Nothing new at the P-I this week from me, but I tried to put some order to my ruminations on Revolutionary Road and The Reader, two of the most prominent Oscar hopefuls rolled out in what is traditionally the awards season run-up, yet have found little critical traction this season. I share my thoughts on Parallax View.
Tis the season. Oscar bait season, that is, when the studios line up the major releases jockeying for spots on Top Ten lists and critics groups awards on the way to the Oscar nominations in January. Unlike the superhero movies and fantasy blockbusters and comedy vehicles that are crammed into thousands of theaters in a blanket release covering the entire country, these are often launched in a couple of theaters in New York and Los Angeles and slowly expanded into more theaters and more cities over the next couple of months (the way most movies were released, back before the era of the blockbuster changed releasing patterns forever). But to get on those lists, they are press screened to critics in major cities. Two of those films, Revolutionary Road and The Reader, have just gotten their Oscar-consideration releases (to the best of my understanding, they need to have at least a week-long theatrical run in New York and Los Angeles in the 2008 calendar to qualify for an Academy Award). These films have all the hallmarks for Oscar-bait: literary sources, “serious” themes, credentialed casts and the kinds of directors that value words over cinematic expression. While they have been racked up Golden Globe nominations, they have been conspicuously absent from major critics lists and critics groups’ awards. At their best, they are thoughtful and engaging. At their worst, they are self-important, self-conscious and stupefying.
Revolutionary Road is at the top (or, more accurately, the bottom) of the list of offenders. Sam Mendes (American Beauty) directs the adaptation of Richard Yates’ novel with such exacting (and unimaginative) control that he sucks the air from the world, like vacuum sealing it in plastic and putting it on display…. The Reader, directed by Stephen Daldry (The Hours) from an adaptation of Bernhard Schlink’s novel by playwright David Hare, is less stifling but no less weighty.
Read the entire piece at Parallax View here.