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Precious Has a Long Way to Go

Photo of Anne Thompson By Anne Thompson | Thompson on Hollywood December 8, 2009 at 5:27AM

Lionsgate is girding itself for a long haul to the Oscars. They have accomplished a great deal: a movie with tough subject matter about familial abuse, starring an all African-American cast, has become a must-see. And I will argue that although I have encountered folks who are resistant to watching the movie, most Academy members (who mostly lean Liberal) will check it out. (The Carpetbagger rolls out some of the film's problems.)
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Thompson on Hollywood

Lionsgate is girding itself for a long haul to the Oscars. They have accomplished a great deal: a movie with tough subject matter about familial abuse, starring an all African-American cast, has become a must-see. And I will argue that although I have encountered folks who are resistant to watching the movie, most Academy members (who mostly lean Liberal) will check it out. (The Carpetbagger rolls out some of the film's problems.)

But Lionsgate has another issue: supporting actress contender Mo'Nique is a piece of work. While she aced her appearance on Oprah, she revealed her own bias against promoting herself on her own BET show when veteran Oscar campaigners Terrence Howard and Taraji P. Henson offered serious Oscar advice.

"Don't y'all bring your asses to my front door!" she cries when Howard tells her what's going to happen on nominations morning. "I'm trying to understand this," she continues later. "The performance is on the screen, at what point are they trying to prove something?"

"Your fans here are not necessarily members of the Academy," explains Howard. Competitive juices kick in, says Henson: "You want to win!" I sympathize with Mo'Nique, who is confronting the difference between what should be, and what is.


Taraji & Terrence TMS Int
by yardie4lifever2


This article is related to: Awards, Independents, Oscars, Lionsgate/Roadside


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.