who Will Win: George Clooney. He has a Supporting Actor award already, and as is the Oscar way, he’ll win because it’s his time.

Who Should Win: Honestly, this category is dynamite. If it’s not Clooney, expect either Oldman, Dujardin, or Pitt, in that order.

Who Was Snubbed: Michael Fassbender for Shame and Michael Shannon for Take Shelter. Two of the most talked about performances of the year got no attention. I expected at least one to get a nod, and it’s surprising neither of them did.

Best Supporting Actress

Octavia Spencer, The Help

Bérénice Bejo, The Artist

Jessica Chastain, The Help

Melissa McCarthy, Bridesmaids

Janet McTeer, Albert Nobbs

Who Will Win: Jessica Chastain. Sometimes the Oscars are about welcoming people into the community of Oscar winners, and after a huge year, expect Chastain to get that honor.

Who Should Win: This is another loaded category in which anyone has a convincing argument, but if it’s not Chastain, Bejo could steal the show.

Who Was Snubbed: Though she really didn’t get nominated for any other awards, Shailene Woodley from The Descendants deserved at least a little attention for her breakthrough performance.

Best Supporting Actor

Christopher Plummer, Beginners

Kenneth Branagh, My Week With Marilyn

Nick Nolte, Warrior

Jonah Hill, Moneyball

Max Von Sydow, Extremely Loud and Incredibly Close

Who Will Win: Christopher Plummer. This is the closest thing to a lock in this year’s ceremony.

Who Should Win: Honestly, Plummer. He owns Beginners and is truthfully the most deserving.

Who Was Snubbed: Albert Brooks. Without a doubt the biggest snub of the Oscars. Though no one expected him to beat Plummer, not even getting nominated was absolutely crazy. Special Mention also goes to Patton Oswalt for Young Adult.

Best Director

Alexander Payne, The Descendants

Michel Hazanavicius, The Artist

Martin Scorsese, Hugo

Woody Allen, Midnight in Paris

Terrence Malick, Tree of Life

Who Will Win: Martin Scorsese. When Oscar voters are in doubt, they always go with one of the all time greats.

Who Should Win: Alexander Payne. Consider it the consolation prize for The Descendants if The Artist picks up Best Picture.

Who Was Snubbed: David Fincher is notably absent from this list, but given the overall lack of love for The Girl With the Dragon Tattoo, it’s not too surprising.

Best Original Screenplay

Michel Hazanavicius, The Artist

Kristen Wiig and Annie Mumolo, Bridesmaids

J.C. Chandor, Margin Call

Woody Allen, Midnight in Paris

Asgar Farhadi, A Separation

Who Will Win: Woody Allen. Midnight in Paris was a phenomenal film, and given his uneven work in the last 10 years, this could be the Academy’s last chance to honor one of the greats.

Who Should Win: Kristen Wiig and Annie Mumolo have the best shot at sneaking in if Allen doesn’t win. Hazanavicius has a shot as well, but he’ll win elsewhere, leaving the door open for the breakthrough comedy duo.

Who Was Snubbed: Diablo Cody for Young Adult. It’s ridiculous this film didn’t get a single nomination. It rank with Albert Brooks as one of the biggest snubs of the year.

Best Adapted Sceenplay

Alexander Payne, Nat Faxon and Jim Rash, The Descendants

John Logan, Hugo

Aaron Sorkin and Steven Zaillian, Moneyball

George Clooney, Grant Heslov, Beau Willimon, Ides of March

Peter Straughan and Bridget O’Connor, Tinker Tailor Soldier Spy

Who Will Win: Payne, Faxon, and Rash. Again, look for The Descendants to pick up a bunch of awards that aren’t Best Picture. That’s not to detract from the fact that they actually deserve this award though.

Who Should Win: If the Descendants lose, the safe money is on Sorkin and Zaillian, picking up Moneyball’s consolation prize.

Who Was Snubbed: Yasmina Reza and Roman Polanski for Carnage. Easily one of the funniest films I saw all year.

TUiW Goes to the 2011 Savannah Film Festival: Full Recap

Michael — Tue, 08 Nov 2011 17:04:46 +0000

Last week, Michael headed to the 2011 Savannah Film Festival, getting an early look at some of the films that figure to be Oscar contenders this year and some that disappointed:

FILMS NOT TO MISS

The Artist

Read Michael’s review here.

Carnage

In terms of tone, Roman Polanski’s latest film is a far cry from his last, the terrific The Ghost Writer, but it’s just as fun to watch. Replacing the dark world of international politics with two sets of parents trying to deal with an altercation between their children, Polanski’s adaptation of Yasmina Reza’s play God of Carnage is full of laughs from a tremendous cast that hits every note perfectly. It’s hard to imagine anything less than amazing when you put John C. Reilly, Jodie Foster, Christoph Waltz, and Kate Winslet in a room with each other for a scant 79 minutes, but Polanski more than ably transfers humor designed for the stage to the screen. In the last several years, there’s been a lack of films like Carnage, comedies about adults for adults. While it may not set the world on fire, it’s an enjoyable and fun film I fully recommend seeing in between the big melodramas studios will push for Oscars this winter.

We Need to Talk About Kevin

Lynn Ramsey’s dark story abut a mother raising a disturbed son drew mixed results for the crowd at Trustee’s Theatre, but stood out as being one of the more interesting and better done films of the festival. Tilda Swinton was terrific as always as a the mother of the titular character, played with menacing evil by Ezra Miller. Flashing backwards and forwards through time before hitting the big reveal at the end, We Need to Talk About Kevin employed visuals better than any other film at the festival, providing a sense of dread the entire time. In a lot of ways, it’s a modern day horror film in the vein of Rosemary’s Baby, where the audience knows something bad will happen and spends the entire film waiting for it to happen. Though I don’t see any Oscar nods in its future, We Need to Talk About Kevin is definitely one of 2011’s must see films.

Jeff Who Lives at Home

The latest film from the Mark and Jay Duplass (Cyrus, The Puffy Chair) escaped a lot of attention as one of the last films to be screened, but was among the most enjoyable of the festival. Jeff Who Lives at Home follows the titular character (Jason Segal), a lazy pot-smoker who still lives with his mother (Susan Sarandon). Looking for signs in the world to give him his true purpose, Jeff ends up on a journey around Baton Rouge, where he ends up connecting with his jerky brother (Ed Helms) and sister-in-law (Judy Greer). The Duplass Brothers’ loose, improvisational style gives both Segal and Helms a chance to do their best work on the big screen, each showing depth and range previously unseen. Jeff is also a significant step up for the directors from last year’s Cyrus, a film that failed to meet its potential. In contrast, Jeff features a tighter story and relies more on the emotional beats of characters than emotional beats in the story. Just as it did at the SFF, Jeff Who Lives at Home could fly under the radar for most moviegoers, but if you have the chance, check it out.

Boy

After a heavy night with Coriolanus (more on that in a bit) I was ready for some laughs. Thankfully, I decided to see Boy, a hysterical and charming film from New Zealander Taika Waititi. The film follows the titular character, a Michael Jackson-loving 11-year-old kid in a small New Zealand town who is left in charge of a house of even younger cousins and his brother Rocky when their grandmother goes out of town for a funeral. When his estranged criminal father (Waititi) returns, Boy finally has a male role model, albeit one that has him steal marijuana and dig holes to find the money he had stashed in a nearby field. Waititi is pitch perfect as the slightly insane Alamein, making him likable and detestable at the same time. The film started right away with laughs and never let up, even in its heavier moments. Boy may not be on the radar of a lot of film followers here in the U.S. yet, but it should be. Unfortunately, it’s not playing again at the festival, but be sure to keep an eye out for this charming and thoroughly enjoyable film.

The Bully Project

In recent years, issues such as climate change, America’s school system, and the financial crisis have been greatly impacted by some incredible documentaries. An Inconvenient Truth changed the way we think about the environment, Waiting for a Superman was watched and mentioned by President Obama, and Inside Job put a spotlight on who was actually responsible for the financial collapse. What made these documentaries so successful was not just that they were well done, but that in some way, they impacted every viewer. Appropriately screening after a panel on how films can change the world, Lee Hirsch’s The Bully Project aims to do the same with a problem that impacts many kids and their parents across the country, hitting all the right notes in the process. The film tackles bullying from nearly every facet, following a middle-schooler facing it in his school, a girl who brought a gun on a bus to stop bullies, a small-town lesbian, and the families of two kids who took their own life because of bullying. Each segment features crushing moments of cruelty that largely goes unpunished or recognized by school and town officials, including one in which an assistant principle tells a boy to just ignore the bully that had told him he would kill him. It’s an incredibly touching film that at times touched very close to home. It may seem bleak at points, but The Bully Project does an excellent job at leaving its audience with a feeling of hope and purpose. What was especially great about yesterday’s screening was walking out and seeing a large group of local students in their seats. All of them were quiet and evidentially shaken by film. As much as it’s a documentary for adults unaware of the issue, The Bully Project is an should be required watching in middle and high schools around the country. See it if you can.

THE GENERALLY GOOD

The Muppets

Kermit, Miss Piggy, and Fozzie got their world premier in Savannah as the secret Director’s Choice on Friday night, a move that simultaneously delighted and infuriated the festival crowd. As far as the film goes, it’s a classic Muppet movie, full of laughs, celebrity cameos, songs, and plenty of positive vibes. Jason Segal’s script does a great job of staying true to the Muppets while also bringing them into the 21st Century. Followed up by a predictably great Toy Story short, The Muppets is a great family movie that will entertain both kids and their parents. That being said, it was a particularly odd choice for a festival that featured many darker, adult films in the marquee 7:00 screening. A large number of people left when it was revealed as the film, many more (including myself) complaining outside afterwards. While an enjoyable film and one I’m glad I stuck around for, The Muppets is in no way a festival film, representing a gross misunderstanding of the audience on the part of the film festival.

Like Crazy

The closing night selection, Sundance winner Like Crazy, also lead to a split decision from the audience. An entirely improvised film shot on a prosumer camera (the Canon 5D), I found Like Crazy to be a film with terrific performances, a great visual style, and a lackluster story. The film follows Jaccob (Anton Yelchin) and Anna (Felicity Jones), two college students that fall in love and suffer through a long distance relationship after visa problems keep her stuck in her native England. Both Yelchin and Jones are terrific, and the small camera allows the filmmakers to capture some terrific, intimate, improvised moments, but the film’s biggest flaw is its glacial pace and some plot decisions that lack explanation or motivation. There’s a good story in Like Crazy that is largely lost, leading the film to rely on visuals to work. While it doesn’t stick the landing, it’s an impressive low-budget indie that deserves the attention its gotten.

FILMS TO SKIP

A Dangerous Method

The biggest disappointment of the week came with David Cronenberg’s latest, a period piece about the relationship between groundbreaking psychologists Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender). Dry dialogue, relatively conventional visuals, and poor performances doom the film, which felt like it dragged on forever. Kiera Knightley offers a terribly over-acted performance as a patient of Jung’s that begins an affair with him after he gets her craziness under control. Fassbender breaks his hot streak, playing Jung with virtually no emotion, providing no reason to connect to his character. The film’s saving graces are Mortensen, who is charming and funny as Freud and Vincent Cassel, who turns up for about 15 minutes as a doctor/patient that encourages Jung to pursue his affair with Knightley. Overall, the film is sterile and devoid of any sort of emotional connection with the audience. Though the temptation to see a Cronenberg film may be there, skip A Dangerous Method and to avoid crippling disappointment.

Coriolanus

Hands down the worst film of the festival, Coriolanus is clearly the vanity project of director/star Ralph Fiennes. Taking one of Shakespeare’s lesser known plays and setting it in “modern day Rome,” the film is an overindulgent mess that finds Fiennes in constant closeups while forgetting a terrific roster of supporting actors including Brian Cox, Vanessa Redgrave, Jessica Chastain, and Gerrard Butler. If Fiennes knows anything about film directing, it’s not apparent in Coriolanus. Do yourself a favor and spend two hours doing something other than seeing this movie.

TUiW Goes to the 2011 SavFF: The Artist

Michael — Sun, 30 Oct 2011 14:29:34 +0000

Over the course of the last week, I heard several friends tell me they weren’t going to last night’s opening film, The Artist, because they didn’t think they’d have any interest in seeing a silent, black and white French film. Nevermind the critical acclaim or the fact that it was opening night, they all told me that without dialogue, they’d probably fall asleep or be bored. I was intrigued by film, not only for its premise but for the buzz surrounding it. After it screened at Cannes, the audience gave it a 20 minute standing ovation. That seemed a little extreme, but now, I can kind of understand why.My silence-fearing friends missed out big time. The 2011 festival started with a resounding bang with The Artist, a brilliant and beautiful story of a silent film star in the transition to sound. As one of the film’s stars, James Cromwell, said after, it’s textbook filmmaking. Simplicity was the name of the game here, and it worked to tremendous affect. There may not have been a 20 minute standing ovation, but I didn’t run into a single person all night who didn’t like the film. It’s hard to get consensus on the quality of a film from two film buffs, let alone a theatre of them, so it was hard to ignore the overwhelmingly positive response to it. While I don’t think we’ll be heading for a second era of silent films, The Artist is sure to be a film that resonates within those who’ve seen it for a long time.

There’s been a lot of talk from the film’s distributer, Harvey Weinstein, about getting the film nominated for more than just best foreign picture. I’m not sure the larger Oscar audience will go for it, but they should be. If you have a chance to see The Artist, do so without hesitation. You won’t regret it.

TUiW Goes to the 2011 Savannah Film Festival

Michael — Thu, 27 Oct 2011 19:59:04 +0000

For the second year in a row, I’ll be hitting the Savannah Film Festival in Savannah, GA. This year, I have the added bonus of a media pass getting me full access to the event, which features some high profile films such as Cannes hit The Artist, Sundance Winner Like Crazy, A Dangerous Method, Carnage, We Need to Talk About Kevin, and a many more. Be sure to check back here, on Twitter, and at the festival’s Voices of the Fest page throughout the week.

Savannah Film Festival Announces Competition Films

Michael — Fri, 07 Oct 2011 13:30:57 +0000

Once again, TUiW is fortunate enough to go to the Savannah Film Festival and get a sneak peak of some of this year’s Oscar contenders before they hit wide release. Headline films include Roman Polanski’s Carnage and Cannes favorite The Artist, and this morning, the festival announced its competition films. Check out the list below and check back when the festival starts to read our thoughts on them.

A Year in Mooring

USA, 2011, 91 min., HDCam
Director: Chris Eyre
Producers: Kevin Reidy, Sally Jo Effenson
Writer: Peter Vanderwall
Cast: Ayelet Zurer, James Cromwell, Jon Tenney, Taylor Nichols, Josh Lucas

Synopsis: A successful businessman, attempting to escape his past, moves aboard a dilapidated boat in a remote harbor. Told over movements framed by the calendar year, the Young Mariner meets other harbor inhabitants with pasts of their own.

Inuk

France/Greenland, 2010, 90 min., HDCam
Director: Mike Magidson
Producers: Mike Magidson, Sylvie Barbe
Writers: Mike Magidson, Jean-Michel Huctin
Cast: Gaaba Petersen, Ole-Jorgen Hammeken

Synopsis: In Greenland’s capital, Nuuk, sixteen year-old Inuk lives a troubled life with his alcoholic mother and violent step-father. One morning, after pulling the half-frozen boy out of an abandoned car, the social services decide to send Inuk north to a children’s home on a tiny island in the middle of the arctic sea-ice. Shortly after arriving, Inuk meets Ikuma, a local polar bear hunter who has his own share of problems, and is asked to take Inuk on his annual seal-hunting trip. So when Inuk, the troubled boy from the city, joins Ikuma, the last great hunter of the North, on this epic dogsled journey, they will face much more than the bitter cold and fragile sea-ice.

Let Go

USA, 2011, 109 min., HDCam
Director: Brian Jett
Producer: Leif Lillihaugen
Writer: Brian Jett
Cast: Alexandera Holden, Amy Stiller, Brian Huskey, Catherine Reitman, David Denman, Dov Davidoff, Edward Asner, Gillian Jacobs, Johnny Pemberton, Kali Hawk, Kevin Hart, Kirk Fox, Maria Thayer, Rance Howard, Simon Helberg

Synopsis: A comedy that follows the intertwining stories of Walter Dishman, a melancholy parole officer struggling with the doldrums of married life, and three eccentric ex-convicts that were recently placed under his supervision. Using the afflictions of modern love as a common thread, the stories build to a poignant climax as each of the characters struggle to free themselves from both literal and figurative bonds.

Take Me Home

USA, 2011, 97min, Blu-Ray
Director: Sam Jaeger
Producer: Michael Hobert, Jane Kelly Kosek
Writer: Sam Jaeger
Cast: Sam Jaeger, Amber Jaeger, Victor Garber, Cristine Rose, Lin Shaye

Synopsis: When Claire jumps in Thom’s beat-up cab in New York, neither realize that they have just begun a journey together of self-discovery that will have them crossing the United States in an effort to find home.

Review: ESPN Films’ Catching Hell

Michael — Wed, 28 Sep 2011 15:07:58 +0000

In the interest of full disclosure, I’m a die-hard Cubs fan. My great grandfather started the family tradition when he was a kid living in Chicago, and though I’ve never lived in the Windy City myself, I spend every spring getting my hopes up in time for them to be dashed by mid-June. Game 6 of the 2003 NLCS (otherwise known as the Bartman Game) was a particularly painful night for me, one that is still clearly etched into my mind. When I heard about “Catching Hell,” ESPN’s terrific documentary on the incident and scapegoat culture in baseball, my first reaction was to sigh, realizing I’d get to spend two hours reliving one of the worst nights of my sports fan life.

While it was indeed painful to watch the events of the night unfold (Moises Alou’s reaction to Bartman, Alex Gonzales’ error on a sure thing double play, the Marlin’s 8-run rally), Alex Gibney’s documentary did more than simply talk about an infamous man that people know almost nothing about. Instead, Gibney tells the story of a night in which 40,000 fans let nearly 100 years of disappointment on one guy who made an honest, human mistake.

What makes Catching Hell so interesting is the way in which Gibney dissects every possible angle of the game. He sets the stage by reviewing the Bill Buckner error of the 1986 World Series, pointing out that Buckner may have missed the ball, but it was preceeded by one pitcher loading the bases and another throwing a wild pitch. Buckner just had the bad timing of being last and the most easily remembered. Gibney’s driving question about Bartman comes out right then and there: did he actually cause the Cubs to lose or did they lose it themselves?

Gibney also questions the mob mentality that overtook Wrigley Field and Chicago following the incident. Several of his interview subjects mention that all of the sudden, every fan in the park thought the game and season was over when there was still an inning and a half of baseball to play. The crowd starts chants of “asshole” directed at Bartman. They throw beer on him. One piece of footage featured a fan yelling “put a 12-gauge in his mouth and pull the trigger!” It’s a shameful sight that actually hit closer to home as a Cubs fan than rewatching footage of the actual game. Wrigley Field is supposed to be the Friendly Confines after all.

The most riveting part of Gibney’s documentary is the way he humanizes Bartman. He mentions that Bartman was at the game with two friends, both of whom appear to be trying to distance themselves from him and who left him alone as soon as they could. He interviews the reporter who badgered him right after incident and a fan who was thrown out of the game for harrassing him. Most heartbreakingly, Gibney talked to the security guard that was with Bartman in the aftermath, watching him process what happened and seeing he wasn’t concerned with himself, but whether the Cubs won or lost. Anyone that still hates the man after watching Catching Hell probably has no capacity for sympathy in them.

On the surface, Catching Hell is about scapegoats and the assignment of blame in sports, but deeper, Gibney offers brilliant commentary on the idea of fandom. Gibney only interviews two players on that Cubs team, Alou and first baseman Eric Karros, talking mostly to people that were in the stands or covering the game that night, clearly pulling the film away from the field and into the seats. Did the crowd at Wrigley that night actually lose the game? It’s a big question that Gibney wisely leaves to the viewer, but one that leads to a rabbit hole of questions about the notion of being a fan and the lengths we go to to support teams in our culture.

TV Report Card: New Comedies

Michael — Mon, 26 Sep 2011 17:19:38 +0000

Welcome to a new TUiW feature, TV Report Card, in which we periodically check in on a show or shows that aren’t in our normal review rotation. Today, we start by evaluating the new comedies of the fall season.

Show: Up All Night
The Good: Christina Applegate and Will Arnett have terrific chemistry is the charming comedy about new parents entering middle age. Maya Rudolph follows up Bridesmaids with a wacky character that will highlight her strengths while adding a touch of the absurd to the show. The pilot had several great bits, including Applegate and Arnett worrying about their swearing in front of the baby and Rudolph bringing the couple a ridiculous gift basket for the baby.
The Bad: Up All Night mostly hit its marks in the pilot, but the already aired second episode was a noticeable step back. The second episode of any new show is usually pretty weak, as the writing staff navigates the transition from pilot to series, so it can be forgiven if the show bounces back in Episode 3.
Potential:Good. Not only does the show have terrific potential, but it was a rating success for NBC, and it wouldn’t be surprising to see the show make a jump to Thursday night if a spot becomes available at mid-season or next year.Show: New Girl
The Good: Zooey Deschanel seems more comfortable in this role than any she’s had on the big screen in years. While it’s still hard to buy her as a socially inept nerd, but her charm carries the show. At its best, New Girl is smart and funny without toying with genre conventions and trying to hard.
The Bad: While Damon Wayans Jr. shined in the pilot, his commitment to Happy Endings led him to be replaced in subsequent episodes. While Zooey carries the show, it’s up to her three roommates to back her up and keep the show moving in the right direction. Based on the performance of the other two, there’s reason for concern.
Potential: Very good. New Girl not only held Glee’s audience, it built on it. You’re going to hear the word “adorkable” for at leas the next three years.

Shows: 2 Broke Girls and Whitney
The Good: Since both shows were written by comedian Whitney Cummings and are in the same vein, it makes sense to group them together. Unfortunately, that also means that there’s not a lot of good in either show. Kat Dennings is perhaps the bright spot of 2 Broke Girls, and her career will only go up after this show.
The Bad: Both shows are centered around hip and snappy women, but Cummings packs in so much unnecessarily raunchy dialogue that does little else than say than to show how edgy the shows are. There’s no substance to either show, and compared to the great comedies on television these days, both 2 Broke Girls and Whitney seem incredibly one-dimensional and stuck in a bygone era in which comedians distilled their stand-up act into a television show.
Potential: 2 Broke Girls will do fine on a network that bases all of its comedies around raunchy jokes and one dimensional characters, so it will be around for at least the foreseeable future. Whitney will have a harder time, especially with 30 Rock returning at midseason and Up All Night doing so well. It will have to step it up big time to survive after fall sweeps.

Show: Free Agents
The Good: Hank Azaria and Kathryn Hahn are terrific and sell the show. Without them, this show suffers tremendously. Their banter and chemistry are impeccable and shouldn’t be missed. The supporting cast backs them up well, adding an extra zing whenever they can.
The Bad: Great chemistry from the leads aside, Free Agents suffers from a lack of good story. Both episodes that have aired have similar plots, and if the show wants to survive, it’s going to need to prove its different than any host of other comedies.
Potential: It doesn’t look good, which is a shame because Azaria and Hahn deserve it. I give it a year at best.

A Fond Farewell to R.E.M.

Michael — Wed, 21 Sep 2011 23:09:28 +0000

After 31 years, R.E.M. are calling it quits. One of the most important bands of the last three decades, R.E.M. are responsible for the success and popularity of modern indie rock. There are obvious musical descendants, like The National, but every band on an independent label owes a little bit to R.E.M. for helping keep indies financially viable. Even after joining Warner Brothers, the band set the gold standard for artistic integrity in the MTV era, creating compelling, thoroughly enjoyable music without a hiccup for nearly 15 years. Though the band weakened a bit with the departure of drummer Bill Berry after 1997’s New Adventures in Hi Fi, the three remaining members went through a renaissance on their last two albums, 2008’s Accelerate and this year’s Collapse Into Now. Undoubtedly, their legacy will be centered into what they did between 1981 and 1995, but what the band leaves behind is a tremendous catalogue of music that very few bands can match.

While countless tributes will be offered up by writers and critics more important and influential than myself, I can’t sit by and fail to comment on a band that has meant more to be than can be put into words. I was born in the mid-80s, and by then, Murmer and Reckoning had already made the band one of the most respected and beloved bands of the decade. Because of this, I quite literally grew up on the band. I very clearly remember the first time I heard them. Driving home one night as a kid, I was in the back, clamoring for my parents to put something on. My dad told me that we were going to listen to something he and my mom wanted to hear, and he put on a mix tape of R.E.M. songs. To call the moment transformative would be a stretch, but even as a kid, I instantly fell in love with the band. I may not have known what the hell “Losing My Religion” meant, but it was an incredibly catchy song that was impossible not to be drawn to.

As I got older and dug into the band’s catalogue, I could hear R.E.M. in many new bands I was discovering. Thom Yorke’s love of Michael Stipe was evident. The Decemberists clearly were fans of Peter Buck. Countless acts aped the tight rhythm section of Mike Mills and Bill Berry. I joined fan club, feverishly downloaded every bootleg and b-side, and finally in November 2004, got a chance to see R.E.M. play in Indianapolis. During the closer, “Man on the Moon,” I bounced up and down, the guy with graying hair next to me watched on amused. “You shoulda seen them in the 80s,” he said.

By ending now, R.E.M. isn’t quitting at their peak, but at a high point, sparing us from seeing them devolve into a soulless touring entity (the Rolling Stones), lose their cool (U2) or begin to crumble internally (Metallica). Instead we’re left with the music and memories of a band that comes along only once in a generation.

Neutral Milk Hotel Releasing Box Set, Unreleased Tracks

Michael — Fri, 26 Aug 2011 17:45:16 +0000

It’s become a small tradition here at TUiW to report on every movement Neutral Milk Hotel frontman Jeff Mangum makes, but this one undoubtedly takes the cake. On the band’s newly redone website, Mangum announced the release of a massive vinyl box set of NMH material, including a slew of previously unreleased tracks. The box will contain the band’s two classics, On Avery Island and In the Aeroplane Over the Sea, as well as the out of print Everything Is EP and 7″ for Aeroplane single “Holland, 1945.” The exciting part is the bonus EP, Ferris Wheel on Fire, that features seven previously unreleased tracks (and “Engine,” a b-side), a single of unreleased versions of Avery Island‘s “You’ve Passed” and “Where You’ll Find Me Now,” and a single with studio and live versions of unreleased track “Little Birds.” Phew. The box is available for pre-order for $88, while MP3s of the unreleased tracks will be available as pay-what-you-want on November 22 at the new NMH website, which has been overrun with traffic all morning. If you get through on the site, you’ll have a chance to listen to “Sister” and “Ferris Wheel on Fire,” as well as a 30-minute radio program curated by Mangum himself. Below, check out the Ferris Wheel on Fire tracklist, as well as Mangum’s tour schedule. Past Me is so jealous of Present Me right now.

Ferris Wheel on Fire:

Side A -
Oh Sister
Ferris Wheel on Fire
Home
April 8th

Side B -
I Will Bury You In Time
Engine
A Baby For Pree/Glow Into You
My Dream Girl Don’t Exist

Jeff Mangum Tour Dates:

09-07 Northampton, MA – Academy of Music Theatre
09-09 Cambridge, MA – Sanders Theatre at Harvard University
09-10 Boston, MA – Jordan Hall at New England Conservatory
09-26 Baltimore, MD – 2640 Space at St. John’s Church
09-27 Baltimore, MD – 2640 Space at St. John’s Church $
09-30 Asbury Park, NJ – Paramount Theatre (ATP)
10-02 Asbury Park, NJ – Paramount Theatre (ATP)
10-03 Asbury Park, NJ – Paramount Theatre (ATP) $
10-27 Woodstock, NY – Bearsville Theater (Woodstock Farm Animal Sanctuary Benefit)
10-29 New York, NY – Town Hall
11-06 Jersey City, NJ - Loew’s Theatre
11-30 Dublin, Ireland - Whelan’s
12-04 Minehead, England – ATP Curated by Jeff Magnum
12-08-09 London, England – Union Chapel

$ with a Hawk and a Hacksaw

Primetime Emmy Nominations: Who Will Win

Michael — Thu, 14 Jul 2011 14:45:29 +0000

The September 18 Emmys are still a long time away, but the nominations were announced last night. Here’s our expert analysis on who will win, who should win, and who got snubbed.

BEST DRAMA SERIES

Boardwalk Empire
Dexter
Friday Night Lights
Game of Thrones
The Good Wife
Mad Men

Who Will Win: Mad Men. This is there year to break through the Breaking Bad wall. Boardwalk has a strong chance as well, but I think the boys at SCDP are going to be happy come Emmy night.

Who Should Win: Friday Night Lights. The final season of FNL was not its best (season 1 or 4), but was still very good, and getting a symbolic win in its last season would be great to see. Don’t hold your breath though.

Who Was Snubbed: Justified. Seriously, how was this show forgotten?

BEST COMEDY SERIES
Big Bang Theory
Glee
Modern Family
The Office
30 Rock
Parks and Recreation

Who Will Win: Too Close to Call. This is a really tight category, where any of these shows could take the statue, but…

Who Should Win: Parks and Recreation. Hands down the funniest show with the best cast. The show went nuts this year, with no weak episodes, and if it doesn’t win, I’ll go on a hunger strike (or probably just be mad for a few days).

Who Was Snubbed: Community. The show had a few brilliant episodes this season, including a few that were light on the wacky humor that helped build the shows fanbase, but heavy on tremendously done storytelling. A shame it didn’t get a nod.

BEST DRAMA ACTOR

Timothy Olyphant, Justified
Steve Buscemi, Boardwalk Empire
Kyle Chandler, Friday Night Lights
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House

Who Will Win: Jon Hamm. It’s his year to hold the statue before Cranston comes back. And honestly, if you saw the episode “The Suitcase,” you’ll have no problem agreeing with me.

Who Should Win: Kyle Chandler. Like FNL in the Drama Series category, this would be symbolic, though Chandler was pitch perfect in his final season as Coach Taylor, and deserves it outright.

Who Was Snubbed: This category is surprisingly tight. Not much you can argue here.

BEST DRAMA ACTRESS
Connie Britton, Friday Night Lights
Julianna Margulies, The Good Wife
Kathy Bates, Harry’s Law
Mariska Hargitay, SVU
Mirelle Enos, The Killing
Elisabeth Moss, Mad Men

Who Will Win: Elisabeth Moss. If you saw Hamm in “The Suitcase,” you know Moss deserves an Emmy for her work too. She’s past due, and this will be her year.

Who Should Win: Connie Britton. If I had a vote, I’d vote for Moss, but Britton spent five years doing phenomenal work as Tammy Taylor, and it’s sad to see her come away from it all empty handed.

Who Was Snubbed: January Jones, Mad Men. I’m not the biggest January Jones fan, and Betty didn’t have much to do this season, but when she was on screen, the whole mood of the scene changed. Betty was fascinating to watch this year, thanks in large part to Jones.

BEST COMEDY ACTRESS
Edie Falco, Nurse Jackie
Tina Fey, 30 Rock
Laura Linney, The Big C
Melissa McCarthy, Mike & Molly
Martha Plimpton, Raising Hope
Amy Poehler, Parks & Recreation

Who Will Win: Amy Poehler. Tina Fey might surprise, but I think this is Poehler’s year. She was very good all season, and I think that will be hard to ignore.

Who Should Win: Amy Poehler. Seriously. She was great.

Who Was Snubbed: Alison Brie, Community. Annie is one of the sweeter, more fun characters on TV right now. Just watch her try and be someone else in the bar night episode, you’ll see what I mean.

BEST COMEDY ACTOR
Alec Baldwin, 30 Rock
Matt LeBlanc, Episodes
Jim Parsons, The Big Bang Theory
Steve Carell, The Office
Johnny Galecki, The Big Bang Theory
Louie C.K., Louie

Who Will Win: Steve Carell. He hasn’t won an Emmy yet for playing his most iconic roll, and this is the last chance. Voters won’t forget that.

Who Should Win: Louie C.K. It seems like an odd nomination, but it’s sort of Louie‘s consolation prize.

Who Was Snubbed: Joel McHale, Community. The longer he’s on Community, the better he’s getting.

OUTSTANDING SUPPORTING ACTOR, COMEDY
Chris Colfer, Glee
Jesse Tyler Ferguson, Modern Family
Ed O’Neill, Modern Family
Eric Stonestreet, Modern Family
Ty Burrell, Modern Family
Jon Cryer, Two and a Half Men

Who Will Win: Ty Burrell. It’s gotta be someone from Modern Family, and it might as well be the most consistently funny.

Who Should Win: If not Burrell, Eric Stonestreet. After Phil, Cam is among the funniest characters on TV.

Who Was Snubbed: A long list here, including Danny Pudi, Aziz Ansari, Nick Offerman, Rainn Wilson, all of whom did fantastic work this season on shows that were not Modern Family.

OUTSTANDING SUPPORTING ACTOR, DRAMA
Peter Dinklage, Game of Thrones
Josh Charles, The Good Wife
Alan Cumming, The Good Wife
Walton Goggins, Justified
John Slattery, Mad Men
Andre Braugher, Men of a Certain Age

Who Will Win: John Slattery. Like I said, it’s Mad Men’s year to break through the Breaking Bad wall.

Who Should Win: Walter Goggins or Peter Dinklage. Both were fantastic, but will certainly be forgotten come voting time.

Who Was Snubbed: Not to bring in more Mad Men, but the more the show has gone on the more I like Vincent Kartheiser as Pete, who has yet to get a nomination.

OUTSTANDING SUPPORTING ACTRESS, COMEDY
Jane Lynch, Glee
Betty White, Hot in Cleveland
Julie Bowen, Modern Family
Sofia Vergara, Modern Family
Kristen Wiig, Saturday Night Live
Jane Krakowski, 30 Rock

Who Will Win: Kristen Wiig. This will be her anointment into stardom, much the same way Tina Fey (and hopefully Amy Pohler) got her first Emmy en route to a successful movie career. She deserves it too.

Who Should Win: Julie Bowen. Claire isn’t a likable character without her.

Who Was Snubbed: Rashida Jones, Parks and Recreation. Poor, beautiful Anne.

OUTSTANDING SUPPORTING ACTRESS, DRAMA
Archie Panjabi, The Good Wife
Kelly Macdonald, Boardwalk Empire
Christine Baranski, The Good Wife
Margo Martindale, Justified
Michelle Forbes, The Killing
Christina Hendricks, Mad Men

Who Will Win: Christina Hendricks. This is a really tight category full of deserving actresses, but she’ll have the Mad Men luck behind her.

Who Should Win: Margo Martindale. If you’ve watched Justified, you know why.

Who Was Snubbed: No one here. Fantastic group of actresses.

OUTSTANDING MINISERIES OR MOVIE
Cinema Verite
Downton Abbey
The Kennedys
Mildred Pierce
The Pillars of the Earth
Too Big to Fail

BEST VARIETY SERIES
The Colbert Report
Conan
The Daily Show with Jon Stewart
Late Night with Jimmy Fallon
Real Time with Bill Maher
Saturday Night Live

OUTSTANDING REALITY PROGRAM
Antiques Roadshow
Undercover Boss

OUTSTANDING REALITY COMPETITION
The Amazing Race
American Idol
So You Think You Can Dance
Top Chef