Posts Tagged ‘Popcorn Panel’

Passion of the Christian Audience National Post Friday, December 08, 2006

the-nativity-story-originalQuentin Tarantino has said the sign of a good film is that it makes you want to go home, eat some pie and talk about it.
With that in mind, our Popcorn Panel features film buffs feuding in this space each week.

This week’s panel
– Craig Courtice, a short filmmaker who isn’t very tall
– Christa Oancia, mom of five, religion teacher and amateur movie critic
Richard Crouse, host of Rogers Television’s Reel to Real, Canada’s longest-running movie review show and the author of The 100 Best Movies You’ve Never Seen (ECWPress, 2003). His Web site is This week’s pie Shepherd’s

This week’s subject: The Nativity Story

Craig: Whatever you might think of The Passion of the Christ, it was the work of an auteur. Director Catherine Hardwicke is a talented filmmaker, but she lacks the leverage and the ego of Mel Gibson, and as a result I’m not sure The Nativity Story is her vision. For one, there is nothing of the realism she made her name with in Thirteen. Part of the reason the birth of Christ still fascinates us today is the overwhelming odds Mary and Joseph overcame. Certainly, in their journey to Bethlehem, they must have forged an incredible bond, yet there are few scenes that give us a sense of their relationship. Instead, we are subjected to a history lesson featuring King Herod, Zechariah and Elizabeth in the first act and requisite scenes with shepherds and wise men in the third.

Christa: I don’t think Mel Gibson is a good comparison because The Passion was truly his vision. Hardwicke was hired to direct someone else’s vision. It appears that the team behind The Nativity relied primarily on the very limited two Gospel accounts of the birth of Jesus. There was a strong effort to show the evolution of Mary and Joseph’s relationship from one of obligation to one of deep mutual caring and respect. I think Hardwicke did a great job making this story more realistic than most. This account is usually so romanticized that we rarely think beyond the basic details of that holy night. I didn’t go to the movie with the same expectations as I did with The Passion, probably because I didn’t expect the same quality from someone who doesn’t completely live and breathe this story in their life.

Richard: Perhaps Hardwicke doesn’t live and breathe this story, but she is a filmmaker charged with creating a compelling and interesting movie, and I think she let her audience down. Her last two films, Thirteen and The Lords of Dogtown, were edgy examinations of teenage life that dealt with young people in crisis. The Nativity Story covers the same ground, but this time her young protagonists, Mary and Joseph, have larger issues than acne or a spotty report card.

Craig: I think we can all agree The Nativity Story won’t go down in history as a cinematic masterpiece with the likes of The Ten Commandments or The Passion. But just the fact this movie got made seems like a minor miracle. Although 77% of Americans identified themselves as Christian in 2001, Jesus-friendly titles aren’t exactly flooding the multiplexes. Are most Christians just not interested in watching movies about their religion or is Hollywood not willing to back up these films? Let’s not forget, that for all of The Passion’s success, Gibson financed the project himself.

Christa: It won’t hit page one of the paper that Hollywood is not exactly pro-Christian. A quick glance at the top all-time movies shows that Star Wars, Shrek, E.T. and Finding Nemo are the home runs in theatres, yet Hollywood keeps showing its love of R-rated releases. Not sure if it’s about artistic dreams, shock value, Oscar envy or all of the above. Lately, the business side is figuring out that family-friendly, and yes, even Christian movies (thanks Mel) can be moneymakers. I think it’s not really about whether Christians are interested in watching family-friendly movies as much as it is about the lack of interest of filmmakers in making them. Mel has helped raise the bar with artistic merit, quality and morality all in one — what a concept! It’s not a guarantee, however, and the Christian audience will still expect high quality for their movie dollar.

Richard: The success of The Passion should have paved the way for a tsunami of Christian themed films at the theatres, because the only thing Hollywood really understands is success. If a documentary about penguins can make a lot of money then why not make a kids’ series about the little furry birds? But I think studio heads realized The Passion’s success was a fluke. It was a great marketing strategy coupled with enough controversy to get people who hadn’t gone to the movies in years interested to see what all the fuss was about. It is hard to capture that kind of lightning in a bottle twice, which is why we haven’t seen a cavalcade of Christian films in mainstream theatres.
In Soviet Russia, Yakov Smirnoff would’ve killed for this publicity
National Post
Friday, November 10, 2006

Quentin Tarantino has said the sign of a good film is that it makes you want to go home, eat some pie and talk about it. With that in mind, our Popcorn Panel features film buffs feuding in this space each week.

– Basem Boshra, associate editor of Weekend Post
– Craig Courtice, a short filmmaker who isn’t very tall
Richard Crouse, host of Rogers Television’s Reel to Real, Canada’s longest-running movie review show, and the author of The 100 Best Movies You’ve Never Seen (ECW Press, 2003). His Web site is

THIS WEEK’S PIE Chiburekki (a deep-fried dough cake from Borat’s homeland)

THIS WEEK’S SUBJECT Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

BASEM: As a guy who used to download clips of the British version of Da Ali G Show long before it made its way to the colonies, I’d like to think my Borat bona fides are unimpeachable, and I couldn’t have been more excited about his big-screen debut. That anticipation was stoked even further by the rapturous reviews that preceded its release. But while the film made me laugh so hard at times that I hope the theatre staff steam-cleaned my seat after I left, I couldn’t help feeling a bit let down by all the hype (which I allowed myself to be sucked into). Borat: Superfluously Long Title that Stopped Being Funny After I Read It the First Time is, in essence, some good-to-great Borat sketches strung together by a flimsy excuse for a plot. Then it dawned on me: The people penning those glowing notices must not have been all that familiar with Borat’s small-screen oeuvre, the best of which, I’d argue, is stronger than anything in this movie. (If it sounds like I’m down on Borat, I’m not; it’s hilarious, if a tad overlong, even at 84 minutes. It just served as another reminder to keep my expectations measured even in the face of such cheerleading reviews.)

CRAIG: In a nice bit of programming, Showcase had a Da Ali G Show marathon on last weekend, and I caught four or five episodes after watching Borat. Hard to fault Sacha Baron Cohen for going after the big bucks and exposure this film will bring him, but you’re right, Basem, the material fits the TV format better. But I’m more interested in the hype machine that accompanied this baby. Kudos to the producers for a witty PR campaign: having Cohen appear as Borat, inviting George Bush to a screening — this was like old-time hucksterism, and obviously the movie-going public loved it. But I have to admit I’m ashamed (again) of the pack mentality of entertainment journalists. In the Canadian media, just last week, we had stories comparing Borat to Archie Bunker (Maclean’s) and Andy Kaufman (Toronto Star). I’m sure some hack somewhere pulled out the post-9/11 angle. It’s a shame Yakov Smirnoff, Borat’s comedic predecessor (sample joke: “In Soviet Russia, if a male athlete loses, he becomes a female athlete”), didn’t get the same kind of PR in the ’80s. He might have made it beyond guest starring on Night Court.

RICHARD: Hey Craig, you forgot to mention The Wild and Crazy Guys from vintage Saturday Night Live. Their accents and attitudes toward women predated Borat by a few decades. The Borat family tree branches off to include guerilla comics who specialize in accosting unsuspecting civilians — Allen Funt is Borat’s great granddaddy, Tom Green the red-haired stepchild, while the fish-out-of-water routine, the ethnic humour, mockumentary style and total immersion in the character owes thanks to The Beverly Hillbillies, Redd Foxx, Christopher Guest and Andy Kaufman respectively. So the character of Borat isn’t a completely new thing. What is new is the way the film was promoted. Having Borat arrive at a red-carpet event in a rustic wagon pulled by peasant women was a stroke of genius. The stunt at the White House and Borat’s offer to sell his grandchild to Madonna were as gut-busting as anything (except maybe the nude wrestling) in the movie and put to shame more conventional attempts at movie hucksterism. When you have risked the wrath of the White House, having a junket at the Four Seasons seems a little tame. What may have seemed like a series of frat-boy hijinks was actually a carefully orchestrated campaign. In terms of the future of the character the campaign may have worked too well — the popularity of the movie and the public awareness of the character has destroyed any chance that Borat will return in his present form. He’d have to go to Mars and pull pranks on unsuspecting aliens because everyone on Earth knows who he is.

BASEM Another critical reference point I’ve heard thrown around (which makes no sense to me) is Jackass. Granted, there’s one prolonged physical gag in Borat — those who have seen it will know the one I’m referring to — that’s as excruciating to sit through as anything Johnny Knoxville and his depraved cohorts have ever conjured up. But that’s where the similarities end. Cohen’s much-dissected brand of social satire — which he ingeniously wraps inside just enough wacky shtick to keep even the frattiest boys engaged — operates on a level the Jackasses couldn’t begin to fathom. (And I thought Number Two was one of the most cathartic and invigorating movie experiences of the year.) In any case, I think much of the (over?) analysis of Borat will soon be rendered moot. Unless Hollywood backs the Brink’s truck up to Cohen’s door — a definite possibility, given the film’s sensational box office — I can’t imagine he would ever want, or have any reason to, revisit Borat. B:CLOAFMBGNOK is about as far as you can take a character before self-parody sets in, and Cohen seems just too savvy to let that happen (he says hopefully).

CRAIG It’s funny you mention Jackass because in the notes I scratched down after watching Borat I wrote: “Expectations too big for what is basically small-screen experience; at least Jackass has some truly big-screen moments.” Which is to say that most Jackass watchers went in expecting video-shot stunts, but came out surprised, whereas most of the patrons who go to see Borat go without knowing it is a digital experience. Borat may top Jackass at the box office, but it will be in DVD sales that these expectations play themselves out. I would guess that those who watched Jackass in the theatre would be more likely to pay a second time to see it, whereas with Borat once you’ve seen it, you’ve seen it. You have to admit by the end of Borat the gags are as original as a Rick Mercer segment. Except for the nude wrestling, of course.

RICHARD Borat may be a boob-tube experience blown up for the big screen, but at least it’s a good one. Jackass: Number Two has its moments but mostly reeks of Ben-Gay and “Look at me!” desperation. Borat, on the other hand, provokes real laughs and perhaps — gasp! — even some real thought. The Jackass oeuvre only makes us chuckle because it is so stupidly brutal. While brutal can be funny, on the big screen I find the act of watching these movies as punishing as participating in one of Johnny Knoxville’s more sadistic stunts. At just 84 minutes, Borat does what good movies do; it doesn’t overstay its welcome and leaves the audience wanting more. With such a lean running time the jokes don’t have time to get stale and, while some of the gags may be from the Rick Mercer school of comedy, most aren’t. Mr. Mercer might attempt to see how much gas 17 cents will buy, but has he ever offered a dignitary cheese made with milk from his wife’s tit? I don’t think so. As for DVD sales, who knows, but I think the extras and outtakes on the Borat disc will be worth the 20 bucks.

NEXT WEEK’S PIE Dark chocolate macadamia nut wedge

Unpopped kernels: More on Borat flick
National Post

Basem: You know what. I officially think I’m Borat-ed out. (I knew that would happen, but not so soon.) So how about this news that Universal is shelling out US$42.5-million for the distribution rights to Cohen’s next project, a Bruno movie, featuring the third and, to my eyes, least interesting of his Da Ali G Show triumvirate. The one accusation you regularly hear levelled at Borat is that he’s a one-note character — although I prefer to think of sexism, racism and anti-Semitism as three separate notes, thank you very much — but he’s a complex comic creation next to Bruno, who’s an aggressively gay fashion reporter and … er, that’s about it, as far as I can tell. He has his moments, don’t get me wrong, but are there enough of them (say, 80 or so) to string together for a feature film? I hate to doubt Cohen, who’s certainly one of the most nimble comic minds in the business today, but I just don’t think so. Actually, what I’d love to see him do one day is revisit Ali G in a Borat-style mockumentary, if only to wash away the bad taste left by his atrocious Ali G Indahouse film, hands-down the lamest thing SBC’s been affiliated with (give or take a Madonna video.)

Craig: Maybe I’m just farther to the right on the Kinsey scale, but I look forward to a more in-depth, er, exploration of Bruno. There’s certainly enough homoeroticism in Borat, I figure why not just get it all out there. Besides, while every Bruno segment isn’t comedy gold, there is something much darker, and to my mind, more interesting in probing (there I go again) the not-so-hidden homophobia that runs rampant in North America. I’m thinking of the segment in which Bruno goes to a gun show and interviews an aficionado. The redneck-meets-rainbow shtick is just as savvy as Cohen’s other stuff, but it has something more — danger. It’s all fun-and-games when the gun guy goes off about his love of big calibres, but the punch line here is just that — when Bruno tells him he’s from Gay TV, Colt .45 threatens to knock his teeth out if he mentions the word “gay” one more time. My point is, Bruno’s a lot edgier than Borat or Ali G because of the less-accepted subject matter. It wouldn’t be as popular as Borat, but it could be better.

Richard: Edgy, schmedgy. I fear a Bruno movie would be more of the same. He’s funny enough, but I always thought his segments were the weakest on the television show. Having said that I don’t really want more Borat either. I agree with Basem. The more people quote him to me, the more people say “Nice!” in that Kazakhstani lilt the more I realize very soon I’m going to need a rest from it. I look forward to spending some time with Bruno, but not just yet. I need time. I’m not ready for another SBC essay into America’s heart of darkness whether it is from a gay perspective, a British-Jamaican b-boy standpoint or the point of view of SBC in a bear suit. Let’s allow him to take some time off, recharge and come up with a new idea, perhaps one that doesn’t see him doing another mock doc with a different character.

More film jaune than noir? Craig Courtice, Richard Crouse and J. Kelly Nestruck National Post Friday, September 22, 2006

The_Black_Dahlia_Movie_BollywoodSargam_interview_857397Quentin Tarantino has said the sign of a good film is that it makes you want to go home, eat some pie and talk about it. With that in mind, our Popcorn Panel features film buffs feuding in this space each week.

– Craig Courtice, a short filmmaker who isn’t very tall
– Richard Crouse, host of Rogers Television’s Reel to Real, Canada’s longest-running movie review show, and the author of The 100 Best Movies You’ve Never Seen (ECW Press, 2003). His Web site is
– J. Kelly Nestruck, National Post Arts & Life reporter



CRAIG I’ll be honest, I’m not sure I’m qualified to comment on the plot of The Black Dahlia because after the banana truck drove by during the first shootout, I spent the entire film trying to decipher the meaning of yellow. Now I don’t have ADD, so I’m guessing this was intentional on director Brain De Palma’s part. If you see this movie just for the art direction and cinematography, you won’t be disappointed. (Yellow means caution, by the way.) Of course, the film critics who panned Dahlia are almost all failed English majors, not sensualists. They might very well have a point about the story; the whodunit of this movie is more like a whatthef—? But the same is true of David Lynch’s Mulholland Drive, which was universally praised for its sensuality and creepy tone. Then again, who amongst us wants to make love to a film critic?

RICHARD You’d be surprised. Where do you think all those little film-critic kids come from? I think it is possible to be a sensualist and film critic, but watching The Black Dahlia taxed both the corporal and analytical sides of my brain. Without a doubt the movie is stunning to look at, filled with beautiful crane shots and even more beautiful people, but De Palma forgot one thing — to get his actors to act. I don’t expect much from Josh Hartnett other to stand around and look good, but Scarlett Johansson and Hilary Swank are two performers who usually rise above their good looks and deliver the one-two punch of being gorgeous and talented. Here they both seem to be on autopilot. That’s the film critic side of my personality. My sensualist side admires De Palma’s aesthetic choices, but beauty without brains leaves me cold.

KELLY I don’t even know if I admire De Palma’s aesthetic choices here. The point-of-view shot when we met Swank’s family was jarring, and the gory bits were over-the-top, especially for a movie otherwise filmed like a fairy tale. Even the long crane shot from Elizabeth Short’s murder scene to the first shootout was a bit disappointing. If I can defend something about this incredibly bizarre movie it would be Hartnett’s performance. He gets dumped on a lot, but there’s a reason why directors like Sofia Coppola, Ridley Scott and De Palma cast him in their flicks. Hartnett’s blank demeanour and beady little eyes were perfect for a character called Mr. Ice. He was the calm amidst a storm of scenery chomping, the anchor on this banana boat.

CRAIG I’m willing to admit I might have missed what was so bad about this film. How about you two? Is it possible you guys are in the dark about what this movie is saying about noir? Because like Mulholland Drive, I think Dahlia is working on a completely different level, referencing shots and even acting styles from the genre. Let’s not forget that one of De Palma’s most famous scenes, the baby-carriage-on-the-stairs scene from The Untouchables, was heavily inspired by Russian film pioneer Sergei Eisenstein’s Battleship Potemkin.

RICHARD De Palma has always borrowed heavily from other filmmakers, most notably Hitchcock, but usually with more success than is on display here. The baby-carriage-on-the-stairs scene is a classic, but I didn’t see anything in The Black Dahlia that matched the excitement or beauty of that scene. If he is trying to reference classic film noir in visual and acting style, I don’t see it. The film isn’t structured like a classic noir, which usually worked backwards from a murder, and the femmes in the classic noirs were more believably fatale than Swank and Johansson.

KELLY What’s the big deal about directors referencing other movies in their shots, anyway? If the result holds together like, say, The Big Lebowski, another noir homage full of inside jokes, then that’s great. But your first duty as director is to tell a coherent story in a compelling manner, not impress everyone with your winks to Raging Bull and Lady in the Lake. If you want to know why I liked being confused by Mulholland Drive, but not The Black Dahlia, Craig, you only have to look as far as the directors’ intentions. I bet dimes to doughnuts to Dahlia dames that De Palma was trying to make a movie that made sense — as James Ellroy’s novel does — not trying to emulate Lynch’s lush lunacy.

© National Post 2006

Unpopped kernels: Return to the print review?
National Post
Published: Friday, September 22, 2006

Craig: One of the reasons we started the Popcorn Panel was to have a different forum for film comment. The idea was that conversations about movies are often more revealing (and entertaining) than reviews. With Web sites such as RottenTomatoes and IMDb, often films are reduced to a raw number without a serious discussion of the merits. These ratings certainly serve a purpose, but too often distract from the message a film is trying to convey. My question to you two Web-savvy gents is that in this era of DVDs with making-of features and insta-pundits is it time to revisit the traditional print movie review? One thing I’d like to see is retractions by reviewers who might have had a chance to reflect on a movie after their deadline and realize they might have missed the mark. There is no shame in this, newspapers print clarifications every day, and I think it would humanize the reviewer. Maybe they had a headache, maybe they talked about the film at a dinner party and came to a different conclusion, the point is to encourage dialogue with the reader not polarize. For example, when I walked out of Caché earlier this year I was angry. The more I thought about it, the more I realized that’s exactly what director Michael Haneke wanted me to feel; just because the feeling you have is not the one you wanted to have or expected to have should not cloud your judgment as to the filmmaker’s success. Caché made me want to read more about it, to hear other opinions, to see if I might have missed something. In the end, I admit, I did.

Richard: We live in an era where everything is reduced to a soundbite, a headline or in the case of reviews, often just a star rating and that’s a shame. In the quest to be first with entertainment stories and reviews media outlets are too quick to print or air stories that haven’t been thought through properly. I’m not sure that the speed at which we consume information nowadays will allow for really thoughtful reviews. I would prefer to read reviews that were well thought through, not just first, but when five, six or seven movies are being released each week it is impossible to give each of them the time they deserve to write a meaningful review before you have to run off to see another one and then write another review. The days of long Pauline Kael style pieces are gone, and I don’t think that’s a good thing.

Kelly: If a critic does decide that he or she has made an egregious error in judgment in a review, I don’t see anything wrong with them revisiting the subject in a future column. But, you know, a daily newspaper is just a daily newspaper and a review is just a review. People who read critics should understand that what they are reading is a first attempt to grapple with a film, often under a tight deadline. For 95% of film fare that does that trick — I have yet to hear any convincing arguments on the merits of Little Man — but, as New Yorker critic Anthony Lane titled his book of reviews, nobody’s perfect. No one should expect the definitive assessment of a film to be written the week it is released, just as we don’t expect the full significance of a political event to become apparent for days, if not years, if not decades. We’re just the first draft of film history and it’s not really our job to second-guess ourselves all the time. That’s what blogs are for.
National Post

Forget it Jack, it’s Beantown National Post Friday, October 20, 2006

departedThis week’s film: The Departed

– Craig Courtice, a short filmmaker who isn’t very tall.
– Tracey Lazos, former deputy Arts editor at the Post who now works at the Boston Herald.
– Richard Crouse, host of Rogers Television’s Reel to Real, Canada’s longest-running movie review show, and the author of The 100 Best Movies You’ve Never Seen (ECW Press, 2003). His Web site is

This week’s pie Boston cream

This week’s subject The Departed

Craig An open letter to Jack Nicholson: Dear Jack, The Departed was a great film — too bad you missed it. Your performance was so off base I wonder if you even read the script. You took, for example, a wonderfully designed scene in a porno theatre and turned it into an improv blooper from Anger Management. A dildo? Seriously? This isn’t The Witches of Eastwick or Batman, buddy. You’re supposed to become the character, not a caricature. All I could think of after watching this was “Was Brian Cox too busy to play this part?” Because if he had played this Irish crime boss, he would have paid the same attention to craft that Matt Damon and Leonardo DiCaprio did to their roles.
Those two were revelations, as was Mark Wahlberg. Honestly, if Marky Mark is out-acting you, don’t you think it’s time to devote yourself full-time to something you’re actually passionate about — after all, the Lakers should be pretty good this year.

Tracey You’d think that Nicholson, finally getting to work with Scorsese, would have thought to himself, “Now here’s a chance to do something really important.” Instead, he devours a big plateful of ham and lets his hair do all the acting. But I didn’t think his performance was as egregious as you did, Craig — the guy can still command a scene, and you have to admit, he was menacingly hilarious at times and a pretty scary villain. I wouldn’t want to run into him in Southie. The one thing he failed to bring to this movie that the other players contributed in huge dollops of Boston cream was class. Damon as the smooth-talking rat was a standout for me. That guy has cornered the market on duplicitous nasties you still want to take home to meet your mum.
But back to Jack. The Boston media is in a huge tizzy over the fact that Nicholson appears to channel Beantown’s most obsessed-over mobster-cum-fugitive, Whitey Bulger. Methinks they need to get out more.

Richard I’m with you Tracey. Nicholson’s performance is kind of cockamamie, but it shows that the old coot can still blow younger, prettier actors off the screen. His Costello is a modern day King Lear, an autocrat very much aware of his importance in the world and who uses that knowledge as a licence to behave badly. He’s at least partly crazy, but he’s no Boob McNutt. His madness is used like a parlour trick to unbalance those around him. Like Lear, it appears Costello made the decision to go 5150 to preserve command over his own life and the lives of those around him. The dildo and eating-the-fly scenes are ridiculous, but they are ridiculous on a grand scale. They show Costello’s volatility. I thought Nicholson’s blazing eyes captured that unhinged quality really well. There is a reason why some people are legends and in The Departed we are reminded why Nicholson is acting royalty.

Craig There’s no doubt Nicholson could act — in the ’70s. But now he seems content with shtick rather than the nuance he brought to films like Five Easy Pieces and Chinatown. Heck, if you really want to see what Nicholson is capable of you don’t even have to go back that far; The Pledge (2001) represents some of his finest work. There is a reason this guy has won three Oscars.
And speaking of Oscars, will The Departed finally win Scorsese his? As a huge fan, I’m of two minds on this. First, I think he obviously deserves one, and The Departed is good enough that it wouldn’t be a total sympathy trophy. Marty could also get back to making more artistic pictures like Kundun instead of pandering to the Academy with schlock like The Aviator. On the other hand, while the first 30 minutes of The Departed is the best film I saw this year and the last 30 ain’t half bad either, the middle hour-plus drags. I’m not saying it’s as painful as watching DiCaprio spell out “quarantine” in The Aviator, I’m just saying the whole erectile dysfunction theme was a little limp. (Sorry, couldn’t resist.)

Tracey I’m almost ashamed to admit this, but I’m not a Scorsese connoisseur. I mean really not. A quick check of IMDb revealed that I’ve seen exactly four-and-a-half of his films. (I never made it through Raging Bull, but I think that’s because the sound on my rental was horrible.) Perhaps I’m just a big girlie-girl, but I’ve just never had much interest in Scorsese’s mean streets. And I enjoyed The Aviator a lot. (Told you — big girlie-girl.) So I was a bit hesitant about watching The Departed. But I loved this film. I loved that it was at once charming and shocking. I loved the fact that there was an intricate story but I didn’t need to wheel out the Universal Plot Explainer to figure out what the hell was going on. I love that Scorsese left his New York comfort zone, came to Boston and captured it so well — rats and all. Sure, there were a couple of scenes that bordered on farce, but we’ll just go ahead and blame Nicholson for those. I think Scorsese should win an Oscar for this movie, regardless of whether he deserves one for his body of work. But with Clint Eastwood breathing down his neck again with his latest epic, who knows?

Richard It would be a cruel twist worthy of a Paul Haggis script if Eastwood beat Scorsese again this year. I was weaned on Scorsese — one of my earliest film memories is sneaking into Boxcar Bertha when I was nine — and as much as I admired his last couple of movies, I didn’t love them, and Scorsese is the kind of filmmaker who should inspire fanatical praise. The last two were handsome, big-budget epics but it felt like he was making movies to please Academy voters and not himself. The Departed is a departure from those sleek studio efforts and places the director firmly back where he belongs — on the mean streets surrounded by gangsters, duplicity and violence. He’s comfortable there among the sleazoids and crazies, and it is that comfort level, and not the sympathy vote, that will earn him at least a best director nomination if not a win. The Departed is Scorsese in top form — effortless, (although I’d guess he watched Pulp Fiction a time or two during production) and brutally cool.
© National Post 2006