‘Contagion’ has all the symptoms but lacks the payoff of a solid flick

“Contagion” opened at midnight today, and I was pumped. The trailer is action-packed, thrilling and promises thrills and chills (no pun intended), but the movie doesn’t follow suit. It opens to a black screen and the isolated sound of coughing. (Kudos to director Steven Soderbergh and screenwriter Scott Z. Burns.) It all starts with one contact.

The movie’s jam-packed with Oscar winners and star power, (Matt Damon, Kate Winslet, Marion Cotillard, Laurence Fishburne, Jude Law) but there’s little time for them to shine. The movie bounces between story lines and loses momentum.

Jude Law, sporting a false tooth, does a great job as a blogger intent to cash in on hysteria; Kate Winslet is convincing as a selfless medical investigator running to the front lines of a lethal pandemic; and Laurence Fishburne (who arguably hasn’t had such a strong role since “The Matrix” trilogy) slam-dunks as the CDC front-man who’s not immune to bending the rules when his loved ones are concerned.

Oh, Gwynnie! I wouldn't do that if I were you...

We witness hysteria as food and meds dwindle, men knocking down pregnant women, looting mobs and a band of modern-day cowboys who, we can deduce by the sound of gunshots, murder a family to steal supplies. Matt Damon calls 911 only to find an automated message. “Press 4 if you need to dispose of a body.”

We get it. When the fear of apocalypse rears its ugly head, civility is the first casualty. But that seems to be the meat of “Contagion.” (Spoiler) When a vaccine is discovered (thanks to the Nobel-prize seeking courage of a lone doc), we’re on to the next point: “Who will get the life-saving meds first?” And thus begets social commentary Round 2.

The movie is very present-day with talk of pharmaceutical company conspiracies and  H1N1, but it might have been better-suited in the sci-fi genre. It’s a suspense film that loses suspense, but it does a good job of showing that there are no purely good guys or bad guys, especially during a pandemic.

It’s worth seeing if you’re curious. I was at the edge of my seat for the bulk of it, and in the vein of “Invasion of the Body Snatchers” or “Night of the Living Dead,” nobody, rich or poor, was safe in “Contagion.”  The movie’s true to its tagline: Nothing spreads like fear, but in the end, you can easily wash your hands of it … though sanitizer will do.

Oscar buzz catapults relative unknowns into spotlight

By John Anderson
Newsday

Oscar night is about glitz and dresses and famous people, but every now and then, relative unknowns get a ticket to the Academy Awards sweepstakes. They don’t usually win _ just being nominated, as they say, is honor enough (sob).

But they’re in the mix, which this year includes several performers who may not be well known now but likely will be soon. Here’s a who’s who:

Jacki Weaver

(Nominated for Best Supporting Actress for “Animal Kingdom”) To find the work of this extraordinary Australian actress invading American shores, one has to go back to 1975 and Peter Weir’s “Picnic at Hanging Rock,” which hardly called for the kind of latent evil Weaver brings to the role of Janine “Smurf” Cody, the monstrous matriarch of “Animal Kingdom.”

In first-time director David Michod’s socio-psycho-crime drama, Weaver is a smiling Mama Macbeth who manipulates her criminal brood with faux-mother love, her black hole of a heart and a creepy kiss on the lips for her murderous boys. “Smurf” prompts one to look for comparisons to other roles and performances. “Mommie Dearest” would spring to mind, if Joan Crawford had actually been homicidal. But Weaver’s Janine is apt to become the bad mother by which others are measured.

Born in New South Wales, Weaver has had an erratic career. Before her reappearance in 2007, she’d been inactive for 10 years. She has worked almost exclusively in Australia, largely on television, and the Oscar nomination is just one of many recognitions for her “Animal Kingdom” performance, and a large, and largely unsung, talent.

John Hawkes

(Nominated for Best Supporting Actor for “Winter’s Bone”) Hawkes is a kind of classic case, the character actor who kicks around in smaller parts until the perfect one kicks him into the big time. His nomination for the menacing crystal-meth addict Teardrop in “Winter’s Bone” is just one of the honors the 51-year-old performer is now getting after a career spent habituating horror movies (“Scary Movie”), studio productions (“The Perfect Storm”), standout indies (“Me and You and Everyone We Know”) and television (he was in “24” and “Lost” was Sol Star in HBO’s “Deadwood”).

Originally from Minnesota, and a musician as well as an actor, Hawkes will be seen in “Martha Marcy May Marlene,” which was well-received at the recent Sundance Film Festival. Hawkes plays a Charles Manson-inspired cult leader, a role for which his rawboned look and actorly intensity seemed a perfect fit.

Jennifer Lawrence

(Nominated for Best Actress for “Winter’s Bone”) After being pitched all manner of unsuitable performers, director Deborah Granik held her ground: The actress she wanted for “Winter’s Bone” and its leading Ozarkian character, Ree Dolly, didn’t have to be an unknown, but she had to be young. She had to be able to play American. And to sound American.

“And then Jennifer walked in,” Granik said, “a complete unknown. And from Kentucky, no less.” Not only that, she could act.

Lawrence was among the breakout success stories of 2010, after only about four years doing mostly television: She played a member of the Pearson family on “The Bill Engvall Show” (2007-09), made several appearances on “Medium” and appeared opposite Charlize Theron in “The Burning Plain.” But “Winter’s Bone” is her big moment and one that, in one regard at least, she’d like to leave behind.

Since her Oscar nomination, Lawrence has appeared only in the most flattering and glamorous photo layouts, ones that accentuate her rather considerable good looks and capacity to play other-than-Ree Dolly roles. Clearly, this is one woman who’s not intending to get pigeonholed.

Hailee Steinfeld

(Nominated for Best Supporting Actress for “True Grit”) Although the 14-year-old Californian should be the freshest face in the bunch, she’s actually been working as long as Jennifer Lawrence has. Although if you missed “Summer Camp,” or the single season of TV’s “Back to You,” you probably missed her.

Steinfeld isn’t even close to being the youngest best supporting actress nominee (Tatum O’Neal was 10 when she won; Anna Paquin was 11). But the young star of “True Grit,” in which she plays the self-possessed Mattie Ross, who hires Jeff Bridges’ Rooster Cogburn to find the man who killed her father, carries more of the film than most child stars are ever called upon to carry.

She might have been nominated for best actress, but in the realities of Oscar World, no kid is going to take it away from Natalie Portman, unless that kid is named Annette Bening. For all the doubt about Oscar strategies, however, there’s little doubt about the talents of Steinfeld, whose ferociously intelligent Mattie makes a pretty valiant stab at stealing the movie from her alcoholic, one-eyed saddle pal.

From obscurity to winner

It’s not uncommon for the Academy of Motion Picture Arts and Sciences to recognize great performances by relatively obscure performers. What’s rare is when those nominees actually get an Oscar. The following are a few winners who defied the odds, as well as some formidable competition. (The years designate that of a film’s release.)

COTILLARD

Marion Cotillard, Best Actress, “La Vie en Rose,” 2007. Anyone who actually saw Cotillard impersonate the late, great Edith Piaf felt justice was served, but since the film was in French, and the competition consisted of Cate Blanchett (“Elizabeth: The Golden Age”), Julie Christie (“Away From Her”), Laura Linney (“The Savages”) and Ellen Page (“Juno”), it was something of a coup d’statuette.

BRODY

Adrien Brody, Best Actor, “The Pianist,” 2002. Brody was easily the least known of the competition that year (Nicolas Cage, Michael Caine, Daniel Day-Lewis and Jack Nicholson), but “The Pianist” was on a roll. Roman Polanski won best director nd many said, had the film better timed, it might have won best picture (which went to “Chicago”).

BENINGI

Roberto Benigni, Best Actor, “Life Is Beautiful,” 1998. He was so delighted he climbed over chairs; Oscar voters might have hid under them. Nevertheless, Benigni pulled off one of the great Oscar upsets by topping Tom Hanks (“Saving Private Ryan”), Ian McKellen (“Gods and Monsters”), Nick Nolte (“Affliction”) and Edward Norton (“American History X”).

FRICKER

Brenda Fricker, Best Supporting Actress, “My Left Foot,” 1989. Moviegoers may have known the work of the formidable Irish actress, but maybe not as well as they knew her competition — Anjelica Huston and Lena Olin (both for “Enemies: A Love Story”), Julia Roberts (“Steel Magnolias”) and Dianne Wiest (“Parenthood”).

NGOR

Haing S. Ngor, Best Supporting Actor, “The Killing Fields,” 1984. Ngor, a Cambodian doctor and author who died in 1996, played his countryman Dith Pran in Roland Joffe’s film and won out over Adolph Caesar (“A Soldier’s Story”), John Malkovich (“Places in the Heart”), Noriyuki “Pat” Morita (“The Karate Kid”) and Ralph Richardson (“Greystoke: The Legend of Tarzan, Lord of the Apes”).

A look at one of last year’s nominees…

“Nine,” a few points shy of a perfect 10

I just finished “Nine” starring: Daniel Day Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Sophia Loren and Kate Hudson. Oh and Fergie. Big cast. Big names. Lotsa Oscar winners.

I felt like Rob Marshall, the director of Oscar winning Chicago, was trying to one-up himself, and the only way he could think to do it was to overload the roster with Oscar clout and talent. This worked against the project.

There was so much talent jam-packed into the movie and so little time for these stars to shine, but that didn’t seem like the worst part. None of the performances lived up to the clout and I think the fault lies with the genre. Other than Kidman, these actors live in the spotlight of dramatic features. Singing and dancing was the forte of none.

NINE

The story was OK: a once-groundbreaking director has a lot to prove after two flops at the box office. His new movie begins shooting in 10 days and he hasn’t yet written the screenplay. Midlife crisis is splayed with his entire sexual past interweaved with shout-outs to his dead mother. (Sure blame it on mom.) Daniel Day Lewis would have been a great pick had this just been a drama, but I felt like his Guido Italiano was an impersonation. I didn’t buy it, but I don’t think that was all on him.

The truth is that these superb dramatic actors rule in their realm, but lack in musical theater. This picture would have been better with broadway performers. Of course, Rob Marshall pulled it off (casting film actors in lead roles) with Chicago, even though Renee Zellweger didn’t have the gusto to pull off the character Roxy Hart, Marshall lucked out with a better score and Catherine Zeta-Jones stealing the show. The music in “Nine” wasn’t nearly as good, and during Kate Hudson’s number, I felt like Marshall was trying to channel a white Beyonce music video. And Marion Cotillard’s number about her re-emerging sexuality: a Victoria’s Secret ad.

Overall, I think the moral of the story was good. Day-Lewis’ character is obviously a pathological liar with a 10-year-old’s attitude, and to be great at his craft, he needed to embrace it. I can respect that. I think, for me, that’s the moral of the movie in its entirety. Embrace what you are, masters of dramatic cinema, because when you don’t, it fails as Guido did. I wanna end with punny word play like David Bianculli does, but I’m stuck on “the irony is music to my ears…