The Leading Ladies of 2007

Happy '08! I hope everyone had a great New Year's Day, my favorite day in the entire year to play it cool, keep things close to home, hang out on the futon and on the phone—and hence, no blogging yesterday. But, there will be copious entries soon enough, with end-of-year best lists to compile, and a major birthday to celebrate. (And no, I'm not talking about Todd's 47th today, though I should be — bon anniversaire, mon cher!)

Moviewise, I've got two heavy hitters blowing into the Windy City this weekend—critical darling There Will Be Blood and well-reviewed documentary The Price of Sugar, an Oscar semifinalist. Basically, I'm waiting on these titles and Persepolis (opening on Jan. 11), plus some last-minute rentals like Offside and The Namesake, before my theatrical survey of 2007 will be complete enough to draft my annual Honorees. Errant 11th-hour releases like The Great Debaters, The Kite Runner, and the is-it-out-or-not? Grace Is Gone also have outside shots in at least one category, but they're a tad less pressing.

So what does every movie on my Still To Be Seen itinerary have in common? Not a single one of them has a female lead... well, give or take Hilary Swank in P.S. I Love You and little Dakota Blue Richards in The Golden Compass, neither of whom looks remotely prepossessing in the trailers, and I'll probably pass on both movies anyway. All of which makes Best Actress (and isn't this fortuitous?) the one category for which I can already posit a semifinalist list. And what a list it is! Anybody here would have qualified for my final five in '01, '03, or '05, and given how many of them are solid Oscar hopefuls, I'm expecting an Academy shortlist that trounces last year's admirable derby of Cruz, Dench, Mirren, Streep, and Winslet. Here are the fourteen glorious contenders:

JULIETTE BINOCHE in Flight of the Red Balloon
NIKKI BLONSKY in Hairspray
JULIE CHRISTIE in Away from Her
MARION COTILLARD in La Vie en rose
KATE DICKIE in Red Road
CATHERINE FROT in The Page Turner
ANGELINA JOLIE in A Mighty Heart
LAURA LINNEY in Jindabyne
LAURA LINNEY in The Savages
ANAMARIA MARINCA in 4 Months, 3 Weeks, and 2 Days
ELLEN PAGE in Juno
PARKER POSEY in Broken English
PARKER POSEY in Fay Grim
TANG WEI in Lust, Caution

If that list isn't stupendous enough, consider that I've already elected against work as strong as Nina Hoss' in Yella, Amy Adams' in Enchanted, Marina Hands' in Lady Chatterley, Ashley Judd's in Bug, Luisa Williams' in Day Night Day Night, Julie Delpy's in 2 Days in Paris, Christina Ricci's in Black Snake Moan, Mirjana Karanović's in Grbavica: The Land of My Dreams, and Amber Tamblyn and Tilda Swinton's muted but interesting pas-de-deux in Stephanie Daley.

Other people would have advocated for Nicole Kidman in Margot at the Wedding, but I just didn't find much modulation or depth in her admirably sour exterior; or Keira Knightley in Atonement, but her vocal work drove me batty and she didn't find a way into the character that I felt or believed, though the script is certainly not her friend in pursuing that venture; or Isabelle Huppert in Private Property, refreshingly casual and direct as a discontented mother but abandoned by the script before she's broached any deeper territory; or Jodie Foster in The Brave One, nailing Erica's tough carapace but pretending to be in a smarter movie than she's in (plus she takes that unsalvageable ending even further over the top than it's already going); or Halle Berry in Things We Lost in the Fire, who mostly shows how much better she'd be in Monster's Ball now than she was six years ago, with an artfully restrained and shaded but still rather limited performance; or the much-beloved Carice van Houten in Black Book, but I found her to be more of a pose-striker and an agreeable, flexible participant in Verhoeven's flamboyant mise-en-scène than a particularly whipsmart or engaging performer. (She also, for all of her virtues, made Ellis/Rachel a bit of a wash as a spy: how many sidelong fretful glances and nervous fingers and anxious over-the-shoulder looks is a disguised Jewish spy at war with the Nazis really supposed to allow herself? Tang Wei knew better than this little minx.)

The above were at least runners-up. Katherine Heigl in Knocked Up, Vittoria Mezzogiorna in Love in the Time of Cholera, Markéta Irglová in Once, and Belén Rueda in The Orphanage never excited me all that much. Cate Blanchett was almost as bored as I was during Elizabeth: Full Throttle. Don't even get me started on Helena Bonham Carter, as blank and superficial in her acting of Sweeney Todd as she is patently deficient in her singing; or Molly Shannon in Year of the Dog, disappointingly inadequate to her movie's difficult tone and to all of her close-ups; or Keri Russell, exuding the same lockstep mediocrity and lack of real ideas or feelings as is the rest of Waitress; or Asia Argento, who won lots of fans at Cannes but broods her way through The Last Mistress in a series of increasingly dull grimaces and off-putting bits of naughty-bobcat improvs; or Marianne Faithfull in Irina Palm, well-buzzed on the festival circuit but pitifully stiff and inert in an underconceived part.

So, with all of that said: my list of 14 semi-champions will be whittled down to five later this week, as we kick off the 2007 Nick's Flick Picks Honorees. In truth, four of them are already locked for inclusion, four are confirmed also-rans, and the other six are competing for that fifth spot on the final list... so go ahead and state your cases for your favorites! Plus, we've got 19 other categories to sort through, and even more to say about actresses of the past as well as the present. But you'll have to stay tuned for those tidbits. Enjoy '08, vote Democratic, and keep coming back!

Intermission: Elizabeth: Full Throttle

The Chicago Film Festival ended on Wednesday, but I still have six or seven more reviews from that festival in the pipeline. I've been trying to knock them out in the order I saw them, which means that the superb 4 Months, 3 Weeks, and 2 Days, bound for my year-end Top 10 list, should rightfully be next. But I'm going to allow this stinker to cut in the line, because it was easier to get it out of my system right after I saw it, and it makes for lighter Friday reading. Enjoy!

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The CGI Spanish Armada sinks into the CGI water. That's how this thing ends, or nearly so. Some cuts imply that Queen Elizabeth I (Cate Blanchett), unwigged, and therefore more thoughtful and somehow True, observes her country's victory from some sort of castle window, but not long before she seemed to be leading a CGI army on the southern coast of England, and in between she's found a lot of time to stand on her big map of Europe with her palms outstretched and all the royal fans turned on High. So I'm not sure where she actually is. I suspect that Elizabeth does not watch the Armada sink from her castle window, but that she telepathically absorbs their defeat as an Inner Message, in the same way Mariah banged out the words to "Reflections (Care Enough)" at her piano while her boyfriend, across town, wrote the music for the same song in Glitter. Elizabeth is Mariah, and Clive Owen, against every Newtonian law of Stardom Conservation, is somehow Max Beesley, swinging along riggings and diving into the green sea. A horse swims over top of him. Chagall, y'all. The movie has a bit more twisting and turning to do before it actually ends, with Elizabeth, the Virgin Queen, coddling a baby in her arms and fading into the glaring whiteness of failed irony. Then she stands on her map again and turns all the fans back on, but this time she fades to black. Some captions prove informative. I didn't write them down, because bringing along a notebook to Elizabeth: The Golden Age would be like bringing along a tape recorder to interview your dog. So, I can only paraphrase: The defeat of the Spanish Armada went down as one of the worst humiliations in Spanish naval history. Seems awfully qualified to me, in the manner of "the fall of the Bastille was one of the largest-scale destructions of a Parisian prison in French history." But there you go. Also: England, under Elizabeth's reign, entered a time of peace and prosperity. Which sounds an awful lot like...a golden age. Tristram Shandy-like, the movie ends just when it's caught itself up to its promised beginning, so perhaps, like Sterne's novel, Elizabeth: The Golden Age is a crafty metaphysical and rhetorical masterpiece, and its surface appearance as a jewel-toned, bovine, blender-edited, overdressed nightmare of a Wigstock festival is but a clever disguise.

But no, I'm pretty sure that the movie is ridiculous, and that among its endless list of wrong choices and confused agendas, it simply adopted the wrong title. There's a lot of that going around, but let's be generous. Let's close our eyes, think of England, and even though we wouldn't know the first thing about directing or producing or picking the proper lens, and even though we weren't around to feed the composer his Ritalin or to remind Abbie Cornish that she isn't playing a stoner in this movie, let's help where we can and endow Elizabeth: The Golden Age with the title it deserves. I have several suggestions. Click here to read the rest...

Photo © 2007 Universal Pictures/Working Title Films