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The Potential Narratives Of 2013's Oscars

As we gather up our chips, roll the dice and make a gamble for the Oscar night that is nearly upon us, I take a look at four potential narratives that may be the story of this year’s Oscars.

At this point in the game, there are up to four narratives that could be potentially written about this year’s Oscar ceremony, making the role of prognosticator particularly challenging this season. The likely scenario will entail a split between the major categories with awards going every which way. While an unexpected sweep from a pair of heavy contenders is unlikely, it is still entirely possible. Finally, a few underdogs may just creep up and take advantage of the hefty competition and secure themselves as 2013’s top dogs.

The most likely scenario is a split, where Argo takes a choice grab of major awards (Best Picture, Editing, Adapted Screenplay), Lincoln snags a few big ones (Director, Actor, Production Design) and Life of Pi and Silver Linings Playbook split the rest of the main fare with the an abundance of the technical categories heading Pi’s way and Silver Linings Playbook scooping up some acting cred with Robert DeNiro for Best Supporting Actor and Jennifer Lawrence for Best Actress and potentially, however unlikely, even grabbing Adapted Screenplay away from Argo. All that’s left is Quentin Tarantino‘s Django Unchained which would pick up Original Screenplay and potentially that second Best Supporting Actor for Christoph Waltz.

This is the likely scenario but since it’s a year in flux, we have to consider alternative situations. We have to consider the upset. Now hear me out on this because it could go one of two ways: the Lincoln road or the Silver Linings route. Although Argo seems to have Best Picture on lock-down, Affleck‘s lack of a nomination is still troubling statistically since films just don’t win Best Pic without even having their director nominated. In fact, most years Best Director and Best Picture come nicely packaged together with a pair of wins. Although unlikely, this is still a possibility we could still see this year with either Lincoln or Silver Linings.

We know that Oscar-hoarding mastermind Harvey Weinstein is standing firmly behind Silver Linings Playbook and has been greasing the Academy’s wheel so if we hear David O’Russell‘s name called for the highest directorial honor, the big win for Silver Linings might just not be out of the question. Lincoln has made a similarly strong push and certainly appeals to the whole backwards-looking factions of the Academy so it wouldn’t be out of character for them to ignore the precursors and just hand it all over to Steven Spielberg and his well made biopic. While either of these situations wouldn’t quite classify as your out-and-out sweep, they certainly would represent a staggering victory for either film. Since both these two are Argo’s biggest contendors, don’t count out that this could be the way the cookie crumbles quite yet.

 

The final scenario is even less likely and involves Michael Haneke‘s Amour taking home the bulk of Oscar gold. Even if Amour loses Best Pic to Argo, it still has Best Foreign Language Film locked down and if it managed to also pull Best Director, Best Original Screenplay and perhaps even an upset by Emmanuelle Riva, be certain that Amour will be the hot talking point going forward. No-one ever see the small ones coming but it’s happened before, think Slumdog Millionaire, and with such a divided year, it could just become a reality.

 
An equally fantastical situation involves a last minute Zero Dark Thirty resurgence. In the dark corners of the voters privacy, it just might sneak up and make off with a bounty from Mark Boal‘s screenplay to the even more likely win for Jessica Chastain to a potential snagging of Best Editing. Although it’s chances of winning are about as likely as that fabled Affleck write-in, it could still grab a bulk of awards by taking advantage of the thoroughly divided riff between Argo, Silver Linings Playbook and Lincoln.

 

While my prognosticating leads me to a conclusion that is much more divided, beware the sweep and the underdogs for their shocking glory is sure to ruin a number of balloters chances. When all is said and done though, expect the Hollywood-aggrandizing, director-nomination-less Argo to be laughing all the way to the bank.

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Vaughn and Wilson Reunite for THE INTERNSHIP Trailer

 

Vince Vaughn and Owen Wilson are finally getting back together after 2005’s smash hit Wedding Crashers for The Internship. Directed by Shawn Levy (Date Night) and written by Vaughn and Jared Stern, The Internship follows a pair of recently laid off workers trying to acclimate to an increasingly tech savvy work force by working as interns at Google. Here’s hoping that Vaughn and Wilson are able to recapture the magic that made Crashers work so well.

Check out the trailer below:

http://www.youtube.com/watch?v=ehJFc1W0VKE

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Out in Theaters: WARM BODIES

“Warm Bodies”
Directed by Jonathan Levine
Starring Teresa Palmer, Nicholas Hoult, Rob Corddy, John Malkovich, Dave Franco, Analeigh Tipton
Comedy, Horror, Romance
98 Mins
PG-13

Jonathan Levine‘s Warm Bodies is a semi-successful experiment in cross-dressing genres. It’s an inventive blend that tries to be self-satirizing within a somewhat traditional rom-com formula. The result is a zom-rom-com that feels both too safe and too unorthodox to capture much of a franchise-building following.

In a world where evil depends on the amount of skin still on your bones, human Julie, played by Teresa Palmer (I Am Number Four), falls under the protection of zombie R, played by Nicholas Hoult (X-Men: First Class), and the two of them begin to develop a somehow not creepy but definitively necrophiliac relationship.

Since R is still pretty human looking, he’s a good zombie while other skinless zombies, called “bonies”, are human-eating id-machines. R’s mission is to save Julie from the malevolent bonies while trying to re-assimilate the undead into the world of the living.

While Hoult’s R may be dead, him and Palmer have real chemistry and are a much preferable on-screen couple to Twilightites Kristen Stewart and Robert Pattinson. Hoult manages to avoid the easy undead caricature and actually breathes life into this dead dude, a task Pattinson never could accomplish. Palmer likewise creates a female lead who is empowered and likeable, essentially the polar opposite of K Stew. Although the emotional narrative relies heavily on voice overs, the leads shoot enough ironic passion-laden glances to cut through the potential cheese factor that dominated the Twilight saga.

Something you’re sure not to miss is the hefty load of allusions to Romeo and Juliet that Levine, who directed last year’s under-appreciated 50/50, doesn’t bother to bury. First up, take our heroes names, R and Julie, an obvious tip of the hat to the Bard’s most famous ill-fated loved. Furthermore, our heroes are also each embedded within incompatible cultures that refuse to understand each other, however in this universe, R’s people hunger for the flesh of Julie’s people. A slight change up from the original. And for those who have yet to catch on to the R&J references at this point, a familiar looking balcony scene is sure to make the connection click. Filling out the cast we have

 Filling out the cast we have Rob Corddry (Hot Tub Time Machine) getting the laughs going with some well-timed grunts and cusses while John Malkovich (RED) plays the generic, type-A, overbearingly aggressive father that we’ve seen a million times before.

One of my biggest things that Warm Bodies does to hurt itself is it’s shameless sense of cheating in itself. There are multiple moments where Levine breaks the rules that he has established for his universe in order to propel the narrative along. I call this shameless because these inconsistencies are never acknowledged and yet sit there like an awkward elephant in the room. If zombies can’t talk, don’t let them miraculously have a quick-paced conversation just to hurry up the plot. That’s called cheating.

Additionally, the onscreen violence is noticeable lacking as Warm Bodies, which is still a zombie film, is almost entirely bereft of blood done in cheap CGI. While I get the desire to grab a PG-13 cut, the internal battle between satire and mass appeal feels a little disingenuous, even though I’ll admit to understanding the tactic. 

On that note, it’s hard to pinpoint the target audience for this new genre entry, it’s too bloodless to appeal to the main zombie camp and too mocking and wink-wink to capture the teeny boppin’ twihards in withdrawal and while it’s certainly better than Twilight, it’s nowhere need the greatness of Zombieland.

In the end, Warm Bodies is kind of a mixed bags that isn’t bad so much as forgettable. On one side of the spectrum, it goes out of it’s way to poke fun at itself, never taking it’s silly zombies-reanimating-via-the-power-of-love premise too seriously and yet it fails to take that satire full force and this leaves us with an end product that is too involved with trying to be too many things.

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Out in Theaters: SIDE EFFECTS

“Side Effects
Directed by Steven Soderbergh
Starring Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum
Crime, Drama, Thriller
106 Mins
R

With Side Effects, Steven Soderbergh (Ocean’s Eleven) hasn’t reinvented the thriller, he’s just breathed life back into a fading genre. What begins as an ambiguous tale of a struggling romance morphs into a pulsing question mark whose greatest strengths lie within it’s ability to create suspense and uncertainty.

Since the twists and turns are vital to your general enjoyment of the film, I want to carefully navigate to ensure that nothing here is too telling. All you really need to know is that the story opens with Rooney Mara (The Girl With the Dragon Tattoo) reuniting with her husband Channing Tatum (Magic Mike) and from there delves quickly and fervently into the world of psychiatry and prescription pills.

Filling out the cast we have Jude Law (Sherlock Holmes) playing a psychiatrist struggling with a puzzle of a patient. He has a great little character arc that is handled with subtle panache, pulling a muted transformation in the most understated of ways. His new client puts him in contact with a fellow colleague played by Catherine Zeta Jones (The Mask of Zorro) who has an unwritten history with Law’s patient. Although we don’t see Jones that often on screen anymore, she shows that she’s still gotta talent within her 40-something sex appeal.

All four of the principal characters are putting their all in here and I’d expect nothing less under the lead of Soderbergh. He has a crisp, clear direction and a really deliberate framing. All of his shots are captured with concise precision. Nothing here feels left to chance as little bits of foreshadowing are dug intricately into the scenery for those watching with a careful eye.

Soderbergh has talked at length about how he felt Side Effects was the natural progression of the thriller which he asserts have died out in the past few decades. To a degree, he’s right. As an audience, we’re not accustom to the suspense builders than dominated the silver screen of the 80’s and 90’s and so something like Side Effects is a pleasant throwback.

In the same vein though, it fails to really transcend the trappings of the genre and provide anything groundbreaking. And while you can applaud it’s level of self restraint, both within the acting and directing field, it just doesn’t have the staying power of films that transcend their genres. While it truly is a completely competent and very well acted, nothing here feels new or remarkable. It’s a great suspense thriller just not a genuinely great movie.

There’s enough backstabbing, lies, betrayals and revelations to keep Side Effects tautand the audience on the edge of their seats. It’s a rare thriller that manages to deliver on the thrills and much like the thrillers of the 80’s and 90’s it will keep you engaged for it’s run-time but is unlikely to stay with you long after.

B

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Video: Check Out the Oscar Nominated Animated Shorts

 

http://themovieblog.com/wp-content/uploads/2013/01/Paperman_still_1.jpg
Lots of complaints roll around each year surrounding the inclusion of Best Short Films at the Oscars, the primary concern is that the masses just don’t ever get a chance to see them. Usually a local art house theater will play them for a limited engagement for that small niche audience and you can almost indefinitely catch at least one of the nominees in front of a Pixar/Disney film from the year but most of them slip under the radar of most moviegoers. Well here’s a chance to take a look at all five nominees before the big night rolls around so that you’re amongst the elite few who can boast that you’ve seen ’em.

Included in the Best Animated Short category this year is Minkyu Lee‘s Adam and Dog, Fresh Guacamole by PES, Head Over Heels by Timothy Reckart and Fodhla Cronin O’Reilly, Disney‘s Paperman and the Simpson’s short The Longest Daycare by David Silverman.

 

At this point, I’ve got my money on Disney’s Paperboy because it’s buzzing hard for the win. Adam and Dog is a decent back-up but I know where it’s not where I’ll be filling in my mark.

Adam and Dog- Minkyu Lee

  http://www.youtube.com/watch?v=QV0PJKgFIUs

Fresh Guacamole- PES

http://www.youtube.com/watch?v=dNJdJIwCF_Y

Head Over Heels- Timothy Reckart and Fodhla Cronin O’Reilly

https://vimeo.com/37604847

Paperman – Disney

http://www.youtube.com/watch?v=1QAI4B_2Mfc

The Longest Daycare- David Silverman

No embed available so click here to watch.

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SmartFilm 1st Annual Oscar Prediction Contest (UPDATED)

 

I’ve been getting a lot of buzz from readers requesting an Oscar Prediction contest for my readership and since nothing is better than good ol’ fashion competition come place your wagers for the noche of February 24th. Duke it out amongst yourselves to call which way these coveted 24 slots will turn and become the Ultimate Oscar Predictor.

 

To make it all a little more interesting, I have a mystery prize for the winner (barring a ten-way tie)… and yes, the prize is a DVD. You have almost two weeks to make your get your ducks in order and place your bets so don’t cop out here. And try and get as many people in on this as possible- the more the merrier.

In addition to a prize, the winner will get a shout out on the site and will generally be recognized as uber cool by pretty much everyone.

I’ll have my predictions up the night of the 22nd after the final submission and we’ll let this all play out. Make sure to check out my live blog on Oscar night itself as I’ll be keeping tally of which contest submissions are looking golden and whose catching the snubs.

The Rules

  • You must submit your predictions by Friday, February 22nd Saturday, February 23rd at Midnight.
  • Only one submission per person.
  • Only submissions placed via page comment (at the bottom of this page) will count. Do not post on the SmartFilm Facebook wall or send me an email or message. Your predictions are only valid if they’re in the right spot. 
  • Vote for every category in order to win. While it’s all well and good to only care about the primary battlefields, if you only submit predictions for Best Performers and Pic/Director, you’ll miss out on all the other categories and will have a small shot at winning.

The Contenders

Best Picture
Amour
Argo
Beasts of the Southern Wild
Django Unchained
 Les Misérables
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty

Best Director
Michael Haneke “Amour”
Benh Zeitlin “Beasts of the Southern Wild”
Ang Lee “Life of Pi”
Steven Spielberg “Lincoln”
David O. Russell “Silver Linings Playbook”

Best Actor
Bradley Cooper “Silver Linings Playbook”
Daniel Day-Lewis “Lincoln”
Hugh Jackman “Les Misérables”
Joaquin Phoenix “The Master”
Denzel Washington “Flight”

Best Actress
Jessica Chastain “Zero Dark Thirty”
Jennifer Lawrence  “Silver Linings Playbook”
Emmanuelle Riva  “Amour”
Quvenzhané Wallis “Beasts of the Southern Wild”
Naomi Watts  “The Impossible

Best Supporting Actor
Alan Arkin “Argo”
Robert De Niro “Silver Linings Playbook”
Philip Seymour Hoffman “The Master”
Tommy Lee Jones  “Lincoln”
Christoph Waltz “Django Unchained”

Best Supporting Actress
Amy Adams “The Master”
Sally Field “Lincoln”
Anne Hathaway “Les Misérables”
Helen Hunt “The Sessions”
Jacki Weaver “Silver Linings Playbook”

Best Animated Film
“Brave” Mark Andrews and Brenda Chapman
“Frankenweenie” Tim Burton
“ParaNorman” Sam Fell and Chris Butler
“The Pirates! Band of Misfits” Peter Lord
“Wreck-It Ralph” Rich Moore

Achievement in Cinematography
“Anna Karenina” Seamus McGarvey
“Django Unchained” Robert Richardson
“Life of Pi” Claudio Miranda
“Lincoln” Janusz Kaminski
“Skyfall” Roger Deakins

Achievement in Costume Design
“Anna Karenina” Jacqueline Durran
“Les Misérables” Paco Delgado
“Lincoln” Joanna Johnston
“Mirror Mirror” Eiko Ishioka
“Snow White and the Huntsman” Colleen Atwood

Best Documentary
“5 Broken Cameras”
Emad Burnat and Guy Davidi
“The Gatekeepers”
Nominees to be determined
“How to Survive a Plague”
Nominees to be determined
“The Invisible War”
Nominees to be determined
“Searching for Sugar Man”
Nominees to be determined

Best Documentary Short Subject
“Inocente”
Sean Fine and Andrea Nix Fine
“Kings Point”
Sari Gilman and Jedd Wider
“Mondays at Racine”
Cynthia Wade and Robin Honan
“Open Heart”
Kief Davidson and Cori Shepherd Stern
“Redemption”
Jon Alpert and Matthew O’Neill

Achievement in Film Editing
“Argo” William Goldenberg
“Life of Pi” Tim Squyres
“Lincoln” Michael Kahn
“Silver Linings Playbook” Jay Cassidy and Crispin Struthers
“Zero Dark Thirty” Dylan Tichenor and William Goldenberg

Best Foreign Language Film
“Amour” Austria
“Kon-Tiki” Norway
“No” Chile
“A Royal Affair” Denmark
“War Witch” Canada

Achievement in Makeup and Hairstyling
“Hitchcock”
Howard Berger, Peter Montagna and Martin Samuel
“The Hobbit: An Unexpected Journey”
Peter Swords King, Rick Findlater and Tami Lane
“Les Misérables”
Lisa Westcott and Julie Dartnell

Original score
“Anna Karenina” Dario Marianelli
“Argo” Alexandre Desplat
“Life of Pi” Mychael Danna
“Lincoln” John Williams
“Skyfall” Thomas Newman

Original song
“Before My Time” from “Chasing Ice”
Music and Lyric by J. Ralph
“Everybody Needs A Best Friend” from “Ted”
Music by Walter Murphy; Lyric by Seth MacFarlane
“Pi’s Lullaby” from “Life of Pi”
Music by Mychael Danna; Lyric by Bombay Jayashri
“Skyfall” from “Skyfall”
Music and Lyric by Adele Adkins and Paul Epworth
“Suddenly” from “Les Misérables”
Music by Claude-Michel Schönberg; Lyric by Herbert Kretzmer and Alain Boublil

Achievement in Production Design
“Anna Karenina”
Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
“The Hobbit: An Unexpected Journey”
Production Design: Dan Hennah; Set Decoration: Ra Vincent and Simon Bright
“Les Misérables”
Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson
“Life of Pi”
Production Design: David Gropman; Set Decoration: Anna Pinnock
“Lincoln”
Production Design: Rick Carter; Set Decoration: Jim Erickson

Best Animated Short Film
“Adam and Dog” Minkyu Lee
“Fresh Guacamole” PES
“Head over Heels” Timothy Reckart and Fodhla Cronin O’Reilly
“Maggie Simpson in “The Longest Daycare”” David Silverman
“Paperman” John Kahrs

Best Live Action Short Film
“Asad” Bryan Buckley and Mino Jarjoura
“Buzkashi Boys” Sam French and Ariel Nasr
“Curfew” Shawn Christensen
“Death of a Shadow (Dood van een Schaduw)” Tom Van Avermaet and Ellen De Waele
“Henry” Yan England

Achievement in Sound Editing
“Argo” Erik Aadahl and Ethan Van der Ryn
“Django Unchained” Wylie Stateman
“Life of Pi” Eugene Gearty and Philip Stockton
“Skyfall” Per Hallberg and Karen Baker Landers
“Zero Dark Thirty” Paul N.J. Ottosson

Achievement in Sound Mixing
“Argo”
John Reitz, Gregg Rudloff and Jose Antonio Garcia
“Les Misérables”
Andy Nelson, Mark Paterson and Simon Hayes
“Life of Pi”
Ron Bartlett, D.M. Hemphill and Drew Kunin
“Lincoln”
Andy Nelson, Gary Rydstrom and Ronald Judkins
“Skyfall”
Scott Millan, Greg P. Russell and Stuart Wilson

Achievement in Visual Effects
“The Hobbit: An Unexpected Journey”
Joe Letteri, Eric Saindon, David Clayton and R. Christopher White
“Life of Pi”
Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
“Marvel’s The Avengers”
Janek Sirrs, Jeff White, Guy Williams and Dan Sudick
“Prometheus”
Richard Stammers, Trevor Wood, Charley Henley and Martin Hill
“Snow White and the Huntsman”
Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould and Michael Dawson

Adapted Screenplay
“Argo” Screenplay by Chris Terrio
“Beasts of the Southern Wild” Screenplay by Lucy Alibar & Benh Zeitlin
“Life of Pi” Screenplay by David Magee
“Lincoln” Screenplay by Tony Kushner
“Silver Linings Playbook” Screenplay by David O. Russell

Original Screenplay
“Amour” Written by Michael Haneke
“Django Unchained” Written by Quentin Tarantino
“Flight” Written by John Gatins
“Moonrise Kingdom” Written by Wes Anderson & Roman Coppola
“Zero Dark Thirty” Written by Mark Boal

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Trailer for 'The Shining' Documentary ROOM 237

http://athenacinema.com/wp-content/uploads/2013/04/Room-237-Quad.jpg

I’m gonna let this one speak for itself. All you need to know that Rodney Ascher‘s Room 237, a conspiracy-laden documentary, explores the many theories of one of the greatest films of all time, The Shining. Room 237 is a careful exploration of everything Shining and has earned great repute from critics and diehard fans of Stanley Kubrick’s classic psychological slasher and has garnished a super fresh 96% on Rotten Tomatoes.

 

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Han Solo and Boba Fett Films Now on The Star Wars Platter

 

Ok, I promise from here on out I won’t be exclusively reporting Star Wars news anymore but this one is just too big to pass up. As of yesterday, a Yoda spinoff was reportedly in the pipes but today’s news is much, much more important- a pair of spin-offs for fan favorites Han Solo and Boba Fett. [EW]

Any true fan of the Star Wars saga will list Han and Boba Fett amongst their favorite characters so the prospect of a spin-off for these guys is a good move to get butts in the seat but it’s also inherently risky.If they give Han Solo an origin story in the same vein as they did with Darth Vader/Anakin Skywalker in the prequels, they’ll risk sacrificing both his and the original franchise’s coolness, dealing a damaging blow to the relative worth of the franchise. But if they manage to pull it off, you could have an entire stand alone series on the side.

With Disney coming out and confirming that these stand alone movies are a go just yesterday [RopeofSilicon], you can hold the salt and take these things with some real credence.

“There’s been speculation about some standalone films in development, and I can confirm to you today that in fact we are working on a few standalone films. [Lawrence] Kasdan and Simon Kinberg are both working on films, derived from great Star Wars characters that are not part of the overall saga. So we still plan to make Star Wars 7, 8 and 9 roughly over a six year period of time, starting 2015. But there are going to be a few other films released in that period of time, too.”

What we know so far about this proposed spin-offs is that they will take place between the original trilogies. Expect to see an even rogue-ier Han Solo swindling and smuggling his way across the galaxy, wracking up some debt with Jabba the Hutt, fighting off bounty hunters and probably even making that legendary Kessel Run in less than twelve parsecs. Casting advice: Ryan Gosling…the man’s a rogue.

As for Boba Fett, we can probably assume that his feature would focus on bounty hunting and wearing space suits and jetting Slave 1 across the galaxy. Considering that Boba Fett didn’t really ever say a word in the original series, they’re really gonna have to do more than let him run rampant in his iconic suit. Casting advice: Denzel Washington…because it would be awesome to see that mask come off and have Denzel Denzeling all over the place.

While I find the prospect of these spinoffs potentially promising, I’m gonna hold my breathe until we see a lot, a lot, a lot more information.

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Star Wars Rumor Du Jour: Yoda Standalone Movie

 

The Star Wars rumor mill is buzzing again, this time on Yoda focus it shall. Ain’t It Cool News has reported the scoop that the Dagobah dwelling halfling will be getting an origin story all of his own per the massive four billion dollar Disney buyout which gave them exclusive rights to anything and everything Star Wars.

WithJJ Abrams confirmed to direct Episode 7 of the new trilogy and a rumoredZack Synder Star Wars/Samurai mash up, this just goes to show that Disney is really throwing all that it’s got at their newly acquired property.

While I’d admit to being a little interested to see the roots of the lil green waddler, an entire movie with Yoda’s wacky syntax might just be a little much. Add that to the fact that Yoda would be a CGI lead character in a live action movie and the house of cards is already a little more than wobbly. However, if Disney worked a little magic and put this Yoda project under the capable hands of Pixar, we might have quite a prospect on our hands.

I’m just hoping Disney doesn’t follow Yoda’s philosophy of — “Try not. Do or not do, there is no try” — because I’d really rather see them actually try and not just do.

http://www.youtube.com/watch?v=BQ4yd2W50No
What do you think, would you rather see a Star Wars Origins: WolverYoda or see the franchise focus on some new unexplored characters? Or better yet, a featurette on a carbonite-encapsulated Han Solo all done in dream sequence. Hey, at least it’s not Roots 2: JJ Binks.

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Marvel's GUARDIANS OF THE GALAXY Finds Superhero in Chris Pratt

 

You might know Chris Pratt from NBC’s hit comedy, Parks and Recreation, as shoe-shining extraordinaire slash undercover, and make believe, FBI agent Andy Dwyer but get ready to know him in a whole new capacity as he has snagged the lead role for Marvel‘s Guardians of the Galaxy.

Pratt will assume the role of Peter Quill, or Star-Lord, the leader of the Guardians. Since this feature is more focused on a team of heroes, a la Avengers, rather than a one-off character, a la Iron Man, except to see the cast fill out quite a bit.

The casting of Pratt, whose got a keen sense for comedy relief,  seems to suggest that Marvel will try and go more the Tony Stark route with this intergalactic ensemble of superheros, a risky maneuver that seems likely to pay off.

Although Pratt’s no stranger to the big screen, this will definitely be his most forward and high profile Hollywood role. Up to this point Pratt’s expertise outside of the prime-time television realm seems to be having small roles in acclaimed films. He recently had a bit part in Zero Dark Thirty as a member of the Navy SEAL team and also played a resurrected ball player in last year’s Moneyball.

Directed by James Gunn, Guardians of the Galaxy will be part of Marvel’s Phase Two and will deal with a group of space warriors who eventually are set to team up with the Avengers. Considering that one of the Guardian members is a gun wielding talking raccoon named Rocket Raccoon, you can see why this property is a tad on the risky side.

Seeing that Pratt has proved to be diverse in his roles, juggling comedy, drama and action, and has a built in fan base with men and women alike for Parks and Recs, his casting seems like a really smart move on Marvel’s part. What do you think? Can Chris Pratt be your hero…baby?