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Last updateTue, 18 Sep 2018 1pm

On this week's particularly wild Independent comics page: Jen Sorenson examines the Iowa Supreme Court's ruling that a woman can be fired for being too attractive; The K Chronicles offers a Django Unchained sequel starring Ms. Paula Deen; Red Meat wonders what's making Milkman Dan's delivery truck so smelly; and The City tackles the man-on-pool-raft sex epidemic that's sweeping John Boehner's district.

Published in Comics

1. Jack Reacher (Paramount)

2. Mama (Universal)

3. Safe Haven (20th Century Fox)

4. Silver Linings Playbook (Starz/Anchor Bay)

5. Broken City (20th Century Fox)

6. Gangster Squad (Warner Bros.)

7. The Impossible (Summit)

8. A Haunted House (Universal)

9. The Guilt Trip (Paramount)

10. Django Unchained (Weinstein/Anchor Bay)

Published in Video Top 10

1. Silver Linings Playbook (Starz/Anchor Bay)

2. The Guilt Trip (Paramount)

3. Broken City (20th Century Fox)

4. The Impossible (Summit)

5. A Haunted House (Universal)

6. Gangster Squad (Warner Bros.)

7. Django Unchained (Weinstein/Anchor Bay)

8. Promised Land (Universal)

9. Parental Guidance (20th Century Fox)

10. Life of Pi (20th Century Fox)

Published in Video Top 10

1. Gangster Squad (Warner Bros.)

2. Django Unchained (Weinstein/Anchor Bay)

3. A Haunted House (Universal)

4. The Impossible (Summit)

5. Promised Land (Universal)

6. Pawn (Starz/Anchor Bay)

7. This Is 40 (Universal)

8. Life of Pi (20th Century Fox)

9. Parental Guidance (20th Century Fox)

10. The Haunting in Connecticut 2: Ghosts of Georgia (Lionsgate)

Published in Video Top 10

1. Django Unchained (Weinstein/Anchor Bay)

2. This Is 40 (Universal)

3. Parental Guidance (20th Century Fox)

4. The Hobbit: An Unexpected Journey (New Line)

5. The Haunting in Connecticut 2: Ghosts of Georgia (Lionsgate)

6. Lincoln (DreamWorks)

7. Killing Them Softly (Starz/Anchor Bay)

8. Wreck-It Ralph (Disney)

9. Hotel Transylvania (Sony)

10. Stand Off (Ketchup)

Published in Video Top 10

Django Unchained, out today (Tuesday, April 16) on Blu-Ray, is still my least-favorite Tarantino movie—but it’s growing on me. I liked it the first time I saw it, but I wanted to love it. When watching it on Blu-ray, I was more relaxed, and it went up a notch in my book.

This is the first Tarantino film not to be edited by the great Sally Menke, who recently passed away. The first time I watched it, I really felt her absence in the beat of the film. However, on the second go-round, I allowed myself to take in the movie on its own terms. It’s a little clunky in spots, and a little long, but with the likes of Leonardo DiCaprio, Jamie Foxx, Christoph Waltz and Samuel L. Jackson propelling the story, some lags are forgivable.

Waltz got an Oscar for his portrayal of the bounty hunter with a heart of gold. His performance was great work, but if anybody in this movie deserved an Oscar, it was DiCaprio, as he went well beyond his safety zone, playing one of last year’s greatest scumbags. Tarantino got a screenplay Oscar; he won the same award for Pulp Fiction.

The plot involving a revisionist history/fantasy of pre-Civil War America has a similar vibe to the revisionist history of Inglourious Basterds. It feels a little bit like Tarantino is repeating himself. But Tarantino makes good movies, repeating himself or not. Still, I’m hoping his next film is a change of pace like Kill Bill was.

Tarantino has never made a movie I haven’t liked; he’s a master. Django is his weakest, but it’s still good.

I would love it if somebody gave him a superhero franchise. He would do some amazing things with something like the Fantastic Four.

Special Features: A few short behind-the-scenes docs. Tarantino doesn’t do commentaries (although I do remember that he did one for From Dusk Till Dawn with Robert Rodriguez). The supplements are underwhelming. 

Published in DVDs/Home Viewing

I remember watching the Oscars back when Johnny Carson hosted. This was before I knew the whole thing was bullshit; I would get all excited when those envelopes were opened, and even when stupid Paul Williams showed up singing a song.

Even though the Academy of Motion Picture Arts and Sciences usually doesn’t get it right with the awards, I still look forward to the show, especially when that idiot Billy Crystal isn’t hosting it. This year, the host will be Seth MacFarlane. Should be interesting, and perhaps delightfully profane.

Here are the nominees, along with my predictions. Drink chocolate milk every time I get one right, and regular milk when I get one wrong. (I don’t endorse alcohol-drinking games.)

 

Best Picture

Amour

Argo

Beasts of the Southern Wild

Django Unchained

Les Misérables

Life of Pi

Lincoln

Silver Linings Playbook

Zero Dark Thirty

Let’s immediately eliminate Amour, Beasts, Django and Life of Pi. None of these films have a chance.

Zero Dark Thirty had the momentum going into awards season, but that momentum has shifted significantly, probably thanks to stupid Ed Asner and his lame comments. (Go to Hell, Lou Grant!) A few months ago, I would’ve thought Les Mis (my personal favorite of the bunch) had a good shot, but I think it’s going to get beat, because everybody hates Russell Crowe.

That leaves Lincoln, Silver Linings Playbook and Argo. Admittedly, I would’ve gone with Lincoln or Silver Linings a recently as a month ago, but with the Directors Guild, Screen Actors Guild and Golden Globes all giving awards to Argo, I’m thinking it’s Argo for the win.

Snubs: This is a pretty good crop of nominees. Since there’s room for 10, a nom for The Impossible would’ve been nice, or perhaps Wes Anderson’s Moonrise Kingdom.

Should win: Les Misérables.

Will Win: Argo.

 

Best Actor

Bradley Cooper (Silver Linings Playbook)

Daniel Day-Lewis (Lincoln)

Hugh Jackman (Les Misérables)

Joaquin Phoenix (The Master)

Denzel Washington (Flight)

Washington and Phoenix have no chance, and I ain’t talking football. This is a race between Cooper, Jackman and Day-Lewis. Cooper was brilliant, but my vote would go to Jackman’s incredibly durable, tear-jerking performance in Les Mis. However, I think Day-Lewis will nail down his third Oscar for his Honest Abe. I didn’t like Lincoln, but I must acknowledge he was wonderful in the movie.

Snubs: When I picked my five favorite actors at the end of 2012, four out of the five nominated were on my list, with the exception of Denzel Washington. I would’ve liked to see Liam Neeson in that slot for The Grey, a performance that didn’t get the accolades it deserved.

Should Win: Jackman.

Will Win: Day-Lewis.

 

Best Actress

Jessica Chastain (Zero Dark Thirty)

Jennifer Lawrence (Silver Linings Playbook)

Emmanuelle Riva (Amour)

Quvenzhané Wallis (Beasts of the Southern Wild)

Naomi Watts (The Impossible)

Dammit, when is Naomi Watts going to win an Oscar? It’s not going to be this year, but it damn well should be. Her performance in The Impossible, a movie many have not seen, is jaw-dropping.

Even though she is the clear winner in my eyes, all of the performances nominated are deserving. Wallis is miraculous in Beasts; Riva is devastatingly good in Amour; and Chastain is a solid anchor in Zero. Lawrence is terrific in Silver Linings—and I believe she will win the Oscar. She has the momentum now. I would’ve never picked her a couple of months ago, but after the Globes and SAG awards, it looks like it is all hers.

However, don’t underestimate the age factor. Riva, 85, could sweep in and upset.

Snubs: Once again, another well-done category, with four of the five matching my Best Actress list. I loved Wallis, but I would’ve nominated Mary Elizabeth Winstead in her place for Smashed.

Should Win: Watts.

Will Win: Lawrence.

 

Best Supporting Actor

Alan Arkin (Argo)

Robert De Niro (Silver Linings Playbook)

Philip Seymour Hoffman (The Master)

Tommy Lee Jones (Lincoln)

Christoph Waltz (Django Unchained)

Enough people dislike Django to disqualify Waltz, and the same goes for Hoffman in The Master. Arkin is fun in Argo, but his performance was not Oscar-worthy.

De Niro was back in fine form for Playbook, and I think he’s the most deserving of those nominated. But Jones keeps racking up awards for his dull turn in the dull Lincoln. Nothing he does in the film is different from what he did in The Fugitive. (It’s basically Tommy Lee Jones starring as Tommy Lee Jones in Lincoln.)

Ah, screw it, I’m predicting a De Niro upset.

Snubs: Sam Rockwell was extraordinary in Seven Psychopaths, as was Edward Norton in Moonrise Kingdom.

Should and will win: De Niro.

 

Best Supporting Actress

Amy Adams (The Master)

Sally Field (Lincoln)

Anne Hathaway (Les Misérables)

Helen Hunt (The Sessions)

Jacki Weaver (Silver Linings Playbook)

Anne Hathaway is going to win, and she deserves it. There’s no reason to discuss any further.

 

Best Director

Michael Haneke (Amour)

Ang Lee (Life of Pi)

David O. Russell (Silver Linings Playbook)

Steven Spielberg (Lincoln)

Benh Zeitlin (Beasts of the Southern Wild)

Well, if Argo is going to win Best Picture, and Ben Affleck didn’t get a director’s nomination, what in the heck happens here?

Steven Spielberg wins his third Best Director Oscar, that’s what. While I love Spielberg, I think Lincoln is a rare misstep for my hero. Of this group, I would have to say Ang Lee is the most deserving. But it’s Spielberg all the way.

Snubs: Affleck, Tom Hooper for Les Mis and Kathryn Bigelow for Zero Dark Thirty are all surprising omissions—especially Bigelow and Hooper; both directors outdid their previous Oscar-winning efforts. How Les Mis got snubbed here is beyond me. The cast sang live, for Christ’s sake.

Should Win: Lee.

Will Win: Spielberg.

 

Best Animated Film

Brave

Frankenweenie

ParaNorman

The Pirates! Band of Misfits

Wreck-It Ralph

This is a tough one. While I found Brave to be quite charming, a lot of folks found the whole “mom turns into a bear” thing stupid. I don’t think Pirates stands a chance, although it deserved the nomination. Wreck-It Ralph is my least-favorite in this bunch, and I suspect it will be least-favorite among voters, too.

I’m thinking Brave will continue a long legacy of Pixar victories, although my personal favorite in this bunch is ParaNorman. ParaNorman was innovative, creative and slightly demented, a true standout.

Snubs: Nothing really got snubbed here, unless you inexplicably worship Hotel Transylvania.

Should Win: ParaNorman.

Will Win: Brave.

 

Other predictions:

Best Original Screenplay: Zero Dark Thirty

Best Adapted Screenplay: Argo

Best Cinematography: Life of Pi

Best Costume Design: Lincoln

Best Production Design: Les Misérables

Best Sound Mixing: Les Misérables

Best Editing: Zero Dark Thirty

Best Sound Editing: Zero Dark Thirty

Best Visual Effects: Life of Pi

Best Makeup: The Hobbit: An Unexpected Journey

Best Original Song: “Skyfall,” Skyfall

Best Score: Argo

Best Short Film, Animated: Paperman

Best Short Film, Live Action: Asad

Best Documentary (Short): Redemption

Best Documentary (Feature): How to Survive a Plague

Best Foreign Language Film: Amour

Published in Reviews

Quentin Tarantino is repeating himself a bit when it comes to his latest, Django Unchained.

Tarantino got off on revisionist history with Inglourious Basterds, changing the events of World War II for entertainment’s sake. He got away with it, because the movie was stylistically awesome, and Eli Roth wowed with his baseball bat.

This time, Tarantino has taken his crazy pen to the subject of slavery, and the result is an uncomfortable yet somewhat entertaining mixed bag.

The movie has all of the Tarantino-isms (super violence, awesome music choices, cutesy monologues), but it gave me that “been there, done that” feeling. For the first time ever during a Tarantino movie, I found myself a little bored at times.

Christoph Waltz, who played the evil Jew-hunter Nazi in Basterds, returns to Tarantino Land as Dr. King Schultz, a German bounty hunter wandering around the South two years before the Civil War. He has the same ingenuity and flare for words that the Jew-hunter had, but he’s a much nicer human being. That is, unless you are one of his targets—then he will shoot you down like a dog in a spray of brains and intestine.

His character despises slavery, but purchases a slave named Django (Jamie Foxx), because he heard Django has seen some men he needs to shoot. As it turns out, Django is a crack shot; the two become partners; and lots of evil crackers are going to die violent deaths.

Django’s wife, Broomhilda (Kerry Washington), has been sold to an evil slave owner named Calvin Candie (a slithery Leonardo DiCaprio), and Schultz agrees to accompany Django on a mission to rescue her.

When DiCaprio enters the fray, the movie hits its highest heights. Tarantino allows the usually virtuous actor a chance to be truly disgusting, and DiCaprio jumps at the opportunity.

The movie is long (two hours and 45 minutes), as are some other Tarantino films. However, this is the first Tarantino film that felt long. Maybe that has something to do with the fact that this is the first Tarantino film not to be edited by the late Sally Menke. Menke was a big part of the Tarantino universe, and her cuts were magical. Perhaps Menke would’ve made this gun-and-pony show fly by effortlessly, as she did with all of her other Tarantino projects.

Django Unchained is a sporadically entertaining film that feels a little off. It is also Tarantino’s most-sadistic film to date, and I say this while remembering the “Bring out the gimp!” scene from Pulp Fiction. Again, maybe Menke had a way of presenting Tarantino’s crazed visions that his current editor can’t summon up. The sort of stuff that is just plain nauseating here was actually kind of funny in past Tarantino efforts.

Waltz is terrific, and it’s refreshing to see him playing a crazy guy with a big heart. He’s usually such a prick in his movies, so it’s nice to see him in a heroic role. DiCaprio gives his part of the film a funny and sinister edge, although his monologue about the inner workings of a slave’s skull is a bit much. Foxx makes for a decent-enough hero.

Django Unchained is mediocre Tarantino at best, and I can only give the slightest of recommendations. See it for Waltz and DiCaprio.

I’m hoping this signifies the end of Tarantino’s revisionist-history and exploitation/grindhouse phase. Unfortunately, I just read a story where he teased an idea for a sequel to Basterds—so new and innovative ideas from Tarantino might be far away.

Django Unchained is playing in theaters across the valley.

Published in Reviews