Box Office Results: 9/24 Update

1. Iron Man 3=$714,713,994 ($500 mill)

2. Despicable Me 2=$664,030,820 ($190 mill)

3. Fast and Furious 6=$388,679,850 ($400 mill)

4. The Croods=$247,681,807 ($337.5 mill)

5. Monsters University=$236,240,988 ($500 mill)

6. The Conjuring=$235,825,075 ($50 mill)

7. Now You See Me=$133,498,894 ($187.5 mill)

8. (+1) We’re the Millers=$130,064,568 ($92.5 mill)

9. (-1) The Heat=$115,174,180 ($107.5 mill)

10. Mama=$108,928,180 ($37.5 mill)

Iron Man 3 and Fast and Furious 6 ended their runs this past week.  I don’t think anything is going to beat Iron Man 3 for the #1 most profitable film of the year, and Fast and Furious 6 has a chance at remaining in the Top 5.  As for movement in the Top 10, We’re the Millers moved past The Heat to #8, and could make it to #7 next week.

NA. The Wolverine=$70,505,916 ($300 mill)

NA. Insidious Chapter 2=$42,225,781 ($12.5 mill)

NA. Lee Daniels’ The Butler=$34,520,110 ($75 mill)

Insidious Chapter 2 is moving up quickly, and Lee Daniels’ The Butler finally began its rollout in foreign countries.  Expect these films to get close to the $100 million profitability mark in the next few weeks.

NA. Prisoners=$-92,982,947 ($115 mill)

NA. Battle of the Year=$-45,396,823 ($50 mill)

Battle of the Year is a complete bomb.  While Prisoners currently is much farther in the red than Battle of the Year, it actually stands a chance at making profitability thanks to films of its genre having strong holds.

The Good, The Bad and The Ugly: 65th Primetime Emmys

It’s a day late, but here are my reactions to Sunday’s Emmys telecast:

The Good

-After four eligible seasons going through the Emmy process and coming home without the big one (and it definitely deserved it for its spectacular fourth season), Breaking Bad finally won Outstanding Drama Series.  Even more exciting, though, is that Vince Gilligan (one of the most interesting writers on television) and Michelle MacLaren (the best director on television) are now Emmy winners.

-Anna Gunn won!  Now I may not agree with the pro-Skylar contingent (I just think Skylar at many times is a character that the writers change just so she fits in with the current plot unlike with the rest of the characters who actually cause the plot to change around them), but Anna Gunn had an impressive season (at times outdueling even Bryan Cranston such as in the tape she submitted, “Fifty-One”)

-Abi Morgan’s win for Outstanding Writing for a Miniseries or TV Movie for her work on The Hour was easily the biggest surprise of the night.  The Hour was easily one of the most underrated dramas when it was on the air, but it was cancelled and seemed it would go quietly off the screen.  Yet it picked up one more Emmy nomination than it did for its first season and then followed that extra nomination with this win.

-I was really hoping that 30 Rock would take home Outstanding Comedy Series.  That didn’t happen, but it was nice to see co-creator and star Tina Fey get a consolation prize for Outstanding Writing for a Comedy Series.  “Last Lunch” may not have been her best work of the season (I prefer the much more meta ‘”Stride of Pride”), but it was undeniable that Fey deserved this one.

The Bad

-I was extremely happy that Breaking Bad won Outstanding Drama Series.  In fact, I was rooting for it to do so.  However, if I personally submitted a ballot for Outstanding Drama Series, I would have put Game of Thrones as #1.  It had the best season of last year’s television season.  Do you know how many major Emmy awards it came home with? Zero.  That’s right one of the first seasons of television to prove that it could go toe to toe (both in scale and in quality) with any movie came home with nothing to show for it.

-Modern Family won yet again.  In its first season and a half, Modern Family was a refreshing update of the mockumentary comedy genre.  Then something changed.  It seemed like everyone from the writing staff to the guest stars went on autopilot.  Yet it still wins a ton of Emmys.  It’s time for Emmy voters to stop pretending it’s still 2010 and realize that this is a show that is long past its prime.

The Ugly

-The Emmys telecast was awful.  It was probably the worst Emmys telecast I have ever witnessed.  It would probably be easy to blame the usually reliable Neil Patrick Harris due to his disappointing performance as host, but this telecast had problems all the way down to its core.  From the very beginning this seemed like a wake with random bits (Elton John’s Liberace-inspired performance, the choreography bit) placed in to not allow it to become to bleak.  This telecast completely forgot that it was honoring television to the point that there were very few clip packages at all (and somehow the drama categories got completely exempted from the few clip packages that were allowed on the air).

-Just like the Creative Arts Emmys, I had a terrible time with my predictions.  I ended up going 12/26 (46.2%).

List of Demands: 65th Primetime Emmys

We are so close to the big night (well not big enough that I would watch it over the penultimate episode of Breaking Bad).  That's right the Emmys ceremony is tomorrow night.  Here's what I hope to see Emmy voters voting for:

1. Breaking Bad or Game of Thrones Wins Drama Series

Breaking Bad is the criminally overdue series.  Game of Thrones aired the best season during the Emmy eligibility.  There's no reason why one of these shows can't win Outstanding Drama Series.  The two biggest competitors to these series our Homeland (which, let's face it, is an inferior show of the same exact genre as Breaking Bad) and House of Cards (which is only this close to a victory in this category because of it's starry cast and crew and the streaming platform that it calls home) so let's hope voters get it right.

2. Jonathan Banks and/or Anna Gunn Win

For the first time in the series history, the rest of the cast of Breaking Bad finally caught up to Bryan Cranston (well Aaron Paul has always been on his level and Giancarlo Esposito was quite strong in season four) in season five.  Hopefully, two of the best performances (possibly the best two) of the Emmy eligibility period are rewarded.

3. 30 Rock Wins Something

30 Rock had one of the best final seasons in recent memory, and it would be a shame if it went home with just a casting award.  So whether it's for directing, writing, supporting actress, lead actor, lead actress or even comedy series itself, I'm hoping 30 Rock wins something big.

Drinking Buddies Review

            It is quite interesting to see the way in which we consume films over the past decade change, and it has changed drastically.  One of the biggest new avenues to watch films (especially new ones) is through Video On Demand.  While VOD has been around for a while it has never been taking advantage of by film studios until recently, and as more film studios have taken notice of VOD success stories (such as Margin Call or Bachelorette) it has gotten to the point that good options have become available on this platform.  I mean just earlier this year I watched a Terrence Malick film in my living room the same day it was released into theaters.  The greatest benefit of this format, though, is that it brings attention to films that I probably would have never watched in the first place.  The latest example of this is Drinking Buddies (the Olivia Wilde-Jake Johnson rom-com).  It seems like all of the attention that Drinking Buddies has received is because of its VOD release (other than the occasional critic who has raved about the film).  That’s a shame because Drinking Buddies is just as strong (if not stronger) than most films that will get nationwide releases.  Drinking Buddies is, quite simply, a fantastic deconstruction of the friends falling in love subsection of the romantic-comedy genre.

            Drinking Buddies follows Kate (Olivia Wilde), an employee of a beer distribution company, and her co-worker Luke (Jake Johnson) as they both hit turbulent times with their relationships with their new boyfriend (Ron Livingston) and soon-to-be fiancée (Anna Kendrick), respectively.  The film is directed and written by Joe Swanberg (who’s most high-profile work so far was directing a segment of the independent horror anthology film, V/H/S).

            This film is a major success and a lot of that has to do with Swanberg’s script.  Swanberg takes a realistic approach to writing these characters (I wouldn’t be surprised at all to learn that Swanberg had the actors ad-lib their dialogue), and he makes sure to point out that these people are fallible.  Yet Swanberg makes sure to make everyone likeable, which just makes their inevitable mistakes that much more difficult (in a good way) to watch.  It was also really surprising to see where this film ends up in the final act.  Instead of just ticking of the usual rom-com clichés, Swanberg takes the plot in an interesting direction that seems completely fresh.  Meanwhile, Swanberg’s direction is sturdy enough that you will believe and will be able to handle the third act twists and turns.

            The cast is quite stellar as well.  I’ve never really found Olivia Wilde interesting.  It seems like in most of her projects she is cast because of her looks and because she is considered to be a rising star.  Here, however, she not only seems natural, but ends up giving the best performance in the film.  She is able to perfectly pull of the train wreck portion of her character while still being able to make her seem likeable.  Jake Johnson also makes a favorable impression (I don’t watch New Girl) and really handles the bigger role that he is required to take on in the film’s final act well.  Anna Kendrick is her usual self as she makes good use out of a role that would have amounted to nothing in lesser hands while Ron Livingston rounds out the cast in a role that needed a bit more screen time in order to leave an impression.

            Drinking Buddies is one of the best indie films of the year.

8.5/10

Final 65th Primetime Emmy Awards Predictions

OUTSTANDING DRAMA SERIES=Breaking Bad

Homeland is the incumbent, making it a huge threat to win, and House of Cards picked up a pivotal casting award at the Creative Arts Emmys (in addition to having the prestige factor and the Netflix factor, which has turned into a positive now that it has actually achieved the nomination).  However, Breaking Bad was the show of the moment when voting was taking place thanks to the marketing campaign for the final season and the first few episodes of the final season not only receiving critical acclaim but also being a pop culture phenomenon.

OUTSTANDING COMEDY SERIES=Modern Family

For a long time this has been a Modern Family vs. the field matchup that would inevitably favor the incumbent when facing so many competitors who are on equal footing with each other.  However, did a clear alternative emerge when voters gave 30 Rock a casting award at the Creative Arts Emmys?  This could be a nail biter.

OUTSTANDING MINISERIES OR TV MOVIE=Behind the Candelabra

This is a lock.

OUTSTANDING VARIETY SERIES=The Daily Show With Jon Stewart

I’m thinking that Jimmy Kimmel Live! (which has been everywhere as of late) and The Colbert Report (which is largely thought as overdue) cancel each other out, resulting in the incumbent winning.

OUTSTANDING REALITY-COMPETITION SERIES=The Amazing Race

This is a similar situation to the variety series category with The Voice (the hottest show nominated) and Project Runway (which picked up a nomination despite a submission mistake and picked up a surprise win for host) in the roles of Jimmy Kimmel Live! and The Colbert Report.

OUTSTANDING LEAD ACTOR IN A COMEDY SERIES=Louis C.K., Louie

Louie seems like it will win somewhere and C.K. has no clear alternative.  You need to have something major to get back to the podium after not winning, which should rule out Jim Parsons, and Alec Baldwin did not submit the 30 Rock finale (which could have been a winner for him).

OUTSTANDING LEAD ACTOR IN A DRAMA SERIES=Damian Lewis, Homeland

Damian Lewis is the incumbent and has a baity submittion tape.  His biggest challenger will be Kevin Spacey (whose high profile nature could be enough to get him past Lewis).

OUTSTANDING LEAD ACTOR IN A MINISERIES OR TV MOVIE=Michael Douglas, Behind the Candelabra

This is a lock.

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES=Julia Louis-Dreyfus, Veep

Julia Louis-Dreyfus is the defending champion, and you would think voters would want to reward Veep somewhere after giving it a bigger than expected nomination haul.  Her biggest competitor is Tina Fey (an Emmy darling who submitted a strong tape with the 30 Rock finale).

OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES=Claire Danes, Homeland

It seemed like Claire Danes would come into the ceremony as one of the biggest locks of the night, but Kerry Washington is coming on strong (she has received a lot of publicity for leading one of the only true breakout shows of the last few seasons and being the first African-American nominated in this category in a long time), and voters showed they are willing to vote for Scandal when they gave Dan Bucatinsky the Guest Actor in a Drama Series award this past week.  Nonetheless I still think Danes has too much of a baity tape to be beaten.

OUTSTANDING LEAD ACTRESS IN A MINISERIES OR TV MOVIE=Jessica Lange, American Horror Story: Asylum

This is a two-way race (and has been from the beginning) between Jessica Lange and Elisabeth Moss.  Moss may be overdue but Lange is an acting legend and is the incumbent.

OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES=Ed O’Neill, Modern Family

This is going to be between two Modern Family men: Ty Burrell and Ed O’Neill, and you know what?  This is a complete toss-up.  O’Neill is considered overdue, and that’s the only reason I’m picking him.

OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES=Jonathan Banks, Breaking Bad

Many Emmy prognosticators will have you believe that Mandy Patinkin is this category’s frontrunner, but he has burned quite a few bridges within the industries (Did we forget he couldn’t even get a nomination for the first season of Homeland, which ended up winning Outstanding Drama Series?).  I guess I will have to call him a major threat (because despite his many enemies within Hollywood he also has many friends), but I’m going with Jonathan Banks for a great performance on a show that Emmy voters like to give acting awards to.  Emmy darling Bobby Cannavale is also a major threat.

OUTSTANDING SUPPORTING ACTOR IN A MINISERIES OR A MOVIE=Zachary Quinto, American Horror Story: Asylum

Zachary Quinto is having quite the year.  He was in one of the most high profile blockbusters of the year so far with Star Trek Into Darkness and is currently appearing in a Broadway revival of The Glass Menagerie that received rave reviews in its original incarnation in the Boston area (which had the same cast as the Broadway version, including Quinto).  Having contacts in the film and stage industries will give him a big boost for a victory in this category.

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES=Julie Bowen, Modern Family

This is a weak category that will probably see incumbent Julie Bowen achieve victory again over Jane Krakowski (who has the strongest tape in the category, but probably only just eked out a nomination).

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES=Anna Gunn, Breaking Bad

This is another race that has been a two-way race from the beginning.  This has been between Anna Gunn and Maggie Smith.  Maggie Smith is the logical choice.  She’s the incumbent and is an acting legend (to the point that voters still vote for her with the knowledge that she will never show up to accept the award).  Yet my heart is swaying me to pick the strongest tape (and the best performance) in the category, which belongs to Anna Gunn.

OUTSTANDING SUPPORTING ACTRESS IN A MINISERIES OR A MOVIE=Sarah Paulson, American Horror Story: Asylum

This is a lock.

OUTSTANDING DIRECTING FOR A COMEDY SERIES=30 Rock

Emmy voters love to reward finales in the directing categories, which makes 30 Rock an obvious frontrunner.  Emmy favorite Louis C.K. could also win for Louie though.

OUTSTANDING DIRECTING FOR A DRAMA SERIES=House of Cards

David Fincher is the biggest name of the nominees for his work on House of Cards.  A casting and cinematography win at the Creative Arts Emmys also reveals strong support for the Netflix series.  If there is an upset and Fincher loses, Boardwalk Empire or Breaking Bad would be he beneficiary.

OUTSTANDING DIRECTING FOR A MINISERIES OR A MOVIE=Behind the Candelabra

This is a lock.

OUTSTANDING DIRECTING FOR A VARIETY SERIES=Saturday Night Live

This is a lock.

OUTSTANDING WRITING FOR A COMEDY SERIES=30 Rock (“Last Lunch”)

This will be a battle of the finales as I don’t see anything other than 30 Rock (“Last Lunch)” or The Office winning.  30 Rock’s major nomination haul and its Comedy Series nomination gives it the edge over its departing NBC brethren.

OUTSTANDING WRITING FOR A DRAMA SERIES=Homeland

This is a lock.

OUTSTANDING WRITING FOR A MINISERIES OR A MOVIE=Top of the Lake

I have a feeling that voters want to give a major award to Top of the Lake somewhere, and the writing category is where Behind the Candelabra looks weakest.

OUTSTANDING WRITING FOR A VARIETY SERIES=The Daily Show With Jon Stewart

If The Daily Show wins Variety Series it will also win this award.  If The Colbert Report wins this category it will be a sign that it will also pull of the upset in Variety Series.  Yet if Jimmy Kimmel Live! is going to win Variety Series you probably won’t know beforehand because I think The Daily Show still wins this category in that scenario.

OUTSTANDING CHOREOGRAPHY=So You Think You Can Dance (Travis Wall)

Although it didn’t win last year, Emmy voters like So You Think You Can Dance in this category, and Travis Wall is the only returning nominee from last year.

2013 Creative Arts Emmys: The Good, The Bad and The Ugly

The Creative Arts Emmys were held last night and here are the winners if you haven't heard about them already (courtesy of Gold Derby).  Here are some of my brief thoughts on the winners:

The Good
-The "Crystal Blue Persuasion" montage was a masterwork of editing.  Add in the prison montage and a jam-packed but exceptionally paced plot and there was no way that anything other than Kelley Dixon's work on Breaking Bad's "Gliding Over All" was deserving of the Single-Camera Picture Editing for a Drama Series award.  Luckily, Emmy voters did what was right.

The Bad
-Game of Thrones had the best season of television last year, and considering its immense scale and lavish production values it should have come home with a lot of awards last night.  Instead it came home with just a makeup and visual effects award while the great but less deserving third season of Boardwalk Empire came away as the big winner.

-Manhunt, the troublesome HBO documentary about the hunt for Osama bin Laden (you can see my numerous problems with it here), won for Best Nonfiction Special over much more deserving programs like Ethel.

The Ugly
-I officially suck at predicting these awards.  I went 20 for 72 which is a putrid 27.8% success rate.

List of Demands: 2013 Creative Arts Emmys

The 2013 Creative Arts Emmys will be held tomorrow night.  While they won't receive the same amount of attention that the Primetime Emmys Telecast will receive, they do produce a lot of interesting and deserving winners.  Here are the 3 things that I hope Emmy voters paid attention to:

3. The Hour Wins For Casting

The Hour was unceremoniously canceled after 2 seasons earlier this year.  Sadly, it got mostly snubbed for its first season (receiving only 1 nomination for Outstanding Writing for a Miniseries or TV Movie).  The nomination tally wasn't that much greater for its fantastic second season, but it did receive a nomination for Outstanding Casting in a Miniseries, Movie or Special.  The Hour stands little chance against miniseries/movie juggernauts like Behind the Candelabra and Top of the Lake, but I'm hoping that The Hour can pull off the upset.

2. Breaking Bad Wins For Editing

There was no better edited program this past TV season than Breaking Bad's "Gliding Over All".  The episode (edited by Kelley Dixon) featured two major montages and numerous time lapses that not only fit in perfectly, but ultimately became the highlights of the episode.  "Gliding Over All" will face stiff competition from House of Cards and another Breaking Bad episode ("Dead Freight"), but I'm hopeful that voters will get this one right.

1. Michael Slovis Wins Cinematography For Breaking Bad

Michael Slovis is easily the best DP on television currently, and yet he has never received an Emmy for his work on Breaking Bad.  Slovis isn't Emmy-less (He won one for his work on CSI), but this is career-best work that deserves recognition.  Slovis faces major competition from Boardwalk Empire and House of Cards.

Final Creative Arts Emmy Predictions

The Creative Arts Emmys will be held this Sunday.  Here are my final predictions where you will see I expect Game of Thrones to have a big night with six wins overall.

OUTSTANDING VARIETY SPECIAL=Louis C.K.: Oh My God

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES=Bob Newhart, The Big Bang Theory

OUTSTANDING GUEST ACTOR IN A DRAMA SERIES=Michael J. Fox, The Good Wife

OUTSTANDING GUEST ACTRESS IN A COMEDY SERIES=Kristen Wiig, Saturday Night Live

OUTSTANDING GUEST ACTRESS IN A DRAMA SERIES=Jane Fonda, The Newsroom

OUTSTANDING HOST FOR A REALITY OR REALITY-COMPETITION PROGRAM=Tom Bergeron, Dancing With the Stars

OUTSTANDING DIRECTING FOR A VARIETY SPECIAL=London 2012 Olympic Games Opening Ceremony

OUTSTANDING WRITING FOR A VARIETY SPECIAL=Louis C.K.: Oh My God

OUTSTANDING ANIMATED PROGRAM=Regular Show: The Christmas Special

OUTSTANDING ART DIRECTION FOR A MINISERIES OR MOVIE=Behind the Candelabra

OUTSTANDING ART DIRECTION FOR A MULTI-CAMERA SERIES=2 Broke Girls

OUTSTANDING ART DIRECTION FOR A SINGLE-CAMERA SERIES=Game of Thrones

OUTSTANDING ART DIRECTION FOR VARIETY OR NONFICTION PROGRAMMING=London 2012 Olympic Games Opening Ceremony

OUTSTANDING CASTING FOR A COMEDY SERIES=Veep

OUTSTANDING CASTING FOR A DRAMA SERIES=House of Cards

OUTSTANDING CASTING FOR A MINISERIES, MOVIE OR A SPECIAL=Behind the Candelabra

OUTSTANDING CHILDREN’S PROGRAM=Nick News With Linda Ellerbee – Forgotten But Not Gone: Kids, HIV & AIDS

OUTSTANDING CINEMATOGRAPHY FOR A MINISERIES OR MOVIE=Behind the Candelabra

OUTSTANDING CINEMATOGRAPHY FOR A MULTI-CAMERA SERIES=Two and a Half Men

OUTSTANDING CINEMATOGRAPHY FOR NONFICTION PROGRAMMING=Anthony Bourdain: Parts Unknown

OUTSTANDING CINEMATOGRAPHY FOR REALITY PROGRAMMING=Deadliest Catch

OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES=Boardwalk Empire

OUTSTANDING COMMERCIAL=Nike

OUTSTANDING COSTUMES FOR A MINISERIES, MOVIE OR A SPECIAL=Parade’s End

OUTSTANDING COSTUMES FOR A SERIES=Game of Thrones

OUTSTANDING DIRECTING FOR NONFICTION PROGRAMMING=Mea Maxima Culpa: Silence in the House of God

OUTSTANDING DOCUMENTARY OR NONFICTION SERIES=The Men Who Built America

OUTSTANDING DOCUMENTARY OR NONFICTION SPECIAL=Crossfire Hurricane

OUTSTANDING HAIRSTYLING FOR A MINISERIES OR A MOVIE=Behind the Candelabra

OUTSTANDING HAIRSTYLING FOR A MULTI-CAMERA SERIES OR SPECIAL=Saturday Night Live

OUTSTANDING HAIRSTYLING FOR A SINGLE-CAMERA SERIES=Downton Abbey

OUTSTANDING INFORMATIONAL SERIES OR SPECIAL=Oprah’s Master Class

OUTSTANDING INTERACTIVE PROGRAM=The Team Coco Sync Multi-Screen Experience

OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION FOR A VARIETY SERIES=The Voice

OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION FOR A VARIETY SPECIAL=London 2012 Olympic Games Opening Ceremony

OUTSTANDING MAIN TITLE DESIGN=American Horror Story: Asylum

OUTSTANDING MAKEUP FOR A MINISERIES OR A MOVIE (NON-PROSTHETIC)=American Horror Story: Asylum

OUTSTANDING MAKEUP FOR A MULTI-CAMERA SERIES OR SPECIAL (NON-PROSTHETIC)=Dancing With the Stars

OUTSTANDING MAKEUP FOR A SINGLE-CAMERA SERIES (NON-PROSTHETIC)=Game of Thrones

OUTSTANDING MULTI-CAMERA PICTURE EDITING FOR A COMEDY SERIES=The Colbert Report

OUTSTANDING MUSIC COMPOSITION FOR A MINISERIES, MOVIE OR A SPECIAL (ORIGINAL DRAMATIC SCORE)=World Without End

OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)=House of Cards

OUTSTANDING MUSIC DIRECTION=The Kennedy Center Honors

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC=Elementary

OUTSTANDING ORIGINAL MUSIC AND LYRICS=”Rural Juror”, 30 Rock

OUTSTANDING PICTURE EDITING FOR NONFICTION PROGRAMMING=American Masters

OUTSTANDING PICTURE EDITING FOR REALITY PROGRAMMING=Deadliest Catch

OUTSTANDING PICTURE EDITING FOR SHORT-FORM SEGMENTS AND VARIETY SPECIALS=Louis C.K.: Oh My God

OUTSTANDING PROSTHETIC MAKEUP FOR A SERIES, MINISERIES, MOVIE OR A SPECIAL=The Walking Dead

OUTSTANDING REALITY PROGRAM=Shark Tank

OUTSTANDING SHORT-FORMAT ANIMATED PROGRAM=Robot Chicken

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A COMEDY SERIES=Louie

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES=House of Cards

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A MINISERIES OR A MOVIE=Behind the Candelabra

OUTSTANDING SOUND EDITING FOR A MINISERIES, MOVIE OR A SPECIAL=The Bible

OUTSTANDING SOUND EDITING FOR NONFICTION PROGRAMMING (SINGLE OR MULTI-CAMERA)=Crossfire Hurricane

OUTSTANDING SOUND EDITING FOR A SERIES=Game of Thrones

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION=Modern Family

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)=Game of Thrones

OUTSTANDING SOUND MIXING FOR A MINISERIES OR A MOVIE=Behind the Candelabra

OUTSTANDING SOUND MIXING FOR NONFICTION PROGRAMMING=History of the Eagles

OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL=The Oscars

OUTSTANDING SPECIAL CLASS PROGRAMS=London 2012 Olympic Games Opening Ceremony

OUTSTANDING SPECIAL CLASS – SHORT-FORMAT LIVE-ACTION ENTERTAINMENT PROGRAMS=Between Two Ferns

OUTSTANDING SPECIAL CLASS – SHORT-FORMAT NONFICTION PROGRAMS=Comedians In Cars Getting Coffee

OUTSTANDING SPECIAL VISUAL EFFECTS=Game of Thrones

OUTSTANDING SPECIAL VISUAL EFFECTS IN A SUPPORTING ROLE=Boardwalk Empire

OUTSTANDING STUNT COORDINATION FOR A COMEDY SERIES OR A VARIETY PROGRAM=Modern Family

OUTSTANDING STUNT COORDINATION FOR A DRAMA SERIES, MINISERIES OR MOVIE=Southland

OUTSTANDING TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A MINISERIES, MOVIE OR A SPECIAL=66^th Annual Tony Awards

OUTSTANDING TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A SERIES=Saturday Night Live

OUTSTANDING VOICE-OVER PERFORMANCE=Robot Chicken (Sam Elliott)

OUTSTANDING WRITING FOR NONFICTION PROGRAMMING=Mea Maxima Culpa: Silence in the House of God

The Spectacular Now Review

            While reviewing Jeff Nichols’ Mud, I mentioned that this has been a big summer for coming-of-age films.  Mudand The Way, Way Back remain as some of the year’s best films.  However, it remains fitting that they saved the summer’s best coming-of-age film for last.  The Spectacular Now is not just a great coming-of-age tale; it’s just a great film in general.  Featuring strong direction, a realistic script, and the best casting job since Argo, The Spectacular Now is a film that will remain in your head for a long time after you leave the theater.

            The Spectacular Now follows Sutter Keely (Rabbit Hole’s Miles Teller), a charismatic high school senior who just wants to enjoy the most out of the current moment.  When he is dumped by his girlfriend (Brie Larson), Sutter, who is constantly drinking, goes on a bender and wakes up with Aimee Finecky (Shailene Woodley) looking over him.  Aimee is the nice girl that cool kids like Sutter rarely pay attention to at school, but Sutter suddenly decides to strike up a relationship with her.  Whether this decision is due to Sutter wanting to help Aimee or in order to get back into the good graces of his ex-girlfriend, it doesn’t matter because there is not much hope that this will end well.  The film is directed by James Ponsoldt (Smashed) and is written by Scott Neustadter and Michael H. Weber (the writing team behind (500) Days of Summer).

            Make no mistake.  This is a coming-of-age story, but James Ponsoldt and his writers find every way possible to turn the clichés of the coming-of-age genre on its head.  This is a masterful spin of a genre, and it is just great to see so many risks being taken.  Ponsoldt and company have faith that the audience can sympathize with a protagonist that has many unsympathetic traits, and the film is all the better for that.  Until the very end (which ends with a somewhat optimistic final scene that could have betrayed the rest of the film in lesser hands) this is narrative filmmaking at its most realistic, and it is a sight to behold.

            The cast is just all-around top-notch too.  Miles Teller delivers what will probably be the performance of his life (despite being one of the most promising up and coming actors).  It’s a difficult role that needed to be casted perfectly, and Teller handles it like a pro.  Teller feels so at home with the role yet still finds vulnerability when he is called to do so.  Shailene Woodley may not get the big moments that Teller does but she is a great compliment to Teller, and she is quickly finding a groove as someone who can strike up chemistry with almost anyone.  Brie Larson is also quite good in a role that defies clichés at every turn.  Meanwhile, Andre Royo, Bob Odenkirk, and (especially) Kyle Chandler do fantastic work in what would have been throwaway roles in lesser films.

            The Spectacular Now can best be described by the adjective in its title.

9/10