Ben Around

SNL: Ashton Kutcher/Them Crooked Vultures

Saturday Night Live

February 6, 2010

Host: Ashton Kutcher

Musical guest: Them Crooked Vultures

Typically, I dock the show a letter grade if they don’t produce a digital short. It’s become so much of part of its personality as well as a reliable laugh, we should expect one every week. It’s often hard to produce a short film in one week, let alone a funny one. But these guys are pros and can make even the simplest ideas work.

Honestly, though, I didn’t feel the need to penalize the whole thing, given the quality of the episode. What’s this? SNL on a two-show winning streak? We can safely say so. Nothing against Sigourney Weaver’s strong effort. It’s just Kutcher and Jon Hamm brought the fire and hit the cast on good nights.

Let’s not call this week Hamm’s equal (and let’s not overrate that as one of SNL’s all-time best, even if it’s close). But I genuinely laughed out loud several times, especially during the second half of the show. It even features two candidates for “Sketch of the Season.”

Let’s break it down:

Cold Opening: Not bad, not completely original. Almost a carbon-copy of their previous stab at it, even down to Wiig switching her mouth at the end. SNL suffers greatly sometimes of repeating lines word-for-word in their recurring sketches.

Monologue: Okay concept with nice visual gags, especially Mark Twain spewing when he got hit in the balls. The old lady dance-off was also funny.

Gertrude’s Will: This belonged at the end of the show. The first of several inappropriate sex jokes during the show.

The View: Sadly, this is a constant SNL fallback sketch that usually bores. Nasim Pedrad’s bit about seeing Precious was good, as was Wiig’s “The Chinese win” line. And while the physical design of Mel Gibson worked, Kutcher’s impression was AWFUL. What the hell was he doing?

Cialis For Threeways: Really funny. They often excel with their commercials, but we’ve seen some duds. Jenny Fitch is good here, as is Wiig the morning after in the kitchen.

Slave Boy: Early 90s-ish sketch even with scrolling text exposition at the end. Nice throwback. Forte probably thought this one up. It was riddled with “Forte-isms” (“So much juice in that particular grape”). Sufficient, not great.

Weekend Update: Longest Update ever? Not that I care. I’m always up for extra jokes, but the guests can sometimes bomb, as Samberg’s teenager Liam certainly did. Good for a laugh or two, but a miss overall. Hader’s Spitzer is awesome, nearly as good as Armisen’s Patterson. Jean K Jean is a bit tired, but he wasn’t terrible this time (“Belgians always thinkin’ they can ski!”). Wiig and Armisen’s bit came to soon since the last one, imo, but it was funny. If they’re actually improvising that material, that takes it to an entirely different level. Great joke about what the supermajority accomplished.

What Is Burn Notice?: AWESOME. Sketch of the Season candidate. Don’t know why this hit me like it did, but I just found myself in agreement with the whole concept. I really don’t know what that show is, nor will I ever find out on purpose. Sudeikis really sold this, and we see excellent restraint from Wiig. Excellent sketch!

Best Picture noms: Love it when SNL goes after entertainment “reporters.” Liked this concept, and the new format deserved some digs. LOVED the Bebe’s Kids reference and how they nominated the Colts and Saints for best picture.

An Even-Tempered Apology: Samberg as Rahm Emanuel works very well, and the writing is spirited. He blows Armisen’s Obama away in that they’ve created a character based on one storied aspect of Emanuel’s personality. Looking forward to future visits to this. So long as they wait in between doing it, it shouldn’t miss too often.

Crisis Of Conformity: Great final sketch. Didn’t see the punchline coming, and Armisen really nailed it. Kutcher and Grohl were also strong. Hader, like any bassist, got little screen time. Liked Sudeikis here as well.

Them Crooked Vultures: Never got into it. Plus, the second song sounded too much like “Rock and Roll Hoochie Coo.” They actually looked like kids’ dads getting their old band back together.

Grade: A-

Cast MVP: Team effort this week

90.7-FM Movie Talk Show is BACK!!!

Folks, the 90.7-FM movie talk show is officially back. Follow the link below to download. Show airs LIVE on Saturdays at 9 a.m., so tune in if you like!

SHOW CONTEST: NAME US!!! Show title is still pending, and we’re looking for a clever name. Sadly, we can’t think of it ourselves, and we want your help. Taboo words: movie, screen, film, reel, cinema.

Post on this note, or e-mail us at 90.7movies@gmail.com!!! THANKS!

Listen to or download the show HERE

Or take the Mediafire route:
http://www.mediafire.com/?azmt3wmz2zm

Hosts: Ben Flanagan, Corey Craft
Guests: Graham Flanagan, Matt Scalici

Topics:

- AVATAR box office history

- AN EDUCATION review

- OSCAR discussion (best picture expansion, snubs, early predictions, etc.)

- DVD recommendations (Craft Services, BF Double Dose)

- Announcements (Oscar contenders playing at theaters in Tuscaloosa, Birmingham)

WARNING: We had to set up a makeshift recording device, so the quality is SUBPAR, especially during the first half of the show. It gets better, but we’ll remedy this problem, I assure you.

Playlist:
Dan Auerbach - “Goin’ Home” (Up in the Air soundtrack)
Sad Brad Smith - “Help Yourself” (Up in the Air soundtrack)
The Ramones - “California Sun”

Oscars dig on dollars

Oscars dig on dollars
By Ben Flanagan
Ben Around
February 5, 2010

Ten best picture Oscar nominations initially sounded like a bright idea. That is, until they instituted the format for the 2009 ceremony. Tuesday’s nominations confirmed the idea arrived a year too late.

If the Academy of Motion Pictures Arts and Sciences employed this scheme in 2008, when critics struggled to cut their year-end lists down to 10, we would have bought in immediately. Along with the films selected as the five nominees, I’d guess “The Dark Knight,” “Wall-E,” “Doubt,” “The Wrestler” and “Gran Torino” would have made the cut as well, and perhaps deservedly so.

In fact, some maintain the Academy brought the format back as a reaction to last year’s snubs. Bitter audiences who wanted mainstream titles to receive the highest recognition felt spurned, so adding five more slots created room for better-known, high grossers.

Evidently, the plan ran rather smoothly. Aside from James Cameron’s sudden award-favorite, record-breaking “Avatar,” Quentin Tarantino’s WW2 epic “Inglourious Basterds” and Pixar’s “Up,” (all of which were critically acclaimed, high grossing best picture locks), box office successes “District 9” and “The Blind Side” also made the cut. But what does that reflect? Rather than rewarding the genuine quality of a film, the Academy now tends tended to nominate based on symbolism and statements on the industry.

How much money did the movie make? Did it resonate with audiences? Did the actor or actress play against type? Are they an A-list superstar that played against type? Do we really care what the critics think?

Personally, I found “The Blind Side” to be an engaging piece of neatly trimmed sap based on an extraordinary story doesn’t go full-blown corny, thanks to the partial inclusion of mature situations and unexpected humor. But worthy of best picture? Sorry, no. I’m afraid it isn’t even worthy of best actress, but Sandra Bullock has somehow managed to spring to a distant lead in her race.

Some may compare the film’s nomination to “Rocky’s” back in 1976, due to the feel-good nature and sports focus. But “Rocky” is a much better film than “The Blind Side,” and we all know it. It got its nomination because it cleared $230 million at the domestic box office.

In fact, money is the driving force behind these Oscars. The Academy doesn’t even seem ashamed of it. Don’t forget this is a television broadcast on ABC that survives on ratings. They want Bullock, Brad Pitt and James Cameron in the Kodak Theatre, and if that means handing them and their movies film’s highest honor, so be it.

Should the ceremony’s love affair with commerce rather than artistic merit bother us? Of course not. The short answer is award shows are dumb, and we who let them get to us are suckers. But we choose to be those suckers for whatever reason. We would not enjoy a year without the Oscars, so let’s accept this new format that intends to attract more viewers. After all, I’d argue we typically see at least 10 great movies per year. But 2009 is unique. Instead of at least 10 great ones, we’ve got a few handfuls of really good ones.

So who got snubbed? Honestly, not a whole lot bothered me this year, though what’s an Oscar season without a little griping? Marvin Hamlisch’s musical score for Steven Soderbergh’s “The Informant!” was robbed while forgettable scores in “Avatar” and “The Hurt Locker” took precious slots. Surprisingly, Spike Jonze’s “Where the Wild Things Are” came up totally empty, even in the technical categories. Some say Peter Capaldi’s uber-profane performance in screenplay contender “In the Loop” deserved a nod, but I’d argue more so for Tom Hollander’s foolish politician. Sadly, Melanie Laurent (“Inglourious Basterds”) failed to make any precursor cut leading up to this, obliterating her chances completely.

Other than that, I don’t have much to cry over. “Avatar” remains in the driver’s seat to dominate the technical categories and even win best picture, but you could see a surge from either “The Hurt Locker,” “Inglourious Basterds” or the now-almost-forgotten “Up in the Air” to win the big one. Jeff Bridges, Bullock, Christoph Waltz and Mo’Nique look like runaways heading into March 7. Until then, try to see all 10 best picture nods. I’ve seen eight.

Haiti Relief Benefit Showcase tomorrow at Mellow Mushroom: Four live music acts headline this benefit hosted by the Mushroom and Planet Weekly magazine. Blaine Duncan and the Lookers, Holly Puckett, DJ Sugarfree and Adam Morrow of Callooh! Callay! will perform, as all proceeds will go to the American Red Cross Haiti relief fund. Benefit shows can often make for memorable experiences, especially when so many people, including the artists on stage, are in such giving moods. Support a good cause and eat some free pizza.

‘From Paris with Love’ at the Cobb Hollywood 16: Frankly, my first impression after seeing this trailer was that it looked horrible. And it really might be. But a few more looks at the R-rated international trailer have me looking up. John Travolta hamming it up on screen isn’t a rarity. With a shaved head, a goatee, a foul mouth and a rocket launcher, it might not be so bad after all. Directed by Pierre Morel (“Taken”), this global action comedy could surprise us as a pleasant February diversion. Don’t put any money on that, though.

‘Still Walking’ at the Bama Theatre next Tuesday: Peek over to our Q&A with Tuscaloosa Arts Council member Rebecca Rothman where she shares some insight on the Bama Art House film series. They’ll screen Japanese director Kore-Eda Hirokazu’s “Still Walking” next week. The film chronicles a day in the life of a Japanese family and has garnered positive reviews. Nice to see some foreign film back on the Bama screen, a trend that will continue the week after with “You, the Living,” a Swedish film from director Roy Andersson.

Worst Best Picture of 2000s?

This decade’s worst best picture winner?

Choices:

Gladiator

A Beautiful Mind

Chicago

Lord of the Rings: Return of the King

Million Dollar Baby

Crash

The Departed

No Country for Old Men

Slumdog Millionaire

You can’t say Avatar yet.

I think you can make an argument for any of them. It might be easiest to say No Country for Old Men is the best of the bunch, but I’m still not convinced it’s a great or good movie. I think it’s a beautifully made, cold, soulless, blank stare of a movie, but still entertaining. You could also make a case for Clint Eastwood’s Million Dollar Baby, probably my personal favorite from this list.

The Academy just didn’t pick them well this decade, did they? If pressed, I’d go with A Beautiful Mind, but it’s a toughie. You won’t catch me bashing Crash. It’s a good movie. Haters like to hate.

Oscar noms

As if you hadn’t seen them yet, here are the Oscar nominations. I wasn’t off by much, people. Only missed Maggie Gyllenhaal and a couple of best picture slots.

Actor in a Leading Role

• Jeff Bridges in “Crazy Heart”
• George Clooney in “Up in the Air”
• Colin Firth in “A Single Man”
• Morgan Freeman in “Invictus”
• Jeremy Renner in “The Hurt Locker”

Actor in a Supporting Role

• Matt Damon in “Invictus”
• Woody Harrelson in “The Messenger”
• Christopher Plummer in “The Last Station”
• Stanley Tucci in “The Lovely Bones”
• Christoph Waltz in “Inglourious Basterds”

Actress in a Leading Role

• Sandra Bullock in “The Blind Side”
• Helen Mirren in “The Last Station”
• Carey Mulligan in “An Education”
• Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
• Meryl Streep in “Julie & Julia”

Actress in a Supporting Role

• Penélope Cruz in “Nine”
• Vera Farmiga in “Up in the Air”
• Maggie Gyllenhaal in “Crazy Heart”
• Anna Kendrick in “Up in the Air”
• Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”

Animated Feature Film

• “Coraline” Henry Selick
• “Fantastic Mr. Fox” Wes Anderson
• “The Princess and the Frog” John Musker and Ron Clements
• “The Secret of Kells” Tomm Moore
• “Up” Pete Docter

Art Direction

• “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair
• “The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith
• “Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim
• “Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
• “The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie Gray

Cinematography

• “Avatar” Mauro Fiore
• “Harry Potter and the Half-Blood Prince” Bruno Delbonnel
• “The Hurt Locker” Barry Ackroyd
• “Inglourious Basterds” Robert Richardson
• “The White Ribbon” Christian Berger

Costume Design

• “Bright Star” Janet Patterson
• “Coco before Chanel” Catherine Leterrier
• “The Imaginarium of Doctor Parnassus” Monique Prudhomme
• “Nine” Colleen Atwood
• “The Young Victoria” Sandy Powell

Directing

• “Avatar” James Cameron
• “The Hurt Locker” Kathryn Bigelow
• “Inglourious Basterds” Quentin Tarantino
• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels
• “Up in the Air” Jason Reitman

Documentary (Feature)

• “Burma VJ” Anders Østergaard and Lise Lense-Møller
• “The Cove” Nominees to be determined
• “Food, Inc.” Robert Kenner and Elise Pearlstein
• “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith
• “Which Way Home” Rebecca Cammisa

Documentary (Short Subject)

• “China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill
• “The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher
• “The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert
• “Music by Prudence” Roger Ross Williams and Elinor Burkett
• “Rabbit à la Berlin” Bartek Konopka and Anna Wydra

Film Editing

• “Avatar” Stephen Rivkin, John Refoua and James Cameron
• “District 9” Julian Clarke
• “The Hurt Locker” Bob Murawski and Chris Innis
• “Inglourious Basterds” Sally Menke
• “Precious: Based on the Novel ‘Push’ by Sapphire” Joe Klotz

Foreign Language Film

• “Ajami” Israel
• “El Secreto de Sus Ojos” Argentina
• “The Milk of Sorrow” Peru
• “Un Prophète” France
• “The White Ribbon” Germany

Makeup

• “Il Divo” Aldo Signoretti and Vittorio Sodano
• “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
• “The Young Victoria” Jon Henry Gordon and Jenny Shircore

Music (Original Score)

• “Avatar” James Horner
• “Fantastic Mr. Fox” Alexandre Desplat
• “The Hurt Locker” Marco Beltrami and Buck Sanders
• “Sherlock Holmes” Hans Zimmer
• “Up” Michael Giacchino

Music (Original Song)

• “Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman
• “Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman
• “Loin de Paname” from “Paris 36” Music by Reinhardt Wagner Lyric by Frank Thomas
• “Take It All” from “Nine” Music and Lyric by Maury Yeston
• “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett

Best Picture

• “Avatar” James Cameron and Jon Landau, Producers
• “The Blind Side” Nominees to be determined
• “District 9” Peter Jackson and Carolynne Cunningham, Producers
• “An Education” Finola Dwyer and Amanda Posey, Producers
• “The Hurt Locker” Nominees to be determined
• “Inglourious Basterds” Lawrence Bender, Producer
• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
• “A Serious Man” Joel Coen and Ethan Coen, Producers
• “Up” Jonas Rivera, Producer
• “Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers

Short Film (Animated)

• “French Roast” Fabrice O. Joubert
• “Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell
• “The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia
• “Logorama” Nicolas Schmerkin
• “A Matter of Loaf and Death” Nick Park

Short Film (Live Action)

• “The Door” Juanita Wilson and James Flynn
• “Instead of Abracadabra” Patrik Eklund and Mathias Fjellström
• “Kavi” Gregg Helvey
• “Miracle Fish” Luke Doolan and Drew Bailey
• “The New Tenants” Joachim Back and Tivi Magnusson

Sound Editing

• “Avatar” Christopher Boyes and Gwendolyn Yates Whittle
• “The Hurt Locker” Paul N.J. Ottosson
• “Inglourious Basterds” Wylie Stateman
• “Star Trek” Mark Stoeckinger and Alan Rankin
• “Up” Michael Silvers and Tom Myers

Sound Mixing

• “Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
• “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
• “Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano
• “Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin
• “Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey Patterson

Visual Effects

• “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
• “District 9” Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
• “Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton

Writing (Adapted Screenplay)

• “District 9” Written by Neill Blomkamp and Terri Tatchell
• “An Education” Screenplay by Nick Hornby
• “In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
• “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher
• “Up in the Air” Screenplay by Jason Reitman and Sheldon Turner

Writing (Original Screenplay)

• “The Hurt Locker” Written by Mark Boal
• “Inglourious Basterds” Written by Quentin Tarantino
• “The Messenger” Written by Alessandro Camon & Oren Moverman
• “A Serious Man” Written by Joel Coen & Ethan Coen
• “Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy

Predictions: Oscar Nominations

Early tomorrow morning, the Academy of Motion Picture Arts and Sciences will announce its 2009 Oscar nominees. The announcement should begin around 7:30 a.m. central on E!, though it usually begins roughly 15 minutes into the show.

If we can somehow tolerate Ben Lyons’ “analysis” leading up to the nominations, we can make it through anything. I don’t get why they let that celebrity-stalking doofus pass as a movie “expert” on their network, but they do. I just can’t wait to hear what his favorite movie of 2009 is. I’m guessing Up in the Air (even though that’s a good movie).

On Nomination Eve, it’s hard to express how I feel about the 10-movie best picture category. At first, I was okay with it. Looking back at 2009’s output, I think they waited a year too late for it. I guess that was the point. 2008 dished out a number of worthy best picture nominees that could have easily filled a list of 10.

Doubt,, The Wrestler, Wall-E, The Dark Knight and Gran Torino likely would have rounded out last year’s list had they instituted the format. Including three high grosser and crowd favorites, the show would have seen a higher rating than it actually got (its highest in years, thanks to Hugh Jackman’s performance and Bill Condon’s production).

Changes are often inspired by something, but you wonder why they didn’t just go ahead and do it anyway in 2008. Instead, we get it this year, and people are struggling to fill those five slots with credible competitors. Again, if this happened last year or the year before, we wouldn’t have any problem with it. But 2009 boasts a slew of good-to-really-good titles and just a few great ones.

I’d argue we typically see at least 10 great movies per year, but 2009 is unique. To reward lesser-known “indie” titles would stray from the basic idea of adding five nominees in the first place. They mean to nominate familiar movies that America wants to see in the running. That means nominating dollars.

If Star Trek gets nominated, I at least hope it’s over District 9. Rather than rewarding the genuine quality of a film, the Academy has tended to nominate based on symbolism and statements on the industry over the past few years. While a really strong movie, Slumdog Millionaire representing a mixture of cultures and developed a seemingly lasting relationship between Hollywood and Bollywood. Chicago marked the official return of the musical at the Oscars (even when they tried to reward the annoying Moulin Rouge).

The Academy likes to break barriers and acknowledge artists who attempt to do so, too. In no way does Sandra Bullock deserve to win an Oscar for her good enough performance in The Blind Side. In the past, the film and performance would have been ignored this time of year. It might get some Golden Globe consideration and would run away with a People’s Choice Award.

But these days, people don’t ignore box office. The film has grossed over $230M, on top of Bullock’s already strong box office year with The Proposal. Plus, apparently, she’s playing against type. Whatever that means. Basically, it’s a perfect opportunity to put another star on the Kodak Theatre stage. Others might argue it’s a weak field for best actress this year anyway. Those people haven’t seen Gabby Sidibe in Precious.

Best Picture is a tough race to call after the six titles that are virtually guaranteed nominations. Avatar, The Hurt Locker, Inglourious Basterds, Up in the Air. Precious and Up can book their tickets. They’re in. After that, it’s shaky. A lot of movies have lost a lot of steam thanks to Avatar’s historic success as well as limited distribution.

Will we see more mainstream titles beyond those six? Personally, I think if The Hangover makes the cut, the new system will have failed. But it was a top-grosser, and anything is possible.

NOTE: Predicting the nominees is HARD. I do not anticipate getting this 100 percent correct. I feel very comfortable with the favorites, but the fringe nominees are tough. Please wager your guesses below!

BEST PICTURE
Avatar
The Hurt Locker
Inglourious Basterds
Up in the Air
Precious
Up
An Education
Star Trek
(500) Days of Summer
Either: The Blind Side, District 9, The Hangover, A Serious Man

BEST DIRECTOR
James Cameron, Avatar
Kathryn Bigelow, The Hurt Locker
Quentin Tarantino, Inglourious Basterds
Jason Reitman, Up in the Air
Lee Daniels, Precious

BEST ACTOR
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air,
Jeremy Renner, The Hurt Locker
Colin Firth, A Single Man
Morgan Freeman, Invictus

(I think either Michael Stuhlbarg or Matt Damon could sneak in instead of Morgan Freeman)

BEST ACTRESS
Sandra Bullock, The Blind Side
Gabourey Sidibe, Precious
Carey Mulligan, An Education
Meryl Streep, Julie & Julia
Helen Mirren, The Last Station

BEST SUPPORTING ACTOR
Christoph Waltz, Inglourious Basterds
Stanley Tucci, The Lovely Bones
Christopher Plummer, The Last Station
Matt Damon, Invictus
Woody Harrleson, The Messenger

(Christian McKay could sneak in for either Plummer, Damon or Harrleson; Alfred Molina maybe as well?)

BEST SUPPORTING ACTRESS
Mo’Nique, Precious
Anna Kendrick, Up in the Air
Vera Farmiga, Up in the Air
Penelope Cruz, Nine
Melanie Laurent, Inglourious Basterds

(Laurent is a gamble, but I’m sticking to it; could be either her or Diane Kruger, but why not risk it?)

SNL: Jon Hamm/Michael Buble

Saturday Night Live

January 20, 2010

Host: Jon Hamm

Musical guest: Michael Buble

Wow, we got our first truly solid SNL episode in a long time, though after watching Sigourney Weaver’s effort again, let’s give her some more credit.

I have a feeling Jon Hamm, if “Mad Men” stays hot and his film career sees a boost, will fall into the Alec Baldwin or John Goodman category after his second successful stint as host. The guy has plenty of versatility and obviously cares about the writing process. The digital short alone shows a rare dedication to the material from the host. Hamm really upped the ante on the front. You’d think Lorne Michaels would grant Hamm one show per season after these.

Unlike someone like Ashton Kutcher (who’s hosting for the fourth time this weekend!), Hamm has earned his shot at an annual gig. Kutcher’s episodes haven’t been terrible in the past, but Hamm raised the bar in the same vein as the Baldwins, Goodmans and Tom Hanks who put their all into each skit.

We only saw two sketches that could be considered weak, at least compared to the others, which were all strong.

Cold Open: This might be considered a “great” episode had the cold opening not been so flat. It’s official: SNL has FAILED with Obama. Armisen’s impression isn’t terrible, though it certainly isn’t great. It’s the writing. They haven’t found an angle yet, and it’s really hurting their ability to open the show with a bang. With one Scott Brown sketch, which we’ll get to shortly, they managed to create a stronger character than they have with Armisen’s Obama. I read an interview with Seth Meyers prior to the election that said he’d been working on his own Obama impression. Then Armisen got the job. So maybe it’s a casting issue, or Meyers is still disheartened by not landing the role. Either way, they’re typically dull.

Monologue: Great stuff. Draper is such a cool character, it’s fun to drop him in any scenario. Reminded me of “Mad Men” when Draper parties with hippie beatniks and still manages to have a good time. Nice touch with the Def Comedy Jam bit.

Don’t Make Me Sing: I might have started the show with the Scott Brown sketch, due to timeliness and overall strength, but I liked Kristen Wiig’s latest character. You can kind of hear a collective message board sigh when Wiig launches a new creation, but this time it kind of worked. Though it relies heavily on SNL’s insistence on catchphrases, it never gets old thanks to Wiig’s supporting case here. Nice costumes.

Sergio: Brilliant. I think this surpassed “Shy Ronnie” as best short of this season, though I’m also partial to “Jammie Party.” This really works as a short film, and it’s nice to see SNL get as weird as it possibly can. Almost reminded me of the Will Ferrell/Adam McKay writing era. You saw the last bit in the delivery room coming when they revealed them in a hospital, but that didn’t hurt the effect the joke had. Gets even more hilarious and bizarre with each watch. Instant classic.

Scott Brown: Awesome, thanks mostly to Hamm’s performance. The fantasy costumes were hilarious, especially the strange red, white and blue get-up during Pelosi’s turn. Loved the Barney Frank jab, as well as the old guy fantasizing a silent-era Scott Brown. Great concept, great execution. Phil Hartman would be proud of this sketch.

Weekend Update: Some good jokes, especially the cold swipe at Tim Tebow (“If he runs the option, you can bet he’ll keep it”). Highlight was Bobby Moynihan’s Snooki from “Jersey Shore.” This worked before, and I’m glad they brought it back when they did. Enough time had passed. The exaggerated spray-tan was hilarious, as was the orange cone with a poof prop.

Randy & Greg: Kind of lame, frankly, and not just because Kenan was in it. During the commercial tease, I saw the set and knew precisely how the sketch would go. They’d intro the show and say Greg isn’t an alien, followed by callers saying he’s an alien and his doing alien things. You’d think Bill Hader is above this type of sketch, but I get the feeling he’s a team player. It may be his idea, though. Liked Hamm as the Colts coach.

Hamm & Buble: Solid skit, referencing “Jon Hamm’s John Ham” from his last episode. I’d say this was even funnier, thanks to Buble’s asides, the best being when he described how Hamm roped him into the deal. “He asked, ‘Do you like money?’” Awesome.

Closet Organizer: Maybe my third favorite bit of the night. Just when you thin Will Forte’s stock is going down, he pulls something like this out of his pocket. Wouldn’t mind seeing this again in a few weeks. I have a feeling we will anyway, given SNL’s repuation for re-using commercials.

Court Reporter: This was a miss, though Armisen’s first reveal promised otherwise. This sketch exhibited a few of Armisen’s weaknesses as a performer. The whole “I can’t find my crackers” thing was painful. His “Riley” sketch two weeks ago showed us how he can singlehandedly make a weird concept work, but this didn’t.

Closer Organizer Guy at Bar: I can’t recall the show referring to a previous sketch that same episode before like they did here. Right when Hamm said “You’re that Closet Organizer guy!” I knew the sketch was good. That might have even been enough for the whole skit, but I also liked how he tried to take him back home to organize his closet. Glad to see SNL doing something they’ve never done before.

Barnes & Noble: Not bad. Very simple idea without much flash. Didn’t go too far out there in terms of concept, and was as quiet as their typical short “ten to one” sketches.

Michael Buble: Never been a huge fan. Not sure why he’s compared to the likes of Sinatra (perhaps just in style) or even Harry Connick Jr. He certainly redeemed himself during his one sketch appearance.

Overall: Great show. Glad to see it’s still got it from beginning to end at least once a year. Will look forward to seeing Jon Hamm announced as the next host from now on, like I did last time. Just maybe not January Jones. I wonder if Hamm will get movie deals for comedies out of these performances.

Grade: A

Cast MVP: Hamm, actually

Can you borrow my stuff?

Can you borrow my stuff?
By Ben Flanagan
Ben Around
January 29, 2010

Remember on “Seinfeld” when Kramer finally gave Jerry his Walkman (yes, it’s dated) back broken into several pieces? Without maintaining eye contact, Cosmo said “Oh, hey, and by the way, uh, that Walkman was broke when you gave it to me.”

Haven’t we all encountered that friend we specifically never want to lend anything to? Nevermind valuables like Walkmen, DVDs, records or laptops. We might night even consider eggs and milk. We just know we can’t trust them. Don’t expect them to return the favor. That’s not part of the deal. We just want our items back intact.

Let’s recall the many times our buddies return a DVD after they’ve had it for several months or even, gulp, over a year. It’s happened more than once now when I’ve gotten back an empty case. That’s right. No disc. People simply refuse to follow DVD etiquette. When they switch movies, they take a disc out and leave it sitting bare on top of the television or player. The potential for scratches to somehow appear fade away to the back of their minds, failing to even amount to afterthoughts.

I’m guilty, yes. I’ve kept a friend’s movie for exorbitant and embarrassing lengths of time, reflecting just the type of borrower I can’t stand. But I don’t scratch or lose the disc. At least I don’t do that. A co-worker loaned me “Beerfest” with the idea that I might watch it overnight. Nearly eight months later, I finally handed it back without having watched as much as the DVD menu.

That same friend did my soul a favor by handing me his “Rambo” trilogy box set, which I honestly needed to watch for a college class. Again with the eight months or so. Never watched part three. Sorry, Sly.

I still have a friend’s “Best of Ennio Morricone” CDs he loaned me in high school. I won’t tell you when I graduated. I even still have a neighbor’s copy of “G.I. Joe: The Movie.” Yes, the animated version. Had to gear up for the crap we saw in theaters last summer.

With much regret and shame, I apologize to those I’ve wronged. The few times it does happen, though, what I borrow always returns unscathed.

To my chagrin sometimes, I love lending things to people. Typically, I’ll recommend a movie and loan it off as an act of good faith. Good friends look out for one another. It’s like a chef who wants to see the looks on his friends or customers’ faces when they take their first bite of what he’s cooked. You get a certain satisfaction when somebody confirms your suspicion about a band or a filmmaker.

As my own DVD collection continues to grow (though it has hit a bit of a snag due to contemplating the purchase of Blu-ray), I’ve pondered administering property damage or late fees. Why shouldn’t we? We build these collections to preserve the arts we hope to use again in the future. When we ask our friends, “By the way, where’s my White Stripes CD” and their response is, “What White Stripes CD?” should we resist the urge to explain with our fists?

It doesn’t stop at petty pieces of entertainment. People tend to harm or run off with large pieces of equipment that you sadly cannot repair on your own. And they offer little to no explanation for what exactly happened while it was in their perilous possession. During my “I Want to Be A Drummer” phase, a flaky drummer friend of mine in desperate need of a high-hat borrowed mine for a gig one night. A few hours later, I got it back in pieces while the guy scratched his head with a pathetically insincere “It was like that when you gave it to me” look.

Once I loaned a friend my dad’s lawnmower to quickly cut his yard on a Saturday morning. The second we got it back, my dad decided to cut his own grass. He pulled and pulled to start the engine, and what do you think happened? Putters. I would have to do my best Carl Childers and tell him, “It ain’t got no gas in it,” but I feared we had a worse problem on our hands.

Not even the folks I vouch for come through when they “desperately” need to borrow something they’ll have “right back” and “in one piece.” If not our own family or our closest friends, on whom can we rely? Take it upon yourself to take extra special care of the item someone has so generously loaned you. What would you want them to do?

Oh, Lord. I just remembered a friend borrowed my copy of “Inglourious Basterds.” D’oh!

Drive-By Truckers and The Dexateens tomorrow at the Jupiter Bar and Grill: Guitars, guitars and more guitars! These beloved Southern rock bands will tear the Jupiter apart tomorrow night, highlighting the spring music calendar thus far. Fans rarely say anything negative about a live experience from either band, so why not make it your first time. I’m ashamed to admit I’ve never seen The Dexateens live, which I understand is a cardinal sin for a local music fan. We should all have something to look forward to, right?

WKTD and The Simpletones tomorrow at Egan’s: More original music with no cover charge. If you’ve never caught a show at Egan’s, just about any night would give you a nice introduction to a venue that readily supports all local music. Never discriminatory towards any genre, this crowd favorite always promises something new, which is refreshing. Now about that smoke…

‘Edge of Darkness’ at the Cobb Hollywood 16: Mel Gibson returns to acting in this conspiracy thriller directed by Martin Campbell (“Casino Royale”) and written by William Monahan (“The Departed”). The pedigree suggests a must-see, but why-oh-why did this get deserted in the “dead zone” of the movie season? January through April rarely gives us anything halfway meaningful, and it’s hard to think of many exceptions. But with Martin Scorsese’s “Shutter Island” on the horizon, it’s clear that Hollywood also makes mistakes.

Booked: George Lucas's BLOCKBUSTING

About as handy as the annual Leonard Maltin Guide, George Lucas’s Blockbusting is a handy archive full of useful information for folks who love all things movies. A great reference book that offers some terrific background stories behind Hollywood’s biggest productions (though some may borrow from IMDB Trivia pages or even Wikipedia), it’s Lucas’s best achievement since Return of the Jedi. I’m not kidding.

Listen to his “Fresh Air” interview, which aired on NPR earlier this month, here.

Does Bullock deserve Oscar? (the answer's 'No,' btw)

Not to sound like a crusty movie curmudgeon, but I can’t believe Sandra Bullock will likely win the Best Actress Oscar her sufficiently serviceable performance in the buttery football smash The Blind Side.

Not to say Bullock isn’t capable of one day turning in work worthy of a nomination or win, but the recent sequence of her precursor wins are a result only of the film’s impressive box office run. So far, it’s grossed over $230 million, thanks in large part to Bullock, who also delivered dollars with last summer’s The Proposal.

Bullock’s victory speeches have been humble and, as expected, quite appealing, so voters won’t mind sending the pretty movie star back on stage for a few more laughs.

But why would Academy voters, who tend to know good enough movies and reward performances based on artistic merit over financial impact, give it to a fun but just okay performance? Interestingly, former favorites Carey Mulligan (An Education) and Gabby Sidibe (Precious) have been all but forgotten, making way for a showdown between obligatory nominee Meryl Streep (Julie & Julia), who I don’t think can win, and Bullock.

I suppose 2009 is a rare season when commerce reigns supreme over awards. Avatar’s Golden Globe win might have put the James Cameron pic in the driver’s seat to win the best picture Oscar, but let’s hope not. Some say the win would be “good for the town and industry,” but I’d argue its record-breaking box office numbers are good enough. It doesn’t need major Oscars to reinforce its meaning. It’s only barely good.

Once frontrunners, The Hurt Locker and Up in the Air must now settle for consolation prizes (director, though not really a consolation, for Kathryn Bigelow; screenplay for Jason Reitman), due to their rather underwhelming receipts (comparitively speaking, of course).

SAG rewarding Inglourious Basterds with its top prize reassured the Quentin Tarantino WW2 film it’s still in the race, and Christoph Waltz is a virtual lock for supporting actor. You’d think that would mean a win for the good guys, the smaller picture financed by the Weinstein Company. But don’t forget Basterds cleaned up with over $300M worldwide.

With Bullock, Avatar and The Hangover winning their meaningless major categories, are the Globes indicative of what Oscar might reveal. Will those results render the already near-pointless Academy Awards even more pointless and stupid? Perhaps.

What hurts the most is that this is almost a guarantee by now. Hopefully, we can’t say the same about Avatar.

Conan is NBC's loss

Conan is NBC’s loss
By Ben Flanagan
Ben Around
January 22, 2010

NBC’s dismissal of Conan O’Brien as host of “The Tonight Show” will make history as one of television’s ugliest behind-the-scenes disputes and biggest blunders ever. Due to impatience and blind loyalty to Jay Leno, NBC president Jeff Zucker will rid his network of one of comedy’s brightest minds and nicest guys, attempting to regain the ratings title and preserve the show’s past dominance of late night television.

The decision kills me as a staunch Conan supporter throughout the years. Ever since I started staying up late enough to catch whatever I could back in the early to mid-90s, “Late Night with Conan O’Brien” was always on the radar. Leno and David Letterman might have booked glitzier guests, but their lengthy monologues and stale interviews bored me. Conan, on the other hand, made me laugh. Designed to appeal to younger audiences, he did just that, and his previous record of working with my favorite shows like “Saturday Night Live” and “The Simpsons” didn’t hurt either.

Irreverent college humor past midnight with Triumph the Insult Comic Dog, Preparation-H Raymond and a certain self-pleasing bear might not have translated well enough to a more conservative “Tonight Show” crowd, but I was on board. Five years ago, I was shocked and excited to hear that NBC would anoint Conan as the heir to the coveted late night chair, successfully occupied by the bluer-collar shenanigans of Leno. I didn’t really believe it, though. Leno was peaking as the host, dominating CBS and Letterman at the ratings game, so it didn’t make a bit of sense that they’d shut him down in the first place. Leno likened it to a football team suddenly benching a quarterback who throws nothing but touchdowns.

That may be, but NBC made a decision it should have at least stuck with for at least once calendar year. Instead, an embarrassed O’Brien shamefully exits his new and extravagantly constructed studio after only seven months. Seven. Remember when Jay Leno took over the gig for Johnny Carson back in 1992? Ratings slid, reviews weren’t kind. But NBC gave Leno 18 months to strengthen the programming and win over the key demographics. Woulda, coulda, shoulda, but I’d bet Conan wouldn’t have even needed a year. Audiences would have realized the crotchety Letterman was losing his love for the business and resorting to lazy and cruel humor, not to mention his string of moral issues that wouldn’t charm the likes of Leno’s middle-America audience.

Rewarding Conan with “The Tonight Show” was a win for the nice guy who didn’t buy into the cruel, ugly, backstabbing nature of show business. For once, the nice guy didn’t finish last. He’d earned the right to entertain a larger audience at an earlier time. But lower ratings upon an initial reaction prompted Jeff Zucker to change his mind and give the show back to Leno. They never really gave Conan a fair chance anyway, given that they booked Leno during a nightly primetime slot leading into the local news and establishing an earlier, staler diet “Tonight Show.” Horrible reviews and putrid ratings for Leno didn’t influence Zucker to can Leno altogether (although Leno should have gracefully exited the stage for good, or at least stuck to hosting live, high-paying gigs in Las Vegas).

Now NBC wants Conan out and Jay back in, like nothing ever happened. Only Conan quit “Late Night” and moved himself and his crew out to Los Angeles to start new lives. Normally, I don’t feel bad for entertainers at that level, given they’re wealthy enough and can always find work. But, as we read in Conan’s classy public letter to concerned parties, he personally revered the legacy of “The Tonight Show” and didn’t want to further tarnish it. He told NBC it could take their idea to bump the show back a half-hour to make room for Leno again and shove it you know where.

But what is that legacy anymore? With Leno, Letterman, O’Brien, Jimmy Fallon, Jimmy Kimmel, Craig Ferguson, Jon Stewart, Stephen Colbert and, cough, Carson Daly (OK, we won’t count him), do audiences still hold that property in the same regard it once did when Carson ruled the airwaves?

One telling part of Conan’s letter expressed how he didn’t want to push his show back because not only would it diminish the legacy of the show itself but it would also potentially harm Jimmy Fallon’s program. You have to wonder if Leno would have done the same for Conan in a similar situation. At this point, after NBC came to him and said, “We’ll give you back the show, but that means we likely fire Conan,” we know Leno agreed behind closed doors. Now we know who the real snakes are.

Even if Conan O’Brien is paid upwards of $40 million to exit “The Tonight Show,” and even if he lands a late night gig with Fox and takes over the entertainment world once and for all, we will forever remember when he was undeservedly screwed by his own network that housed him for nearly 20 years.

Shame on you, NBC.

Soweto Street Beat tonight at the Bama Theatre: This South African dance troupe should at least get your body moving while also opening your mind to new cultural expressions meant to enliven the soul. Designed to encourage students to appreciate other cultures and develops an interest in performance art, the show should also spark dialogues among people seeking outlets to learn about the rest of the world.

Ann Arbor Film Festival tomorrow at the Bama Theatre: An internationally revered film series, the Ann Arbor fest showcases all sorts of stories, be they experimental narratives or hard-hitting documentaries. Those subscribed to the Bama Art House series are automatically given free admission to this traveling festival, so that’s quite a deal.

‘Bright Star’ next Tuesday at the Bama Theatre: The second film in the Bama Art House series, this is a one-night occasion, so don’t let it pass you by. Oscar-nominated director Jane Campion (“The Piano”) helms this critically acclaimed period romance about poet John Keats starring Abbie Cornish, Ben Winshaw and Paul Schneider.

Date night: 'The Road' starting in Bham Friday

The film adaptation of Cormac McCarthy’s ultra-bleak novel will arrive in Birmingham Friday at the Lee Branch Rave Motion Pictures theater.

Glad that it could make it, but it’s awfully late. Had its widest release been more than 396 theaters, I think we would have seen more Oscar buzz for Viggo Mortensen. Consider it virtually gone now, perhaps a glimmer.

I thought its initial trailer looked solid, but I didn’t hear much after that. If only we all lived in New York or Los Angeles. Or, if only NY and LA had Tuscaloosa ticket prices. No one wins.

Bowled: Playoff vs. Current system

I’m torn about it. Usually, I’m a playoff’s biggest advocate, but the more I watch the painfully boring NCAA basketball regular season, the more I cherish the FBS regular season.

There are two perfect systems in sports: the FBS regular season and the NCAA basketball tournament.

If we can ever figure out how to combine the two, we’ll be set. College football’s postseason is a joke. We sacrifice our minds and bodies as fans throughout the grueling, all-important regular season, and then we’re met with an anticlimactic “showdown” between two teams the BCS assumes are the best in the nation.

The fact is, it only truly works when we have two undefeated teams. If there are more than two legitimate undefeated teams, the BCS has failed.

That leads to an important question: What makes a legitimate team, and why does their undefeated team qualify them to play for the title? I don’t know. Normally, we reward the SEC, Big 12, Big Ten, Pac-10, ACC or Big East. But what about the Boise States, TCUs and Utahs who make it through unscathed and prove themselves in BCS games against legitimate opponents from those major conferences (okay, maybe not TCU).

A sports talk DJ said SEC fans should shut their mouths when they clamor for a playoff because the SEC championship has become a “de facto” national title semifinal game.

But the SEC has only become a de facto semifinal because Florida happened to SQUEAK its way into the BCS title game and blow Ohio State out (when the media was crying from an OSU-Michigan rematch), and then LSU happened to SQUEAK its way into the title game with two losses and blow OSU out, too. At that point, the college football world assumed the SEC was an automatic qualifier; once an SEC team loses a title game (or gets blown out) that’ll change.

Tell Auburn to shut their mouths. I may not like them, but they were an undefeated SEC champion in 2004 and settled for the Sugar Bowl where they beat Virginia Tech to keep a perfect season. Just because USC and Texas were also undefeated and better-liked by the media, Auburn got shafted. Yes, USC soundly beat Auburn the year before, but one loss shouldn’t justify that outcome. After the past four years, when the SEC has annually dominated the BCS title game, can you imagine an undefeated SEC team getting shut out of the big game? No. The BCS failed in 2004. Period.

You could argue it failed this year, too. Boise, TCU and Cincinatti all did what they had to do, but so did bigger programs like Alabama and Texas. Maybe those schools should schedule better and more non-conference opponents, and maybe Boise shoud win even more BCS consolation games.

Alabama fans who once lobbied for a tournament might be reticent to do so now since the system worked in their favor in 2009. It shouldn’t change their minds.

The fact remains that the current system is flawed. Maybe we’ll never see a perfect college football postseason. I just hope in my lifetime that I see something progressive happen.

Best supporting acting in 2009?

My favorite Oscar category looks to be the most predictable of the year. Best Supporting Actor/Actress often sparks the most interesting races and clues audiences in on great performances deserving of extra attention. Quite often, too, it highlights actors and roles we wish more people knew about.

This year, Christoph Waltz and Mo’Nique will win the supporting acting Oscars, and deservedly so. I can’t recall when both categories became such early runaways the same year. Obviously, Heath Ledger had no worthy competitor in 2008, the same with Javier Bardem in 2007. Dominant showcases during awards seasons aren’t unheard of, but the more competitive the supporting actor race is, the more intrigued I am.

But I can’t dispute the fact that Waltz not only will won but also deserves the trophy. In fact, I’d find it quite difficult to even think of another 2009 supporting performance that closely measured up to what he accomplished in Quentin Tarantino’s Inglourious Basterds. The same could be said about Mo’Nique’s ferocious and sad portrayal in Precious.

I would like to run down my favorite supporting performances, along with those, of this wonderful year at the movies. They include fairly obvious choices as well as performances I simply dug, some in good movies and some in only pretty good ones.

I must warn you that I’m a big fan of IB, so my inclusion of so many of its actors might seem biased. But I stand by the picks as samples of 2009’s finest work and independent parts of a uniquely brilliant acting ensemble.

I’d like to hear about your choices as well. Even if they are questionable.

Best Supporting Actor:
Christoph Waltz (one could even argue that if you were to choose a “lead” performance in his film, Waltz might be the fair choice, given that he has the most screen time of any individual character; still, we have an ensemble piece here, so any actor qualifies for a supporting role; I do believe others qualify Melanie Laurent’s as a lead role, but it’s certainly debatable), Inglourious Basterds: Well, duh.

Jackie Earle Haley, Watchmen: Never forgot Haley’s brutal Rorschach in one of 2009’s most polarizing efforts that gave us only one piece of consistency for nearly three hours. Haley tore the scenery apart, and behind a mask, though his finest moment arrived when the mask came off. I hardly felt as exhilarated at the movies this year as I did when Rorschach beat his fellow inmates up in the lunch line and reminded them what was what. I’ve still only seen this once.

Daniel Bruhl, Inglourious Basterds: Criminally underrated and totally overshadowed by Waltz’s more showy role, and that’s okay. Bruhl delivers a perfect subtlety to an entirely fleshed out character, a Nazi the film forces us to care about and ultimately root for. Bruhl is a pro.

Michael Fassbender, Inglourious Basterds: All three of Fassbender’s scenes tell us precisely why Tarantino trusted him with some of his finest dialogue ever, though it’s interesting to picture the director’s original choice, Simon Pegg, as Lt. Archie Hicox. Thankfully, Pegg backed out and allowed Fassbender to step in and kill it. Partly responsible for two of my favorite scenes of the year, the now-famous tavern scene and the chummy British meeting with the equally brilliant Mike Myers and Rod Taylor.

August Diehl, Inglourious Basterds: I’ll put my gushing on hiatus, at least until we switch genders, but let me note Til Schweiger, Gedeon Burkhard, Sylvester Groth, Jacky Ido Denis Menochet and Martin Wuttke as actors who stepped up their game to create a fantastic world of film I never wanted to leave. But let’s spotlight Diehl’s smarmy Gestapo officer with an ear for accents and slanted interpretation of King Kong. We’ve been scared of Tarantino’s characters before, but I don’t know that I’ve ever felt as tense based on one character’s potential actions as I did with Diehl’s evil Nazi bastard.

Zack Galifinakis, The Hangover: Easily the most valuable player in a rather overrated comedy (pardon me, Golden Globe best picture winner), Galifinakis was a risk director Todd Phillips took that happened to pay off thanks to raw comedic talent. An idiot but ultimately likable character among a band of douchebags we’d never want to party with.

Eric Bana, Funny People: A wonderful performance in an underrated movie, but in an admittedly useless section of the film. Bana, finally donning his natural Australian accent, lets loose as a footie-obsessed, loving husband who happened to screw up one time. Arguably the strongest part of Apatow’s flawed but enjoyable dramedy.


Best Supporting Actress:
Mo’Nique, Precious: A thunderous performance, the comedienne is certainly all she’s cracked up to be, as is her final bravura scene that will win her the Oscar. Don’t let your preconceived notions based on her previous comedy work influence how to take in this genuine performance of a tortured, angry woman.

Melanie Laurent, Inglourious Basterds: The backbone of Tarantino’s war epic, Laurent brings us back to Earth while we’re having fun with the Basterds and reminds of the tragedies suffered by the Jewish people. Tarantino may twist history inside and out, but he lays out a scheme of what people wished would have happened so many years ago. Laurent’s poise and hidden terror is beautifully on display during the uncomfortably delightful strudel “interrogation.” Can’t wait to see more from her.

Diane Kruger, Inglourious Basterds: No longer just “that chick from Troy, Kruger earns her money in Tarantino’s universe as the charming, eager and perhaps overzealous German movie star Bridget Von Hammersmark. A double agent to the fullest extent, Kruger travels a bit too far down the rabbit hole when there’s just no turning back. Well done.

Lorna Raver, Drag Me to Hell: Scariest toothless gypsy psychopath ever? Definitely. Her and Alison Lohman’s fight in a tiny car is a brutal sequence full of broken glass and pulled hair. Always a freaky presence that terrifies us for an hour and a half, Raver is put through hell well before Lohman’s cursed character. Thank goodness Sam Raimi jumped out of us funk.

Melanie Lynskey, The Informant!: Sweetly naive and ultimately dopey for even marrying Mark Whitacre, Lynskey shares perfectly nuanced moments with Matt Damon’s mysteriously goofy corporate criminal. Also seen in Up in the Air.

SNL: Sigourney Weaver/The Ting-Tings

Saturday Night Live

January 16, 2010

Host: Sigourney Weaver

Musical guest: The Ting-Tings

Let’s keep this relatively short. We didn’t see much to revolutionize SNL, but I’d say we got one of the better episodes of the season. I didn’t review last week’s Charles Barkley edition, and I probably won’t. In short, I thought Barkley was actually really good. He’s achieved a similar status to Christopher Walken where he’s bizarre and naturally enough where generally anything he does can make us laugh. Either way, I laughed enough last week to justify calling it a good episode. Favorite sketch that night: Reel Quotes, along with the digital short “Booty Call,” which is great.

Again, this week, while not particularly tremendous, I admired Weaver’s willingness to get fairly weird in some questions. She was game, and I’m proud of her for that, at least. We don’t see many women her age hosting SNL, for whatever reason (of course, we know the real reason), so that was refreshing.

I wasn’t particularly impressed with the show’s continued reliance on recurring material. This season, it’s been guilty of revisiting sketches and characters that are still fresh in the minds of viewers. Perhaps that’s the point of the repetition, but I personally like a little more time to breathe in between. Seeing some sketches three times in five or six episodes doesn’t do it for me. In fact, they’re not even attempting to hide their laziness. To me, it’s worse than showing one of their fake commercials back to back.

Cold Opening: Consider SNL’s take on the Conan/Leno fiasco a failure. They always look for topical situations to headline their show, and they’ve bungled this. I wanted to see hader as Conan and Sudeikis as Leno, but we instead got Darrel Hammond in another sad impersonation cameo. Armisen’s Larry King is fun, but the sketch often becomes centered on him instead of what they were discussing. The late night thing was more important than how old King is (leave that to Conan). That’s why this skit failed. Oh well. Also, Will Forte as Carson Daly made no sense. Might have been better if they got the real Carson Daly for that gag.

Monologue: Kind of dull with some fun moments. Kind of like a talk show monolgue. Not much happening other than talking, but at least she didn’t bomb with some dumb concept.

Grady Wilson’s Fifty and Freaky: Wasn’t impressed the first time or this time. No, I don’t like Kenan, but if he does something funny, I’ll give him credit. Any laughs here came thanks to Weaver’s moments, although I did like it when it cut back to the two of them the first time, and Kenan expressed his excitement. Please don’t do this again. I don’t like seeing Kenan in his boxers.

Summer’s Eve Lady Stars of Darts Championship 1988: Too soon for another one of these, and the joke never changes. Will we forever laugh at rhyming puns about female problems? Maybe, but I’d still give it some time to marinate. Lorne Michaels, this one’s on you. Even the studio audience moaned through it.

Digital Short: Lazer Cats 5: Great. Nice to see James Cameron playing along (reminiscent of his MTV Movie Awards appearance when Ben Still and Vince Vaughn pitched him a Titanic sequel). These are a great tribute to no-budget, homemade filmmaking. Loved the toilet-swirl transition and the cat busting through Weaver’s stomach. Weaver as Ripley again?! No way! Best Alien movie since Cameron’s Aliens.

Disco Booty Junction: Miss. Some of the Weaver/Wiig moments were funny, as was some of the April/Cream material, but this just didn’t deviate enough from the tired “Deep House Dish” format. Nice moment from Kenan when he first got frustrated with the duo’s antics.

Weekend Update: Okay, though I’m disappointed overall in SNL’s take on the “Tonight Show” debacle. I know they’re NBC and they have to be careful with how they attack their own network, but look at Conan’s treatment of the situation. He is BLASTING NBC. Seth Meyers’ cute little analogy didn’t do it for me. Abby Elliot’s Meryl Streep was okay, but Elliot is becoming a bit of a gimmick. She may have a knack for celebrity impersonations, but it looks like she’s running out of ideas. Samberg’s goose bit was okay.

Avatar: This was good, kind of topical. I’m guessing Hader had a big hand in writing it. Sudeikis put a nice tough on the nerdy technician. Things got a little strange when she grabbed the large piece of fruit, but that’s just where you have to take a sketch sometimes. Was it me, or did Nasim Pedrad actually look a lot like Ney’tiri, and how lame is it that I know how to spell that? Did Cameron need mo-cap after all? Hader’s fake legs were sick but hilarious.

Riley: I honestly don’t know what to think about this, but my gut tells me it’s funny. Kind of pulls off what Gilly never has. Armisen’s naturally gifted and can make something terrible fairly decent. I felt like an dumbed-down, easy audience member when I laughed every time he said the word “Bitch!” but it just worked for me (not like when the audience sounds like canned laughter each time Kenan repeats the same joke over and over during the old man sex tips sketch). The bags and hats weirded me out, though not in a terrible way. What is this character supposed to be? I guess as long as it makes me laugh, I don’t care.

Internet Buzz: Funny stuff about someone discovering the Internet for the first time. Is this how we all felt? Good writing, though Hader and Wiig’s straight-men roles didn’t add much other than filler. Weaver is especially good here.

Fire & Rice: I’ll have to get back to you on this.

The Ting Tings: Late to this party, and I know the song is old, but I was blown away by their first song, “That’s Not My Name.” Not sure why it had such an affect on me (and I bet you’re not either), but I found it incredibly unique and, quite simply, rather pretty. To get local for a moment, it reminded me of some experiences I had in Tuscaloosa at the old all-ages venue The Concourse, where you could see unusual and experimental indie bands that at least offered something new and interesting. I think if I saw The Ting-Tings there, it would have knocked my socks off. That’s kind of what happened here. I’m paying attention now.

Grade: B/B+

Cast MVP of the night: No one really stepped it up this week, but I guess I’ll go with Armisen or Hader, both dependable.