What happened to last year’s History teacher?

 

By George Wolf

 

After great films such as Lincoln, Argo and Zero Dark Thirty last year, 2013 has big shoes to fill in the historical drama department.

Emperor, despite the best of intentions, is not a good fit.

Based on the book His Majesty’s Salvation by Shiro Okamoto, the film is set at the end of World War II. Japan has surrendered, and U.S. Supreme Commander Douglas MacArthur has mere days to advise the President on the fate of Japanese Emperor Hirohito.

MacArthur assigns General Bonner Fellers (Matthew Fox) to conduct a quick investigation into whether or not Hirohito should be considered a war criminal, and then in all likelihood, executed.

The story is built around Fellers and his mission, relegating the iconic MacArthur to supporting status. Casting the legendary Jones as MacArthur makes sense, but it only adds to the pressure on the actor portraying Fellers. He must not overshadow the Supreme Commander, yet still craft his own character finely enough to hold your interest.

Neither Fox, nor the script he’s working with, get it done.

While we follow Fellers on his quest to decipher just who deserves blame for leading Japan to attack Pearl Harbor, we end up wondering what MacArthur is up to. It doesn’t help that screenwriters Vera Blasi and David Klass insert flashbacks to a romance between Fellers and a young Japanese woman he met during his college years.

The romance is meant to give you a deeper understanding of Fellers, but it’s so tepid and by-the –numbers it ends up feeling totally unnecessary, a point which is driven home by how quickly MacArthur brushes it off when he learns of Fellers’s possible conflict of interest.

Maybe the most curious aspect of Emperor is that it comes from director Peter Webber, who so artfully crafted 2003’s The Girl with the Pearl Earring. That film emerged as a beautiful period piece, but much of Emperor just doesn’t pass the eye test. From the sets to the clothes, it often looks cold and esoteric, further hampering any emotional connection.

The historical films of last year proved that even though endings may be well-known, great storytelling and inspired performances can result in renewed suspense and emotion.

Emperor just doesn’t have the horses.

2 stars (out of 5)

For Your Queue: It’s like when you had Pac Man Fever, but without the rash

An animated feature with incredibly broad appeal releases to DVD this week, and if you missed Wreck-It Ralph in theaters, now’s a chance to make amends. This video game fantasy has its roots in a tale of misfit friendship that promises to keep every audience member engaged. Vocal talent John C. Reilly, Sarah Silverman, Jane Lynch and Jack McBrayer are perfect in this vivid adventure. Meanwhile, director Rich Moore throws enough color and action at the screen to fascinate the very young, and more than enough video game odes to appeal to the newest generation of parents (and any thirtysomething not yet in that category). This is sly, engaging storytelling at its best.

For a more serious take on video games, don’t miss The King of Kong: A Fistful of Quarters , director Seth Gordon’s 2007 documentary on the quest to hold the world record high score in Donkey Kong. Gordon (Identity Thief, Horrible Bosses) lets the characters and events speak for themselves and, as the best docs often do, the film unveils a world you may not have known existed. In many ways, The King of Kong is a perfect microcosm of American culture. The fact it’s also funny and truly fascinating makes it nearly impossible to resist.

So that happened…A Dead Guy at Shake Shak

When my twin sister Joy and I were high school freshmen, our older sister Ellen – by then a teacher in another town – got us jobs at the ice cream stand where she’d worked throughout high school, the Shake Shak.

For a couple of high school freshmen, working at the Shake Shak was about as dreamy as dating Johnny Depp in his 21 Jump Street glory. We were almost entirely unsupervised and were, therefore, free to consume soft serve, hot dogs, and shredded chicken sandwiches until the preservatives leaked from our pores. And we did.

The gig also had its negatives. The criminally meager pay, for one, but the primary flaw was the odor. Walking inside the door of the building’s tiny metal back end doomed you to reeking of coney sauce until showering. Forget about picking up your check and then heading out for the night. One foot in, and the clothes had to be burned.

That back half of the building – concrete floors surrounding the giant freezer; metal tables supporting vats of the saucy meat product – stunk the worst. The front half benefited from a breeze via the sliding-window openings in the three walls of glass where patrons placed the orders – decisions they’d come to after pondering our wares from dozens of fading, grime-covered fliers taped to the window fronts.

Joy and I worked evenings and weekends, which, coincidentally, were the shifts owner Jon Drummer was too cheap to stock with a manager. No, sir, strictly teens being paid well, well below minimum wage.

Joy and I worked with scary Cara, the high school senior who sold drugs from the drive thru window and filled her pockets with every twenty dollar bill in the register before leaving work at shift’s end. I began smoking at 14 because of Cara Bloomville. She handed me a cigarette one day and I obeyed.

Cara loved Iron Maiden and, therefore, hated everything else the 80s vomited forth as metal. She used to sing a song to herself as she worked, one she’d written to the tune of Bon Jovi’s “Wanted Dead or Alive”:

I’m a faggot

and my name is Jon Bon Jovi

and I got AIDS

and I’m gonna die

 

Aside from hair metal, Cara hated Dawn, this cheery, pastel-wearing co-worker who beamed with an earnest sense of accomplishment and high self concept. She was easy to loathe.

I had the great joy of working the shift where Cara, apropos of nothing, called Dawn’s name in an unusually cheerful tenor. It was the chipper tone that caused me to put down my Star Hits magazine featuring a new Duran Duran foldout and take note.

Dawn spun about with her trademark effervescent zeal, only to face a double barrel onslaught of condiments. Cara wielded a catsup in one hand, a mustard in the other, and squeezed those bitches like their contents might put out a raging fire.

Or one super sparkle smile.

But Dawn simply skipped back home to change, her house sitting beyond the large yard out back where Jon kept a couple of rickety picnic tables and a rusted green dumpster. On lucky days, Jon – shirtless, sweaty, and unmistakably obese – would mow that patch of grass between Shake Shak and Dawn’s house. I would Brillo that image from my very eyeballs if only I could.

Filling out the cast of characters was another set of twins – hillbilly sisters. One sister was constantly scarred up with hickies. She was a redhead and for the life of me I can only remember her as Reba. This is not her name, but I somehow replaced her name in my head, and so, now and forever more, Reba it is.

Her sister was just an idiot. I don’t remember her name, either. Idiot will work. Reba I liked, but Idiot was intolerable. She pinched off chunks of shredded chicken sandwich and then put her sandwichy fingers in her mouth. She smiled with the seductive naivety of an adolescent with pubescent hormones and pre-school brain function. I found her repellant.

Her friends, though – the half dozen or so that loitered in front of the building eating ill-gotten treats whenever either sister worked – they were a riot!

Idiot’s boyfriend got into an argument about Monster Trucks (presumably), in front of our glass-encased building and eventually pulled out nun-chucks. Nun-chucks! How awesomely white trash is that?! He was even wearing tube socks and a wife beater. That part is probably inaccurate, but he totally had nun-chucks. And a mullet.

So he hit some guy and blood slapped across the window front like something from one of Cara Bloomville’s condiment guns. At which point the group out front scattered like cockroaches, but it was glorious while it lasted.

And so it was, a smattering of rubes congregating in front of the order windows, one day as I shared a shift with my sister and Reba. The lesser sister stood outside the open order window pilfering free food, when one of her buddies said, “Do you know there’s a dead guy out by the dumpster?”

I responded with the contemptuous grimace I’d been working on, which would eventually become my go-to response to all queries. He mistook it for a quizzical, perhaps ignorant, expression.

“Out back. By the dumpster. There’s a dead guy.”

I tried again to chill him with my withering glare of superiority and hate, but the others had heard, and so the situation suddenly required investigation.

Several more members of the Free Food Rabble moseyed to the back of the building to have a look while, indoors, Joy, Reba and I began to wish Cara Bloomville were working. Just in case. Surely it was a lame joke, or else there was a passed out drunky. No doubt he’d take off with the approach of the mob.

Still, Cara probably knew what to do with a dead body.

“Yep,” informed Jimmy Slackjaw. “He’s dead. I burped in his face and everything.”

OK, his name is not Jimmy Slackjaw, but I swear to God, that’s what he said.

Idiot concurred. “No, seriously, you guys…” she began, with her trailer park sultry overemphasized s sound. “He’s dead.”

The overfed, under-appreciative group looked to us to take charge of the situation. We chose not to respond. They eyeballed us with disdain. We closed the order windows and hid in the back end of the building with the meat vats.

The Hick Posse got bored and wandered off, but the three of us couldn’t quite enjoy the taste of our Oreo blizzards or butterscotch dip cones. What if we really were trapped inside a glass building while a corpse rotted in the summer sun out in our parking lot?

Surely it wasn’t so.

Joy, Reba, and I opened the back door and, clinging one to another, peered around it to see how much of the mysterious body we could glimpse.

None of him.

Nobody was there. We were sure of it.

How could we really be sure of it, instead of lying to ourselves as we clearly were doing at this point?

We called Dawn. Our strategy was to lure her over under the pretense of friendship. She’d have to walk right past the dumpster on the way.

Dawn wasn’t home. She was at synchronized swimming lessons.

Of course she was!

We’d have to do this ourselves. It would require leaving the building.

We stepped as one teal-wearing, coney-smelling body toward the dumpster. Reba saw a shoe.

We screamed, arms flailing, and stumbled over each other back inside.

Should we have phoned the authorities at this point? Undoubtedly, but this is why you don’t leave your business in the hands of three Tiffinite teens.

“We should call Cara,” Reba recommended.

“Go ahead,” I tentatively agreed.

“I’m not calling her. You call her,” she told me.

“Fuck that.”

“You should call her, Hope. She’s friends with you,” Joy counseled.

Really? Did Cara Bloomville like me?

“She’s lying,” Reba clarified. “Everybody likes Joy best.”

But Joy wasn’t calling. And at no point did it occur to any of us to call the shop owner.

Based on what amounted to my experience with similar situations, I explained to Joy and Reba what was bound to lie ahead.

“Dawn will stop by on her way home from synchronized swimming. She’ll see him and tiptoe in closer, hoping to help. He’ll reach out with the cold grip of someone returned from the dead, and he’ll kill her.

“We’ll hear the screaming and open the door, only to see his limping, tattered rage as he turns his attention to us.

“We’ll slam the door, but he’ll begin pounding relentlessly. He’ll circle the building. We won’t be able to go near the window. He’ll slap wildly at the glass out front, and then all will go silent.

“Terrified, we’ll lock ourselves in the freezer, but eventually we’ll hear Cara at the back door, wanting to get in for her check. She’ll curse and bitch about how slow we are. We’ll hear her voice trail beside the building, out around front, and then we’ll hear the wet thump of her mangled body against the window. We’ll scream and scream, utterly incapable of saving ourselves as he uses her lifeless corpse to bust through the glass.”

“Let’s go back out,” Reba whispered.

We gumptioned up and headed back out, this time with a small amount of air between each body. I took the lead, but would walk only so far ahead of Joy that I could still reach back and grab her. She kept a similar distance from Reba. We inched forward.

There was definitely a whole guy attached to those dirty Converses. He was on his side, wearing ratty athletic shorts and a green tee shirt. He was freakishly pale. Fishbelly white. Nasty white.

We threw a stone. Nothing.

We called to him. Nothing.

We called and threw more stones. We offered him ice cream. We asked him to please, please get up and go away. We huddled desperately together and decided one of us had to touch him.

We had to know for certain to intelligently determine our course of action.

It was the obvious next step.

I would be the one to go.

Why was it me? Why was it always me?!

I made my move toward the heap of dude. I crouched. I looked back at the clinging JoyandReba mass behind me in the parking lot, the door to the building behind them ajar and letting out waft after waft of coney stench. I looked back at the dead guy at Shake Shak.

His eyes were open.

“You didn’t call the cops, did you?”

 

White Trash Family Enlivens Dull Horror Flick

 

by Hope Madden

Three years ago, an indie flick took a few well-worn concepts – found footage, cults, backwoods spooks and Satan – and pieced together the surprisingly creepy The Last Exorcism. This weekend, its sequel, The Last Exorcism Part 2: This One’s Really the Last (they may have dropped that subtitle), shares what happened next to poor Nell Sweetzer and her demon lover.

Well, she (Ashley Bell, who was truly wonderful in the original) starts out by scaring the living shit out of a suburban couple – promising! From there, though, it’s a home for horny teenage girls and voodoo – which actually sounds a lot more interesting than it turns out to be.

The original benefited from performances far superior to the source material. Not only was Bell tender, vulnerable, brittle and oh-so-contorted-and-creepy, but her co-stars were magnificent. Patrick Fabian, in particular, as the charlatan exorcist finally coming clean, gave the film a heartbeat.

Unfortunately, those characters all died in the first movie, leaving Bell with little more than a new, uninteresting director; a new, uninspired set of writers; and a new, mostly bland cast to help her finish up Nell’s tale.

Unconvincingly playing a character ten years her junior, Bell struggles to create the believable center needed to anchor nutty horror shenanigans. She gives a solid performance – again fragile and yearning – but the contortions are gone.

What? Well then, why the hell even do this? What’s the point in making an exorcism film if we never get to see the possessed writhe around, snapping joints and freaking us all out?

That’s just one of the unexplained mysteries the film poses. Others include the age old: what possesses parents to taking their bottle-drinking tots to late night screenings of horror films? What is an audience member to do when the toddler screams in genuine terror throughout most of the film? How wrong is it to slap a mother in the face when she says, loudly, to her man, “I don’t know what the fuck’s wrong with him?” The baby. She’s talking about her terrified baby, (up way past his bedtime, no less).

Mother of the year, people. Womb of a future mass murderer.

The sad thing is that her negligence was more interesting than the film. So why fork over the cash to see this one in the theaters when you can be equally horrified by the behavior of some white trash family? Surely it’s cheaper to find one of those.

2 stars (out of 5)

Just one beer? Sure, what could go wrong?

 

By George Wolf

 

If your name happens to be Randy, you’ll get some extra chuckles out of 21 and Over, thanks to a running gag about a d-bag of that name and his overly supportive friends.

For you non-Randys, the first directing effort from a seasoned writing duo will seem plenty familiar. It is  funny in spots, it’s just not too concerned with doing anything remotely original.

Jon Lucas and Scott Moore boast a resume full of comedy screenplays, some very funny (The Hangover, The Change-Up) and some..not so much (Ghost of Girlfriends Past, Four Christmases).  For their first foray into directing their own script, they don’t stray far from the comfort zone of bawdy dude humor and beer-fueled mayhem.

Stressed out college boy Jeff Chang (Justin Chong) has no plans to hit the bars on his 21st birthday, thanks to a big job interview his taskmaster father has arranged for early the next day.  This doesn’t sit well with Jeff’s buddies Miller (Miles Teller) and Casey (Skylar Astin), and as they coax Jeff out for “just one beer,” the night goes horribly wrong in record time.

The drunken adventure unfolds with plenty of nods to Weekend at Bernie’s, Animal House and of course, The Hangover, as Lucas and Moore unveil most of the shenanigans via the “what happened before” angle of their biggest hit. What’s missing from this, and all, Hangover imitators, though, is the sharply drawn characters and the talented chemistry of the actors.

21 and Over does earn an “A“ for effort, painting Miller as the crazy party-hound, Casey as the good-hearted nerd, and JeffChang (always called by this one name, which remains funnier than you might think) as the nutty Asian guy because, you know, The Hangover had one. No Mike Tyson? What gives?

Teller also starred in the high school party flick Project X, and he seems to relish playing a character with more of a grown-up edge.  He goes a bit overboard though, as Miller’s obnoxiousness nearly renders the character unlikeable.  Astin is basically recycling his nice-guy role from Pitch Perfect while Chong, when his character isn’t passed out entirely, does manage some humorously unhinged antics.

Ironically, Lucas and Moore may have been better suited to follow Project X’s lead and offer no apologies for the debauchery. Ultimately, though, they can’t resist lessons about maturity as they chase the cheesy “I’ve learned something today” moment.

2 ½ stars (out of 5)

 

Something’s Up with Jack

By Hope Madden

Have you ever wanted to see a nose so big you might be swallowed whole by its gaping pores? In 3D, no less? Director Bryan Singer (X-Men) hopes so, because he means to shake up our chilly moviegoer blahs with an enormous adventure filled with ill-tempered, poorly groomed giants. It’s Jack the Giant Slayer, Singer’s attempt to cash in on teen romance, 3D, and the dearth of late winter entertainment.

The story veers a bit from the nursery school fable, in that there’s an adventurous princess, a back stabbing egomaniac suitor, a crown made of giant heart, and no golden goose at all. Plus, there are an awful lot more giants than I remember.

Wisely, Singer sees the opportunity for medieval battle on a grand scale. Like a giant scale. And once we finally get to some action, the film’s a lot of fun. But beware: its prelude is a long slog.

Singer’s first foray into the third dimension bores. Giants look like unconvincing cartoons, the views are nice but not spectacular, and the action sequences – though entertaining – benefit in no way from the technology.

Nicholas Hoult finished Twilight-ing zombies for Warm Bodies just in time to pull that same shit with this old fairy tale. While he’s a very likeable soul, he brings too little energy or magnetism to the screen.

A sly Ewan McGregor, on the other hand, charms as the princess’s main guardian, his ever wackier hairstyle (who knew so much product was available in days of yore?), captivating smile and over-the-top gallantry injecting the flick with some much needed vibrancy.

The great Stanley Tucci finds himself underused – a particular shame because he makes such a great villain, and his comic timing could have helped the film find more enjoyable footing. Also underutilized is Bill Nighy, voice of one of evil giant General Fallon’s heads. Plus, the usually wonderful Ian McShane just looks silly in that suit of gold armor.

Singer’s pace is leaden, and his patchwork script puts off action far too long to keep your attention. The film’s slightly too violent and far too slow for very young viewers, yet too earnest and lumbering for anyone else. The FX can’t even impress.

There’s nothing especially awful about Jack the Giant Slayer (though, I, for one, was hoping for a slightly different ending). Maybe Hollywood thought that good was enough for late winter at the movies.

2 stars (out of 5)

For Your Queue: Best Living American Filmmaker – there, we said it

Filmmaker Paul Thomas Anderson has made six near-perfect films in his brief time on this planet, the latest of which, The Master, may be his most confident and ambitious. If box office numbers are accurate, you probably missed it. That is a genuine shame, and one you can rectify immediately, as the three-time Oscar nominee hits DVD shelves today.

A seriously damaged WWII vet-turned-vagabond (Joaquin Phoenix, in an astonishing performance) stows away on a yacht. Its enigmatic commander (Philip Seymour Hoffman, incandescent as always) takes the boy under his wing, determined to use this vessel to prove his theories about the human mind – to himself, to the veteran, and to an increasingly hostile public.

Phoenix is a tightly coiled spring of rage and emotion, so honest and raw as to make your jaw drop. He’s flanked on all sides by impressive turns, not the least of which is Hoffman’s perfectly nuanced megalomaniac. His presence provides the counterbalance to Phoenix that allows Anderson to explore core American ideas of freedom versus security, submission versus power, self determination versus subservience. It’s a challenging but awe-inspiring film that proves Anderson the true master.

All of Anderson’s films demand to be seen, including his 1996 debut feature Hard Eight (aka Sydney) a sly piece of film noir that foreshadows some of the themes he would revisit in The Master. Set on the outskirts of Las Vegas, Hard Eight follows an accomplished gambler (Phillip Baker Hall)who takes a down and outer (John C. Reilly) under his wing. Also featuring Gwyneth Paltrow and a mesmerizing performance from Samuel L. Jackson in a pivotal role, Hard Eight is a raw but impressive beginning for a true visionary.

Really, Paul’s genius should be no surprise. After all, he’s the son of Ernie Anderson, aka “Ghoulardi” from Cleveland TV in the mid-1960s, so his rise to America’s finest filmmaker was just a matter of time.

Outtakes: Oscar Nominated Shorts

For the fourth year in a row, all 15 Oscar nominated shorts – animated, live action, and documentary – will find screen time at the Gateway Film Center (1550 N. High St). The run is a Gateway exclusive and an excellent opportunity for Oscar completists to get a chance to peek at some nominees that could otherwise go unseen.

According to Gateway president Chris Hamel, his theater gets the exclusive run because the series has done well for the theater.

“We’ve done a little better each year,” he says. “Last year we sold out several screenings of all three programs. I think that is the primary reason the distributor sticks with us.”

And what drive’s Hamel’s interest in booking the series? “As an Oscar buff, I really just want to see everything before they announce the winners,” he admits.

The animated program includes lighter fare than recent years. Disney’s slight, romantic “Paperman”, Pes’s brief but fun “Fresh Guacamole”, and the quickly recognizable “Maggie Simpson in ‘The Longest Daycare’” – following the wee Simpson through a day at the Ayn Rand School for Tots – are here for grins.

For something a little heavier, Minkyu Lee’s “Adam and Dog” unspools an origin story for domesticated animals, while the real charmer, Timothy Reckart’s “Head Over Heels”, offers a bittersweet love story likely to take the prize.

Oscar does like its devastating live action shorts, and the 2012 list does not disappoint. Tales of war torn childhood woes and the punishment of Alzheimer’s populate the series and promise to wring tears. From the daily lives of little boys growing up in the rubble of war comes both Afghanistan’s “Buzkashi Boys”, and Somalia’s particularly fascinating portrayal, “Asad”.

Yan England’s “Henry” boasts a poignant turn from Gerard Poirier as the titular concert pianist plagued by old age and the mystery of his lost love, while “Curfew” offers some very sketchy adventures in babysitting.

For something darkly surreal, “Death of a Shadow” spins a ghostly love story set against the violence of WWI.

This year’s nominated documentaries explore human connections among the elderly, the terminally ill, and the homeless. Intimate, moving , and surprisingly hopeful “Inocente”, “Kings Point”, “Open Heart”, “Redemption”, and “Mondays at Racine” feel more like a theme-driven series than a set of disparate but excellent shorts.

It’s the quality and the rarity that draws Hamel year after year. “Personally, I consider it a necessity to bring films to Columbus that may not have otherwise played here. These short films, obviously all of high quality, allow us to present something to Columbus film fans they can’t see anywhere else.”

For more information, visit www.gatewayfilmcenter.com and theoscarshorts.shorts.tv.

Originally published on Columbus Underground

Outtakes: Buy a Ticket, Save a Film Series

Cinema Classics, WCBE’s weekly program that eavesdrops on film-related conversations between John DeSando and Johnny DiLoretto, boasts a freeform broadcast of informative, insightful, sometimes argumentative discussions. John and Johnny pick a cinematic topic – from a classic flick to the importance of Oscar nominee ages – and hash it out every Thursday night at 8 o’clock.

Says DiLoretto, “Cinema Classics started as a spinoff of John DeSando’s It’s Movie Time show. He asked me if I wanted to work with him, and I said, ‘Yes, but if you want to do this, it’s going to be all conversational, off the cuff and improvised.’”

DeSando reluctantly agreed, and an award-winning show was born. “It’s been great. John and I have been friends for years, we have an instant rapport, and what’s great is that Cinema Classics has become whatever we want to talk about.”

This Friday night, they’re inviting you to join them live and in person as their program spills over into Johnny’s other gig as the director of operations at Gateway Film Center, which has added its own Cinema Classics film program. John and Johnny will be on hand as the film center screens Raging Bull as part of that series.

But hurry, this may be a limited offer.

According to DiLoretto, the program was intended to be a monthly series, which he and DeSando were to help Gateway president Chris Hamel curate.

“It launched last September,” says DiLoretto. “We kicked off with Dr. Strangelove, then we did Touch of Evil, then I convinced these guys to book Tootsie in November. But what happened was, it was football season and nobody came.”

Nobody?

“Nobody. Literally nobody to Tootsie, and I had to put myself on the line for that one. One of the best comedies of all time, I was thinking. Who wouldn’t want to see this movie? They don’t make movies like this anymore, it’s great! And zero people came.”

It was time to regroup.

“I told Chris, we don’t have to do a movie series. Maybe we regroup after the new year, or maybe we just scrap it. But let me see Raging Bull on the big screen first,” said DiLoretto. “Then you can scrap it.”

Hamel remembers it somewhat differently.

“How did he say we ended up with Raging Bull?” Hamel asked. “It was me. I wanted to see Raging Bull.”

“Raging Bull is kind of Chris’s gift to me,” counter-claims DiLoretto.

Whatever the reasoning behind it, Cinema Classics returns for perhaps the last time to the Gateway this weekend, offering Scorsese’s masterpiece boxing biopic. Robert DeNiro delivers a searing performance as boxer Jake LaMotta – one that nabbed him a richly deserved Oscar – in a film dripping with brutality, humanity, pathos and rot.

The violent ballet of the boxing sequences and the primal glory of DeNiro’s performance, all filmed in sparkling black and white by Oscar nominated cinematographer Michael Chapman, beg for the big screen treatment. And maybe cocktails.

“We’re not doing a whole lot built around it,” says DiLoretto. “I am just saying, unofficially, I will be available and John will be available an hour before the movie, so we’ll have some drinks, we’ll talk, whatever you want. And if you want to hang out after the movie and discuss it, we will too. I love cocktail fueled conversation about movies.”

The whole thing puts DiLoretto in an optimistic mood.

“You know what? This really is a great idea, to show these movies. And I want people to come see this film on the big screen. It’s one of my favorite films. It’s an astonishing film and it features one of the most amazing performances. So, if we can get an audience here to see it, maybe there will be another Cinema Classics screening.”

And if not?

“I don’t care, because I will have seen Raging Bull on the big screen.”

 

originally published on Columbus Underground

Outtakes: Fearless Oscar Picks

 

That’s right, fearless, because we’re not afraid to go on record saying Daniel Day-Lewis will win for “Lincoln.” Hey, sometimes you gotta go with your gut.

 

Best Picture

“Argo”

 

Best Director

Steven Spielberg, “Lincoln”

 

Best Actress 

Jennifer Lawrence, “Silver Linings Playbook”

 

Best Actor

Daniel Day-Lewis, “Lincoln”

 

Best Supporting Actress

Anne Hathaway, “Les Miserables”

 

Best Supporting Actor

Tommy Lee Jones, “Lincoln”

 

Best Original Screenplay

Mark Boal, “Zero Dark Thirty”

 

Best Adapted Screenplay

Chris Terrio, “Argo”

 

Best Animated Feature

“Brave”

 

Best Foreign Language Film

“Amour”

 

Best Documentary

“How to Survive a Plague”

 

Best Cinematography

Claudio Miranda, “Life of Pi”

 

Best Original Score

John Williams, “Lincoln”

 

Best Original Song

Adele & Paul Epworth, “Skyfall”

 

Best Animated Short

“Head Over Heels”

 

Best Live Action Short

“Asad”

 

Hope Madden and George Wolf … get it?