11 Great Movies Which Didn’t Garner a Single Oscar Nomination This Year

I am not the half of Gobbledygeek who loathes the Oscars; in fact, they’re an annual tradition in my house. This year, we even ponied up for chocolate Oscar statuettes powdered with gold. We don’t mess around. Amazingly, I even liked seven of this year’s nine Best Picture nominees (the odd ones out being War Horse and, ugh, Extremely Loud & Incredibly Close). At the same time, I realize that the Academy often fails to recognize some truly brilliant films, and in the interest of counter-programming, I thought I’d point out some of the ones it missed this year.

These films didn’t garner a single Oscar nod this year (if it wasn’t for Sound Editing, Drive would be all up in here), and were actually eligible by Academy rules (otherwise, I would have spotlighted The Sunset Limited yet again, alongside the hilarious concert film Louis C.K.: Live at the Beacon Theater).

We’ve got 11 great movies here, divided up into three categories. To get us started…

Continue reading

Paul & AJ’s Top 10 Films of 2011

Paul and I rambled on and on about our favorites of 2011 in our second season finale, but that isn’t gonna stop us from rambling some more. This is the first in a series of top 10s that will be spread out over the next couple weeks; the rest will concern television, albums, and comic books.

But first, a word about lists. Paul has described my obsession with list-making as a “sickness,” and that’s probably close to the truth. However, even one such as I, beholden to rating and ranking everything known to man, know that these kinds of things are imperfect, to put it lightly. For one, no matter how all-inclusive you try to be, there’s always going to be a movie (or show, or comic, etc.) that you somehow missed; for example, as of this writing, neither Paul nor I have seen The Girl with the Dragon Tattoo, Shame, or Tinker, Tailor, Soldier, Spy, just to name a few. And more importantly, lists are always subject to how their makers feel at the moment they’re making them. Each of our top 10s represent the movies we love right now, and with the exception of our #1 choices, their order could be fluid, changing from day to day, mood to mood.

Right now, though? These are the films we adore, and which we feel exemplify 2011.

~ AJ

PAUL: 10. RISE OF THE PLANET OF THE APES (dir. Rupert Wyatt)

The summer blockbuster that was better than any of us had any right to expect. Not only a remarkably capable relaunch/reboot of a beloved but dated franchise, but also just a damned good popcorn flick in its own right. Andy Serkis brings heart and humanity (pun intended) to the “inhuman” protagonist. It’s Pinocchio and Moses and Che Guevara.

AJ: 10. GEORGE HARRISON: LIVING IN THE MATERIAL WORLD (dir. Martin Scorsese)

It has been lazy shorthand for decades to refer to George Harrison as the “quiet Beatle,” and though that might have a kernel of truth to it, the man himself was far more complex. Publicly, he was quiet because he desperately hated fame; professionally, he was quiet during the Beatle years because John and Paul vetoed his material, and later, because he was content with tending to his family and to his garden. Martin Scorsese’s Bob Dylan documentary No Direction Home definitively captured that 60s icon’s brilliance and enigma, and while Living in the Material World doesn’t quite do the same for this 60s icon, it comes close enough. In the first part of this two-part doc, the entire life cycle of The Beatles is rehashed yet again, though considering it’s Scorsese at the helm, it remains of interest. It’s in the second part, however, when things truly come alive. By telling of his unsung career as a film producer, enticing candid stories from a number of those closest to him, and showing private home movies, Scorsese paints a portrait of Harrison as a man perpetually struggling to reconcile his spirituality with his materialism, caught between divinity and mortality.

Continue reading

Listen to Last Night’s Gobbledygeek

Last night’s Gobbledygeek, “WTF, FCC, T&A,” is available for listening right here. We basically rant and ramble about America’s bass-ackwards policies regarding language, and the potentially unconstitutional censorship thereof. Discussed: George Harrison, George Carlin, Janet Jackson, cartoon tits, cartoon asses, and much more. Paul touches briefly–and vaguely–on his experience attending an advance screening of Scott Pilgrim vs. the World, and in the bonus hour, we continue our countdown of the Top 100 Characters in Modern Pop Culture with #s 50-41.

Ringo Starr, Keeping the Beat for 70 Years

We had a show on Paul McCartney’s birthday, but no dice for Ringo; as always, the man gets no respect. But wait! Today is Ringo Starr’s 70th birthday, and I am determined to honor him! He is a wonderful drummer; his technique during his time with the Beatles went from the simple, pleasurable backbeat of Please Please Me to the complex, sophisticated drumming of Abbey Road. Like fellow Beatles John, Paul, and George, the growth he experienced over six or seven years was remarkable. And for 40 years now, ever since the band broke up, he has quietly released a steady stream of solo albums. Some are pleasant, a couple–Ringo, Liverpool 8–have been excellent, and though most are mediocre, the fact that he’s had a recording career for close to half-a-century is a terrific accomplishment. (Plus he’s never released anything as ear-bleedingly awful as John’s Life with the Lions or Paul’s Liverpool Oratorio, so props for that, Rings. Can I call you Rings?)

So in celebration, I present to you Ringo’s Top 5 Beatles Songs!

I could probably take a broader view and determine Ringo’s best Beatles songs by taking into account his actual drumming (in which case, I’m thinking “Rain,” “Strawberry Fields Forever,” or “Tomorrow Never Knows” would likely be contenders for the top spot), but I’m only going to count the songs he sang. There were only 12, but all are worthy additions to the Beatles catalogue.

5. “What Goes On,” Rubber Soul (1965)

I met you in the morning, waiting for the tides of time. But now the tide is turning, I can see that I was blind.

Rubber Soul is an album fraught with girl troubles, and even the usually happy-go-lucky Ringo finds himself at odds with a lying, cheating girl. As with many Ringo songs, “What Goes On” has a country-and-western flair, though I doubt many C&W songs sport anything as lovely as John and Paul’s background harmony. Paul’s stabbing bass provides a nice counterpoint to George’s clean guitar lines, nicely capturing the song’s mood.

Continue reading

Hey, Mr. AJ: Pavement, Emeralds, Ariel Pink’s Haunted Graffiti, Bettye LaVette, Eminem

Album reviews are divided into six sections: MAXIMUM GOBBLING for the masterpieces; GOBBLE IT for the merely great; WORTH GOBBLING for other good releases; GOBBLE? for those albums which aren’t really good or bad, just sort of okay; DO NOT GOBBLE for the shitty; and RUN, DON’T GOBBLE! for the awful.

QUARANTINE THE PAST: THE BEST OF PAVEMENT
by Pavement

As with most compilations, you could quibble as to why Quarantine the Past exists; Pavement only had five albums, and all the early EP’s were compiled on Westing (By Musket & Sextant). But let’s not quibble, shall we? After more than a decade, Pavement, the seminal 90’s indie band, came together for a reunion tour this year, and Quarantine the Past serves as both a celebration for long-time fans and a primer for new listeners. It’s all here, from Pavement at their most accessible (the sing-along almost-hit “Cut Your Hair”) to the band at their most obscure (“Unseen Power of the Picket Fence,” a track singing the praises of R.E.M.); from ephemera (EP cuts like the noisy “Debris Side”) to essentials (like the majestic “Grounded”). And yet for all the weirdness, all the guitar fuzz and noise, Pavement never lose their keen sense of melody. Leader Stephen Malkmus’ lyrics are largely inscrutable; what are you to make of a line like, “And all the sterile striking, it defends an empty dock you cast away”? What you’re to make of it, I presume, is what you make of it. The words may sound nonsensical out of context, but in the way that Malkmus’ voice intertwines with the music and plays off of it, they convey all you need to know. Like any great band, Pavement means different things to different people, and it’s up to you to fill in the blanks. My Pavement will likely always be the Pavement of the 1992 masterpiece Slanted and Enchanted, represented here by several great cuts including my two favorites, the oddly wistful “Here” and the glorious “Summer Babe (Winter Version).” But it all works, and despite the growths and strong personalities of each of their albums, it all sits side-by-side perfectly; I hesitate to call it a document because documents are boring, locked rigorously into certain perceptions of time. That’s not Pavement. Pavement remain free of such shackles, their music alive and full of color after all these years.

Continue reading

Hey, Mr. AJ: Tame Impala, True Blood, Dum Dum Girls, Wild Nothing, Twilight, Robyn

Hey, Mr. AJ is a new column in which I plan on writing some things about the new music I hear. They’ll be brief reviews, divided into sections: MAXIMUM GOBBLING for the masterpieces; GOBBLE IT for the merely great; WORTH GOBBLING for other good releases; GOBBLE? for those albums which aren’t really good or bad, just sort of okay; DO NOT GOBBLE for the shitty; and RUN, DON’T GOBBLE! for the awful. Got it? Now, don’t ask me again.

INNERSPEAKER
by Tame Impala

I’m a Beatlemaniac, so I see the Beatles everywhere. Bear with me. On their debut album Innerspeaker, Australian psych-rock band Tame Impala manage to do what the Olivia Tremor Control did on 1996’s masterful Music from the Unrealized Film Script, Dusk at Cubist Castle; without compromising their creativity or their own unique vision, they capture the spirit of the post-Sgt. Pepper, pre-Abbey Road Beatles. Specifically, both albums remind me of the more freewheeling psychedelic cuts on Yellow Submarine, like George Harrison’s “It’s All Too Much.” Indeed, lead singer Kevin Parker’s voice reminds me of Harrison’s in that soaring, nasally way, which also makes it at times resemble John Lennon’s. But as I said, this is no rip-off, and Tame Impala sound like their own band, embracing the hazier realms of psychedelia that the Fab Four rarely did. It’s misty, delightful music that lulls you into another world with its spiraling distorted guitars, insistent drums, and far out yet pleasingly retro production techniques. Innerspeaker hasn’t made its way to the States yet, but whenever you get the chance, take a listen. You’ll be glad you did.

Continue reading