Aron Ralston is still telling that gruesome story … Oscar's leading ladies are all a little nuts … and perhaps we should all lighten up (or shut up) about the Golden Globes.
Patrick Goldstein says that the media spends too much time talking about the Golden Globes. That he does so in 600 words, after his paper – including Goldstein himself, in another 850 words – spent a good deal of space dissecting the nominations the previous day is an irony not lost on him. (Or me.) He says it's mostly Hollywood's fault for taking the Globes so seriously, but that the media should take some of the blame too. I can't argue with that, although I'm still bugged at him for his Tuesday implication that it was a blunder to give the wonderful and very funny "In Bruges" (left) a Best Picture – Musical or Comedy nomination in 2008. (The Big Picture)
After the London premiere of "127 Hours," Patrick Barkham talks to Aron Ralston, whose story of escaping from a Utah canyon after spending five days trapped by a falling boulder became the basis for Danny Boyle's movie. And if you found yourself getting squeamish during the movie's climactic sequence, in which James Franco portrays Ralston cutting his own arm off to escape, then you might want to steer clear of the fourth paragraph of this piece – because for my money, Ralston's description of the event is every bit as unsettling as Boyle's cinematic depiction. (The Guardian)
The Sundance Film Festival adds three more of what might be next year's awards movies: "The Future" from writer-director-actress Miranda July and "Flypaper" from Rob Minkoff in the Premieres section, and "Magic Trip" from Alison Ellwood and Alex Gibney in the Documentary Premieres section. "The Future" is the biggest deal because it's also showing at the Berlin International Film Festival the month after Sundance – the kind of film-fest cooperation that's rare in this competitive arena. (Sundance Institute)
Scott Feinberg's Academy source "Deep Vote" keeps writing about movies, this time telling us that he doesn't like "Another Year" very much; that he wanted "Fair Game" to be something different but thought the guy who has one scene as Scooter Libby was good; and that he really didn’t like "Rabbit Hole." As he gets crankier and crankier, Deep Vote has taken to writing each review as a single, enormous and almost unreadable paragraph. I've gotta say, his punctuation is now as annoying as his opinions. (ScottFeinberg.com)
Here's something you might not have realized about this year's awards race: the women are all crazy. Or, rather, a lot of the most high-profile women onscreen these days are unhinged, says Sasha Stone, who compiles a "top five craziest female characters in the Oscar race." It starts with Lesley Manville in "Another Year" and ends with Natalie Portman in "Black Swan," and the field is so deep that she can't even make room for Juliette Lewis from "Conviction." (Awards Daily)
