Tag Archives: David Fincher

Andrew’s Most Anticipated Films of 2014

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With the year in film that was 2013 now a thing of the past (my top ten and year-end awards are coming soon), it’s now time to look ahead to those films set for release over the course of the next twelve months. While a few of my most anticipated films from 2013 will show up here after being pushed back, there will also be many other films to highly anticipate, which include new efforts from some of Hollywood’s most sought-after auteurs. Although it’s safe to say the process of getting down to just ten films was difficult, these are without question the films I am most anticipating in the coming months. Here’s hoping, when all is said and done, that 2014 is even half as good as 2013 was to us film enthusiasts.

Note: I have not included those 2014 releases I was fortunate enough to catch early at this past year’s Toronto International Film Festival. So no JoeUnder the Skin or The Sacrament to be found here.

Honorable Mentions: Ryan Gosling’s How to Catch a Monster, Noah Baumbach’s While We’re Young, Gareth Edwards’ Godzilla, David Ayer’s Fury, Phil Lord & Chris Miller’s 22 Jump Street, Marc Webb’s The Amazing Spider-man 2, Richard Ayoade’s The Double, Denis Villeneuve’s Enemy, David Gordon Green’s Manglehorn 

Wes Anderson’s The Grand Budapest Hotel

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If shown a single frame from any one of his films, you’d probably instantly recognize the signature of its author, Wes Anderson. The Grand Budapest Hotel, his follow-up to 2012’s Moonrise Kingdom, is Anderson’s eighth feature-length outing as a director and once again sports an incredible ensemble cast featuring many of the usual suspects. Bill Murray, Owen Wilson and Jason Schwartzman are all there, supported by Anderson newcomers that include Jude Law, Saoirse Ronan and Ralph Fiennes. Fiennes plays Gustave H, a hotel concierge who becomes friends with a lobby boy, albeit while the theft of a priceless Renaissance painting sets chaotic events into motion. Using various aspect ratios and a truly Andersonian color palette, here’s hoping the overt quirkiness of the concept leaves enough room for the characters to breathe. I’ve been impressed with Anderson’s ability to really bring some really powerful human emotion to his last few films, so here’s hoping he brings more to The Grand Budapest Hotel. It hits theaters March 7th.

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The Academy & I: 2007

 

 

Writers-strike

On November 5th 2007, the Writer’s Strike began and took Hollywood by storm. Fighting for increased compensation for their work, the members of the Writers Guild of America had officially decided to take a stand against the studios in town that had been turning a heavy profit from DVD releases, the Internet and other multi-media forms that used the writers’ works. Many feared the impending Academy Awards ceremony, set for February 24th 2008, would not go off as planned and without any of the individuals who they planned on awarding. These fears were all for naught, however, as the writers struck a deal on February 12th and the strike became a thing of the past.

While many remember this particular awards season for the strike, other cinephiles remember 2007 for being one of the finest years for film in recent memory. Not only did the year give us an exceptional new Coen brothers film, but it also marked the return of one of America’s infrequently seen auteurs, Paul Thomas Anderson, whose There Will Be Blood was about as bombastic a return-film as one gets. The year also saw the arrival of a new writing voice in Diablo Cody, while also sporting some of the finest acting performances many had seen in quite some time.

As I delve into this particular year in film, I will highlight nine of the categories of this particular Academy Awards ceremony and discuss how differently (or similarly) I saw the very same year in film.

Best Cinematography

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2007 was one of those years where film-goers were treated to such an embarrassment of riches when it came to cinematography. From the hauntingly barren old fields of Robert Elswit’s work in There Will Be Blood to the double-bill of visual splendor Roger Deakins provided in No Country for Old Men and The Assassination of Jesse James by the Coward Robert Ford, you’d be hard-pressed to find a flaw in any of the Academy’s nominations. While Elswit deservedly won the Oscar for his work, seeing Deakins be the bridesmaid yet again on awards night was certainly a tough pill to swallow. Many would argue that his work in Jesse James is a career-best, and I wouldn’t disagree. For such a renowned artist as Deakins, it’s hard to believe he has yet to win an Oscar. Here’s hoping that changes sooner rather than later.

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