The Adventures of Tintin (Steven Spielberg, 2011)

For someone unfamiliar with Hergé’s The Adventures of Tintin comic, Steven Spielberg establishes an aura of adventure with a delightful animated credits sequence. It’s a nonstop globetrotting sequence that summates a lot of what you’ll be seeing in the feature. It also inadvertently serves to illustrate the major problems that plague Spielberg’s adaption. The sequence features silhouettes of the film’s hero, Tintin (Jamie Bell) and his sidekick Snowy as they span the globe. It’s thrilling and has a good sense of slapstick humor, but at the same time, it’s superficial and easy to digest. It’s perfectly suited for a credits sequence, but when we are finally introduced to Tintin, his dog, and the ensemble cast, it becomes disappointingly clear that they’re never going to expand beyond their character niche.

Tintin was scripted by Steven Moffat, Edgar Wright, and Joe Cornish. Wright’s sense of whimsy translates well onscreen, especially in earlier portions of the film when Tintin and Snowy banter with a merchant and contend with a local pickpocket. But like Joe Cornish’s Attack the Block, many of the characters operate under thin circumstances. None of them are particularly world weary, especially the titular hero. Problems with the script aside, Tintin transitions from a grounded piece of investigative work to a full-fledged action caper with mixed results. Spielberg has incredible control over the camera, as he swoops into the action and positions his camera with grace. But what becomes problematic is the way he stacks these action sequences one after another. It becomes relentless. It’s basically the antithesis of War Horse, as The Adventures of Tintin refuses to pause for a pensive state, instead embracing a hyperactive tone.

So, it’s got a lot of energy. Such relentless energy becomes problematic, as there’s hardly any room to breathe and appreciate any singular aspect to Tintin’s design. Despite an impressive single shot chase sequence through the streets of Morocco near the film’s end, none of the action sequences leave much of an impression. And what’s even more flabbergasting is that the Moroccan action sequence does not cap off the film – we’re still left with a rather clumsy action sequence involving cranes and an anticlimactic conclusion. The Adventures of Tintin works well in spurts, but like War Horse, there no level of attachment to any of the characters. On a technical level, the film is quite impressive, and that Moroccan chase sequence is really good, but otherwise, it didn’t leave much of an impression.

Rating: 6/10

Cinema Chatter – Clearing the Fog

As we’ve entered the early November lull, awaiting the New York Film Critics Circle to announce their best films of the year, some of the mysteries of the season have been solved. Press screenings, early reviews, performance clarifications; it all has helped to address some of the looming question marks of the season. The lines are being drawn, campaigns are underway, and most of all; everyone is going to get a chance to see the films.

A Badge of Honor. One of the more obvious pieces of news of the past few weeks has been the announcement that Shame will be rated NC-17. The film, which stars Carey Mulligan and Michael Fassbender, sees both actors going full-frontal. But unlike last year’s Blue Valentine, which also had received the NC-17 rating before appealing, there will be no intention of appealing the rating on behalf of studio Fox Searchlight. If anything, the studio intends on flaunting the film’s risqué subject matter, as studio co-head Steve Giulia notes that the film’s rating is to be worn as a “badge of honor, not a scarlet letter.” The buzz for the film’s rating is similar to that of Blue Valentine’s, in that it’s getting people interested in the film; but Blue Valentine’s Academy Awards play was strictly limited to Michelle Williams’ Best Actress performance; it’ll be interesting to see if Shame can expand its play and involve Michael Fassbender in an incredibly tight Best Actor race. At this point, it’s looking like Carey Mulligan could become a serious player in the Best Supporting Actress category, as it’s far more fluid and open.

Supporting “Carnage”. One of the lingering questions of the season was how the Carnage cast was going to be broken down into individual categories; that question has been answered in the form of tossing em’ all in supporting. The foursome, comprised of Jodie Foster, John C. Reilly, Christoph Waltz, and Kate Winslet are all going in the Supporting Actress/Actor category. In a move that draws parallels to how Modern Family goes about its awards season, Carnage all of a sudden looks far more viable than it ever had before. While Winslet and Foster have divided pundits as to who gave the better performance, Waltz has drawn considerable praise on the male side of things. And given the rather fluid state of the Best Supporting Actor category, he certainly seems like a strong contender.

“A Dangerous Method” Upended. Well, it just doesn’t seem like it’s the year for David Cronenberg.  One of cinema’s greatest working directors is not likely to have a single nomination going for his film, A Dangerous Method. The buzz for A Dangerous Method has diminished considerably in the past few months, and with a release just a few weeks away, there really hasn’t been much to keep it in the conversation. The last piece of news has seriously unfurled any sort of traction the film could have picked up, as Kiera Knightly is now going for Lead Actress category. Whereas she may have had a chance in Best Supporting Actress category, her chances have taken a significant hit as she is now in the same category as Glenn Close, Tilda Swinton, Felicity Jones, Elizabeth Olson, Michelle Yeoh, Michelle Williams and Rooney Mara; all of whom are battling it out for two spots (with slots reserved for Meryl Streep, Viola Davis, and Charlize Theron).

I See (some of) You! Unlike previous years, this awards season is going to be largely decided last minute, as festival darlings haven’t made the dent we expected, and big films from big directors are held off until the end of the year. But the unfurling process for some of these late releases is certainly interesting. And for now, four big films have been seen by the press/pundits/general audiences.

As Young Adult makes its way to various venues, the film’s buzz continues to grow. The screenings have solidified Charlize Theron’s Best Actress chances, and seem to have added fuel to the Patton Oswalt Supporting Actor train. Its Best Original Screenplay chances seem strong too. The film has found its nook within the awards conversation and seems to have nestled in quite nicely. As the film will likely have a good critical response, it could make a play if the stars align commercially.

While Young Adult is making the rounds in larger cities, War Horse heads for smaller, rural venues. Undoubtedly a reflection of its ideals and demographical constituency, War Horse seems to be drawing very divisive reactions; reactions range from the film being a masterpiece to being blatant Oscar-reaching tripe. It serves to affirm my fears from its initial trailer: it’ll be a film of superficial values.

An unfinished version of Martin Scorsese’s Hugo premiered at the New York Film Festival to generally positive reactions. I had initially pegged the film as a possible spoiler earlier in the season, and unfortunately, it doesn’t seem like it’ll be the case; expectations that the film will likely be a contender in the technical fields remain, but it’s not likely to make much of a splash in the above-the-line categories.

Clint Eastwood’s J. Edgar premiered at the AFI Fest to a general consensus: it’s going to come down to Leonardo DiCaprio’s performance. The praise for the film tends to only involve DiCaprio, with Eastwood’s direction and Dustin Lance Black’s screenplay left to wolves to pick apart. Its Best Picture play will likely be minimal, though it remains a contender; as does Armie Hammer’s supporting performance.

So, there’ll be five. And on the lighter side of things, the animated feature film shortlist has been announced, confirming that there will be five films up for the prize in the category. If anything, it gives Pixar a little breathing room to hope that Cars 2 will get nominated, though the contest will be largely between Rango and The Adventures of Tintin, with the obscure international film, Wrinkles playing as potential spoiler.

Check out an updated Contenders page here. Also, expect a visual overall of each category page in the weeks to come; especially as the season begins to unfold.

Cinema Chatter – Guesswork

Part of what enamors me about the whole concept of Oscar prognostication is the mystery of it all. It’s trying to separate between your own taste and those of a larger voting body. It’s attempting to understand the perspective of studios in terms of pushing one actor over another. There’s nothing artistic about the process; if anything, it strips the artistry of filmmaking to a science. The science can become repetitive and mind-numbing; at my recent prescreening of Young Adult, director Jason Reitman expressed fatigue when dealing with the press and pundits. After the disappointing performance of Up in the Air following a long festival campaign to push the film, it’s no wonder he has opted to pursue smaller individual venues to get the word out. It works for me; Young Adult is one of the year’s best films, and the whole experience of having him, writer Diablo Cody, and actor Patton Oswalt to do Q&A was terrific.

Just a year after Reitman’s Up in the Air fiasco, director David Fincher went all out on a press campaign for The Social Network. The film was critically lauded and looked to have had its Best Picture and Best Director wins sealed; that is until the Producers Guild of America awarded The King’s Speech instead. Things went south fast for The Social Network, so it’s no wonder Fincher has opted against any sort of awards campaign on his part for The Girl With The Dragon Tattoo.

But as you can see on the updated sidebar, I’m thinking the film is going to play big. Like the Coens’ True Grit, I’m getting a sense that it’ll be the sort of late player that doesn’t have a wider buzz circulating around it until after its release. And perhaps this is a bold statement, but I’m thinking the film will be a larger commercial player than any of Spielberg’s films in the December timeframe.

Part of what makes this whole prognosticating thing a snap is that I’m working with historical data. When you have someone like Meryl Streep, who’s been nominated 16 times since 1979, it’s going to be likely that she’ll be nominated again given the weight of her role in The Iron Lady. Sight unseen, you’re taking a logical bet. Similarly, Steven Spielberg’s one-two punch with War Horse and The Adventures of Tintin lead me to believe that he’ll secure a nomination (for the former, though it’s not out of the question for the latter) for either Best Picture and/or Best Director. Numbers are on your side.

There are plenty of curveballs to throw you off though; there are typically one or two first-time nominees who enter the field. From there, you’re basing your information on others expectations, adding up praise and subtracting dismissals. One can attempt to create a formula to the whole affair, but then, there are those odd-ball nominations that simply come out of nowhere and can’t be justified (Tommy Lee Jones for In The Valley of Elah for one).

But as we wait for the upcoming New York Film Critics Circle to outline what will certainly alleviate confusion as to who are “contenders” (which will be followed by the National Board of Review’s top films), it’s all guesswork. And well, it’s the best time for this sort of thing; it’s probably the closest any Oscar pundit gets to actually implementing their own cinematic taste into the proceedings.

So for now, here’s my first stab at predicting the 2012 Academy Awards. It’ll be lots of fun to see how off I am come February 26.

Best Picture: The Artist

Best Director: Terrence Malick, The Tree of Life

Best Actor: George Clooney, The Descendants

Best Actress: Viola Davis, The Help

Best Supporting Actor: Brad Pitt, The Tree of Life

Best Supporting Actress: Vanessa Redgrave, Coriolanus

Best Writing (Adapted): The Descendants (Nat Faxon, Alexander Payne, Jim Rash)

Best Writing (Original): The Artist (Michel Hazanavicius)

Best Art Direction: Hugo

Best Cinematography: The Tree of Life

Best Costume Design: The Artist

Best Film Editing: The Artist

Best Makeup: The Iron Lady

Best Music (Original Score): War Horse

Best Music (Original Song): The Muppets 

Best Sound Editing: War Horse

Best Sound Mixing: The Adventures of Tintin

Best Visual Effects: Rise of the Planet of the Apes

Best Animated Feature: The Adventures of Tintin

Best Documentary Feature: Tabloid

Best Foreign Language Film: A Separation