Category Archives: Musings

V vs. The Joker vs. Rorschach

Movies that sport simplified moralities have some charm. Good is good, and bad is bad. There are no ethical dilemmas to process. Captain Hook has few friends; Sharptooth is Littlefoot‘s enemy; and no one cheers for the Huns in Mulan. But, sometimes, our multifaceted minds overcome our oversimplified childhoods, and we fall to the temptations of a good moral dilemma.

The modern world of superheroes and masked villains is full of such ethical quandaries. In the early 1970s, Green Lantern and Green Arrow debated various sociopolitical issues, and Spider-Man became an anti-drug icon (long before Spider-Man 3, of course). These moral questions blurred the rigid lines of right and wrong that plagued early versions of some superhero universes.

As many masked individuals have taught us, disrupting the status quo can be good or bad, depending on the situation. If crime, oppression, or apathy is the status quo, then perhaps disruption is a good idea. If the status quo is relatively pleasant and harmless, then maybe disruption is bad.

In the spirit of absurdity, I have chosen three characters that represent various approaches to existing conditions and will offer some ideas about what a possible three-way brawl might look like.

V

The only verdict is vengeance; a vendetta held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous.

Watching V for Vendetta is a morally challenging experience. Or at least it should be. After the initial awe I experienced from watching a cleverly masked, cape-wearing, alliteration-abusing, knife-wielding, egg-cooking freedom fighter blow up buildings and dance around a secret hideout that could be featured on MTV Cribs, I realized that V is, in fact, a terrorist. In The Matrix, the Wachowski siblings dulled the moral backlash against violence by allowing the would-be terrorists to run around in a fake world. V for Vendetta, however, takes place in London. A future, dystopian version of London, but still London. V did not explode fabricated buildings inside a virtual reality with the power of his mind—he blew up real buildings in London. Aside from the possible sociopolitical arguments for anti-oppression coup d’états, V for Vendetta, the film, provides a platform for unrestricted violence against authority. At best, it is violence without adequate context. At worst, it is glorified Western terrorism.

And that is what makes V such a contender in the fight against the Joker and Rorschach. V is deliberate, confident, and he can do some crazy things with knives. He’s like a masked hibachi chef who has a problem with authority (which is, by the way, a wonderful idea for a new superhero).

The Joker

You see, madness, as you know, is like gravity. All it takes is a little push!

There have been many versions of the Joker. Heath Ledger played the Joker in Christopher Nolan’s The Dark Knight. And, before that, Jack Nicholson offered us an older, more bizarre Joker, a Joker that was a notch creepier than a birthday clown and a notch more acceptable than a birthday clown for a postpubescent birthday party.

There have been many animated versions of the Joker. Mark Hamill provided the Joker’s voice for a number of television shows and video games, and John DiMaggio, the guy who gives Futurama‘s Bender his voice, was the Joker in Batman: Under the Red Hood.

Think about that. The Joker has Luke Skywalker and Bender running through his voice box. If there were any character who could do justice to the juxtaposition of saber-wielding Skywalker and bolt-filled Bender, it’d be the Joker. As a villain, the Joker is a character that can make an audience laugh; question the appropriateness of laughing at dark, unprovoked violence; and then drown their moral apprehensions in cheers for more wit. As much as we love Batman, we don’t want to see the Joker die. Save Arkham Asylum for the unappealing villains like Killer Moth and Catman.

The Joker’s unpredictability is his greatest advantage. The Joker wouldn’t follow any of Brad Pitt‘s rules if he joined Fight Club. He’d wear a shirt and shoes AND tell all of friends about the group. And, if it were his first time at Fight Club, he wouldn’t fight. He’d just stand in the corner until the rest of the group forgot about him. Then he’d start multiple fights with multiple people. And then he’d leave because the Joker doesn’t join clubs.

Rorschach

Never compromise. Not even in the face of Armageddon.

Rorschach has the punch of wasabi and the cleansing power of sorbet. Rorschach is the Chuck Norris of grim superheroes. His Bauer-like no-nonsense attitude complements his Anton Chigurh brutality. He has the voice of Batman, the wit of Mr. Blonde, and the wardrobe of Dick Tracy. He employs a Corleone-style morality and a Dignam-ish sense of duty. He is, in a word, badass.

Rorschach fights criminal aggression with patient brutality. To say he fights fire with fire is to misrepresent Rorschach’s intensity. Rorschach fights fire with hotter, bigger, more awesome fire. His ironclad integrity allows him to take his struggles against criminality personally without losing motivation or willpower. And we love him for it. In Watchmen, Dr. Manhattan’s blue manhood may be enjoying a lot of fresh air, but it is Rorschach who steals the show.

Morally, Rorschach is problematic. Because he subscribes to an end-justifies-means philosophy, Rorschach’s actions often score high on immorality scales, but we don’t question his status as a good guy. His response to villains is villainy, but Rorschach himself is still a hero. This paradox is unraveled somewhat by Rorschach’s self-sacrificial actions at the end of Watchmen. Rorschach must step aside for peace to survive.

This is why I believe that, if they were ever to fight, Rorschach would beat V and the Joker. Rorschach’s intensity and personal conviction ultimately trump V’s intentionality and the Joker’s unpredictability. Before you disagree, watch this trailer one more time:

Reservoir Dogs (1992) and Steve Buscemi

via IMDb.com

If you’re looking for a movie about well-dressed, foul-mouthed gangsters who tell tasteless jokes and spend great amounts of time debating the finer sociological aspect of tipping at restaurants, Quentin Tarantino’s Reservoir Dogs is the movie for you. It is a simple, mobster-style movie peppered with flashbacks and gunfire. Though the plot is coated with mystery, the film plays more like a character-drama, chronicling some important moments in the lives of a few complicated individuals.

Oh, and congratulations, Steve Buscemi.

WARNING: OFFAL SPOILER ALERT

Congratulations, Steve Buscemi. Reservoir Dogs highlights the crazy antics of one of Buscemi’s most successful characters. In this case, “successful” refers not to the critics’ responses to Buscemi’s character but to the character’s relative success in the actual events that occur during the course of the movie. This relative success is celebration-worthy because Buscemi’s characters don’t often succeed. A Buscemi-played character is likely to become mentally unstable, mangled, or dead. Let’s look at some of Steve Buscemi’s characters:

  • Carl Showalter, Fargo (1996). A hot-tempered crook whose deranged mind has trouble processing changes to well-made plans. Deceased.
  • Rockhound, Armageddon (1998). A bizarre genius who shows no respect for the seriousness of working on an asteroid. Mentally unstable.
  • Donny Kerabatsos, The Big Lebowski (1998). A curious pushover who suffers through verbal abuse and unprovoked hostility without complaint. Deceased.
  • James McCord, The Island (2005). A helpful techie whose philanthropic spirit doesn’t get to see the second half of the movie. Deceased.
  • Wiley, Grown Ups (2010). An overgrown child whose friends have little respect for his physical well-being. Mangled.

And that is just a sample. Sure, there are exceptions to this trend, but the already small list of anomalies is saturated with relatively unlikable characters like Randall Boggs from Monsters, Inc., Garland Greene from Con Air, and Clint Fitzer from I Now Pronounce You Chuck & Larry.

Of course, given the release dates of these movies, it is possible that Buscemi perfected his oddball character type after playing Mr. Pink in Reservoir Dogs. But, still, it’s comforting to know that at least a couple of Steve Buscemi’s characters had relative success in their respective universes. And it is relative success: Mr. Pink probably died.

But, of course, all of this is a testament to Buscemi’s artistic skill. His ability to consistently provide moviegoers with compelling and often comedic weirdos/sociopaths is unparalleled. Thank you, Steve Buscemi, and congratulations.

In Defense of Intelligent Responses to Film

via IMDb.com

When I watch a movie for the first time, I try to experience it. I allow the colors and sounds to guide my thoughts. I set my brain to autopilot and repress the part of my mind that prides itself on analysis and critical thought. I forget about financial woes, annoying friends, and other daily stresses and immerse myself in whatever world is on the screen. My goal is to create memories, not brain wrinkles.

But that is the first time. If I watch the movie again, the gloves are off. My brain cracks its knuckles and prepares to pick apart the film. No scene, motif, or character escapes my analysis. My mind becomes a warrior of intellect, attacking ignorance and feeding on subtlety and nuance.

Some friends have told me that they don’t appreciate casual film analysis. “Chicago is not a social commentary.” “I don’t like to think of Aslan as Jesus.” “I don’t care if WALL-E wants me to save the planet.” But these friends are missing a crucial element of movie-watching. There is nothing wrong with intelligent responses to film.

via IMDb.com

Many films offer viewers guided tours through various philosophical musings and sociopolitical statements, and those messages demand critical thought. Like literature, music, and other forms of art, the burden of interpretation falls to the viewer. Films cannot easily be divided into groups based on the existence of a moral or social statement—those with messages and those without—and moviegoers who are only willing to analyze films that advertise as social commentaries (like FernGully: The Last Rainforest and Sicko) hide themselves from deeper understandings of their favorite movies. Analyzing film does not somehow ruin the simple pleasures of movie-watching, and thinking about the more profound aspects of a specific movie does not lessen the movie’s initial impact. Instead, injecting critical thought into the movie-watching experience enhances the adventure. The Lord of the Rings is better when considering Tolkien’s background. 30 Rock is funnier with an understanding of the show’s social commentary. And appreciating Reefer Madness: The Movie Musical as social satire brings the music to life.

So, the next time a friends tells you to stop analyzing movies, just remember that critical thought is film’s best friend. Feel free to tell your friend something like, “I’ll stop analyzing movies when you start paying for my movie tickets. Until then, I pay for these experiences, and I’m going to make the most of them.”

Welcome Back: A Tribute to Will Smith

via IMDB.com

Though I eventually decided that “Welcome Back: A Tribute to Will Smith” most effectively described the intent of this blog post, any number of titles would have appropriately reflected my feelings. Other titles I considered:

  • Will Smith: The Man of My Heart
  • Huzzah! – The Story of Will Smith and Big B
  • Why I Haven’t Loved Since 2008
  • Men in Black III will be Off the Chain
  • I Am Going to Have Three Kids and Name Them Bagger Vance, Fresh Prince, and Agent J

Will Smith, star of movies like Independence Day (1996) and The Legend of Bagger Vance (2000), has been absent from the screen since 2008, the year he made Seven Pounds. Given the dismal quality of Seven Pounds, true Will Smith fans were not surprised when Smith took some time away from acting. After all, artists need time to reflect on their work. But, as the years rolled on, Smithians (fans of Will Smith) began to wonder if their idol would ever return. Some coped with Smith’s absence by hosting The Fresh Prince of Bel-Air marathons while others reenacted the plot of Hitch with strangers. But, for all, the lack of Will Smith movies made those few years nearly unbearable.

via IMDB.com

But, finally, Smithians can put down their copies of Bad Boys II and breathe a sigh of relief. Will is back. No longer do they have to listen to hours of “Whip My Hair,” praying that Willow’s voice will somehow connect them to Mr. Smith. Men in Black III, starring Will Smith, should be in theaters in May of 2012.

Some faux-Smithians wonder if Smith will be rusty after such a long sabbatical. But, true Smithians simply reply, “He is legend,” and allow the anticipation for another Will Smith blockbuster to overshadow less important thoughts. To prepare for Smith’s return, some Smithians may rehearse the theme song of The Fresh Prince of Bel-Air. Some may grow a mustache in honor of The Pursuit of Happyness (2006). Some may burn copies of Seven Pounds. And some may write fan fiction for Shark Tale (2004).

Me? I’m going to listen to this song. Again and again.

Romantic Movie Moments You Shouldn’t Attempt at Home

Say Anything… via IMDB.com

For hopelessly romantic introverts such as myself, the dating world can be unkind and troublesome. Words don’t come out right, and romantic gestures are misinterpreted. Luckily, we have movies to give us scripted romantic scenarios. From John Cusack and his stereo to Tom Hank’s online connection with Meg Ryan, movies have offered us wonderful pick-up lines and possible dating situations.

Unfortunately, some movies are more practical than others. And some romantic movie moments should never be attempted by nonfictional individuals. So, in the spirit of camaraderie amongst hopeless romantics, I’ve created a list of some movie moments you shouldn’t attempt at home.

(Romantic scenes often double as final scenes. So, by nature, this post is full of spoiler alerts. Consider yourself warned.)

via IMDB.com

Breakfast at Tiffany’s (1961)

Breakfast at Tiffany’s is a wonderful movie with many clever lines to try on your date. The film’s romantic finale, though, probably shouldn’t be reproduced in real life. By the end of the scene, Audrey Hepburn and George Peppard are kissing in the rain and snuggling with a newly found cat. But, the cat has to be lost before it can be found. To orchestrate this admittedly romantic moment, Audrey Hepburn tosses her adorable feline from a taxi in the middle of a city during a rainstorm. While kissing in the rain should be on every romantic’s bucket list, animal cruelty should never be a by-product of infatuation. If Audrey Hepburn’s cat had run away (as perhaps it should have) then Audrey and her man-friend would have spent their romantic moment searching through crates and trashcans in a dark, wet alley. So, don’t try this moment at home unless your cat is a stuffed animal. Or imaginary.

via IMDB.com

Grease (1978)

Grease is full of semi-romantic scenes that are only possible in the leather-filled, fictional world of Rydell High. Amidst awkward drive-in flirting and dances on carnival rides, Grease doesn’t offer much practical dating advice. But there is one scene that should be particularly avoided in real life, and it’s not the film’s absurd flying-car ending. Ladies and gentlemen, don’t date drag racers. Even if they’re competing against age-old rivals or defending the honor of a bro, drag racing is a sport that is better left to Kenickie and the wonderfully dense characters of The Fast and the Furious (2001). Though I have never participated, I imagine drag racing in concrete ditches is less romantic than it may initially seem. Sure, drag racing offers whiplash and the intoxicating smell of fuel, but a true racer learns to turn. If Danny Zuko had stopped cheating on Sandy with Greased Lightning, Danny and Sandy could have ridden away in their flying car much earlier.

via IMDB.com

Moulin Rouge! (2001)

Secret flirtations can be delightful. Filled with passionate whispers and subtle glances, such relationships can jump-start the heart of even the most cynical bachelor or bachelorette. Couples enticed by secrecy, however, must be willing to commit to the role. The whole appeal of clandestine relationships is the thrill of confidentiality (and perhaps love of one’s partner), and PDA is an easy way to unveil a once-classified hook-up. And, as seen in the secret relationship between Ewan McGregor and Nicole Kidman, these situations are further complicated when authority figures forbid such relationships. So, if you are going to yield to the temptations of secret love, remember that PDA is, indeed, public. If you can see others while you’re snogging near the red satin curtains of an old stage, the confused and oddly entertained audience in the theater can probably see you.

via IMDB.com

Serendipity (2001)

If you manage to find someone who makes your heart flutter and who can match wits with you in a game of flirtatious small talk, get his or her contact information. Serendipity is perhaps one of the most emotionally frustrating romantic comedies of the past couple decades. John Cusack and Kate Beckinsale meet, spend an adorable few moments together, and then, for some awful reason, decide to leave their future in the hands of fate. After the movie’s initial scenes, viewer have to sit through an irritating hour of wrong decisions and missed opportunities. Though the ending is happy, no last-minute romantic embrace can fully justify the emotional angst of handing possible love over to fate like giving a baby to a hooded figure sporting some hate tattoos at a low-budget daycare. Again, if you’ve managed to find someone worth seeing again, get some contact information. Phone number. E-mail address. Or enough random information to enable successful Facebook stalking. Get something.

Indie/Alternative Music in Blockbuster Films

The “Yes Man” soundtrack heavily featured Eels (via IMDB.com)

Recently, theaters (and not just the artsy theaters) have offered experiences similar to those gained from chilling in a store’s alternative music section for two hours. This phenomenon is not new, but the status of independent and alternative artists in big-name films has shifted. Now, songs from such artists are highlighted as climactic-moment songs or as songs in movie trailers instead of being relegated to background music for on-screen moments of contemplation.

Before I continue, I offer a disclaimer: I have no education or background that makes me particularly qualified to discuss independent or alternative music. Read this post as one would read the comments section of a YouTube video (approach it with vague interest and hints of cynicism). To eliminate semantically driven debate over “indie” and “alternative,” I will use the labels given to these artists by third parties such as iTunes and Last.fm.

The growing phenomenon of alternative music in blockbuster films first gained my attention when I rented Yes Man (2008) on pay-per-view. The film’s soundtrack heavily features the brilliant music of the Eels. (The only other group on the soundtrack is Munchausen By Proxy, a fictional band featuring Zooey Deschanel and Von Iva.) Eels contributed a total of nine songs to the movie, including “Sound of Fear” and “Flyswatter.” And Yes Man isn’t the only movie to use the Eels’ music: the group also has soundtrack credits on movies such as Shrek the Third (2007) and Shrek 2 (2004). Other artists such as Eddie Vedder and Belle and Sebastian have benefited from the popularity of blockbusters as well. Eddie Vedder provided the music for Into the Wild (2007), and Belle and Sebastian’s music appeared in Forgetting Sarah Marshall (2008). The O.C. has used or featured music from Sufjan Stevens, Imogen Heap, Beck, and Modest Mouse. And Bon Iver, Death Cab for Cutie, Grizzly Bear, Muse, OK Go, and St. Vincent, among others, all have tracks on the New Moon (2009) soundtrack. And, recently, Florence and the Machine was featured on Glee (a wonderful episode).

New Moon via IMDB.com

So what does this mean? Nothing, really, except that indie-loving movies such as Juno (2007), Nick and Norah’s Infinite Playlist (2008), and (500) Days of Summer (2009) no longer have a monopoly on the use of independent and alternative music. Now, moviegoers are just as likely to hear their favorite independent artist in a film featuring Robin Williams as they would in a film starring Michael Cera. And, given how much Cera’s particular brand of teen angst is starting to annoy me, I consider this a welcome change.

Now, for those of you who are still skeptical about your favorite independent or alternative artist ending up in a blockbuster, consider this trailer of It’s Kind of a Funny Story (2010) featuring “Oh My God” by Ida Maria. Regardless of how you feel about the movie, you must admit that Ida Maria’s song fits this preview beautifully.

Dissecting the Best Director Nominees: 2011 Oscars

This year’s Academy Award nominees for Best Director seem fairly standard. All five directors are nominated for films that also received Best Picture nominations. All five films feature well-known celebrities. All five films and directors fared relatively well in other award ceremonies this year (though the Coen pair was nudged out of the Golden Globes by Christopher Nolan, and David O. Russell didn’t get nominated for a Critics’ Choice Award). David Fincher has already grabbed the Golden Globe and the Critics’ Choice Award for directing The Social Network, and many have written off the Directing category at the Oscars as an easy win for Fincher. But these five (the Coens here considered a single unit) directors have interesting backgrounds and unique perspectives. While Fincher may very well grab the Oscar, viewers shouldn’t underestimate the other four.

Darren Aronofsky via IMDB.com

Darren Aronofsky: The Weirdo

Sliding into the pop-cinema scene with the psychological thrillers Pi (1998) and Requiem for a Dream (2000), Darren Aronofsky quickly made a name as the creator of bizarre brainteasers. Aronofsky’s films tend to leave moviegoers confused, amazed, and slightly disturbed. Some of his movies look and feel like a combination of Christopher Nolan’s intriguing psycho-cinema and Reefer Madness‘s, well, madness. While The Wrestler (2008) was arguably a break from the typical Aronofsky dazzler, Black Swan, his latest thriller and 2010 Oscar-nominated film, certainly bears the Aronofsky mark of madness.

This is Aronofsky’s first Oscar nomination. Despite the bizarre brilliance of some of his past films, none of them gained Aronofsky notice as a director or writer at the Academy Awards. Aronofsky has screenplay writing credits for Pi (1998), Requiem for a Dream (2000), and The Fountain (2006). Interestingly, Aronofsky is also a producer of The Fighter (2010), the film that gained David O. Russell his nomination for directing. Regardless of what one may say of his past films, Darren Aronofsky’s recent breakthrough at the Oscars gives me a reason to see the upcoming installment of the Jackman-as-Wolverine franchise (The Wolverine), which Aronofsky will direct.

David O. Russell via IMDB.com

David O. Russell: The Underdog

The Fighter (2010) is just David O. Russell’s latest addition to his expanding underdog filmography. His early films, Spanking the Monkey (1994) and Flirting with Disaster (1996), feature humorously agitated underdogs who struggle with romance and identity. His 1999 film, Three Kings, transformed three male prima donnas (George Clooney, Mark Wahlberg, and Ice Cube) into an underdog trio of soldiers who become thieves and, eventually, heroes. And perhaps his most popular film until now, I Heart Huckabees (2004), features a couple of hopelessly lost thinkers (Jason Schwartzman and, again, Mark Wahlberg) who simply want to understand the world around them.

In addition to the out-of-towner-like qualities of his characters, David O. Russell may be the underdog of the 2010 nominated directors. When all counted, Russell has less past nominations/awards than the other four nominees. Not only is this Russell’s first nomination for directing, this is Russell’s first nomination in any category at both the Academy Awards and the Golden Globes. The film that landed Russell these nominations, The Fighter, is also Russell’s first high-profile attempt at a drama.

Tom Hooper via IMDB.com

Tom Hooper: The Historian

Tom Hooper’s filmography almost reads like the index of a history textbook. Hooper featured the life of English sports manager Brian Clough in The Damned United (2009). He highlighted the voice and mind of British politician Lord Longford in Longford (2006). In 2005, he directed a mini-series about Queen Elizabeth I , and, in 2008, he directed a mini-series about John Adams. And, now, Hooper presents the life of King George VI of England in his Oscar-nominated film, The King’s Speech (2010). According to this interview with Tom Hooper, bits of Lionel Logue’s actual diary even made it into the movie’s script.

Like Russell and Aronofsky, this is Hooper’s first Oscar nomination. This is, however, not Hooper’s first nomination for directing. The majority of Hooper’s directing experience is in television. In fact, Hooper has been nominated for three Emmy Awards. He was nominated in 2004 for directing ExxonMobil Masterpiece Theatre: Prime Suspect 6; in 2006 for Elizabeth I; and again in 2008 for John Adams. Of the three, only Elizabeth I won Hooper an Emmy.

David Fincher via IMDB.com

David Fincher: The Voyager

From Seven (1995) to The Social Network (2010), David Fincher has dazzled audiences with his wonderfully risky direction. His early films, Alien³ (1992), Seven (1995), and The Game (1997) showed that Fincher had a knack for putting his characters through emotional (and sometime physical) hell. Fincher fine-tuned his bold approach to filmmaking in 1999 when he directed Fight Club. Fincher’s screen adaptation of the Chuck Palahniuk novel earned him status as a pop-culture icon. Having improved his adventurous, risk-taking style of direction, Fincher went on to direct two thrillers, Panic Room (2002) and Zodiac (2007). Fincher’s first brush with the Academy Awards came from his direction of The Curious Case of Benjamin Button (2008). The movie earned thirteen Oscar nominations, one of which was for Fincher’s directing. Though Danny Boyle was given the Oscar that year for directing Slumdog Millionaire, Fincher’s film still won three Oscars (Art Direction, Makeup, and Visual Effects).

Through The Social Network (2010), Fincher has once again polished his adventurous approach to films and protagonists. Feature-length films, however, are not the only items on his resume. Fincher has worked on music videos for Aerosmith, Paula Abdul, and Madonna. And Fincher lent his voice to the Oscar-nominated short film Logorama (2009). Fincher’s intensity and unpredictability (and his work with Aerosmith, perhaps) make him a true voyager.

Joel Coen via IMDB.com

Joel Coen and Ethan Coen: The Veterans

Joel and Ethan Coen’s resume is as diverse as it is brilliant. The early films Raising Arizona (1987), Miller’s Crossing (1990), Barton Frink (1991), and The Hudsucker Proxy (1994) seemed to serve as test drives of the Coen brothers’ unique and eventually well-rewarded style. Their first big break, Fargo (1996), caught the eye of the Academy Awards, earning them nominations for both directing and writing. The Coen brothers then went on to direct The Big Lebowski (1998) and O Brother, Where Art Thou? (2000). Both films earned the brothers esteem and recognition, and O Brother, Where Art Thou? helped the Coens’ grab another Oscar nomination for writing. Turning back to a directing style reminiscent

Ethan Coen via IMDB.com

of their early work, Joel and Ethan Coen then directed The Man Who Wasn’t There (2001). Despite the comparisons, The Man Who Wasn’t There was substantially more successful than the Coens’ earlier work of a similar style. Intolerable Cruelty (2003), The Ladykillers (2004), and Paris, Je T’Aime (2006) were relatively well-received by the movie-going public. From 2007 to 2010, the Coen brothers directed four films that received notice at the Academy Awards, the Golden Globes, or both. No Country for Old Men (2007) won Oscars for directing, writing, and best picture. Burn After Reading (2008) received two Golden Globe nominations, one for Best Motion Picture – Comedy or Musical. A Serious Man (2009) was nominated for two Academy Awards, including best picture. And, now, True Grit (2010) is nominated for an impressive ten Oscars. The fact that True Grit went unmentioned at the Golden Globes seems to be less indicative of the quality of the Coen brothers’ film and more of the quality of the awards themselves.

Bonus Character

Christopher Nolan via IMDB.com

Christopher Nolan: The Runner-Up

Success at the box office sometimes parallels poor performance at the Academy Awards. And, given some of the movies that succeed at the box office (Clash of the Titans and New Moon, for example) this heuristic is well-proven. In Christopher Nolan’s case, however, many (including myself) believe that his successes in directing should rise above the stigma of the box office. In terms of direction, perhaps films like Following (1998), Insomnia (2002), and The Prestige (2006) aren’t Oscar-worthy, but Nolan has directed other films that, in regards to direction and writing, rival those of the Coen brothers and James Cameron. Many Nolan fans felt robbed when Nolan was not recognized at either the Oscars or the Golden Globes for The Dark Knight (2008). Though the film received eight Academy Award nominations, none were for Nolan, the film’s director and writer. And, now, Christopher Nolan’s directing talents go, once again, unnoticed at the Oscars despite the originality and flow of Inception (2010) (though he is nominated as the writer of Inception‘s original screenplay).

At least Nolan fans have the next installment of Nolan’s Batman franchise to look forward to in 2012. The Dark Knight Rises is looking like it will be a dream-come-true for those who love superheroes and celebrities. Christian Bale, Gary Oldman, Morgan Freeman, and Michael Caine will return as Batman, Gordan, Fox, and Alfred. Tom Hardy (from Inception) and Anne Hathaway will be added to the cast as Bane and Catwoman, respectively. And, recently, it has been rumored that Robin Williams will play Hugo Strange. Though, I’m learning not to trust rumors about the cast of The Dark Knight Rises. Past rumors suggested that either Eddie Murphy or Johnny Depp would play the Riddler; Philip Seymour Hoffman would play the Penguin; and Shia LeBeouf would play Robin. So, while I think Robin Williams would be a wonderful addition to the film, I’m not holding my breath.