Oh, Bradley Cooper.
Russovoir likes his men more than they consciously appear. With talent. Cooper is more than a pretty face. The first time Russovoir discovered him, mouth agape, admittedly fanning, might as well throw in a crystal ball and call him Russovoiryant, because God knows Russovoir had been sober to foresee this man will paint the town red, walking down it dapperly, just after the convulskin underground red in The Midnight Meat Train (2008, below).
And then The Hangover (2009) happened. Which Russovoir understand tripled in bankability of $277.3M from only a $35M budget. That's pretty impressive, no doubt. But here's the problem: Russovoir doesn't want Cooper to be a comedian. Is that selfish? Russovoir doesn't think he's either effective nor eligible to be one. He's too, say, valuable. Not that comedians aren't valuable. Let's just say he's no Joel McHale. Or maybe, Russovoir is in love with many unrealized roles he could be perfect in that slapstick comedy was obviously just going to have to do for now to pay the bills. Then Hangover II and Hangover III, while committing to more serious roles in between like Limitless (2011) and The Words (2012). Bradley Cooper has had his career laid out like non-biodegradable and biodegradable.
American Sniper would be Cooper's third Oscar nomination, remembering his outstanding performances in Academy Award nominated Best Picture The Silver Linings Playbook (2012) and American Hustle (2013). Russovoir is convinced his presence on the red carpet, a nod from the Academy, is because finally he has separated himself from what's easy and has given more. And Russovoir couldn't be happier for him. He is a testament that the Academy isn't interested about how the camera loves you, but instead why the camera loves a cliche* Bradley Cooper.
Shots were fired when American Sniper was revealed to be in the running for Best Picture in the most anticipated 87th Academy Awards. It raised a reasonable, powerful question that shook the very foundations the institution stands by, however long-standing they have been: WHY? Clint Eastwood has pulled the trigger, and attracted an audience ($350M) only from the noise it made than the actual damage it's done. Sure, cinematography is one bullet in the cylinder. Cooper is another (and has bitten the bullet; the transition was admirable). Editing, let's load that in. Russovoir will leave it up to you the next three. Whatever you decide that qualifies the film an Oscar nod, here's Russovoir's problem: Aren't you tired of war movies? The eroticism and exhilaration of war, a familiar template of whose side are you on (U! S! A!), the manipulative virility of violence, those aren't the 'escape' we want why people go to the movies.
Oops, Russovoir forgets. America doesn't only run on Dunkin', but also in war. War is a billion-dollar business, and America will be damned if they don't get a share of that. Oscar has now become Uncle Sam. The Academy has become a mediator by which these 'old, conservative, white' (so Russovoir has heard) men seem to feel obliged, possibly even had lived through to influence judgement, invariably including war movies into the outstanding nominees. Also, the Academy is of the Americans, by the Americans, and for the Americans (so help me God), and anyone and anything upholding this nationalistic belief surely in fine print, had been given an invisible pen with invisible ink and signed the Declaration of American Credence.
The Civil Right Act, Amendment IV, Section 5
1.1 A black movie nominee silences the accusation of racism.
The victimization of the black has taken to a whole new level. It is now considered 'racist' if the Academy hadn't included a black film in the bunch. And what for? Slavery film. Again. What is with this yearly reminder of slavery? Does this empower them? Does this give them a favor so that if an employer dismisses their job application they're immediately called racist, and not consider the fact that he has a criminal record? Why keep making films that build tension among each other? How about black inventors? black artists, Get On Up? Tasteful romance, Beyond the Lights (below)? Russovoir doesn't seem to understand why the black people always have to be represented in this image the rest has to sympathize for. The grossest part is that you are fully conscious of your sympathy, with which ultimately influenced judgement even for the stringent Academy. Then again, with power and wealth of Oprah Winfrey, who produced and starred in Selma, one could say Russovoir's opinion is not one of her favorite things.
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| Gugu Mbatha-Raw: Black Princess to Black Pop Sensation. |
Now, have you ever noticed your favorite artist's CD has like twelve songs, and you're convinced it's worth every dollar, but when you get home and listen to each one, you realized only ten are great, and the other two aren't just consistent? The Academy Awards kind of feels that way. At least just this year, and only as far as Russovoir started following the show. He went ahead and segregated the eight songs of Hollywood - the artist - between the fillers and fighters.
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| Fillers: Patriotism and Racial Equality. |
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| Fillers: Artsy and Gimmicky. |
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| Fighters: Performance, Message, and Storyline. |
You may have a completely different opinion on this. This is America. It prides itself of freedom of speech; it's totally okay. Everyone's a critic anyway. This is simply speaking from the core of the movie aficionado and aspiring screenwriter in Russovoir. Again, the Academy is a school, and we should honor directors, screenwriters, actors who not only placed effort in gimmick and special effects, but into an original, compelling story. Whiplash, Birdman, and The Theory of Everything, there is nothing more in the world that would give peace in Russovoir if either one of them wins. Listen to him, what peace is he talking about? 1) Peace is a selfless ideal existing in a selfish world and 2) Unless there's going to be a last minute change and bump a nomination for Jake Gyllenhaal for Best Actor and Nightcrawler for Best Picture, peace has already been violated. Shame on you, Academy.
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| Best Original Screenplay Nominee. Only. |
*Russovoir likes his men more than they consciously appear. With talent. Gyllenhaal is more than a pretty face. The first time Russovoir discovered him, mouth agape, admittedly fanning, might as well throw in a crystal ball and call him Russovoiryant, because God knows Russovoir had been sober to foresee this man will paint the town red, walking down it dapperly, just after the convulskin underground dread in The Day After Tomorrow (2004).
