Black Mass isn't a black mark on anyone's career, but I had hoped the film would be more dramatically satisfying. The film lacks a clear dramatic arc, leaving the characters to continue doing pretty much what they have been doing during the period shown on screen (primarily the 1970s-1980s). They do not become better or worse people, whether they suffer tragedy or gain success. In this film, Benedict Cumberbatch becomes politician Billy Bulger, younger brother of career criminal Jimmy "Whitey" Bulger (Johnny Depp), who enters an alliance with FBI agent John Connolly (Joel Edgerton).
To say that Cumberbatch consistently plays a politician isn't a negative assessment of his performance. His character, undoubtedly like real-life former senator Billy Bulger, knows how to smile while sizing up those around him and smoothly steering conversations to his advantage. As Boston news station WBUR noted in a June 2013 article, "Whitey and Billy: A Tale of Two Boston Brothers," Billy Bulger was "a master at the exercise of political power"—and that is exactly the way Cumberbatch portrays him.
Bulger smiles benignly at John Connolly, the former kid from South Boston who "made good" as an FBI agent, as the two sip drinks in an exclusive setting. Connolly jokes that he doesn't know what to call the senator, whether he can still refer to him as Billy. Bulger repays the compliment in kind by praising Connolly's status in the FBI, but his eyes indicate that he knows exactly where Connolly's familiar flattery is leading.
During lunch, when Connolly pitches an alliance between the FBI and the Bulger brothers, especially with Jimmy, Cumberbatch's Billy is a master of deflection, and he never raises his voice. Always the politician aware that he is being watched in public places, Bulger deftly turns Connolly away and states decisively (as fans have seen in the trailer) that "Jimmy’s business is Jimmy’s business."
Whether Billy Bulger is strutting down the street in the St. Patrick's Day Parade, brilliantly concluding a rousing speech to his Irish constituents, or sitting at the head of the table at a family Christmas dinner, he always appears solicitous, congenial, and calm—the perfect combination for the man who would sit at the head of the Massachusetts State Senate longer than anyone to date.
If not for one brief scene and a couple of lines not key to the plot, Cumberbatch's performance might seem one note (like many of the supporting actors' in this Depp-driven vehicle). While the Bulger brothers' mother soundly beats Jimmy at cards (he fondly calls her out for cheating), aproned Billy cooks dinner. Just as he brings the meal to the table, Mrs. Bulger relates a grotesque story about a woman, a few streets over, whose body had been found in her home weeks after her death. Her graphic description grosses out Billy, who protests his mother's anecdote just as they're ready to eat. In this brief moment, Billy becomes a real person instead of the façade of placid politician. In the family home, sitting down to dinner with his brother and mother, Billy can be himself. He can complain to his mother and wrinkle his nose at the inappropriate conversation while sarcastically asking if everyone now wants to eat.
I was glad for this scene, because it indicates that, among whatever else was filmed and later trimmed from the two-hour film, something of Cumberbatch's portrayal that is real and unexpected makes it to the final cut. Sure, his performance illustrates Billy's political shrewdness and his loyalty to his older brother, but his role is never developed into what might have been an intriguing study of the brothers' rule of the city. As expected, Cumberbatch delivers a good performance (despite fueling debate about the consistency or quality of his accent), but it is not necessarily a highly memorable one. The dinner table scene, however, shows me a different side to Billy Bulger, one that hints that Cumberbatch can do more to show the man behind the façade. He is good with the material he is given, but he is not given all that much to do.
Friday, September 18, 2015
Thursday, January 15, 2015
Oscar Watch 2015: Benedict Cumberbatch, Actor, The Imitation Game
Congratulations, Benedict Cumberbatch. I raise my coffee mug in a toast to your Oscar nomination.
This morning I completed an annual ritual: sitting in bed (usually in my jammies) with a huge mug of coffee, eyes focused only on the Academy Award nominations announced live on television. Typically I squeal a bit if a Hobbit or an actor I admire receives a nomination, I take a few notes for one of my writing projects, and then I go to work. That was pretty much what happened this morning (although I haven't completed the "going to my office" phase yet)--but I was more anxious about the nominations than I've been since The Return of the King noms a decade ago.
Given The Imitation Game's shut out at the Golden Globes a few nights ago--and, granted, the lead actor field was crowded with excellent actors who gave brilliant performances--I was not quite so confident that all the film's Oscar promotion, Cumberbatch's exponentially increasing frequent flyer miles, and television interviews would get the desired result. Of course, the Golden Globes and Academy Awards have different voting membership, and success with one doesn't necessarily equate success with the other. Having a successful Oscar campaign is a political part of receiving recognition for exemplary work, although without giving such a moving performance, Cumberbatch would not have been considered for the nomination. After following the film's ups and downs during nomination season, I was pleased (and a bit relieved) to hear his name read this morning.
My mentor during my doctoral program used to say that you do the work for the joy of the work itself; if you receive recognition for it, that's just gravy. If you only do good work in the hopes of receiving recognition, then your priorities are severely skewed. Benedict Cumberbatch does indeed seem to enjoy his work and to take special pride in his role as Alan Turing, but I bet getting that gravy--or award nom--today was a special moment. Undoubtedly some people will suggest that he now will be on Hollywood's gravy train, but I don't believe that. His career track of choosing interesting roles and tackling many diverse projects in a single year, in addition to winning plenty of acting awards throughout more than a decade of professional performances, indicates that he'll continue to take on new acting challenges in the future.
The Academy Award nomination--or even the Oscar--is not likely to be the single high point of Cumberbatch's career, but it is certainly a moment to savor. As Ellen DeGeneres noted in yesterday's Ellen interview, "Now everyone knows your name."
Although I like the "fun" side of his public persona, I feared the photobomb at the Golden Globes looked more staged than spontaneous, and I consequently wondered if, after he received so much online publicity for this second Cumberbomb, he might become better known for his awards antics than his acting. Today's nomination is for the serious actor's seriously good work in a film that received eight Academy Award nominations. I'm a fan because of Benedict Cumberbatch's talent and entertaining, enlightening performances, then, now, and, I anticipate, in future.
Here's to you and The Imitation Game, Mr. Cumberbatch. I'll be watching on February 22.
Saturday, January 3, 2015
A Second Look at The Imitation Game
Benedict Cumberbatch successfully reveals the heart behind the brilliant mind, troubled socialization, and tragic end of Alan Turing. It's remarkable how Cumberbatch so easily proves that both the fictional Sherlock Holmes, a character once dubbed a "machine" by his best friend, and the very real Turing, who asks the police detective investigating him to give him the Turing test (to determine AI), are so movingly, memorably human. The characters also have nothing in common--Cumberbatch, contrary to what some reviews suggest, is not playing Turing as a Holmes cousin.
This week I saw The Imitation Game for the second, but far from last time. During the first viewing, at the Toronto International Film Festival, I was excited to see a new, much-hyped film and buoyed by an audience of several hundred who cheered, gasped, and cried largely because of their immersion into Cumberbatch's performance. This time I went on a weekday morning in a much smaller U.S. city. Because I've written books, academic papers, and popular articles or reviews about this actor's work, his performances have become part of my ongoing popular culture research. In short, I primarily went to this second screening to see Cumberbatch.
However, I was disappointed--about ten minutes into the film, during Turing's interview at Bletchley Park, I realized that I had forgotten about Cumberbatch. I know--realizing that I'd forgotten about the actor means that I remembered to concentrate on the actor--but once the film began, I immediately had been drawn into the story and forgotten about the "technical side" of the portrayal. Even though I knew the plot (from reading biographies) and had already seen the film, I lost myself in the movie. I got to know the film version of Alan Turing, and I empathized completely with him. I may have come to the cinema to see Cumberbatch, but I became deeply invested in Turing and emotionally involved with the story. I didn't see Cumberbatch, the man or the celebrity, much less any of his other characters, on screen--the performance alone drew me in and held my attention for the nearly two-hour run time. Only afterward, when I mentally replayed scenes and returned to analyzing them, did I understand why the performance moved me. In the cinema, I felt instead of thought, reacted instead of analyzed.
I hope that I will always relate to Benedict Cumberbatch's performances that way--to see the character instead of the actor on screen or stage when I relax into my seat in a darkened theater.
Much of the time, once an actor becomes famous and can carry a film or a television series, I may like the character or story but am well aware of my split viewing. I simultaneously watch the character and analyze the actor's portrayal. I much prefer, on a first viewing, to enjoy the story and later to analyze the mechanics of the performance or production. However, with an actor's increased celebrity, the distinction between character and actor is more difficult to overcome. George Clooney is a good example. I like to watch George Clooney in a movie--I like his smile or smirk, his easy confidence, and the way he can drop his chin to look sincerely into the eyes of another character (and the audience) to convince him/her/us of the sincerity of what he is about to say. But I know every moment that I'm watching George Clooney playing a character, and I think of the mannerisms being Clooney's as much as the character's. It's not that Clooney isn't a believable actor or doesn't play different types of characters, but his celebrity and star power outshine his performance. I may have liked The Descendants or (probably more than most) The Monuments Men because of the story, but I went in knowing that I would see a George Clooney movie, and that perception colored my viewing experience.
At this point in his career, and during this Oscar campaign, Benedict Cumberbatch may be at a "Clooney-esque" tipping point for many of his fans. Certainly his (and Harvey Weinstein's) promotion of The Imitation Game have made not only the Academy voters but a huge portion of the Western world's film audiences aware that Cumberbatch stars and is in almost every scene. Early in the campaign, Cumberbatch determinedly directed every interview back to Turing, not his performance or personal life, and he successfully made potential audiences (back in November) aware of the film's subject matter and the significance of Alan Turing.
Although the announcement of Cumberbatch's engagement often redirected conversation toward the actor's private rather than professional life, focusing on Cumberbatch more than the film itself was a practical, effective strategy. The film is good, but it is not perfect. (I tested my reaction to the structure of the film with those of viewers in Toronto after the screening and with friends sitting around chatting on New Year's--not the most scientific research, but an approach that gave me insights other than my own.) The framing story surrounding the criminal investigation of Turing still seems a bit forced--difficult for some viewers to understand because of the time jump from present to past and back again or awkward in the sense that a man defined by the secrets he kept would reveal them so readily to a detective. As well, the issue of Turing being blackmailed into keeping quiet about a Russian spy undermines the character's heroism. Thus, the performances--and the film's impetus to make more people aware of Turing--are the primary reasons to see The Imitation Game, and among a strong cast (especially Keira Knightley and Mark Strong), Cumberbatch stands out.
Now, in the final days before Academy Award nominations are revealed, the campaign is emphasizing Turing once again. The campaign, like the movie's structure, has come full circle with the spotlight returning on the movie's subject matter instead of the actors. Whatever happens with the Oscars--and Cumberbatch and Knightley already have received numerous nominations, from the Hollywood Foreign Press and Screen Actors Guild, for example--the performances make this movie and should be recognized ahead of the film itself. I don't think that Turing's significance will be lost if the actor who portrays him on film receives an Oscar nom or wins several awards this season.
What sold me, on second viewing, about Cumberbatch's performance is his voice and eyes. Yes, of course, his physical mannerisms, such as a tilted head-forward walk, a primly set mouth, or a runner's punishing pounding of a country road, are impressive and important in creating the character, and clips shown during awards presentations likely will focus on the final pivotal scene between Turing and Clarke featuring Cumberbatch's heartbreaking embodiment of a weakened Turing. However, scene to scene, especially on a big screen, Turing's eyes explain exactly what is going on in his mind. When he impulsively proposes to Joan, audiences see the moment that idea is born because Turing's eyes lock and light up when he draws the conclusion that marriage is a logical action. When, in a later scene, Turing realizes that the detective cannot/will not help him avoid prosecution, his eyes deaden in resignation. Cumberbatch is well known for his brilliance in conveying a character's inner life, and Turing is an exceptional example.
During the U.S. publicity jaunt in November, Cumberbatch chatted with Jon Stewart about the film. Stewart significantly commented on the actor's stutter, which was true to Turing's. However, instead of just noting this aspect of the performance, Stewart astutely emphasized that most stutterers "bounce" on a consonant, whereas Turing most often stutters on a vowel (e.g., in "and"), something that is much more difficult to do. As well, Cumberbatch effectively changes pitch and cadence as Turing--a much higher voice and precise, if atypical, emphasis on words in sentences. Often the most emotional, halting statements are accompanied by rapid blinking, or Turing's eyes sliding away to focus on something other than the person to whom he is speaking. These "minutiae" of characterization help audiences empathize with Turing--and illustrate the actor's ability to get audiences to suspend disbelief. This performance encourages fans to become immersed in Turing's story rather than to gaze adoringly at a favorite actor.
That's why I think that Rotten Tomatoes, as of the time I'm writing this blog, lists a 90% critics' approval rating of The Imitation Game but, perhaps more important for box office and Cumberbatch's career, 95% audience approval (i.e., Liked it). When I first wrote about The Imitation Game, I worried how it would compete during the holiday (and awards-nomination) season against a seemingly similar British biopic, The Theory of Everything, as well as high drama from Unbroken and the joy of a holiday musical, Into the Woods, starring Meryl Streep, a perennial audience and critics' favorite. As of today, The Imitation Game is eighth among the top U.S. box office draws. Both times I've seen the film, the audience has reacted vocally--they are involved with the characters and vicariously sharing the experience. As in Toronto, the Florida midmorning audience laughed, gasped loud enough I could hear the response rows away, and caught their breath more than once. I haven't seen this consistent audience reaction to a drama for a very long time. When I asked my friends what they thought, they loved the film and uniformly praised Cumberbatch--and they aren't particularly Cumberbatch fans.
As a film critic, I recommend this movie, but not for the usual reasons. It's not perfectly executed, highly controversial, or mind boggling. It's not a "feel-good" film, but it can be inspiring. Its story is timely (or perhaps long overdue). Its score is amazing in conveying emotion and providing a soaring main theme. However, the film is worthwhile because of the performances, especially Benedict Cumberbatch's, but don't go to the movies just to see a "Cumberbatch film". Go to become immersed in The Imitation Game and invested in Alan Turing. I'm looking forward to doing that yet again and hoping that the film finally arrives at more cinemas closer to home.
This week I saw The Imitation Game for the second, but far from last time. During the first viewing, at the Toronto International Film Festival, I was excited to see a new, much-hyped film and buoyed by an audience of several hundred who cheered, gasped, and cried largely because of their immersion into Cumberbatch's performance. This time I went on a weekday morning in a much smaller U.S. city. Because I've written books, academic papers, and popular articles or reviews about this actor's work, his performances have become part of my ongoing popular culture research. In short, I primarily went to this second screening to see Cumberbatch.
However, I was disappointed--about ten minutes into the film, during Turing's interview at Bletchley Park, I realized that I had forgotten about Cumberbatch. I know--realizing that I'd forgotten about the actor means that I remembered to concentrate on the actor--but once the film began, I immediately had been drawn into the story and forgotten about the "technical side" of the portrayal. Even though I knew the plot (from reading biographies) and had already seen the film, I lost myself in the movie. I got to know the film version of Alan Turing, and I empathized completely with him. I may have come to the cinema to see Cumberbatch, but I became deeply invested in Turing and emotionally involved with the story. I didn't see Cumberbatch, the man or the celebrity, much less any of his other characters, on screen--the performance alone drew me in and held my attention for the nearly two-hour run time. Only afterward, when I mentally replayed scenes and returned to analyzing them, did I understand why the performance moved me. In the cinema, I felt instead of thought, reacted instead of analyzed.
I hope that I will always relate to Benedict Cumberbatch's performances that way--to see the character instead of the actor on screen or stage when I relax into my seat in a darkened theater.
Much of the time, once an actor becomes famous and can carry a film or a television series, I may like the character or story but am well aware of my split viewing. I simultaneously watch the character and analyze the actor's portrayal. I much prefer, on a first viewing, to enjoy the story and later to analyze the mechanics of the performance or production. However, with an actor's increased celebrity, the distinction between character and actor is more difficult to overcome. George Clooney is a good example. I like to watch George Clooney in a movie--I like his smile or smirk, his easy confidence, and the way he can drop his chin to look sincerely into the eyes of another character (and the audience) to convince him/her/us of the sincerity of what he is about to say. But I know every moment that I'm watching George Clooney playing a character, and I think of the mannerisms being Clooney's as much as the character's. It's not that Clooney isn't a believable actor or doesn't play different types of characters, but his celebrity and star power outshine his performance. I may have liked The Descendants or (probably more than most) The Monuments Men because of the story, but I went in knowing that I would see a George Clooney movie, and that perception colored my viewing experience.
At this point in his career, and during this Oscar campaign, Benedict Cumberbatch may be at a "Clooney-esque" tipping point for many of his fans. Certainly his (and Harvey Weinstein's) promotion of The Imitation Game have made not only the Academy voters but a huge portion of the Western world's film audiences aware that Cumberbatch stars and is in almost every scene. Early in the campaign, Cumberbatch determinedly directed every interview back to Turing, not his performance or personal life, and he successfully made potential audiences (back in November) aware of the film's subject matter and the significance of Alan Turing.
Although the announcement of Cumberbatch's engagement often redirected conversation toward the actor's private rather than professional life, focusing on Cumberbatch more than the film itself was a practical, effective strategy. The film is good, but it is not perfect. (I tested my reaction to the structure of the film with those of viewers in Toronto after the screening and with friends sitting around chatting on New Year's--not the most scientific research, but an approach that gave me insights other than my own.) The framing story surrounding the criminal investigation of Turing still seems a bit forced--difficult for some viewers to understand because of the time jump from present to past and back again or awkward in the sense that a man defined by the secrets he kept would reveal them so readily to a detective. As well, the issue of Turing being blackmailed into keeping quiet about a Russian spy undermines the character's heroism. Thus, the performances--and the film's impetus to make more people aware of Turing--are the primary reasons to see The Imitation Game, and among a strong cast (especially Keira Knightley and Mark Strong), Cumberbatch stands out.
Now, in the final days before Academy Award nominations are revealed, the campaign is emphasizing Turing once again. The campaign, like the movie's structure, has come full circle with the spotlight returning on the movie's subject matter instead of the actors. Whatever happens with the Oscars--and Cumberbatch and Knightley already have received numerous nominations, from the Hollywood Foreign Press and Screen Actors Guild, for example--the performances make this movie and should be recognized ahead of the film itself. I don't think that Turing's significance will be lost if the actor who portrays him on film receives an Oscar nom or wins several awards this season.
What sold me, on second viewing, about Cumberbatch's performance is his voice and eyes. Yes, of course, his physical mannerisms, such as a tilted head-forward walk, a primly set mouth, or a runner's punishing pounding of a country road, are impressive and important in creating the character, and clips shown during awards presentations likely will focus on the final pivotal scene between Turing and Clarke featuring Cumberbatch's heartbreaking embodiment of a weakened Turing. However, scene to scene, especially on a big screen, Turing's eyes explain exactly what is going on in his mind. When he impulsively proposes to Joan, audiences see the moment that idea is born because Turing's eyes lock and light up when he draws the conclusion that marriage is a logical action. When, in a later scene, Turing realizes that the detective cannot/will not help him avoid prosecution, his eyes deaden in resignation. Cumberbatch is well known for his brilliance in conveying a character's inner life, and Turing is an exceptional example.
During the U.S. publicity jaunt in November, Cumberbatch chatted with Jon Stewart about the film. Stewart significantly commented on the actor's stutter, which was true to Turing's. However, instead of just noting this aspect of the performance, Stewart astutely emphasized that most stutterers "bounce" on a consonant, whereas Turing most often stutters on a vowel (e.g., in "and"), something that is much more difficult to do. As well, Cumberbatch effectively changes pitch and cadence as Turing--a much higher voice and precise, if atypical, emphasis on words in sentences. Often the most emotional, halting statements are accompanied by rapid blinking, or Turing's eyes sliding away to focus on something other than the person to whom he is speaking. These "minutiae" of characterization help audiences empathize with Turing--and illustrate the actor's ability to get audiences to suspend disbelief. This performance encourages fans to become immersed in Turing's story rather than to gaze adoringly at a favorite actor.
That's why I think that Rotten Tomatoes, as of the time I'm writing this blog, lists a 90% critics' approval rating of The Imitation Game but, perhaps more important for box office and Cumberbatch's career, 95% audience approval (i.e., Liked it). When I first wrote about The Imitation Game, I worried how it would compete during the holiday (and awards-nomination) season against a seemingly similar British biopic, The Theory of Everything, as well as high drama from Unbroken and the joy of a holiday musical, Into the Woods, starring Meryl Streep, a perennial audience and critics' favorite. As of today, The Imitation Game is eighth among the top U.S. box office draws. Both times I've seen the film, the audience has reacted vocally--they are involved with the characters and vicariously sharing the experience. As in Toronto, the Florida midmorning audience laughed, gasped loud enough I could hear the response rows away, and caught their breath more than once. I haven't seen this consistent audience reaction to a drama for a very long time. When I asked my friends what they thought, they loved the film and uniformly praised Cumberbatch--and they aren't particularly Cumberbatch fans.
As a film critic, I recommend this movie, but not for the usual reasons. It's not perfectly executed, highly controversial, or mind boggling. It's not a "feel-good" film, but it can be inspiring. Its story is timely (or perhaps long overdue). Its score is amazing in conveying emotion and providing a soaring main theme. However, the film is worthwhile because of the performances, especially Benedict Cumberbatch's, but don't go to the movies just to see a "Cumberbatch film". Go to become immersed in The Imitation Game and invested in Alan Turing. I'm looking forward to doing that yet again and hoping that the film finally arrives at more cinemas closer to home.
Saturday, November 29, 2014
The Pengwengs of Madagascar
Please note: Although this is a general (but Cumberbatch-centric) review, you may find spoilery descriptions. If you don't want to be possibly spoiled in any way, please wait to read this blog until you've seen the movie.
Agent Classified, as Skipper calls him, knows how to make an entrance--in a $19 million plane. (He and S.H.I.E.L.D.'s Phil Coulson should compare notes.) Like Coulson, Classified leads a handsome ensemble of capable secret agents, but this team is collectively known as the North Wind. [To make the required Sherlock or ACD comparison, whereas the East wind is cold, bitter, and destructive (rather like Sherlock can be when faced with a terrible foe), North Wind is cool, witty, and savior-like when it breezily drops in to save animals in peril--although these agents aren't averse to destruction and know they look good walking away in slow-mo from a huge explosion.] When evil octo-scientist Dave abducts penguins all over the world while he prepares a Medusa serum to turn the cuddly birds into monsters, the penguins formerly of Madagascar (AKA Skipper, Kowalski, Rico, and Private) travel the globe to thwart this evildoer's plan--which is exactly what the North Wind has in mind, too.
Fortunately, the North Wind also brings the arrival of Benedict Cumberbatch--or rather his vocal talents as grey wolf Classified. He's classy. He's confident. He's cool. He's a wolf with a plan. His voice--not just his animated expression--"raises an eyebrow" at the penguins' antics.
Theoretically, the family-friendly movie stars the cute penguins of Madagascar in the fourth movie in DreamWorks Animation's talking animal saga. The movie's plot, however, seems better suited to the Nickelodeon TV show. It's a fun movie, but the plot is standard evil genius vs. good, self-knowing smugness vs. wide-eyed innocence. The zippy pace and punny one-liners (often plays on actor's names: "Charlize, there on the death ray!" or "Kevin, bake on!") keep the story interesting for short attention spans. Plus, the actors are really into character and seem to be having a very good time.
The best lines go to John Malkovich as Dave, a mad-scientist octopus bent on revenge, and Cumberbatch as Classified. Whereas Malkovich can go full-stop (and non-stop) Evil with gusto and glee, Cumberbatch is more constrained as the proper British spy character that both checks the boxes for and simultaneously pokes fun at the spy-film genre. Cumberbatch's best line--"It's like talking to my parents"--is also his favorite. The Skype call in question is humorous because it's "human"--a scene with which parents or children can identify. Cumberbatch/Classified delivers the line under his breath, which also humanizes the character who, despite being highly successful in his career, still faces common fond frustrations with his family.
Once again, Cumberbatch's/Classified's Britishness is highlighted more so than would be typical in a "spy film" in a world long familiar with Bond. Classified wants the penguins to create a diversion, while Skipper's plan requires the North Wind to provide the diversionary tactic. The standoff results in a pronunciation-off before the plan-off to determine how the teams will work together. Skipper insists the correct pronunciation is dɪˈvɜrʒ(ə)n, with a short "i", but Classified asserts it is dīˈvərZHən, with a long "i".
The story's moral about what really counts does not reflect diversity--however you pronounce it--as much as it arguably should. By the time the credits roll, the penguins' status quo has been predictably restored.
Rotten Tomatoes today lists the critics' approval rating at 68% (up from 62% last night), with 74% of the audience giving it four out of five stars. Cumberbatch and Malkovich are getting strong positive reviews by both groups. U.S. box office returns since Thursday indicate that Penguins will end up in the top five by the end of the Thanksgiving weekend--way behind Mockingjay but ahead of Horrible Bosses 2. It's doing well within its niche-audience group, but Big Hero 6, even in its fourth weekend, is still strong competition, and all non-Mockingjay movies are doing less business than expected.
My adult-kid friends and I had a good time when we saw Penguins at a matinee yesterday, although we agreed there's no need for the 3D, other than providing more visual depth; the movie doesn't resort to gimmicky zoom-ins or close-ups. Like many Cumberbatch fans (especially those without children), we were there to see Classified and now want a Classified spinoff movie. If the penguins could do it after being cute in the Madagascar series, why can't classy Classified?
In the meantime, adult fans can play the "pengweng" drinking game. Every time Classified says "pengweng," take a drink of your favorite movie beverage. Classified doesn't always pronounce penguin that way, so you have to listen carefully.
Especially for Cumberbatch fans, Penguins is a pleasant dīˈvərZHən for an hour and a half. It's not the most profound or heart-tugging family film that DreamWorks Animation has ever produced (I'm biased toward the How to Train Your Dragon series), but it, like the penguins, is cute and fun. Plus, it's another way to enjoy Cumberbatch's talents--especially until the final Hobbit film or The Imitation Game comes to a cinema near you.
Agent Classified, as Skipper calls him, knows how to make an entrance--in a $19 million plane. (He and S.H.I.E.L.D.'s Phil Coulson should compare notes.) Like Coulson, Classified leads a handsome ensemble of capable secret agents, but this team is collectively known as the North Wind. [To make the required Sherlock or ACD comparison, whereas the East wind is cold, bitter, and destructive (rather like Sherlock can be when faced with a terrible foe), North Wind is cool, witty, and savior-like when it breezily drops in to save animals in peril--although these agents aren't averse to destruction and know they look good walking away in slow-mo from a huge explosion.] When evil octo-scientist Dave abducts penguins all over the world while he prepares a Medusa serum to turn the cuddly birds into monsters, the penguins formerly of Madagascar (AKA Skipper, Kowalski, Rico, and Private) travel the globe to thwart this evildoer's plan--which is exactly what the North Wind has in mind, too.
Fortunately, the North Wind also brings the arrival of Benedict Cumberbatch--or rather his vocal talents as grey wolf Classified. He's classy. He's confident. He's cool. He's a wolf with a plan. His voice--not just his animated expression--"raises an eyebrow" at the penguins' antics.
Theoretically, the family-friendly movie stars the cute penguins of Madagascar in the fourth movie in DreamWorks Animation's talking animal saga. The movie's plot, however, seems better suited to the Nickelodeon TV show. It's a fun movie, but the plot is standard evil genius vs. good, self-knowing smugness vs. wide-eyed innocence. The zippy pace and punny one-liners (often plays on actor's names: "Charlize, there on the death ray!" or "Kevin, bake on!") keep the story interesting for short attention spans. Plus, the actors are really into character and seem to be having a very good time.
The best lines go to John Malkovich as Dave, a mad-scientist octopus bent on revenge, and Cumberbatch as Classified. Whereas Malkovich can go full-stop (and non-stop) Evil with gusto and glee, Cumberbatch is more constrained as the proper British spy character that both checks the boxes for and simultaneously pokes fun at the spy-film genre. Cumberbatch's best line--"It's like talking to my parents"--is also his favorite. The Skype call in question is humorous because it's "human"--a scene with which parents or children can identify. Cumberbatch/Classified delivers the line under his breath, which also humanizes the character who, despite being highly successful in his career, still faces common fond frustrations with his family.
Once again, Cumberbatch's/Classified's Britishness is highlighted more so than would be typical in a "spy film" in a world long familiar with Bond. Classified wants the penguins to create a diversion, while Skipper's plan requires the North Wind to provide the diversionary tactic. The standoff results in a pronunciation-off before the plan-off to determine how the teams will work together. Skipper insists the correct pronunciation is dɪˈvɜrʒ(ə)n, with a short "i", but Classified asserts it is dīˈvərZHən, with a long "i".
The story's moral about what really counts does not reflect diversity--however you pronounce it--as much as it arguably should. By the time the credits roll, the penguins' status quo has been predictably restored.
Rotten Tomatoes today lists the critics' approval rating at 68% (up from 62% last night), with 74% of the audience giving it four out of five stars. Cumberbatch and Malkovich are getting strong positive reviews by both groups. U.S. box office returns since Thursday indicate that Penguins will end up in the top five by the end of the Thanksgiving weekend--way behind Mockingjay but ahead of Horrible Bosses 2. It's doing well within its niche-audience group, but Big Hero 6, even in its fourth weekend, is still strong competition, and all non-Mockingjay movies are doing less business than expected.
My adult-kid friends and I had a good time when we saw Penguins at a matinee yesterday, although we agreed there's no need for the 3D, other than providing more visual depth; the movie doesn't resort to gimmicky zoom-ins or close-ups. Like many Cumberbatch fans (especially those without children), we were there to see Classified and now want a Classified spinoff movie. If the penguins could do it after being cute in the Madagascar series, why can't classy Classified?
In the meantime, adult fans can play the "pengweng" drinking game. Every time Classified says "pengweng," take a drink of your favorite movie beverage. Classified doesn't always pronounce penguin that way, so you have to listen carefully.
Especially for Cumberbatch fans, Penguins is a pleasant dīˈvərZHən for an hour and a half. It's not the most profound or heart-tugging family film that DreamWorks Animation has ever produced (I'm biased toward the How to Train Your Dragon series), but it, like the penguins, is cute and fun. Plus, it's another way to enjoy Cumberbatch's talents--especially until the final Hobbit film or The Imitation Game comes to a cinema near you.
Friday, November 21, 2014
My PopMatters Review of To the Ends of the Earth
Nearly a decade ago, Benedict Cumberbatch starred in the four-and-a-half-hour BBC miniseries, To the Ends of the Earth. Although by then he already had earned great acclaim for his acting on stage and television (e.g., a BAFTA nomination for Hawking), he wasn't the international star he is today. Yet he clearly is a talented actor, and this miniseries showcases his range and, even better for fans, gives him an immense amount of screen time--he's in almost every scene.
The miniseries has recently been re-released in the U.S. and Canada, and, as a contributing editor for PopMatters, I reviewed the DVD. My review is now available on PopMatters at
PopMatters review of To the Ends of the Earth
Although I hope you find the review useful and possibly entertaining, I also want to direct you to the embedded links to the BBC press release and PBS Masterpiece article from 2005-06 that provide you even more background about the miniseries and Cumberbatch's research for playing and performance as Edmund Talbot.
I realize that many fans have long known about these articles and To the Ends of the Earth. If you haven't seen this performance and want to know more about it, I hope you'll not only read the review and watch the miniseries but also read two fine background pieces that can provide you with a greater context for this miniseries within Cumberbatch's career.
The miniseries has recently been re-released in the U.S. and Canada, and, as a contributing editor for PopMatters, I reviewed the DVD. My review is now available on PopMatters at
PopMatters review of To the Ends of the Earth
Although I hope you find the review useful and possibly entertaining, I also want to direct you to the embedded links to the BBC press release and PBS Masterpiece article from 2005-06 that provide you even more background about the miniseries and Cumberbatch's research for playing and performance as Edmund Talbot.
I realize that many fans have long known about these articles and To the Ends of the Earth. If you haven't seen this performance and want to know more about it, I hope you'll not only read the review and watch the miniseries but also read two fine background pieces that can provide you with a greater context for this miniseries within Cumberbatch's career.
Saturday, November 15, 2014
The Hollywood Film Awards and the Prelude to Oscar, or A Tale of Two Actors
Billed as the first event of the awards season and, as host Queen Latifah explained, an introduction to "highly anticipated films you'll want to see," the Hollywood Film Awards debuted on CBS last night (November 14, 2014). As a film aficionado, I already was aware of the films being "introduced" and promoted to the CBS Friday night television audience. Most members of the audience who tuned in for the red carpet show, awards, and CBS "after party" probably hadn't heard of all the touted films, but they likely watched to see, as CBS advertised for weeks, "your favorite stars".
Benedict Cumberbatch was one of those stars, but even though he took home the Hollywood Actor award for The Imitation Game, the evening wasn't all it could--or arguably should--have been for him as a potential Oscar nominee, probably because he was being himself instead of a promotional machine. All the reasons I enjoy watching this actor maneuver through the layers of public celebrity, in addition to being entertained and enlightened by his performances, were on display and sharply contrasting the "Hollywood game" of working the crowd and winning future Oscar votes.
Let's start with the way that Benedict Cumberbatch was filmed arriving at the red carpet and contrast his evening's "performance" as a potential Oscar nominee with that of another excellent British actor, Eddie Redmayne. Whereas Redmayne was shown smiling before the photographers and chatting amiably with CBS entertainment correspondent Gayle King, the camera first followed Cumberbatch stepping out of his car in front of the red carpet and being led where he needed to go. There's nothing spectacular about that common shot--except that Cumberbatch merely looked open-faced and friendly while concentrating on being where he needed to go. Contrast that initial impression of the impeccably dressed actor looking a bit serious--as he did later posing for the photographers--with Hollywood veteran Michael Keaton, who grinned from the moment the car door opened and showed very clearly that he was mindful he was live on national television. He worked the camera, even in the brief few seconds he was shown exiting a vehicle. Cumberbatch seemed intent on doing his job well but did not seem as relaxed as he has been on past televised red carpets, for example, at last year's Oscars. There's nothing wrong with being less glib than Mike Myers or as outgoing as Chris Rock on the red carpet, but Cumberbatch's quieter demeanor was a marked contrast to that of awardees clearly working the red carpet and cozying up to interviewers or the camera. During this awards season, potential best actor nominees Eddie Redmayne and Benedict Cumberbatch will inevitably be compared.
A comment in Lainey Gossip last week reminded me that the business of being seen may be just as important as the quality of cinematic work drawing attention to future award winners. The differences between Eddie Redmayne's and Benedict Cumberbatch's appearances at key parties, awards shows, and Hollywood events might be summarized by this description: "Eddie’s been working it a lot more visibly though, tirelessly showing up to every screening, every Q&A, without scraping the lower end of the event list. Benedict may have lost early ground to him because he’s been shooting The Hollow Crown but Harvey Weinstein understands Oscar timing probably better than everyone else." In the past couple of weeks, Cumberbatch has flown from the U.K. to U.S. more than once, and in the next few days, he will be promoting both The Penguins of Madagascar and The Imitation Game on U.S. talk shows, on Tumblr, and in person at premieres and Q&As. Nevertheless, as usual, Cumberbatch's emphasis always seems to be on his work--such as his current role as Richard III in The Hollow Crown or his continuing focus on Alan Turing instead of himself during interviews for The Imitation Game. He doesn't chat about himself nearly as much as most actors, especially those courting a potential award nomination.
A New York Times blog described the prestigious Governors Awards this year as a "scrum for votes" and complained in its lead paragraph that "The movie academy’s Governors Awards, typically one of the classier prizefests, teetered on the brink Saturday of becoming the Golden Globes, one of the gabbier — and grabbier — galas on Hollywood’s annual pre-Oscar circuit." Furthermore, it pictured Redmayne being "parked" at the ballroom entrance, while Weinstein "held court" with Cumberbatch and Keira Knightley. Certainly, Cumberbatch will be seen at important events, but the way he is portrayed--including through candid camera shots and on-camera interviews--is starting to show a difference in style that says as much about the actor as it does the campaign process that is becoming ever more social media savvy and publicly broadcast.
Both Redmayne and Cumberbatch were highly visible at the Hollywood Film Awards last night, which provided an excellent opportunity for the American mainstream television audience to see them and learn about their competing biopics about Alan Turing (Cumberbatch in The Imitation Game) and Stephen Hawking (Redmayne in The Theory of Everything). Redmayne chatted amiably with King during his brief red carpet interview, mentioning that he was looking forward to being reunited with friends attending the awards [Indeed, one photo shows the smiling trio of Cumberbatch, Knightley, and Redmayne], finding such events nerve wracking [even though the award winners knew in advance that they would be on stage], and showing off his shiny black shoes, which, as King noted, were fancier than the shoes he wore during a pre-recorded interview. Cumberbatch, on the other hand, talked very briefly with Mo Rocca. I usually like Rocca's laidback, friendly-guy style, but I agreed with Cumberbatch that the interviewer should not have asked about Cumberbatch being cast as Dr. Strange. That role is far from a done deal, and, after unsuccessfully evading Rocca's persistent attempt to get him to say something about casting, Cumberbatch instead looked irritated. "Check your notes," he dismissed Rocca twice before the interview was cut short.
Fortunately, Cumberbatch talked sincerely and smoothly about Alan Turing at the top of the interview, and his comments, while nothing he hasn't said during other Imitation Game interviews, nonetheless showed his devotion to the film and his insistence that Turing receive the recognition he deserves.
However, most U.S. television audiences are used to stars coyly teasing potential casting news or laughingly asking if the interviewer wouldn't love to see the actor in that as-yet-unannounced role. Cumberbatch didn't play that game. He clearly wanted to stick to the topic of The Imitation Game and resented Rocca's focus on Dr. Strange. I respect Cumberbatch for his choices, but his tone and the abrupt ending of the interview (King was heard on air to ask if Rocca was sending the camera back to her) might not have seemed as appealing to mainstream America used to seeing only happy, flirtatious, project-teasing stars.
During his acceptance speech for receiving the Hollywood Breakout Performance award, Redmayne joked about his early years of being a broke "Brit abroad" in Hollywood and making the rounds of auditions. He thanked his benefactors, including Stephen Hawking. He showed he is sincere, humble, and grateful--all the traits that audiences and award voters like in their winners.
During his acceptance speech for receiving the Hollywood Actor award, saved for next-to-last as one of the evening's main accolades, Cumberbatch led with a quip about short microphones and the time zone back home. He referenced Mathew McConaughey's "All right, all right, all right" HFA speech upon winning last year ("as we say . . . 'oh my, oh my, oh my'") that the audience didn't seem to get, possibly because, as the host and several winners noted, the crowd had been drinking a lot all evening. When Cumberbatch turned more serious, he talked about Turing, once again seeming sincere and well spoken. He also looked a bit nervous, rubbing his cheek and lip as he spoke. Whereas Redmayne charmed the audience, Cumberbatch expressed his sincerity and wit, but not everyone may have been as wowed because it was "typical Cumberbatch"--honest, direct, well spoken, but, in this case, not as over-the-top enthusiastic as audiences might have expected. Whereas Cumberbatch perhaps inadvertently referenced his Britishness (e.g., "where I'm from," "over here"), Redmayne talked about his early time trying to make it in Hollywood and seemed to show more interest in being one of the Hollywood crowd.
The best bits for me, who likes to hear interviews in which actors say something interesting or insightful, were the clips preceding an award being presented. Cumberbatch looked relaxed, happy, and knowledgeable in the interview clips within the segments dedicated to Knightley, director Morten Tyldum, and himself. When, in her acceptance speech, Knightley acknowledged her "lovely friend" who is "excellent on and off camera," Cumberbatch beamed, one of the few times the camera caught him genuinely smiling.
I was disappointed that the CBS "after party" special focused only on a few actors, Redmayne among them, in lengthier pre-recorded interviews. Cumberbatch was left out, probably for a variety of reasons--limited broadcast time, emphasis on stars most mainstream Americans know (in segments mostly featuring American actors), Cumberbatch's work or travel schedule. Nevertheless, Redmayne was featured, and Cumberbatch was not. Viewers had yet one more opportunity to get to meet Redmayne, who, for all his success, doesn't typically receive the same kind of media attention as Cumberbatch. Neverthelss, for all his fame, Cumberbatch may not be on a name-recognition basis with lots of Americans who, based on their introduction to The Imitation Game, might buy a ticket.
What did I like about the way Benedict Cumberbatch was portrayed during the Hollywood Film Awards? He remains his own man, who doesn't suffer fools (or interviewers prodding him for information he doesn't want to give). He looks incredibly styled without seeming to be overstyled--he wears clothes very well but seems equally confident and natural in clips showing him in a t-shirt on set. His acceptance speeches are always interesting and informative. What I worry is that he may not come across as charismatic as Redmayne during some promotional events, and his work schedule and focus on multiple projects at once may not allow him to be seen in the same light as other actors campaigning for Oscar. Cumberbatch has said that he doesn't play the politics of awards--but Harvey Weinstein expertly does and frequently wins. Fortunately for those fans in the U.S., Cumberbatch will be on television a lot more in the next week, as well as attending high-profile promotional events. His fans are already sold on Cumberbatch's talent and charm, but mainstream audiences deciding whether to see The Imitation Game on Thanksgiving weekend may not yet be on board with Cumberfame.
In an insightful recent article in Forbes, film reviewer Scott Mendelson praised Cumberbatch's performance in The Imitation Game and noted that the actor "is such an engaging presence that it’s obvious why he is so coveted by Hollywood for this big role or that big movie. In a purely artistic sense, he is a movie star through-and-through." Here's hoping that U.S. media this week provide a better showcase for this star to shine.
Benedict Cumberbatch was one of those stars, but even though he took home the Hollywood Actor award for The Imitation Game, the evening wasn't all it could--or arguably should--have been for him as a potential Oscar nominee, probably because he was being himself instead of a promotional machine. All the reasons I enjoy watching this actor maneuver through the layers of public celebrity, in addition to being entertained and enlightened by his performances, were on display and sharply contrasting the "Hollywood game" of working the crowd and winning future Oscar votes.
Let's start with the way that Benedict Cumberbatch was filmed arriving at the red carpet and contrast his evening's "performance" as a potential Oscar nominee with that of another excellent British actor, Eddie Redmayne. Whereas Redmayne was shown smiling before the photographers and chatting amiably with CBS entertainment correspondent Gayle King, the camera first followed Cumberbatch stepping out of his car in front of the red carpet and being led where he needed to go. There's nothing spectacular about that common shot--except that Cumberbatch merely looked open-faced and friendly while concentrating on being where he needed to go. Contrast that initial impression of the impeccably dressed actor looking a bit serious--as he did later posing for the photographers--with Hollywood veteran Michael Keaton, who grinned from the moment the car door opened and showed very clearly that he was mindful he was live on national television. He worked the camera, even in the brief few seconds he was shown exiting a vehicle. Cumberbatch seemed intent on doing his job well but did not seem as relaxed as he has been on past televised red carpets, for example, at last year's Oscars. There's nothing wrong with being less glib than Mike Myers or as outgoing as Chris Rock on the red carpet, but Cumberbatch's quieter demeanor was a marked contrast to that of awardees clearly working the red carpet and cozying up to interviewers or the camera. During this awards season, potential best actor nominees Eddie Redmayne and Benedict Cumberbatch will inevitably be compared.
A comment in Lainey Gossip last week reminded me that the business of being seen may be just as important as the quality of cinematic work drawing attention to future award winners. The differences between Eddie Redmayne's and Benedict Cumberbatch's appearances at key parties, awards shows, and Hollywood events might be summarized by this description: "Eddie’s been working it a lot more visibly though, tirelessly showing up to every screening, every Q&A, without scraping the lower end of the event list. Benedict may have lost early ground to him because he’s been shooting The Hollow Crown but Harvey Weinstein understands Oscar timing probably better than everyone else." In the past couple of weeks, Cumberbatch has flown from the U.K. to U.S. more than once, and in the next few days, he will be promoting both The Penguins of Madagascar and The Imitation Game on U.S. talk shows, on Tumblr, and in person at premieres and Q&As. Nevertheless, as usual, Cumberbatch's emphasis always seems to be on his work--such as his current role as Richard III in The Hollow Crown or his continuing focus on Alan Turing instead of himself during interviews for The Imitation Game. He doesn't chat about himself nearly as much as most actors, especially those courting a potential award nomination.
A New York Times blog described the prestigious Governors Awards this year as a "scrum for votes" and complained in its lead paragraph that "The movie academy’s Governors Awards, typically one of the classier prizefests, teetered on the brink Saturday of becoming the Golden Globes, one of the gabbier — and grabbier — galas on Hollywood’s annual pre-Oscar circuit." Furthermore, it pictured Redmayne being "parked" at the ballroom entrance, while Weinstein "held court" with Cumberbatch and Keira Knightley. Certainly, Cumberbatch will be seen at important events, but the way he is portrayed--including through candid camera shots and on-camera interviews--is starting to show a difference in style that says as much about the actor as it does the campaign process that is becoming ever more social media savvy and publicly broadcast.
Both Redmayne and Cumberbatch were highly visible at the Hollywood Film Awards last night, which provided an excellent opportunity for the American mainstream television audience to see them and learn about their competing biopics about Alan Turing (Cumberbatch in The Imitation Game) and Stephen Hawking (Redmayne in The Theory of Everything). Redmayne chatted amiably with King during his brief red carpet interview, mentioning that he was looking forward to being reunited with friends attending the awards [Indeed, one photo shows the smiling trio of Cumberbatch, Knightley, and Redmayne], finding such events nerve wracking [even though the award winners knew in advance that they would be on stage], and showing off his shiny black shoes, which, as King noted, were fancier than the shoes he wore during a pre-recorded interview. Cumberbatch, on the other hand, talked very briefly with Mo Rocca. I usually like Rocca's laidback, friendly-guy style, but I agreed with Cumberbatch that the interviewer should not have asked about Cumberbatch being cast as Dr. Strange. That role is far from a done deal, and, after unsuccessfully evading Rocca's persistent attempt to get him to say something about casting, Cumberbatch instead looked irritated. "Check your notes," he dismissed Rocca twice before the interview was cut short.
Fortunately, Cumberbatch talked sincerely and smoothly about Alan Turing at the top of the interview, and his comments, while nothing he hasn't said during other Imitation Game interviews, nonetheless showed his devotion to the film and his insistence that Turing receive the recognition he deserves.
However, most U.S. television audiences are used to stars coyly teasing potential casting news or laughingly asking if the interviewer wouldn't love to see the actor in that as-yet-unannounced role. Cumberbatch didn't play that game. He clearly wanted to stick to the topic of The Imitation Game and resented Rocca's focus on Dr. Strange. I respect Cumberbatch for his choices, but his tone and the abrupt ending of the interview (King was heard on air to ask if Rocca was sending the camera back to her) might not have seemed as appealing to mainstream America used to seeing only happy, flirtatious, project-teasing stars.
During his acceptance speech for receiving the Hollywood Breakout Performance award, Redmayne joked about his early years of being a broke "Brit abroad" in Hollywood and making the rounds of auditions. He thanked his benefactors, including Stephen Hawking. He showed he is sincere, humble, and grateful--all the traits that audiences and award voters like in their winners.
During his acceptance speech for receiving the Hollywood Actor award, saved for next-to-last as one of the evening's main accolades, Cumberbatch led with a quip about short microphones and the time zone back home. He referenced Mathew McConaughey's "All right, all right, all right" HFA speech upon winning last year ("as we say . . . 'oh my, oh my, oh my'") that the audience didn't seem to get, possibly because, as the host and several winners noted, the crowd had been drinking a lot all evening. When Cumberbatch turned more serious, he talked about Turing, once again seeming sincere and well spoken. He also looked a bit nervous, rubbing his cheek and lip as he spoke. Whereas Redmayne charmed the audience, Cumberbatch expressed his sincerity and wit, but not everyone may have been as wowed because it was "typical Cumberbatch"--honest, direct, well spoken, but, in this case, not as over-the-top enthusiastic as audiences might have expected. Whereas Cumberbatch perhaps inadvertently referenced his Britishness (e.g., "where I'm from," "over here"), Redmayne talked about his early time trying to make it in Hollywood and seemed to show more interest in being one of the Hollywood crowd.
The best bits for me, who likes to hear interviews in which actors say something interesting or insightful, were the clips preceding an award being presented. Cumberbatch looked relaxed, happy, and knowledgeable in the interview clips within the segments dedicated to Knightley, director Morten Tyldum, and himself. When, in her acceptance speech, Knightley acknowledged her "lovely friend" who is "excellent on and off camera," Cumberbatch beamed, one of the few times the camera caught him genuinely smiling.
I was disappointed that the CBS "after party" special focused only on a few actors, Redmayne among them, in lengthier pre-recorded interviews. Cumberbatch was left out, probably for a variety of reasons--limited broadcast time, emphasis on stars most mainstream Americans know (in segments mostly featuring American actors), Cumberbatch's work or travel schedule. Nevertheless, Redmayne was featured, and Cumberbatch was not. Viewers had yet one more opportunity to get to meet Redmayne, who, for all his success, doesn't typically receive the same kind of media attention as Cumberbatch. Neverthelss, for all his fame, Cumberbatch may not be on a name-recognition basis with lots of Americans who, based on their introduction to The Imitation Game, might buy a ticket.
What did I like about the way Benedict Cumberbatch was portrayed during the Hollywood Film Awards? He remains his own man, who doesn't suffer fools (or interviewers prodding him for information he doesn't want to give). He looks incredibly styled without seeming to be overstyled--he wears clothes very well but seems equally confident and natural in clips showing him in a t-shirt on set. His acceptance speeches are always interesting and informative. What I worry is that he may not come across as charismatic as Redmayne during some promotional events, and his work schedule and focus on multiple projects at once may not allow him to be seen in the same light as other actors campaigning for Oscar. Cumberbatch has said that he doesn't play the politics of awards--but Harvey Weinstein expertly does and frequently wins. Fortunately for those fans in the U.S., Cumberbatch will be on television a lot more in the next week, as well as attending high-profile promotional events. His fans are already sold on Cumberbatch's talent and charm, but mainstream audiences deciding whether to see The Imitation Game on Thanksgiving weekend may not yet be on board with Cumberfame.
In an insightful recent article in Forbes, film reviewer Scott Mendelson praised Cumberbatch's performance in The Imitation Game and noted that the actor "is such an engaging presence that it’s obvious why he is so coveted by Hollywood for this big role or that big movie. In a purely artistic sense, he is a movie star through-and-through." Here's hoping that U.S. media this week provide a better showcase for this star to shine.
Wednesday, November 5, 2014
The Hollywood Film Awards and the Upcoming Awards Season
Last night as I was enjoying watching Scott Bakula in NCIS: New Orleans, CBS ran a commercial for the Hollywood Film Awards, which will be televised for the first time on Friday, November 14. It's hailed as the opening act for awards season, and it's getting much more publicity this year because it will be broadcast. What caught my eye, however, was Benedict Cumberbatch among the many stars whose images are being used to promote the show and, presumably, attract a wide television audience. More fortuitously, his image flashed on the screen during the voiceover announcing "some of your favorite stars".
While this brief image, which doesn't even list Cumberbatch by name, might seem to be a "so what?" moment, it really has a bit more importance concerning his career. It's yet another measure that U.S. national television networks, not just PBS or BBC America, consider this actor to be a star who, in a 30-second spot, will attract a viewing audience. It also may presage Cumberbatch receiving an award. After all, his name was listed a few days ago among the most recent attendees.
At the very least, Cumberbatch fans have another award show to watch and yet another red carpet to check out.
I was surprised that it hasn't received more press, but Benedict Cumberbatch received a best actor nomination for The Imitation Game, as announced by the British Independent Film Awards. Again, it may not be the biggest of all film awards, but it is prestigious and hints that even more nominations for this role are on the way. My favorite quotation came from The Hollywood Reporter: "In terms of big stars, it is down to The Imitation Game to bring home the BIFA bacon, with Benedict Cumberbatch and Keira Knightley getting best actor and actress nominations." As I mention in the book, although fans may have considered Cumberbatch a star from the get-go, within the past year and, especially, his work as Alan Turing, he's routinely termed a star (or a "big star") by more than the entertainment media. Critics, reviewers, and the boards who determine the awards are increasingly aware of his presence, talent, and increasing clout within the film, television, and theatre industries in particular.
While this brief image, which doesn't even list Cumberbatch by name, might seem to be a "so what?" moment, it really has a bit more importance concerning his career. It's yet another measure that U.S. national television networks, not just PBS or BBC America, consider this actor to be a star who, in a 30-second spot, will attract a viewing audience. It also may presage Cumberbatch receiving an award. After all, his name was listed a few days ago among the most recent attendees.
At the very least, Cumberbatch fans have another award show to watch and yet another red carpet to check out.
I was surprised that it hasn't received more press, but Benedict Cumberbatch received a best actor nomination for The Imitation Game, as announced by the British Independent Film Awards. Again, it may not be the biggest of all film awards, but it is prestigious and hints that even more nominations for this role are on the way. My favorite quotation came from The Hollywood Reporter: "In terms of big stars, it is down to The Imitation Game to bring home the BIFA bacon, with Benedict Cumberbatch and Keira Knightley getting best actor and actress nominations." As I mention in the book, although fans may have considered Cumberbatch a star from the get-go, within the past year and, especially, his work as Alan Turing, he's routinely termed a star (or a "big star") by more than the entertainment media. Critics, reviewers, and the boards who determine the awards are increasingly aware of his presence, talent, and increasing clout within the film, television, and theatre industries in particular.
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