Tag Archives: Oscars

The 2012 Oscars! Part 3

…And finally, after Part 1 and Part 2, we wrap up our LIVE commentary of the 2012 Oscars with Part 3 of this epic podcast!

Listen Below:

Download Here (by right clicking, then “save as”):  CR: 2012 Oscars Part3

The 2012 Oscars! Part 2

If you’ve already listened to Part 1 of our epic LIVE Oscar commentary, why not go ahead and start listening to Part 2?!

Listen Below:

Download Here (by right clicking, then “save as”):  CR: 2012 Oscars Part2

The 2012 Oscars! Part 1

On February 26, Cinema Recon hosted a very special event: A Live viewing and commentary of the 84th Annual Academy Awards!

The video was hosted by Ustream.com, and there, on the Cinema Recon channel, you can find video of the show, or you can also watch by visiting CinemaRecon.com and taking a look at our post “Replay of Cinema Recon LIVE

Easily one of our favorite shows yet, we had an absolute blast broadcasting live, interacting with fans through Twitter, Facebook, and Ustream, and just causing the normal Cinema Recon debauchery you’ve come to expect.

This epic event has been split into 3 parts for you to listen as a podcast.  Even if you missed the Oscars, the show is still entertaining and pretty damn hilarious.

So kick back, relax, and enjoy the very special Cinema Recon LIVE with the 2012 Academy Awards!

Listen Below:

Download Here (by right clicking, then “save as”):  CR: 2012 Oscars Part1

2012 Oscar Winners Cheatsheet

A quick and dirty recap of all the winners from last night’s Academy Awards.  How many did you get right?

Best Picture
“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“Midnight in Paris”
“The Help”
“War Horse”
“The Tree of Life”

Best Actor
Demian Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker Tailor Soldier Spy”
Brad Pitt, “Moneyball”

Best Actress
Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl With the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week With Marilyn”

Best Supporting Actor
Kenneth Branagh, “My Week With Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max Von Sydow, “Extremely Loud & Incredibly Close”

Best Supporting Actress
Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

Best Director
Woody Allen, “Midnight in Paris”
Michel Hazanavicius, “The Artist”
Terrence Malick, “The Tree of Life”
Alexander Payne, “The Descendants”
Martin Scorsese, “Hugo”

Best Original Screenplay
Woody Allen, “Midnight in Paris”
JC Chandor, “Margin Call”
Asghar Farhadi, “A Separation”
Michel Hazanavicius, “The Artist”
Kristen Wiig and Annie Mumolo, “Bridesmaids”

Best Adapted Screenplay
Alexander Payne, Nat Faxton, Jim Rash, “The Descendants”
John Logan, “Hugo”
George Clooney, Grant Heslov, Beau Willimon, “The Ides of March”
Aaron Sorkin, Steven Zaillian, “Moneyball”
Bridget O’Connor, Peter Straughn, “Tinker, Tailor, Soldier, Spy”

Best Animated Feature
“A Cat In Paris”
“Chico & Rita”
“Kung Fu Panda 2”
“Puss in Boots”

Best Foreign Language Film of the Year
Bullhead (Belgium)
Footnote (Israel)
In Darkness (Poland)
Monsieur Lazhar (Canada)
A Separation (Iran)

Original Score
“The Adventures of Tintin,” John Williams
“The Artist,” Ludovic Bource
“Hugo,” Howard Shore
“Tinker Tailor Soldier Spy,” Alberto Iglesias
“War Horse,” John Williams

Best Original Song
“Man or Muppet,” The Muppets; Music and Lyric by Bret McKenzie
“Real in Rio,” Rio; Music by Sergio Mendes and Carlinhos Brown, Lyric by Siedah Garrett

Best Achievement in Art Direction
“The Artist”
“Harry Potter and the Deathly Hallows Part 2”
“Midnight in Paris”
“War Horse”

Best Achievement in Cinematography
“The Artist”
“The Girl With the Dragon Tattoo”
“The Tree of Life”
“War Horse”

Best Achievement in Costume Design
“The Artist”
“Jane Eyre”

Best Documentary Feature
“Hell and Back Again”
“If a Tree Falls: A Story of the Earth Liberation Front”
“Paradise Lost 3: Purgatory”

Best Documentary Short Subject
“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement?”
“God Is the Bigger Elvis”
“Incident in New Baghdad”
“Saving Face”
“The Tsunami and the Cherry Blossom”

Best Achievement in Film Editing
“The Artist”
“The Descendants”
“The Girl With the Dragon Tattoo”

Best Achievement in Makeup
“Albert Nobbs”
“Harry Potter and the Deathly Hallows Part 2”
“The Iron Lady”

Best Animated Short Film
The Fantastic Flying Books of Mr. Morris Lessmore
La Luna
A Morning Stroll
Wild Life

Best Live Action Short Film
“The Shore”
“Time Freak”
“Tuba Atlantic”

Best Achievement in Sound Editing
“The Girl With the Dragon Tattoo”
“Transformers: Dark of the Moon”
“War Horse”

Best Achievement in Sound Mixing
“The Girl With the Dragon Tattoo”
“Transformers: Dark of the Moon”
“War Horse”

Best Achievement in Visual Effects
“Harry Potter and the Deathly Hallows Part 2”
“Real Steel”
“Rise of the Planet of the Apes”
“Transformers: Dark of the Moon”

Replay of Cinema Recon LIVE!

We just wrapped our live Cinema Recon broadcast of the 84th Annual Academy Awards! We started right on time at 4:00pst and powered all the way through until nearly 5 hours later, when The Artist was announced as the 2011 Best Picture!

Thank you so much to everyone who tuned in and participated in our first big live event! We had such a great time putting on the live show, we’d love to do another as soon as possible. It will course always comes down to what the listeners (now viewers!) want, so if you liked this show, please drop us a line and tell us what you thought!

Didn’t catch the show? Wanna listen again? You can view the epic Cinema Recon 2012 Oscar commentary below!

Vodpod videos no longer available.

The Oscars 2012 part 1

Vodpod videos no longer available.

Cinema Recon’s LIVE Oscar Event!

It will be a red carpet affair this February 26th (This Sunday!) @ 4:00 PST at the Cinema Recon Studios in San Ramon!  Join us for a special episode where we will bring you our commentary of the 84th Annual Academy Awards LIVE and uninterrupted!

Watching us is easier than you can possibly imagine!  Do you have a computer?  Do you have a TV?  Then you’re ready to invite Cinema Recon into your living room for Oscar night! (Disclaimer: If you do not have a computer OR a TV, we are sorry, but we don’t want poor people listening to our show)

Here’s everything you need to know:

  • You can watch us LIVE on CinemaRecon.com by going here during the event
  • Or, you can watch LIVE on our Ustream channel by going here during the event
  • Paul, Jake, Cassie and Billy will be ranting and raving continuously through the entire event, even during the commercials!
  • There is about a 3 second delay between our broadcast and what you will hear/see, so we recommend pausing your DVR for a couple of seconds to sync up our banter with the Awards
  • Don’t wanna watch us all by your lonesome??  Come on over to the Cinema Recon Studios: San Ramon!  We will trade hilarity for beer!

See you this Sunday!!

Cinema Recon and The Oscars!

We hope you can join us Sunday, February 26th for Oscar night as Cinema Recon will broadcast its first ever LIVE* show!!  Our plan is to be on the couch with mics at the ready, cameras steadily positioned, and beers in hand right when the ceremony begins at 7:00ET/4:00PT.  Watch the Oscars right along with us in real-time!  We are going to power through the entire show: No breaks, no edits…Just pure, unadulterated Cinema Recon goodness!

Check back in with CinemaRecon.com soon and I will have instructions posted for how you can stream the video and audio right to your computer-machine!

To celebrate, Cinema Recon has been watching and reviewing a different Best Picture nominee each week leading up to Oscar night (next week we will see Hugo, if all things go according to plan).  This week we are reviewing The Artist, and I couldn’t be more excited.

Everything I have heard so far about this year’s Academy Awards has led me to believe that it is going to be a two-horse race between The Descendants and The Artist (the Golden Globes certainly seemed to agree).  Now that Jake and I have already given our reviews of the quite enjoyable Clooney flick, I’m very eager to see how The Artist will hold up against it.

Billy recently told me “The Artist makes going to the movies truly magical again.  It doesn’t blow the doors down in any single aspect, and sure, it kinda uses a gimmick in being a silent film…but damned if I didn’t have a great time through the entire thing!” (sorry bud if my paraphrasing is off)

Have any of you had a chance to see The Artist yet?  What are your thoughts?  Only two weeks left until the big night!


* = So, you noticed that little asterisk up there, eh?  Well, the Oscar show is scheduled to be a LIVE broadcast AS LONG AS all technical devices are working properly.  I am working ’round the clock to make that so, but if I accidentally connect the blue wire where the red wire should have been, not to worry!  I will still have the entire “CR Oscar Special” available for download and streaming on the site, just like every other show.

For Your Consideration: The Nominees, a Primer

Oscar season is upon us and like always there is a fair share of controversy surrounding the nominations this year. I’ve been watching the Oscars from a fan’s perspective for a lot of years now.  It’s easy even for a layperson like myself to recognize that the Oscars have always been less a vehicle that strives to shine a light on the best work from the previous year, but a machine driven by Hollywood politics and studio power brokers all too willing to prove they have the biggest cock in the room. In my honest opinion, I don’t think the Academy would have it any other way. The broadcast is a rich pageant of pomp and celebrity and in the Academy’s ever increasing desire to maintain relevancy, they have courted any storyline, whether it be bad or good, as a mechanism to get people talking or better yet watching the show.

Of course, this may sound a little jaded, but don’t get me wrong; I love the Oscars. I love the three hour pre show in which glad handers pester the actors, who seem like they’d rather be anywhere else, about what they’re wearing and if they think they have a shot at walking away with a statue. I love the host, whomever it may be. I mean, really, is there any more of a thankless job than the host of an awards program? There’s no way to be edgy and saintly and charming and witty all at the same time without pissing someone off. And then you get what you get last year. Honestly, I defy anyone to find more riveting television than watching James Franco crash, burn and give up, followed by Anne Hathaway, running around backstage like a manic pixie, desperately trying to compensate for Franco’s half-stoned phone-in. Classic.

I could literally go on for 10,000 words on why I love the Oscars, but this piece does have a point, I assure you.  Let’s talk about the nominees for the major categories, shall we.

Best Picture:

A couple of years ago, the Academy, publicly derided for not giving The Dark Knight a Best Picture nod, decided to mix it up a bit and expand the category to ten nominees. After two years of stretching the definition of what Best Picture means (The Blind Side…Best Picture…you’ve got to be fucking kidding me) they tinkered with the process yet again and set a floor of five nominees and ceiling of ten. Of course, it didn’t really change things. There are nine nominees this year and while I can make a case for eight of them, my jaw hit the floor when I saw that Extremely Loud and Incredibly Close was nominated for Best Picture. Scott Rudin, who is by all accounts a brilliant producer, having championed films by the Coen Brothers, David Fincher and Paul Thomas Anderson, must’ve made some deal with the devil to get that insulting, over-sentimentalized piece of garbage a nomination. Sure, it has all the elements of a Best Picture: star power, an apt director, good source material, and an annoying child actor pulling at your heartstrings. However none of those elements congeal to make anything resembling a good movie.  Come Oscar night, it’s a two horse race for Best Picture with The Artist and The Descendants leading the pack. There will be a strong contingent pulling for The Help, if for no other reason than it made the most money out of all the nominees. In a fantasy world, where people like me get a vote, mine would be cast for The Artist. Call it derivative, call it gimmicky, I don’t care. It worked on a level that most films seldom do these days.  It made you laugh, it made you cry and it satisfied the soul.

Best Actor:

For me it’s less about who was nominated than who wasn’t. If you follow the site or listen to the podcast, you know how I feel about Michael Fassbender’s performance in Shame. I consider it a crime against humanity that he was not nominated for what I consider to be  one of the finest performances in recent year’s. As far as the performances that were actually nominated, I have a sneaking suspicion that Jean Dujardin and George Clooney may split votes here. Without a clear majority, the projection becomes a little less clear. Look for a major upset in this category with Brad Pitt, in by far his most winning role to date, or Gary Oldman, in full-on career achievement mode, taking home the statue.

Best Actress:

Tough category. Really tough. Fantasy world: Rooney Mara. No other nominee took as many chances or transformed themselves so completely. It’s a trail blazing performance and I can’t help but just be happy she got some recognition for it. Meryl Streep was great as per usual, but I don’t see it happening. Likewise with Glenn Close (Although, if there was a “Most Creepy Performance” category, Close would win it in a walk). I think Michelle Williams’ nomination is, for lack of a better word, filler. Williams has become an award show darling in recent years, but if it were a stronger year for women, the performance would not hold up. Real world: Viola Davis. The Help was by in large a heap of manipulative drivel, populated by a gaggle of scene chewers. However, Davis stood tallest with a muted, subtle performance full of pain and quiet desperation.

Best Supporting Actor:

Fantasy World: Nick Nolte. Warrior was a criminally under-seen movie. Sure, at first glimpse it looks like a stock underdog story, but dig a little deeper and you find a film populated by three great performances: Joel Edgerton and Tom Hardy as brothers on collision course with one another, and Nolte, as their father, desperately trying to atone for a past life’s worth of sins. Real World: Christopher Plummer in Beginners. Book it.

Best Supporting Actress:

Octavia Spencer is going to win this award. It’s a loud, boisterous performance that the Academy just loves. Bejo, Chastain (who could’ve been nominated in any of the other 80,000 performances she gave this year) and McTeer (creepier than Close?) have no shot.  At least they can get dressed up, get loaded at the Vanity Fair party and help themselves to all the schwag they can carry. Neither does McCarthy, who was hysterical in Bridesmaids, but should be given something for delivering the funniest line of the year: “It’s coming out like lava!”

Best Director:

Any category that is populated by the likes of Scorsese, Allen, Payne and Malick is going to be tough to handicap. Scorsese is tricky. If the voter’s feel that his win for The Departed is enough to atone for not giving him the award for Raging Bull or Goodfellas, then it’ll go to someone else. If not, maybe he gets another for a lesser work. Allen and Malick won’t be at the ceremony and it’s naive to think that doesn’t weigh on the voter’s decision. Payne’s best work is done in the writing and The Descendants isn’t sexy enough technically to garner much support.  The Artist’s Hazanavicius has to be the favorite. Sure, he gave himself the restriction of making a silent film, but he pulled it off famously.

Best Screenplay:

Given that it’s split into two categories, it makes it easier for the Academy to include edgier fare or give recognition to films that may have just missed the cut for Best Picture. This year, lesser known films such as A Separation and Margin Call got nods in the Best Original Screenplay category, while Best Picture contenders The Ides of March and Tinker, Tailor, Soldier, Spy get the consolation prize of a nomination for Best Adapted Screenplay. The Academy loves a comeback and as a long time Woody Allen apologist, I would love him to take home another Oscar, even though he couldn’t possibly care less. As for the Adapted Screenplay category, The Descendants is your winner, especially if Academy voters decide on The Artist for Best Picture.

In the end, I have no idea what I’m talking about, but I can tell you this: I have seen every movie nominated in a major category, which is more than I can say for most Academy voters. It wasn’t a particularly strong year for movies, but it won’t stop me from endlessly pondering the outcomes. Do the Academy Awards still matter? Did they ever? I don’t know. But, I’ll be watching and yelling at the TV with a fervor of a crazy person. If you’ve made it to this point of this opus, you probably will be too.

For Your Consideration: The Descendants

The Descendants is a film that should not work. From the outset, the audience is told that rich people have feelings too. That pain felt is pain felt. In addition, it takes place in Hawaii and yes, we’re then told that people who live in paradise have the same hardships as everyone else. While this is obviously true, the fact that the director felt the need to make explaining this the first order of business is essentially acknowledging the inherent problems with film. Making an audience care about rich people is a tall order. Misery set against the backdrop of such overwhelming geographical beauty is even taller.

In the hands of lesser filmmakers this film should have crumbled under the weight of its own pretentiousness. The film is directed by Alexander Payne (About Schmidt, Sideways), who is no stranger to toeing that thin line between drama and melodrama, between comedy and farce. He hasn’t always produced the best results but he seems comfortable pushing the tone of his films in one direction or another, trying to create a delicate balance between laughter and tears. That task is made a lot easier when you have a big goddamn ace in the hole: George Clooney.

Clooney plays Matt King. To say Matt has a lot on his plate would be an understatement. He’s a husband, father and a practicing attorney. He is also the sole heir of his family’s very large estate and decision needs to made in regards to large parcel of land he is responsible for. In addition to that, his wife is currently on life support having suffered a devastating injury in a boat accident. The situation is further complicated when his eldest daughter confides to her Dad that his wife was having an affair.

The film plays out like a high wire act on the shoulders of Clooney’s performance. In a career full of winning, charismatic characters, this is his most fully realized portrayal to date. He effortlessly and in the end triumphantly travails the emotional minefields of this movie, taking it perilously close to edge of an all out disaster, but never going over it. In the end, the film is about the messiness of life. The sheer unpredictability of it. In hindsight, I suppose it makes sense that the film is a bit sloppy. In a film that’s about life itself,  what’s the point of making it neat?

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