There have been quite a few interesting articles on the web in recent days on some interesting film-related topics, from a couple of Oscar-related articles to one on the power of “The Great Gatsby.” Read a quick synopsis of each of these below, and follow the links in the headlines or the body text to read each article.
This article, from Jim Emerson at the Chicago Sun Times, colleague of renowned critic Roger Ebert, discusses briefly a video essay written and produced by film critics Ali Arikan and Ken Cancelosi on why Brad Pitt — not frontrunner Jean Dujardin or second-ran George Clooney — should win the Oscar for Best Actor for his realistic, mannered role as Billy Beane in Moneyball. The video essay is very convincing, so I suggest you check it out. And for the record: I agree.
Ah yes, that long-standing question: why can’t critics, audiences, and the Academy voters agree on the best films of the year? If it were up to audiences, 2011’s best films (based on box-office revenue and CinemaScore ratings) would be Harry Potter and the Deathly Hallows: Part 2, Bridesmaids, and The Help. Critics favorites appear to be Drive and The Tree of Life. And it looks the Academy’s favorite will be The Artist. This article, also from Chicago Sun Times contributor Jim Emerson, explores the age old question and whether it’s really relevant anymore.
The Telegraph UK’s Philip Hensher asks this question: Why, today more than ever, does it seem that America is embracing F. Scott Fitzgerald’s monumental 1920 novel? In 2012, we will see multiple stage productions of “The Great Gatsby” as well as a film adaptation starring Leonardo DiCaprio and Carey Mulligan. So why this sudden Gatsby splurge? Hensher explores the entertainment industry’s new infatuation with the great American novel.
Hard to believe, but Rope Of Silicon editor Brad Brevet makes a pretty strong case for it. Notorious is one of revered director Alfred Hitchcock’s most beloved works. Mission: Impossible 2 is widely viewed as the worst in the Tom Cruise-starring action thriller franchise. Brevet shows the similarities between the two pictures, including a scene-by-scene breakdown, and explains that a lauded source material doesn’t necessarily make for a strong movie.
Entertainment Weekly movie contributor John Young gives us a peak of a scene from Pixar’s animated short film La Luna, which as nominated for an Academy Award, as well as an interesting interview with director Enrico Casarosa on where the idea for La Luna came from, details on its production, and why this short is so dear to Enrico’s heart.