The Hollywood Reporter had their film critics announce their top 10 films of 2008 this morning. I always think it's a little arbitrary to do "top 10" lists in this métier, seeing as, in doing so, one attempts to compare extremely different films. Can you really compare MADAGASCAR 2 to REVOLUTIONARY ROAD? IRON MAN to DOUBT? I guess the real question is, "Who cares?" (And secondly, "Is MADAGASCAR 2 really in your top 10?" Answer: No.) But in the spirit of egotistically believing my opinion is useful to society, I'm here to do just what those critics did.
**As a note...I haven't seen FROST/NIXON. Or THE WRESTLER. Or MAN ON WIRE. Or a few others. So my list below is basically moot. But again, who cares? These are the top 10 movies of the year out of the films I've seen.
**As a final note, the list is a little "weighted," as it were, for Award-worthy-ness--which explains why, neither IRON MAN nor THE DARK KNIGHT, i.e. the only films that I rated cinq de cinq (that's five of five) earlier this year, appear as #1.
letop5'S TOP FIVE (PLUS FIVE MORE)
1. Slumdog Millionaire [letop5 review]
2. The Dark Knight [letop5 review]
3. Milk [letop5 review]
4. The Curious Case of Benjamin Button [letop5 review]
5. Iron Man [letop5 review: le first and le second]
6. Revolutionary Road [letop5 review]
7. Vicky Cristina Barcelona [letop5 review]
8. The Fall [letop5 review]
9. Kisses [letop5 review]
10. Doubt [letop5 review]
Do you have opinions?
* - * - * - * - *
AMENDMENT 03Jan09: I've never amended a post before. But having seen a few more films, I have to change my list a bit. Sorry to the movies that are about to fall off my prestigious roster, but it was inevitable with Clint Eastwood in the room.
letop5'S NEW TOP FIVE (PLUS FIVE MORE) - 03 Jan 2009
1. Slumdog Millionaire [letop5 review]
2. The Dark Knight [letop5 review]
3. Milk [letop5 review]
4. The Curious Case of Benjamin Button [letop5 review]
5. Iron Man [letop5 review: le first and le second]
6. Gran Torino [letop5 review]
7. Revolutionary Road [letop5 review]
8. Frost/Nixon [letop5 review]
9. Vicky Cristina Barcelona [letop5 review]
10. The Fall [letop5 review] (or Doubt, if we're talking awards-winner talk)
New year, new thoughts! Let's see what happens at the Globes.
lundi 29 décembre 2008
mercredi 24 décembre 2008
letop5 apologises to: Kathy Bates (and tip's the hat to Kathryn Hahn)
Revolutionary Recognition: Kathy Bates was also in TITANIC.
http://www.imdb.com/name/nm0000870/
My friend TiVo just expressed some displeasure (albeit not on my blog, because he probably doesn't read it) about everyone and their mom hailing TITANIC as the "reunion of Kate and Leo," when in fact it would be more technically accurate to call it "the reunion of Kate and Leo and Kathy Bates." Doesn't sound as sexy, but it's a smidge more accurate.
Kathy Bates is in a lot of movies, and she is a consistently strong actress. Yeah, Bates was in TITANIC. She was also in REVOLUTIONARY ROAD. But in my REV ROAD write-up, I didn't even mention her once.
I'm sorry, Kathy.
In fact, you know who else was great in REVOLUTIONARY ROAD? Kathryn Hahn. To me, Hahn was the most believable character--and actor--in the whole film. I really liked her portrayal as the Wheeler couple's neighbor and Kate Winslet's character's supposed best friend. She was fantastic, and I never said a word.
So tip of the hat to you, too, Kat. Loved you in ANCHORMAN.
Did you know that according to IMDB, Kathryn Hahn has never been nominated for anything? Sometimes show business ain't fair.
http://www.imdb.com/name/nm0000870/
My friend TiVo just expressed some displeasure (albeit not on my blog, because he probably doesn't read it) about everyone and their mom hailing TITANIC as the "reunion of Kate and Leo," when in fact it would be more technically accurate to call it "the reunion of Kate and Leo and Kathy Bates." Doesn't sound as sexy, but it's a smidge more accurate.
Kathy Bates is in a lot of movies, and she is a consistently strong actress. Yeah, Bates was in TITANIC. She was also in REVOLUTIONARY ROAD. But in my REV ROAD write-up, I didn't even mention her once.
I'm sorry, Kathy.
In fact, you know who else was great in REVOLUTIONARY ROAD? Kathryn Hahn. To me, Hahn was the most believable character--and actor--in the whole film. I really liked her portrayal as the Wheeler couple's neighbor and Kate Winslet's character's supposed best friend. She was fantastic, and I never said a word.
So tip of the hat to you, too, Kat. Loved you in ANCHORMAN.
Did you know that according to IMDB, Kathryn Hahn has never been nominated for anything? Sometimes show business ain't fair.
mardi 23 décembre 2008
I am my own Urban Dictionary IV
Word: pre-gamed
Definition 1: Adjective version of the colloquial noun or verb "pre-game" (drinking before a party), meaning "to pre-game so hard, you become useless to society and ridiculous as a human."
Definition 2: When your friends mix your drinks for you at a pre-game, and you inadvertently get horrendously hammered.
Examples of usage:
1. I didn't make it to your birthday party, because I got hella pre-gamed hella early. I'm embarrassed.
2. Coleman definitely pre-gamed my drink.
As with the verb "food," "pre-game" relies on tense and context for attendant parties to perceive its meaning.
Definition 1: Adjective version of the colloquial noun or verb "pre-game" (drinking before a party), meaning "to pre-game so hard, you become useless to society and ridiculous as a human."
Definition 2: When your friends mix your drinks for you at a pre-game, and you inadvertently get horrendously hammered.
Examples of usage:
1. I didn't make it to your birthday party, because I got hella pre-gamed hella early. I'm embarrassed.
2. Coleman definitely pre-gamed my drink.
As with the verb "food," "pre-game" relies on tense and context for attendant parties to perceive its meaning.
THE CURIOUS CASE OF BENJAMIN BUTTON
Excuse me while I gather my thoughts.
I haven't seen a film that played with time so consciously and effectively since MEMENTO. And the last wide-released film that addressed the differences and similarities between death and living this directly was probably...what, MEET JOE BLACK? The latter starred Brad Pitt. The former starred an Aussie. Brad Pitt and an Aussie (Cate Blanchett) co-star in THE CURIOUS CASE OF BENJAMIN BUTTON. Curious? It is indeed.
I'm convinced David Fincher's cinematic eloquence is unfettered--as long as he's working with Brad Pitt. Ordinarily, I might scoff at any director who would choose Brad Pitt as his muse--I mean, I like a pretty painting, too, but I wouldn't tell it to drive me to work every morning--but in this union, Fincher has found magic. His best films, SE7EN and FIGHT CLUB, both star Brad "Pretty as a Painting" Pitt, and they aren't the worse for it. So it is with THE CURIOUS CASE OF BENJAMIN BUTTON, an epic among epics that has taken decades to finally reach the screen. Well, I'm certain no better hands could have molded it. The writing is superb, the cinematography, make-up and special effects are really excellent, and though it runs a little long, it's a beautiful mystery to watch.
The central theme, obviously, is life. Life and its cohort, Death. As Benjamin Button ages backwards, from old man to child, he learns how to live in reverse, learning the hardest lessons first, and achieving a type of gravity and wisdom that most old people only pretend to have. His only real anchor in the present is his childhood (grandpa-hood?) love, Daisy, played by Blanchett. In the film's presentation of Life and Death--and History--the film is sad without being depressing; melodramatic without being weak; supernatural without being overly fantastic. BENJAMIN BUTTON is also extremely historical--set in Louisiana, it encompasses everything from World War II to Hurricane Katrina. It's balanced like a scale, with Art on one side and Story on the other, and neither is compromised for the other. It's like falling into a dream.
If you can't tell, I liked it.
But my emotional connection to seeing Brad Pitt age backwards to circa LEGENDS OF THE FALL (hubba hubba) won't stand in the way of critique. Like I said--at 2hr39, the film is TITANIC-ally long. I didn't get bored or feel the stress of it, but there were some scenes that could have been cut. Plus, a few characters probably didn't get the treatment they deserved, what with cameramen trying to keep all eyes on Brad Pitt a la TROY. All that did was make me see how little he did besides look good.
And there you have it: what's really curious about Benjamin Button is that the actor who played the title character, Brad Pitt, was nominated for a Golden Globe but his radiant costar, Cate Blanchett, got nothing. I hope the Oscars will see things differently. Brad is a pretty painting, but if it wasn't for David Fincher, he wouldn't have been a make-or-break casting decision for this film. Then again, I do honestly believe that David Fincher couldn't have done it without him. So maybe some kudos are in order.
plot: Man un-ages, falls in love.
thought: Boys II Men? Make that Man II Boy.
in five: 4/5
live the dream!: http://www.benjaminbutton.com/
I haven't seen a film that played with time so consciously and effectively since MEMENTO. And the last wide-released film that addressed the differences and similarities between death and living this directly was probably...what, MEET JOE BLACK? The latter starred Brad Pitt. The former starred an Aussie. Brad Pitt and an Aussie (Cate Blanchett) co-star in THE CURIOUS CASE OF BENJAMIN BUTTON. Curious? It is indeed.
I'm convinced David Fincher's cinematic eloquence is unfettered--as long as he's working with Brad Pitt. Ordinarily, I might scoff at any director who would choose Brad Pitt as his muse--I mean, I like a pretty painting, too, but I wouldn't tell it to drive me to work every morning--but in this union, Fincher has found magic. His best films, SE7EN and FIGHT CLUB, both star Brad "Pretty as a Painting" Pitt, and they aren't the worse for it. So it is with THE CURIOUS CASE OF BENJAMIN BUTTON, an epic among epics that has taken decades to finally reach the screen. Well, I'm certain no better hands could have molded it. The writing is superb, the cinematography, make-up and special effects are really excellent, and though it runs a little long, it's a beautiful mystery to watch.
The central theme, obviously, is life. Life and its cohort, Death. As Benjamin Button ages backwards, from old man to child, he learns how to live in reverse, learning the hardest lessons first, and achieving a type of gravity and wisdom that most old people only pretend to have. His only real anchor in the present is his childhood (grandpa-hood?) love, Daisy, played by Blanchett. In the film's presentation of Life and Death--and History--the film is sad without being depressing; melodramatic without being weak; supernatural without being overly fantastic. BENJAMIN BUTTON is also extremely historical--set in Louisiana, it encompasses everything from World War II to Hurricane Katrina. It's balanced like a scale, with Art on one side and Story on the other, and neither is compromised for the other. It's like falling into a dream.
If you can't tell, I liked it.
But my emotional connection to seeing Brad Pitt age backwards to circa LEGENDS OF THE FALL (hubba hubba) won't stand in the way of critique. Like I said--at 2hr39, the film is TITANIC-ally long. I didn't get bored or feel the stress of it, but there were some scenes that could have been cut. Plus, a few characters probably didn't get the treatment they deserved, what with cameramen trying to keep all eyes on Brad Pitt a la TROY. All that did was make me see how little he did besides look good.
And there you have it: what's really curious about Benjamin Button is that the actor who played the title character, Brad Pitt, was nominated for a Golden Globe but his radiant costar, Cate Blanchett, got nothing. I hope the Oscars will see things differently. Brad is a pretty painting, but if it wasn't for David Fincher, he wouldn't have been a make-or-break casting decision for this film. Then again, I do honestly believe that David Fincher couldn't have done it without him. So maybe some kudos are in order.
plot: Man un-ages, falls in love.
thought: Boys II Men? Make that Man II Boy.
in five: 4/5
live the dream!: http://www.benjaminbutton.com/
lundi 22 décembre 2008
REVOLUTIONARY ROAD
Kate Winslet. Kaaaaaate Winslet. You are who you are, and I have to say, I'm impressed. The fact that you can star in movie after movie feigning forceful intercourse with multiple men at the call of, "Action," and never hesitate...that's impressive. Clearly, you took a lesson from Halle Berry; you know where the money is. It's all in the "oh" face.
I hope you're not insulted, Kate--I don't mean to insult you. But your movies...I'm just starting to notice they're starting to be identical! They always feature you having sex and being wrapped in a plot of weird! LITTLE CHILDREN. THE READER. And now REVOLUTIONARY ROAD--with your husband watching. That's kinky. Yet oh so Hollywood.
Across the States grown up boys and girls have rejoiced to hear about REVOLUTIONARY ROAD, which stars both the beddable Ms. Winslet and her TITANIC co-star, Leonardo DiCaprio. Finally, Kate and Leo are together again; finally Jack and Rose can fly! Well, people, know this before you go see this: REVOLUTIONARY ROAD IS NOT TITANIC. Kate and Leo have grown up, and they act in Serious Movies now. No more melodramatic soap operas smothered in historical context. They're on the hunt for statues, not tween fan clubs. And for that, there's no better movie to showcase their determination than REVOLUTIONARY ROAD. Though I should say...it is, in fact, a melodramatic soap opera smothered in historical context.
REVOLUTIONARY ROAD is all about being smothered in historical context. It's about the pitfalls of mid-20th century, upper-middle class, middle American suburbia smothering the life out of every married couple it touched. It's a striking film that's a little hard to understand--do we pity the couple? do we hate Leo? do we hate Kate? do we hate Sam Mendes?--but its darkness is obscenely attractive. A few rare moments within this film unfold almost as from another movie, like a thriller or horror film. The music escalates, the camera does not waver...and I fear that someone wearing the Scream mask will pop out of a closet. It's deliciously dark. But it's also as melodramatic as a high school dance.
This movie is highlighted by manic-depressive highs and lows, here a laugh, there a sob. While I give kudos to the director for embedding the darkness, it took me about half the movie to fall in step with his actors. Leo--who looks lusciously virile all movie long, ladies--kept on using the same conversation-filling "hmm?" at the end of his phrases that personified him in BLOOD DIAMOND. I cringed, hearing him "hmm" after "hmm," slowly slip away from winning a Best Actor award. Beyond the relapse of parts past played, however, Leonardo Di-"do me"-oh was amazing when channeling his inner ferocity. I believed him. I believed every tear, scream and cautious smile--but those all came halfway into the movie and onward. So you'll have to hang in and wait for them.
Kate took just as long for me to believe, unfortunately. At the beginning, I felt she was playing her READER self without an accent--a little stark and disconnected from the present. It wasn't until caca hit the fan that she seemed to really come alive. But I usually don't want to watch an actor that only lights up the screen when the world goes dark--that's a one-sided performance. And for that...though I really like Kate Winslet, I don't know if I really felt she owned this part from start to finish.
But perhaps I'm only being harsh because it's Kate and Leo. Jack and Rose. "Put your hands on me," and "Never let go." Perhaps I need to give them a little bit of leeway, since REV ROAD is so different. It was not easy material; it is dark, twisty and complicated. It's hard to watch, and it must have been even harder to act out. "Take the road less traveled," a certain poet once said--even if that means having your husband film you fake an orgasm with your high school boyfriend. Come on, why not?
plot: Couple succumbs to midlife crisis.
thought: They grow up so fast!
in five: 3.5/5
take the road: http://www.revolutionaryroadmovie.com/
I hope you're not insulted, Kate--I don't mean to insult you. But your movies...I'm just starting to notice they're starting to be identical! They always feature you having sex and being wrapped in a plot of weird! LITTLE CHILDREN. THE READER. And now REVOLUTIONARY ROAD--with your husband watching. That's kinky. Yet oh so Hollywood.
Across the States grown up boys and girls have rejoiced to hear about REVOLUTIONARY ROAD, which stars both the beddable Ms. Winslet and her TITANIC co-star, Leonardo DiCaprio. Finally, Kate and Leo are together again; finally Jack and Rose can fly! Well, people, know this before you go see this: REVOLUTIONARY ROAD IS NOT TITANIC. Kate and Leo have grown up, and they act in Serious Movies now. No more melodramatic soap operas smothered in historical context. They're on the hunt for statues, not tween fan clubs. And for that, there's no better movie to showcase their determination than REVOLUTIONARY ROAD. Though I should say...it is, in fact, a melodramatic soap opera smothered in historical context.
REVOLUTIONARY ROAD is all about being smothered in historical context. It's about the pitfalls of mid-20th century, upper-middle class, middle American suburbia smothering the life out of every married couple it touched. It's a striking film that's a little hard to understand--do we pity the couple? do we hate Leo? do we hate Kate? do we hate Sam Mendes?--but its darkness is obscenely attractive. A few rare moments within this film unfold almost as from another movie, like a thriller or horror film. The music escalates, the camera does not waver...and I fear that someone wearing the Scream mask will pop out of a closet. It's deliciously dark. But it's also as melodramatic as a high school dance.
This movie is highlighted by manic-depressive highs and lows, here a laugh, there a sob. While I give kudos to the director for embedding the darkness, it took me about half the movie to fall in step with his actors. Leo--who looks lusciously virile all movie long, ladies--kept on using the same conversation-filling "hmm?" at the end of his phrases that personified him in BLOOD DIAMOND. I cringed, hearing him "hmm" after "hmm," slowly slip away from winning a Best Actor award. Beyond the relapse of parts past played, however, Leonardo Di-"do me"-oh was amazing when channeling his inner ferocity. I believed him. I believed every tear, scream and cautious smile--but those all came halfway into the movie and onward. So you'll have to hang in and wait for them.
Kate took just as long for me to believe, unfortunately. At the beginning, I felt she was playing her READER self without an accent--a little stark and disconnected from the present. It wasn't until caca hit the fan that she seemed to really come alive. But I usually don't want to watch an actor that only lights up the screen when the world goes dark--that's a one-sided performance. And for that...though I really like Kate Winslet, I don't know if I really felt she owned this part from start to finish.
But perhaps I'm only being harsh because it's Kate and Leo. Jack and Rose. "Put your hands on me," and "Never let go." Perhaps I need to give them a little bit of leeway, since REV ROAD is so different. It was not easy material; it is dark, twisty and complicated. It's hard to watch, and it must have been even harder to act out. "Take the road less traveled," a certain poet once said--even if that means having your husband film you fake an orgasm with your high school boyfriend. Come on, why not?
plot: Couple succumbs to midlife crisis.
thought: They grow up so fast!
in five: 3.5/5
take the road: http://www.revolutionaryroadmovie.com/
dimanche 21 décembre 2008
I LOVE YOU, MAN
You know what rocks about Fire City? All the advance screenings. I'll take the freeway traffic if it means at the end of the road, there's a movie theatre I don't have to pay to enter. Heck, even if I do have to pay--there's something about seeing a great movie before everyone else. A day before, who cares; a week before, I'm feeling good...but four months before, and I'm feeling downright cocky.
Yeah, that's right, I just saw the upcoming Paul Rudd movie. Yeah, that's right Jon Favreau was both on screen and in the audience. And yeah, that's right: I got free popcorn. It was cold though, if that makes you feel any better. The weather and the popcorn. The screening was a gift from Handy, who had connections, so another friend and I reaped the benefits (we'll call the other friend Fratlet--he sublets a room in a fraternity house).
Anyway, enough with pleasantries; let's cut to it. The movie was great! I LOVE YOU, MAN centers around Paul Rudd's hilariously awkward quest for bromance. After proposing to his girlfriend, Peter Klaven (Rudd) hunts for a best man so his presence at the wedding doesn't embarrass his fiancee or her bevy of girlfriends. With a cast that includes Jason Segel, JK Simmons, Andy Samberg, Rashida Jones ("The Office"), Thomas Lennon ("Reno 911"), Jaime Pressly and yes, Jon Favreau...you've got nothing but goodness to look forward to. I'd place it...between WEDDING CRASHERS and 40 YEAR OLD VIRGIN in funniness, nudging upwards towards WEDDING CRASHERS. It's good. Look forward to the goodness. March 2009.
plot: Man seeks man friend now.
thought: Bromance is the new pink.
in five: 4/5
start to love it: http://www.imdb.com/title/tt1155056/
Yeah, that's right, I just saw the upcoming Paul Rudd movie. Yeah, that's right Jon Favreau was both on screen and in the audience. And yeah, that's right: I got free popcorn. It was cold though, if that makes you feel any better. The weather and the popcorn. The screening was a gift from Handy, who had connections, so another friend and I reaped the benefits (we'll call the other friend Fratlet--he sublets a room in a fraternity house).
Anyway, enough with pleasantries; let's cut to it. The movie was great! I LOVE YOU, MAN centers around Paul Rudd's hilariously awkward quest for bromance. After proposing to his girlfriend, Peter Klaven (Rudd) hunts for a best man so his presence at the wedding doesn't embarrass his fiancee or her bevy of girlfriends. With a cast that includes Jason Segel, JK Simmons, Andy Samberg, Rashida Jones ("The Office"), Thomas Lennon ("Reno 911"), Jaime Pressly and yes, Jon Favreau...you've got nothing but goodness to look forward to. I'd place it...between WEDDING CRASHERS and 40 YEAR OLD VIRGIN in funniness, nudging upwards towards WEDDING CRASHERS. It's good. Look forward to the goodness. March 2009.
plot: Man seeks man friend now.
thought: Bromance is the new pink.
in five: 4/5
start to love it: http://www.imdb.com/title/tt1155056/
jeudi 18 décembre 2008
SAG Nominations!
Presented with letop5's predominantly random predictions in bold.
15th ANNUAL SCREEN ACTORS GUILD AWARDS® NOMINATIONS
THEATRICAL MOTION PICTURES
Outstanding Performance by a Male Actor in a Leading Role
RICHARD JENKINS / Walter Vale - "THE VISITOR" (Overture Films)
FRANK LANGELLA / Richard Nixon - "FROST/NIXON" (Universal Pictures)
SEAN PENN / Harvey Milk - "MILK" (Focus Features)
BRAD PITT / Benjamin Button - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
MICKEY ROURKE / Randy - "THE WRESTLER" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Leading Role
ANNE HATHAWAY / Kym - "RACHEL GETTING MARRIED" (Sony Pictures Classics)
ANGELINA JOLIE / Christine Collins - "CHANGELING" (Universal Pictures)
MELISSA LEO / Ray Eddy - "FROZEN RIVER" (Sony Pictures Classics)
MERYL STREEP / Sister Aloysius Beauvier - "DOUBT" (Miramax Films)
KATE WINSLET / April Wheeler - "REVOLUTIONARY ROAD" (Paramount Vantage)
Outstanding Performance by a Male Actor in a Supporting Role
JOSH BROLIN / Dan White - "MILK" (Focus Features)
ROBERT DOWNEY, JR. / Kirk Lazarus - "TROPIC THUNDER" (Paramount Pictures)
PHILIP SEYMOUR HOFFMAN / Father Brendan Flynn - "DOUBT" (Miramax Films)
HEATH LEDGER / Joker - "THE DARK KNIGHT" (Warner Bros. Pictures)
DEV PATEL / Older Jamal - "SLUMDOG MILLIONAIRE" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Supporting Role
AMY ADAMS / Sister James - "DOUBT" (Miramax Flms)
PENÉLOPE CRUZ / Maria Elena - "VICKY CRISTINA BARCELONA" (The Weinstein Company)
VIOLA DAVIS / Mrs. Miller - "DOUBT" (Miramax Films)
TARAJI P. HENSON / Queenie - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
KATE WINSLET / Hanna Schmitz - "THE READER" (The Weinstein Company)
Outstanding Performance by a Cast in a Motion Picture
DOUBT (Miramax)
FROST/NIXON (Universal Pictures)
MILK (Focus Features)
SLUMDOG MILLIONAIRE (Fox Searchlight Pictures)
THE CURIOUS CASE OF BENJAMIN BUTTON (Paramount Pictures)
PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
RALPH FIENNES / Bernard Lafferty - "BERNARD AND DORIS" (HBO)
PAUL GIAMATTI / John Adams - "JOHN ADAMS" (HBO)
KEVIN SPACEY / Ron Klain - "RECOUNT" (HBO)
KIEFER SUTHERLAND / Jack Bauer - "24: REDEMPTION" (FOX)
TOM WILKINSON / Benjamin Franklin - "JOHN ADAMS" (HBO)
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
LAURA DERN / Katherine Harris - "RECOUNT" (HBO)
LAURA LINNEY / Abigail Adams - "JOHN ADAMS" (HBO)
SHIRLEY MacLAINE / Coco Chanel - "COCO CHANEL" (Lifetime)
PHYLICIA RASHAD / Lena Younger - "A RAISIN IN THE SUN" (ABC)
SUSAN SARANDON / Doris Duke - "BERNARD AND DORIS" (HBO)
Outstanding Performance by a Male Actor in a Drama Series
MICHAEL C. HALL / Dexter Morgan - "DEXTER" (Showtime)
JON HAMM / Don Draper - "MAD MEN" (AMC)
HUGH LAURIE / Gregory House - "HOUSE" (FOX)
WILLIAM SHATNER / Denny Crane - "BOSTON LEGAL" (ABC)
JAMES SPADER / Alan Shore - "BOSTON LEGAL" (ABC)
Outstanding Performance by a Female Actor in a Drama Series
SALLY FIELD / Nora Walker - "BROTHERS & SISTERS" (ABC)
MARISKA HARGITAY / Det. Olivia Benson - "LAW & ORDER: SPECIAL VICTIMS UNIT" (NBC)
HOLLY HUNTER / Grace Hanadarko - "SAVING GRACE" (TNT)
ELISABETH MOSS / Peggy Olson - "MAD MEN" (AMC)
KYRA SEDGWICK / Dep. Chief Brenda Johnson - "THE CLOSER" (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy - "30 ROCK" (NBC)
STEVE CARELL / Michael Scott - "THE OFFICE" (NBC)
DAVID DUCHOVNY / Hank Moody - "CALIFORNICATION" (Showtime)
JEREMY PIVEN / Ari Gold - "ENTOURAGE" (HBO)
TONY SHALHOUB / Adrian Monk - "MONK" (USA)
Outstanding Performance by a Female Actor in a Comedy Series
CHRISTINA APPLEGATE / Samantha Newly - "SAMANTHA WHO?" (ABC)
AMERICA FERRERA / Betty Suarez - "UGLY BETTY" (ABC)
TINA FEY / Liz Lemon - "30 ROCK" (NBC)
MARY-LOUISE PARKER / Nancy Botwin - "WEEDS" (Showtime)
TRACEY ULLMAN / Various Characters - "TRACEY ULLMAN’S STATE OF THE UNION" (Showtime)
Outstanding Performance by an Ensemble in a Drama Series
BOSTON LEGAL (ABC)
DEXTER (Showtime)
HOUSE (Fox)
MAD MEN (AMC)
THE CLOSER (TNT)
Outstanding Performance by an Ensemble in a Comedy Series
30 ROCK (NBC)
DESPERATE HOUSEWIVES (ABC)
ENTOURAGE (HBO)
THE OFFICE (NBC)
WEEDS (Showtime)
SAG HONORS FOR STUNT ENSEMBLES
Outstanding Performance by a Stunt Ensemble in a Motion Picture
THE DARK KNIGHT (Warner Bros. Pictures)
HELLBOY II: THE GOLDEN ARMY (Universal Pictures)
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (Paramount Pictures)
IRON MAN (Paramount Pictures)
WANTED (Universal Pictures)
Outstanding Performance by a Stunt Ensemble in a Television Series
FRIDAY NIGHT LIGHTS (NBC)
HEROES (NBC)
PRISON BREAK (FOX)
THE UNIT (CBS)
THE CLOSER (TNT)
LIFE ACHIEVEMENT AWARD
Screen Actors Guild Awards 45th Annual Life Achievement Award
James Earl Jones
15th ANNUAL SCREEN ACTORS GUILD AWARDS® NOMINATIONS
THEATRICAL MOTION PICTURES
Outstanding Performance by a Male Actor in a Leading Role
RICHARD JENKINS / Walter Vale - "THE VISITOR" (Overture Films)
FRANK LANGELLA / Richard Nixon - "FROST/NIXON" (Universal Pictures)
SEAN PENN / Harvey Milk - "MILK" (Focus Features)
BRAD PITT / Benjamin Button - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
MICKEY ROURKE / Randy - "THE WRESTLER" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Leading Role
ANNE HATHAWAY / Kym - "RACHEL GETTING MARRIED" (Sony Pictures Classics)
ANGELINA JOLIE / Christine Collins - "CHANGELING" (Universal Pictures)
MELISSA LEO / Ray Eddy - "FROZEN RIVER" (Sony Pictures Classics)
MERYL STREEP / Sister Aloysius Beauvier - "DOUBT" (Miramax Films)
KATE WINSLET / April Wheeler - "REVOLUTIONARY ROAD" (Paramount Vantage)
Outstanding Performance by a Male Actor in a Supporting Role
JOSH BROLIN / Dan White - "MILK" (Focus Features)
ROBERT DOWNEY, JR. / Kirk Lazarus - "TROPIC THUNDER" (Paramount Pictures)
PHILIP SEYMOUR HOFFMAN / Father Brendan Flynn - "DOUBT" (Miramax Films)
HEATH LEDGER / Joker - "THE DARK KNIGHT" (Warner Bros. Pictures)
DEV PATEL / Older Jamal - "SLUMDOG MILLIONAIRE" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Supporting Role
AMY ADAMS / Sister James - "DOUBT" (Miramax Flms)
PENÉLOPE CRUZ / Maria Elena - "VICKY CRISTINA BARCELONA" (The Weinstein Company)
VIOLA DAVIS / Mrs. Miller - "DOUBT" (Miramax Films)
TARAJI P. HENSON / Queenie - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
KATE WINSLET / Hanna Schmitz - "THE READER" (The Weinstein Company)
Outstanding Performance by a Cast in a Motion Picture
DOUBT (Miramax)
FROST/NIXON (Universal Pictures)
MILK (Focus Features)
SLUMDOG MILLIONAIRE (Fox Searchlight Pictures)
THE CURIOUS CASE OF BENJAMIN BUTTON (Paramount Pictures)
PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
RALPH FIENNES / Bernard Lafferty - "BERNARD AND DORIS" (HBO)
PAUL GIAMATTI / John Adams - "JOHN ADAMS" (HBO)
KEVIN SPACEY / Ron Klain - "RECOUNT" (HBO)
KIEFER SUTHERLAND / Jack Bauer - "24: REDEMPTION" (FOX)
TOM WILKINSON / Benjamin Franklin - "JOHN ADAMS" (HBO)
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
LAURA DERN / Katherine Harris - "RECOUNT" (HBO)
LAURA LINNEY / Abigail Adams - "JOHN ADAMS" (HBO)
SHIRLEY MacLAINE / Coco Chanel - "COCO CHANEL" (Lifetime)
PHYLICIA RASHAD / Lena Younger - "A RAISIN IN THE SUN" (ABC)
SUSAN SARANDON / Doris Duke - "BERNARD AND DORIS" (HBO)
Outstanding Performance by a Male Actor in a Drama Series
MICHAEL C. HALL / Dexter Morgan - "DEXTER" (Showtime)
JON HAMM / Don Draper - "MAD MEN" (AMC)
HUGH LAURIE / Gregory House - "HOUSE" (FOX)
WILLIAM SHATNER / Denny Crane - "BOSTON LEGAL" (ABC)
JAMES SPADER / Alan Shore - "BOSTON LEGAL" (ABC)
Outstanding Performance by a Female Actor in a Drama Series
SALLY FIELD / Nora Walker - "BROTHERS & SISTERS" (ABC)
MARISKA HARGITAY / Det. Olivia Benson - "LAW & ORDER: SPECIAL VICTIMS UNIT" (NBC)
HOLLY HUNTER / Grace Hanadarko - "SAVING GRACE" (TNT)
ELISABETH MOSS / Peggy Olson - "MAD MEN" (AMC)
KYRA SEDGWICK / Dep. Chief Brenda Johnson - "THE CLOSER" (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy - "30 ROCK" (NBC)
STEVE CARELL / Michael Scott - "THE OFFICE" (NBC)
DAVID DUCHOVNY / Hank Moody - "CALIFORNICATION" (Showtime)
JEREMY PIVEN / Ari Gold - "ENTOURAGE" (HBO)
TONY SHALHOUB / Adrian Monk - "MONK" (USA)
Outstanding Performance by a Female Actor in a Comedy Series
CHRISTINA APPLEGATE / Samantha Newly - "SAMANTHA WHO?" (ABC)
AMERICA FERRERA / Betty Suarez - "UGLY BETTY" (ABC)
TINA FEY / Liz Lemon - "30 ROCK" (NBC)
MARY-LOUISE PARKER / Nancy Botwin - "WEEDS" (Showtime)
TRACEY ULLMAN / Various Characters - "TRACEY ULLMAN’S STATE OF THE UNION" (Showtime)
Outstanding Performance by an Ensemble in a Drama Series
BOSTON LEGAL (ABC)
DEXTER (Showtime)
HOUSE (Fox)
MAD MEN (AMC)
THE CLOSER (TNT)
Outstanding Performance by an Ensemble in a Comedy Series
30 ROCK (NBC)
DESPERATE HOUSEWIVES (ABC)
ENTOURAGE (HBO)
THE OFFICE (NBC)
WEEDS (Showtime)
SAG HONORS FOR STUNT ENSEMBLES
Outstanding Performance by a Stunt Ensemble in a Motion Picture
THE DARK KNIGHT (Warner Bros. Pictures)
HELLBOY II: THE GOLDEN ARMY (Universal Pictures)
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (Paramount Pictures)
IRON MAN (Paramount Pictures)
WANTED (Universal Pictures)
Outstanding Performance by a Stunt Ensemble in a Television Series
FRIDAY NIGHT LIGHTS (NBC)
HEROES (NBC)
PRISON BREAK (FOX)
THE UNIT (CBS)
THE CLOSER (TNT)
LIFE ACHIEVEMENT AWARD
Screen Actors Guild Awards 45th Annual Life Achievement Award
James Earl Jones
mercredi 17 décembre 2008
THE READER
Kaaaaaaate Winslet. The movies she does are weird. I think it started with THE LIFE OF DAVID GALE, which was "Kevin Spacey-weird" and ETERNAL SUNSHINE OF THE SPOTLESS MIND, which was "artsy weird," and then she just tumbled sideways from there. FINDING NEVERLAND was normal enough, I guess, with its child befriending a man who thinks he's Peter Pan...okay, no, that was weird, too! Now I don't confuse "weird" with "bad"--I think both ETERNAL SUNSHINE and NEVERLAND were great pictures--and I actually really liked DAVID GALE, too--but their plots are "unique" to say the least. But post-NEVERLAND came LITTLE CHILDREN, then a stop into bland, vapid normality with THE HOLIDAY, and now she's back in the weird zone with THE READER. So I think Kate Winslet has chosen her genre. Slice of weird life? She likes it.
I didn't know anything about this film, THE READER. I just went for it due to its Oscar-worthiness (weird Winslet = awards and accolades) and at the behest of a friend...we'll call him TiVo (he is mad organised about his TiVo). So as it was starting, my mind was trying to figure out the plot: she's a spy! No, she's...a prostitute! No, she's a murderer--she is GOING TO MURDER HIM! No, wait, she is definitely just a spy.
I was wrong on all guesses.
I think my lack of context for the action led to my belated realisation that this film, which takes place in post-WW2 Germany, could not be classified merely as a thriller or spy movie or prostitution movie (should that genre ever reach the mainstream--beyond the likes of PRETTY WOMAN, that is). For starters, it's none of those things. THE READER is an historical drama based on the coming-of-age love affair that a cute, German lad has with an older German lass who (oh wait for it) used to work at Auschwitz. Whoops! She didn't mention THAT on the first date! Guess we should have expected it with Kate Winslet starring.
My problem with THE READER is not this plot that it eventually embraces; it's the meandering way by which it finally gets there. For starters, it threads together present day and past with such unfortunate fluidity as to render context confusing. If time were so important to the play of events, full-screen date stamps would have been more useful than lower-thirds, my editor friends. I read the dates but passed them over and didn't realise how truly crucial they were within the story. I spent an unfortunate bit of time wondering who Ralph Fiennes was supposed to be. But sure, that could be dismissed as my fault. If I had read the dates with more attention, or at least watched the trailer before heading to the theatre, I would have been in better shape. So for actual starters, let's take a look at that trailer:
http://www.imdb.com/video/imdb/vi1750597657/
Hey, I've never posted a trailer before. But this one deserves the post, because man, the movie advertised in this trailer looks exciting! I want to see this movie! There are tears; there's some sex; there are violins....You can almost hear the Foreign Press salivating. It's too bad this isn't the movie I saw.
My problem--the "meandering" I mentioned--is that, unlike its trailer, THE READER is boring. It's slow, and sadly, feels a little...I'm sorry, but feels a little pointless. The Germans Behaving Badly plot--along with the Germans Feeling Guilty about Behaving Badly uber-plot (i.e., winner of German Meta-Plot of the Century)--is ubiquitous, and its portrayal begs the inclusion of a lesson learned or taught. In LA VIE DES AUTRES/THE LIVES OF OTHERS, we saw the lesson with the last freeze frame of Ulrich Muhe's face at the film's close: his character had learned to feel, had finally learned to separate The State from his state of mind.
Not every film needs a lesson, but I felt THE READER suffered from lack of one. I believe the intended one was "Even good people do bad things," but our director didn't seem to carry it home. We received Hanna's sorrow (Hanna is Winslet's character), about a third into the film, when she cries in a church, but years later when on trial, she doesn't seem to return to that remorse, instead succumbing to pride. And a film about Germans Feeling Guilty about Behaving Badly should definitely involve a healthy scoop of remorse.
I felt that Michael, Hanna's lover (played by Fiennes when older and the dashing David Kross when young), tried to bear the weight of her guilt for her--but even he failed to support her beneath the pressure of it all. I was disconnected, therefore, from both their emotions, and unfortunately ended up thinking, "Is that it?" when the credits rolled. Perhaps some more dialogue from either party would have helped. But I get it--they were both German in the typical sense, both reserved, private people. When words failed, there were tears. I think as an audience member, however, I would have appreciated more words. Or at least more violins. Something that gave me that cue: here is where you should feel bad. Because there are times when it pays to be a little "meta."
plot: Fraulein lives a guilty life.
thought: Not a thriller, just depressing.
in five: 2.5/5
watch THE READER: http://thereader-movie.com/
I didn't know anything about this film, THE READER. I just went for it due to its Oscar-worthiness (weird Winslet = awards and accolades) and at the behest of a friend...we'll call him TiVo (he is mad organised about his TiVo). So as it was starting, my mind was trying to figure out the plot: she's a spy! No, she's...a prostitute! No, she's a murderer--she is GOING TO MURDER HIM! No, wait, she is definitely just a spy.
I was wrong on all guesses.
I think my lack of context for the action led to my belated realisation that this film, which takes place in post-WW2 Germany, could not be classified merely as a thriller or spy movie or prostitution movie (should that genre ever reach the mainstream--beyond the likes of PRETTY WOMAN, that is). For starters, it's none of those things. THE READER is an historical drama based on the coming-of-age love affair that a cute, German lad has with an older German lass who (oh wait for it) used to work at Auschwitz. Whoops! She didn't mention THAT on the first date! Guess we should have expected it with Kate Winslet starring.
My problem with THE READER is not this plot that it eventually embraces; it's the meandering way by which it finally gets there. For starters, it threads together present day and past with such unfortunate fluidity as to render context confusing. If time were so important to the play of events, full-screen date stamps would have been more useful than lower-thirds, my editor friends. I read the dates but passed them over and didn't realise how truly crucial they were within the story. I spent an unfortunate bit of time wondering who Ralph Fiennes was supposed to be. But sure, that could be dismissed as my fault. If I had read the dates with more attention, or at least watched the trailer before heading to the theatre, I would have been in better shape. So for actual starters, let's take a look at that trailer:
http://www.imdb.com/video/imdb/vi1750597657/
Hey, I've never posted a trailer before. But this one deserves the post, because man, the movie advertised in this trailer looks exciting! I want to see this movie! There are tears; there's some sex; there are violins....You can almost hear the Foreign Press salivating. It's too bad this isn't the movie I saw.
My problem--the "meandering" I mentioned--is that, unlike its trailer, THE READER is boring. It's slow, and sadly, feels a little...I'm sorry, but feels a little pointless. The Germans Behaving Badly plot--along with the Germans Feeling Guilty about Behaving Badly uber-plot (i.e., winner of German Meta-Plot of the Century)--is ubiquitous, and its portrayal begs the inclusion of a lesson learned or taught. In LA VIE DES AUTRES/THE LIVES OF OTHERS, we saw the lesson with the last freeze frame of Ulrich Muhe's face at the film's close: his character had learned to feel, had finally learned to separate The State from his state of mind.
Not every film needs a lesson, but I felt THE READER suffered from lack of one. I believe the intended one was "Even good people do bad things," but our director didn't seem to carry it home. We received Hanna's sorrow (Hanna is Winslet's character), about a third into the film, when she cries in a church, but years later when on trial, she doesn't seem to return to that remorse, instead succumbing to pride. And a film about Germans Feeling Guilty about Behaving Badly should definitely involve a healthy scoop of remorse.
I felt that Michael, Hanna's lover (played by Fiennes when older and the dashing David Kross when young), tried to bear the weight of her guilt for her--but even he failed to support her beneath the pressure of it all. I was disconnected, therefore, from both their emotions, and unfortunately ended up thinking, "Is that it?" when the credits rolled. Perhaps some more dialogue from either party would have helped. But I get it--they were both German in the typical sense, both reserved, private people. When words failed, there were tears. I think as an audience member, however, I would have appreciated more words. Or at least more violins. Something that gave me that cue: here is where you should feel bad. Because there are times when it pays to be a little "meta."
plot: Fraulein lives a guilty life.
thought: Not a thriller, just depressing.
in five: 2.5/5
watch THE READER: http://thereader-movie.com/
mardi 16 décembre 2008
Ulysses Voyage | dejeuner
Who says malls don't have good food?? Well, those who say that usually have a point: Sbarro's, McDonald's, Tastee Freez and Wetzel's Pretzels aren't exactly what I would call "good food." Not if you like an original meal and/or your original waistline (not necessarily in that order). But for every ten malls in middle America that get it wrong, there's at least one mall in Fire City that gets it right.
We're a pretentious crowd, admit it. Wetzel's doesn't satisfy anything but our need to look sideways at our girlfriends and say, "Really? Extra cheese? Do you need extra cheese?" And that need, though often strong, is not noble. Therefore, in an attempt to maintain a shred of nobility, Fire City malls "class up" (did I just coin a new term?) and serve better food. Look at our favorite outdoor mall, The Grove. Sure, it's got its share of Cheesecake Factory and a bit of Wetzel...but The Grove also has Ulysses Voyage, a modern Greek bistro that wowed my business lunch socks off.
What am I talking--I don't wear business lunch socks. Until the weather dipped last weekend, I barely ever wore socks. This is California, after all.
But Ulysses Voyage, from the first taste of house-made hummous to the last nibble of grilled calamari shrimp pizza, was ridiculously awesome. I don't know how Greek that pizza really is, but who cares, I'll take it. And it's the perfect size for a waistline-watching gal to nibble at lunch and re-visit for dinner.
My work friends and I went there for a special send-off: I was leaving their lovely fold of fun, and as a last hurrah, we went to Greece. It's true: I may hate MAMMA MIA, but I do love Mediterranean food. From falafel to gyros and several variations on a theme of the chick pea, Ulysses served up great afternoon fare, fit for the office crowd or a romantic lunch date, and its location provided a great deal of people watching without the horrible mall atrocity of "people touching." The world looks best, Bette Midler and I agree, from a distance.
A note on that location: blink while walking and you might miss the place--I have until now. It's located near the clock tower and the Coffee Bean, between the mall's entrance proper and the tail end of the boisterously unkempt and expensive Farmer's Market. (The Farmer's Market, might I note, has a GREAT funnel cake section. Besides that, it's mostly skippable since the prices have escalated to spite the economy's malevolent frown.) Also, you'll do best to make reservations: though the place never seems to be full, reservations allow you the option of first pick for patio (great when it's sunny!) or indoors near the fire--where I wonder if they allow traditional Greek plate-breaking. L'Chaim!
the takeaway: Good food and good service.
in five: 4/5 for a mall; probably 3.5/5 for a restaurant (docked .5 for location--the Grove may be nice, but it's still a mall)
tastes better than ABBA: http://www.ulyssesvoyage.com/
We're a pretentious crowd, admit it. Wetzel's doesn't satisfy anything but our need to look sideways at our girlfriends and say, "Really? Extra cheese? Do you need extra cheese?" And that need, though often strong, is not noble. Therefore, in an attempt to maintain a shred of nobility, Fire City malls "class up" (did I just coin a new term?) and serve better food. Look at our favorite outdoor mall, The Grove. Sure, it's got its share of Cheesecake Factory and a bit of Wetzel...but The Grove also has Ulysses Voyage, a modern Greek bistro that wowed my business lunch socks off.
What am I talking--I don't wear business lunch socks. Until the weather dipped last weekend, I barely ever wore socks. This is California, after all.
But Ulysses Voyage, from the first taste of house-made hummous to the last nibble of grilled calamari shrimp pizza, was ridiculously awesome. I don't know how Greek that pizza really is, but who cares, I'll take it. And it's the perfect size for a waistline-watching gal to nibble at lunch and re-visit for dinner.
My work friends and I went there for a special send-off: I was leaving their lovely fold of fun, and as a last hurrah, we went to Greece. It's true: I may hate MAMMA MIA, but I do love Mediterranean food. From falafel to gyros and several variations on a theme of the chick pea, Ulysses served up great afternoon fare, fit for the office crowd or a romantic lunch date, and its location provided a great deal of people watching without the horrible mall atrocity of "people touching." The world looks best, Bette Midler and I agree, from a distance.
A note on that location: blink while walking and you might miss the place--I have until now. It's located near the clock tower and the Coffee Bean, between the mall's entrance proper and the tail end of the boisterously unkempt and expensive Farmer's Market. (The Farmer's Market, might I note, has a GREAT funnel cake section. Besides that, it's mostly skippable since the prices have escalated to spite the economy's malevolent frown.) Also, you'll do best to make reservations: though the place never seems to be full, reservations allow you the option of first pick for patio (great when it's sunny!) or indoors near the fire--where I wonder if they allow traditional Greek plate-breaking. L'Chaim!
the takeaway: Good food and good service.
in five: 4/5 for a mall; probably 3.5/5 for a restaurant (docked .5 for location--the Grove may be nice, but it's still a mall)
tastes better than ABBA: http://www.ulyssesvoyage.com/
dimanche 14 décembre 2008
MADAGASCAR 2
What happened to cartoons? In the last decade, they've changed SO much. We once wished upon a star and wondered who was the fairest of them all. Now, we're instructed to be impressed by futuristic oddities like WALL-E, and kids unknowingly relish watching the repercussions of the DreamWorks staff's apparent crack addiction in MADAGASCAR: ESCAPE 2 AFRICA.
That's right. They're on crack. Or at least the movie plays out as if the animators, voice-over artists (I'm looking at you, Ben Stiller!) and everyone connected to the film are most definitely on something. It's not that I can't follow what's happening, it's just that there's so...much of it. Sorry for all the italics. But it's true.
MAD 2 focuses on Alex, a dancing lion, and his accidental return to the continent whence he came. That's right: lions don't naturally come from New York. High points of the film include the bad lion that looks exactly like Alec Baldwin, the miniature lemur king who does most of the crack-smoking, the pretty accurate caricature of New Yorkers...and the palpably sexual dialogue between the lead hippo (voiced by Jada Pinkett Smith) and her short-term love interest, MotoMoto (voiced by Will.i.am). My favorite: "Who's your friend? Or is that your butt?"
I know with all these so-called "high points," it might be confusing that I initially sounded negative about the film. But let me clarify: I think it was a good popcorn flick. A passable, DreamWorks, animated movie. But it wasn't--or at least--I didn't feel it was a good cartoon. Oh, who am I kidding: it wasn't Disney. And for that, I'm sad.
plot: Zoo animals rediscover their roots.
thought: Um...that IS my butt.
in five: 2.5/5
move it, move it: http://www.madagascar-themovie.com/
That's right. They're on crack. Or at least the movie plays out as if the animators, voice-over artists (I'm looking at you, Ben Stiller!) and everyone connected to the film are most definitely on something. It's not that I can't follow what's happening, it's just that there's so...much of it. Sorry for all the italics. But it's true.
MAD 2 focuses on Alex, a dancing lion, and his accidental return to the continent whence he came. That's right: lions don't naturally come from New York. High points of the film include the bad lion that looks exactly like Alec Baldwin, the miniature lemur king who does most of the crack-smoking, the pretty accurate caricature of New Yorkers...and the palpably sexual dialogue between the lead hippo (voiced by Jada Pinkett Smith) and her short-term love interest, MotoMoto (voiced by Will.i.am). My favorite: "Who's your friend? Or is that your butt?"
I know with all these so-called "high points," it might be confusing that I initially sounded negative about the film. But let me clarify: I think it was a good popcorn flick. A passable, DreamWorks, animated movie. But it wasn't--or at least--I didn't feel it was a good cartoon. Oh, who am I kidding: it wasn't Disney. And for that, I'm sad.
plot: Zoo animals rediscover their roots.
thought: Um...that IS my butt.
in five: 2.5/5
move it, move it: http://www.madagascar-themovie.com/
LAST CHANCE HARVEY
It's not a great movie, but it does what it does. I liked LAST CHANCE HARVEY because Emma Thompson put on a great show, and Dustin Hoffman was wearing his years like he ought to. He's aging, and in this film, he kind of owns it, playing the part of a man who's past his prime and has fallen from grace with everyone he knows: his coworkers, his ex-wife, and even his pre-nuptial daughter. There's definitely something a little ironic about the lead character's name being "Harvey Shine," when his shine is dimming all movie long. But at least the actor who played him isn't: Dustin Hoffman was just nominated, thanks to LAST CHANCE HARVEY, for a Golden Globe award.
The screening definitely wasn't marred by his visit: that's right, Hoffman himself was in attendance--he sat right next to my friend and I, actually--and it was great to hear him chat about this role and others past after the movie ended. (For the record, he got up three times during the film; the third time, he came back with a cocktail, the lucky bastard.)
Emma Thompson also was recently honored with a Golden Globe nomination for LAST CHANCE HARVEY, and the nomination is highly deserved. She's the beacon of the film, and though it's a little weird to watch a rom-com where the two lovers are older (and dare I say it, the woman is taller than the man--a whole half head taller), the two of them make it work. No uncomfortable love scenes, kids; you can see this one with the parents and not feel an ounce of awkward. Okay, maybe an ounce, but not two.
plot: Older couple in young love.
thought: Is that like MUST LOVE DOGS?
in five: 3/5
keep shining: http://www.lastchanceharvey.com/
The screening definitely wasn't marred by his visit: that's right, Hoffman himself was in attendance--he sat right next to my friend and I, actually--and it was great to hear him chat about this role and others past after the movie ended. (For the record, he got up three times during the film; the third time, he came back with a cocktail, the lucky bastard.)
Emma Thompson also was recently honored with a Golden Globe nomination for LAST CHANCE HARVEY, and the nomination is highly deserved. She's the beacon of the film, and though it's a little weird to watch a rom-com where the two lovers are older (and dare I say it, the woman is taller than the man--a whole half head taller), the two of them make it work. No uncomfortable love scenes, kids; you can see this one with the parents and not feel an ounce of awkward. Okay, maybe an ounce, but not two.
plot: Older couple in young love.
thought: Is that like MUST LOVE DOGS?
in five: 3/5
keep shining: http://www.lastchanceharvey.com/
jeudi 11 décembre 2008
Golden Globes nominees announced (letop5 picks the picks)
Please see below for the list of Golden Globes nominations, as well as my *current* predictions (in bold). You know, I might change my mind or be wrong. But for now (and still not having seen all the movies, keep in mind), here's what I'm thinking....
HOLLYWOOD FOREIGN PRESS ASSOCIATION 2008 GOLDEN GLOBE AWARDS NOMINATIONS FOR THE YEAR ENDED DECEMBER 31, 2008
1. BEST MOTION PICTURE – DRAMA
1. THE CURIOUS CASE OF BENJAMIN BUTTON
Warner Bros. Pictures and Paramount Pictures; Warner Bros. Pictures and Paramount Pictures
2. FROST/NIXON
Imagine Entertainment, Working Title, Studio Canal; Universal Pictures
3. THE READER
Mirage Enterprises; The Weinstein Company
4. REVOLUTIONARY ROAD
An Evamere Entertainment BBC Films Neal Street Production; DreamWorks Pictures in Association with BBC Films and Paramount Vantage
5. SLUMDOG MILLIONAIRE
Fox Searchlight Pictures and Warner Bros.; Fox Searchlight Pictures and Warner Bros.
I haven't seen it yet, but it's not political, and it's not too foreign; that's why I'm predicting it. Who knows, though, it might suck.
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
1. ANNE HATHAWAY – RACHEL GETTING MARRIED
2. ANGELINA JOLIE – CHANGELING
3. MERYL STREEP – DOUBT
4. KRISTIN SCOTT THOMAS – I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T’AIME)
5. KATE WINSLET – REVOLUTIONARY ROAD
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
1. LEONARDO DICAPRIO – REVOLUTIONARY ROAD
2. FRANK LANGELLA – FROST/NIXON
3. SEAN PENN – MILK
4. BRAD PITT – THE CURIOUS CASE OF BENJAMIN BUTTON
5. MICKEY ROURKE – THE WRESTLER
I'm torn on this one; it could really go to either of these three men. I completely want Sean Penn to win, but I know Hollywood is scared of the homos, so I'm on the fence.
4. BEST MOTION PICTURE – COMEDY OR MUSICAL
1. BURN AFTER READING
Working Title/Releasing Company; Focus Features in association with Studio Canal
2. HAPPY-GO-LUCKY
Summit Entertainment, Film4, Ingenious Film Partners, Miramax Films; Miramax Films
3. IN BRUGES
Blueprint Pictures; Focus Features
4. MAMMA MIA!
Relativity Media, Playtone, Littlestar; Universal Pictures
5. VICKY CRISTINA BARCELONA
Mediapro; The Weinstein Company
Ugh, I hated this movie (MAMMA MIA) but watched the world adore it.
5.BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
1. REBECCA HALL – VICKY CRISTINA BARCELONA
2. SALLY HAWKINS – HAPPY-GO-LUCKY
3. FRANCES MCDORMAND – BURN AFTER READING
4. MERYL STREEP – MAMMA MIA!
5. EMMA THOMPSON – LAST CHANCE HARVEY
Please don't give this to Meryl.
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
1. JAVIER BARDEM – VICKY CRISTINA BARCELONA
2. COLIN FARRELL – IN BRUGES
3. JAMES FRANCO – PINEAPPLE EXPRESS
4. BRENDAN GLEESON – IN BRUGES
5. DUSTIN HOFFMAN – LAST CHANCE HARVEY
7. BEST ANIMATED FEATURE FILM
1. BOLT
Walt Disney Pictures; Walt Disney Studios Motion Pictures
2. KUNG FU PANDA
DreamWorks Animation SKG; Paramount Pictures
3. WALL-E
Walt Disney Pictures and Pixar Animation Studios; Walt Disney Studios Motion Pictures
Didn't much care for WALL-E either, to be honest (I personally preferred KUNG FU PANDA, my friends), but the robot movie has gotten all the buzz!
8. BEST FOREIGN LANGUAGE FILM
1. THE BAADER MEINHOF COMPLEX (GERMANY)
(DER BAADER MEINHOF KOMPLEX)
Constantin Film Produktion GmbH; Summit Entertainment, LLC
2. EVERLASTING MOMENTS (SWEDEN/DENMARK)
(MARIA LARSSONS EVIGA ÖGONBLICK)
Final Cut Productions Aps; IFC Films
3. GOMORRAH (ITALY)
(GOMORRA)
Fandango; IFC Films
4. I'VE LOVED YOU SO LONG (FRANCE)
(IL Y A LONGTEMPS QUE JE T’AIME)
UGC YM/UGC Images/France 3 Cinema/Integral Film; Sony Pictures Classics
5. WALTZ WITH BASHIR (ISRAEL)
Bridgit Folman Film Gang/Les Films D'Ici/Razor Films/Arte France/ITVS International; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
1. AMY ADAMS – DOUBT
2. PENELOPE CRUZ – VICKY CRISTINA BARCELONA
3. VIOLA DAVIS –DOUBT
4. MARISA TOMEI – THE WRESTLER
5. KATE WINSLET – THE READER
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
1. TOM CRUISE – TROPIC THUNDER
2. ROBERT DOWNEY JR. –TROPIC THUNDER
3. RALPH FIENNES – THE DUCHESS
4. PHILIP SEYMOUR HOFFMAN – DOUBT
5. HEATH LEDGER – THE DARK KNIGHT
I am not "pity voting" Heath Ledger here; I honestly think he was fantastic! The tie I've put in place is because RDJ is fantastic, too, and I love that he was nom'd.
11. BEST DIRECTOR – MOTION PICTURE
1. DANNY BOYLE – SLUMDOG MILLIONAIRE
2. STEPHEN DALDRY – THE READER
3. DAVID FINCHER – THE CURIOUS CASE OF BENJAMIN BUTTON
4. RON HOWARD – FROST/NIXON
5. SAM MENDES – REVOLUTIONARY ROAD
I haven't seen BUTTON yet, so it's just a stab based on the press/previews.
12. BEST SCREENPLAY – MOTION PICTURE
1. SIMON BEAUFOY – SLUMDOG MILLIONAIRE
2. DAVID HARE – THE READER
3. PETER MORGAN – FROST/NIXON
4. ERIC ROTH – THE CURIOUS CASE OF BENJAMIN
5. JOHN PATRICK SHANLEY – DOUBT
13. BEST ORIGINAL SCORE – MOTION PICTURE
1. ALEXANDRE DESPLAT –THE CURIOUS CASE OF BENJAMIN BUTTON
2. CLINT EASTWOOD – CHANGELING
3. JAMES NEWTON HOWARD – DEFIANCE
4. A. R. RAHMAN – SLUMDOG MILLIONAIRE
5. HANS ZIMMER – FROST/NIXON
Umm...no clue on this one. I've only seen CHANGELING, whose score I don't really remember, except that it was a little dramatic (like Angie), and SLUMDOG, whose score was amazing--especially the Bollywood number at the end--but I want to hear the others before I say anything.
14. BEST ORIGINAL SONG – MOTION PICTURE
1. “DOWN TO EARTH” — WALL-E
Music by: Peter Gabriel, Thomas Newman
Lyrics by: Peter Gabriel
2. “GRAN TORINO” — GRAN TORINO
Music by: Clint Eastwood, Jamie Cullum, Kyle Eastwood, Michael Stevens
Lyrics by: Kyle Eastwood, Michael Stevens
3. “I THOUGHT I LOST YOU” — BOLT
Music & Lyrics by: Miley Cyrus, Jeffrey Steele
4. “ONCE IN A LIFETIME” — CADILLAC RECORDS
Music & Lyrics by: Beyoncé Knowles, Amanda Ghost, Scott McFarnon, Ian Dench, James Dring, Jody Street
5. “THE WRESTLER” — THE WRESTLER
Music & Lyrics by: Bruce Springsteen
Mum for now, see above.
15. BEST TELEVISION SERIES – DRAMA
1. DEXTER (SHOWTIME)
Showtime/John Goldwyn Productions/The Colleton Company/Clyde Phillips Productions
2. HOUSE (FOX)
Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions
3. IN TREATMENT (HBO)
Sheleg, Closest to the Hole Productions in association with HBO Entertainment
4. MAD MEN (AMC)
Lionsgate Television
5. TRUE BLOOD (HBO)
Your Face Goes Here Productions in association with HBO Entertainment
16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
1. SALLY FIELD – BROTHERS AND SISTERS
2. MARISKA HARGITAY –LAW AND ORDER: SPECIAL VICTIMS UNIT
3. JANUARY JONES – MAD MEN
4. ANNA PAQUIN – TRUE BLOOD
5. KYRA SEDGWICK – THE CLOSER
17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
1. GABRIEL BYRNE – IN TREATMENT
2. MICHAEL C. HALL – DEXTER
3. JON HAMM – MAD MEN
4. HUGH LAURIE – HOUSE
5. JONATHAN RHYS MEYERS – THE TUDORS
18. BEST TELEVISION SERIES – COMEDY OR MUSICAL
1. 30 ROCK (NBC)
Universal Media Studios in association with Broadway Video and Little Stranger Inc.
2. CALIFORNICATION (SHOWTIME)
Showtime Presents in association with Aggressive Mediocrity, And Then...
3. ENTOURAGE (HBO)
Leverage and Closest to the Hole Productions in association with HBO Entertainment
4. THE OFFICE (NBC)
Deedle Dee Productions, Reveille LLC, Universal Media Studios
5. WEEDS (SHOWTIME)
Lionsgate Television
19.BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL
1. CHRISTINA APPLEGATE – SAMANTHA WHO?
2. AMERICA FERRERA – UGLY BETTY
3. TINA FEY – 30 ROCK
4. DEBRA MESSING – THE STARTER WIFE
5. MARY-LOUISE PARKER – WEEDS
20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
1. ALEC BALDWIN – 30 ROCK
2. STEVE CARELL – THE OFFICE
3. KEVIN CONNOLLY – ENTOURAGE
4. DAVID DUCHOVNY – CALIFORNICATION
5. TONY SHALHOUB – MONK
21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. A RAISIN IN THE SUN (ABC)
Sony Pictures Television
2. BERNARD AND DORIS (HBO
Trigger Street Independent Productions in association with Little Bird and Chicago Films and HBO Films
3. CRANFORD (PBS)
A Co-Production of BBC and WGBH Boston.
4. JOHN ADAMS (HBO)
Playtone in association with HBO Films
5. RECOUNT (HBO)
Spring Creek/Mirage Productions in association with Trigger Street Productions, Everyman Pictures and HBO Films
22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. JUDI DENCH – CRANFORD
2. CATHERINE KEENER – AN AMERICAN CRIME
3. LAURA LINNEY – JOHN ADAMS
4. SHIRLEY MACLAINE – COCO CHANEL
5. SUSAN SARANDON – BERNARD AND DORIS
23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. RALPH FIENNES – BERNARD AND DORIS
2. PAUL GIAMATTI – JOHN ADAMS
3. KEVIN SPACEY – RECOUNT
4. KIEFER SUTHERLAND – 24: REDEMPTION
5. TOM WILKINSON – RECOUNT
24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. EILEEN ATKINS – CRANFORD
2. LAURA DERN – RECOUNT
3. MELISSA GEORGE – IN TREATMENT
4. RACHEL GRIFFITHS – BROTHERS AND SISTERS
5. DIANNE WIEST – IN TREATMENT
25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. NEIL PATRICK HARRIS – HOW I MET YOUR MOTHER
2. DENIS LEARY – RECOUNT
3. JEREMY PIVEN – ENTOURAGE
4. BLAIR UNDERWOOD – IN TREATMENT
5. TOM WILKINSON – JOHN ADAMS
I love Piven as much as the next cat, but I think it's time he pass this award along.
NOMINATIONS BY MOTION PICTURE STUDIOS AND TELEVISION NETWORKS
MOTION PICTURE STUDIOS
Warner Bros. Pictures – 11
Universal Pictures – 9
The Weinstein Company – 8
Fox Searchlight Pictures – 7
Miramax Films – 7
DreamWorks Pictures – 6
Focus Features – 6
Paramount Pictures – 6
Paramount Vantage – 6
BBC Films – 5
Sony Pictures Classics – 4
Walt Disney Studios Motion Pictures – 4
IFC Films – 2
Overture Films – 2
Sony Pictures Releasing – 2
Studio Canal – 2
Pathe – 1
Summit Entertainment, LLC – 1
Village Roadshow – 1
TELEVISION NETWORKS
HBO – 22
SHOWTIME – 8
NBC – 6
ABC – 5
AMC – 5
FOX – 3
PBS – 3
USA NETWORK – 2
CBS – 1
LIFETIME TELEVISION – 1
TNT – 1
NOMINATIONS BY MOTION PICTURE
THE CURIOUS CASE OF BENJAMIN BUTTON – 5
DOUBT – 5
FROST/NIXON – 5
THE READER – 4
REVOLUTIONARY ROAD – 4
SLUMDOG MILLIONAIRE – 4
VICKY CRISTINA BARCELONA – 4
IN BRUGES – 3
THE WRESTLER – 3
BOLT – 2
BURN AFTER READING – 2
CHANGELING – 2
HAPPY-GO-LUCKY – 2
I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T'AIME) – 2
LAST CHANCE HARVEY – 2
MAMMA MIA! – 2
TROPIC THUNDER – 2
WALL-E – 2
BAADER MEINHOF COMPLEX (DER BADDER MEINHOF KOMPLEX) – 1
CADILLAC RECORDS – 1
THE DARK KNIGHT – 1
DEFIANCE – 1
THE DUCHESS – 1
EVERLASTING MOMENTS (MARIA LARSSONS EVIGA ÖGONBLICK) – 1
GOMORRAH (GOMORRA) – 1
GRAN TORINO – 1
KUNG FU PANDA – 1
MILK – 1
PINEAPPLE EXPRESS – 1
RACHEL GETTING MARRIED – 1
WALTZ WITH BASHIR – 1
NOMINATIONS BY TELEVISION SERIES OR PROGRAM
IN TREATMENT – 5
RECOUNT – 5
JOHN ADAMS – 4
30 ROCK – 3
BERNARD AND DORIS – 3
CRANFORD – 3
ENTOURAGE – 3
MAD MEN – 3
BROTHERS AND SISTERS – 2
CALIFORNICATION – 2
DEXTER – 2
HOUSE – 2
THE OFFICE – 2
TRUE BLOOD – 2
WEEDS – 2
24: REDEMPTION – 1
A RAISIN IN THE SUN – 1
AN AMERICAN CRIME – 1
CLOSER, THE – 1
COCO CHANEL – 1
HOW I MET YOUR MOTHER – 1
LAW AND ORDER: SPECIAL VICTIMS UNIT – 1
MONK – 1
SAMANTHA WHO? – 1
THE STARTER WIFE – 1
UGLY BETTY – 1
Source: Hollywood Foreign Press
HOLLYWOOD FOREIGN PRESS ASSOCIATION 2008 GOLDEN GLOBE AWARDS NOMINATIONS FOR THE YEAR ENDED DECEMBER 31, 2008
1. BEST MOTION PICTURE – DRAMA
1. THE CURIOUS CASE OF BENJAMIN BUTTON
Warner Bros. Pictures and Paramount Pictures; Warner Bros. Pictures and Paramount Pictures
2. FROST/NIXON
Imagine Entertainment, Working Title, Studio Canal; Universal Pictures
3. THE READER
Mirage Enterprises; The Weinstein Company
4. REVOLUTIONARY ROAD
An Evamere Entertainment BBC Films Neal Street Production; DreamWorks Pictures in Association with BBC Films and Paramount Vantage
5. SLUMDOG MILLIONAIRE
Fox Searchlight Pictures and Warner Bros.; Fox Searchlight Pictures and Warner Bros.
I haven't seen it yet, but it's not political, and it's not too foreign; that's why I'm predicting it. Who knows, though, it might suck.
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
1. ANNE HATHAWAY – RACHEL GETTING MARRIED
2. ANGELINA JOLIE – CHANGELING
3. MERYL STREEP – DOUBT
4. KRISTIN SCOTT THOMAS – I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T’AIME)
5. KATE WINSLET – REVOLUTIONARY ROAD
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
1. LEONARDO DICAPRIO – REVOLUTIONARY ROAD
2. FRANK LANGELLA – FROST/NIXON
3. SEAN PENN – MILK
4. BRAD PITT – THE CURIOUS CASE OF BENJAMIN BUTTON
5. MICKEY ROURKE – THE WRESTLER
I'm torn on this one; it could really go to either of these three men. I completely want Sean Penn to win, but I know Hollywood is scared of the homos, so I'm on the fence.
4. BEST MOTION PICTURE – COMEDY OR MUSICAL
1. BURN AFTER READING
Working Title/Releasing Company; Focus Features in association with Studio Canal
2. HAPPY-GO-LUCKY
Summit Entertainment, Film4, Ingenious Film Partners, Miramax Films; Miramax Films
3. IN BRUGES
Blueprint Pictures; Focus Features
4. MAMMA MIA!
Relativity Media, Playtone, Littlestar; Universal Pictures
5. VICKY CRISTINA BARCELONA
Mediapro; The Weinstein Company
Ugh, I hated this movie (MAMMA MIA) but watched the world adore it.
5.BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
1. REBECCA HALL – VICKY CRISTINA BARCELONA
2. SALLY HAWKINS – HAPPY-GO-LUCKY
3. FRANCES MCDORMAND – BURN AFTER READING
4. MERYL STREEP – MAMMA MIA!
5. EMMA THOMPSON – LAST CHANCE HARVEY
Please don't give this to Meryl.
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
1. JAVIER BARDEM – VICKY CRISTINA BARCELONA
2. COLIN FARRELL – IN BRUGES
3. JAMES FRANCO – PINEAPPLE EXPRESS
4. BRENDAN GLEESON – IN BRUGES
5. DUSTIN HOFFMAN – LAST CHANCE HARVEY
7. BEST ANIMATED FEATURE FILM
1. BOLT
Walt Disney Pictures; Walt Disney Studios Motion Pictures
2. KUNG FU PANDA
DreamWorks Animation SKG; Paramount Pictures
3. WALL-E
Walt Disney Pictures and Pixar Animation Studios; Walt Disney Studios Motion Pictures
Didn't much care for WALL-E either, to be honest (I personally preferred KUNG FU PANDA, my friends), but the robot movie has gotten all the buzz!
8. BEST FOREIGN LANGUAGE FILM
1. THE BAADER MEINHOF COMPLEX (GERMANY)
(DER BAADER MEINHOF KOMPLEX)
Constantin Film Produktion GmbH; Summit Entertainment, LLC
2. EVERLASTING MOMENTS (SWEDEN/DENMARK)
(MARIA LARSSONS EVIGA ÖGONBLICK)
Final Cut Productions Aps; IFC Films
3. GOMORRAH (ITALY)
(GOMORRA)
Fandango; IFC Films
4. I'VE LOVED YOU SO LONG (FRANCE)
(IL Y A LONGTEMPS QUE JE T’AIME)
UGC YM/UGC Images/France 3 Cinema/Integral Film; Sony Pictures Classics
5. WALTZ WITH BASHIR (ISRAEL)
Bridgit Folman Film Gang/Les Films D'Ici/Razor Films/Arte France/ITVS International; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
1. AMY ADAMS – DOUBT
2. PENELOPE CRUZ – VICKY CRISTINA BARCELONA
3. VIOLA DAVIS –DOUBT
4. MARISA TOMEI – THE WRESTLER
5. KATE WINSLET – THE READER
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
1. TOM CRUISE – TROPIC THUNDER
2. ROBERT DOWNEY JR. –TROPIC THUNDER
3. RALPH FIENNES – THE DUCHESS
4. PHILIP SEYMOUR HOFFMAN – DOUBT
5. HEATH LEDGER – THE DARK KNIGHT
I am not "pity voting" Heath Ledger here; I honestly think he was fantastic! The tie I've put in place is because RDJ is fantastic, too, and I love that he was nom'd.
11. BEST DIRECTOR – MOTION PICTURE
1. DANNY BOYLE – SLUMDOG MILLIONAIRE
2. STEPHEN DALDRY – THE READER
3. DAVID FINCHER – THE CURIOUS CASE OF BENJAMIN BUTTON
4. RON HOWARD – FROST/NIXON
5. SAM MENDES – REVOLUTIONARY ROAD
I haven't seen BUTTON yet, so it's just a stab based on the press/previews.
12. BEST SCREENPLAY – MOTION PICTURE
1. SIMON BEAUFOY – SLUMDOG MILLIONAIRE
2. DAVID HARE – THE READER
3. PETER MORGAN – FROST/NIXON
4. ERIC ROTH – THE CURIOUS CASE OF BENJAMIN
5. JOHN PATRICK SHANLEY – DOUBT
13. BEST ORIGINAL SCORE – MOTION PICTURE
1. ALEXANDRE DESPLAT –THE CURIOUS CASE OF BENJAMIN BUTTON
2. CLINT EASTWOOD – CHANGELING
3. JAMES NEWTON HOWARD – DEFIANCE
4. A. R. RAHMAN – SLUMDOG MILLIONAIRE
5. HANS ZIMMER – FROST/NIXON
Umm...no clue on this one. I've only seen CHANGELING, whose score I don't really remember, except that it was a little dramatic (like Angie), and SLUMDOG, whose score was amazing--especially the Bollywood number at the end--but I want to hear the others before I say anything.
14. BEST ORIGINAL SONG – MOTION PICTURE
1. “DOWN TO EARTH” — WALL-E
Music by: Peter Gabriel, Thomas Newman
Lyrics by: Peter Gabriel
2. “GRAN TORINO” — GRAN TORINO
Music by: Clint Eastwood, Jamie Cullum, Kyle Eastwood, Michael Stevens
Lyrics by: Kyle Eastwood, Michael Stevens
3. “I THOUGHT I LOST YOU” — BOLT
Music & Lyrics by: Miley Cyrus, Jeffrey Steele
4. “ONCE IN A LIFETIME” — CADILLAC RECORDS
Music & Lyrics by: Beyoncé Knowles, Amanda Ghost, Scott McFarnon, Ian Dench, James Dring, Jody Street
5. “THE WRESTLER” — THE WRESTLER
Music & Lyrics by: Bruce Springsteen
Mum for now, see above.
15. BEST TELEVISION SERIES – DRAMA
1. DEXTER (SHOWTIME)
Showtime/John Goldwyn Productions/The Colleton Company/Clyde Phillips Productions
2. HOUSE (FOX)
Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions
3. IN TREATMENT (HBO)
Sheleg, Closest to the Hole Productions in association with HBO Entertainment
4. MAD MEN (AMC)
Lionsgate Television
5. TRUE BLOOD (HBO)
Your Face Goes Here Productions in association with HBO Entertainment
16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
1. SALLY FIELD – BROTHERS AND SISTERS
2. MARISKA HARGITAY –LAW AND ORDER: SPECIAL VICTIMS UNIT
3. JANUARY JONES – MAD MEN
4. ANNA PAQUIN – TRUE BLOOD
5. KYRA SEDGWICK – THE CLOSER
17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
1. GABRIEL BYRNE – IN TREATMENT
2. MICHAEL C. HALL – DEXTER
3. JON HAMM – MAD MEN
4. HUGH LAURIE – HOUSE
5. JONATHAN RHYS MEYERS – THE TUDORS
18. BEST TELEVISION SERIES – COMEDY OR MUSICAL
1. 30 ROCK (NBC)
Universal Media Studios in association with Broadway Video and Little Stranger Inc.
2. CALIFORNICATION (SHOWTIME)
Showtime Presents in association with Aggressive Mediocrity, And Then...
3. ENTOURAGE (HBO)
Leverage and Closest to the Hole Productions in association with HBO Entertainment
4. THE OFFICE (NBC)
Deedle Dee Productions, Reveille LLC, Universal Media Studios
5. WEEDS (SHOWTIME)
Lionsgate Television
19.BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL
1. CHRISTINA APPLEGATE – SAMANTHA WHO?
2. AMERICA FERRERA – UGLY BETTY
3. TINA FEY – 30 ROCK
4. DEBRA MESSING – THE STARTER WIFE
5. MARY-LOUISE PARKER – WEEDS
20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
1. ALEC BALDWIN – 30 ROCK
2. STEVE CARELL – THE OFFICE
3. KEVIN CONNOLLY – ENTOURAGE
4. DAVID DUCHOVNY – CALIFORNICATION
5. TONY SHALHOUB – MONK
21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. A RAISIN IN THE SUN (ABC)
Sony Pictures Television
2. BERNARD AND DORIS (HBO
Trigger Street Independent Productions in association with Little Bird and Chicago Films and HBO Films
3. CRANFORD (PBS)
A Co-Production of BBC and WGBH Boston.
4. JOHN ADAMS (HBO)
Playtone in association with HBO Films
5. RECOUNT (HBO)
Spring Creek/Mirage Productions in association with Trigger Street Productions, Everyman Pictures and HBO Films
22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. JUDI DENCH – CRANFORD
2. CATHERINE KEENER – AN AMERICAN CRIME
3. LAURA LINNEY – JOHN ADAMS
4. SHIRLEY MACLAINE – COCO CHANEL
5. SUSAN SARANDON – BERNARD AND DORIS
23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. RALPH FIENNES – BERNARD AND DORIS
2. PAUL GIAMATTI – JOHN ADAMS
3. KEVIN SPACEY – RECOUNT
4. KIEFER SUTHERLAND – 24: REDEMPTION
5. TOM WILKINSON – RECOUNT
24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. EILEEN ATKINS – CRANFORD
2. LAURA DERN – RECOUNT
3. MELISSA GEORGE – IN TREATMENT
4. RACHEL GRIFFITHS – BROTHERS AND SISTERS
5. DIANNE WIEST – IN TREATMENT
25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. NEIL PATRICK HARRIS – HOW I MET YOUR MOTHER
2. DENIS LEARY – RECOUNT
3. JEREMY PIVEN – ENTOURAGE
4. BLAIR UNDERWOOD – IN TREATMENT
5. TOM WILKINSON – JOHN ADAMS
I love Piven as much as the next cat, but I think it's time he pass this award along.
NOMINATIONS BY MOTION PICTURE STUDIOS AND TELEVISION NETWORKS
MOTION PICTURE STUDIOS
Warner Bros. Pictures – 11
Universal Pictures – 9
The Weinstein Company – 8
Fox Searchlight Pictures – 7
Miramax Films – 7
DreamWorks Pictures – 6
Focus Features – 6
Paramount Pictures – 6
Paramount Vantage – 6
BBC Films – 5
Sony Pictures Classics – 4
Walt Disney Studios Motion Pictures – 4
IFC Films – 2
Overture Films – 2
Sony Pictures Releasing – 2
Studio Canal – 2
Pathe – 1
Summit Entertainment, LLC – 1
Village Roadshow – 1
TELEVISION NETWORKS
HBO – 22
SHOWTIME – 8
NBC – 6
ABC – 5
AMC – 5
FOX – 3
PBS – 3
USA NETWORK – 2
CBS – 1
LIFETIME TELEVISION – 1
TNT – 1
NOMINATIONS BY MOTION PICTURE
THE CURIOUS CASE OF BENJAMIN BUTTON – 5
DOUBT – 5
FROST/NIXON – 5
THE READER – 4
REVOLUTIONARY ROAD – 4
SLUMDOG MILLIONAIRE – 4
VICKY CRISTINA BARCELONA – 4
IN BRUGES – 3
THE WRESTLER – 3
BOLT – 2
BURN AFTER READING – 2
CHANGELING – 2
HAPPY-GO-LUCKY – 2
I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T'AIME) – 2
LAST CHANCE HARVEY – 2
MAMMA MIA! – 2
TROPIC THUNDER – 2
WALL-E – 2
BAADER MEINHOF COMPLEX (DER BADDER MEINHOF KOMPLEX) – 1
CADILLAC RECORDS – 1
THE DARK KNIGHT – 1
DEFIANCE – 1
THE DUCHESS – 1
EVERLASTING MOMENTS (MARIA LARSSONS EVIGA ÖGONBLICK) – 1
GOMORRAH (GOMORRA) – 1
GRAN TORINO – 1
KUNG FU PANDA – 1
MILK – 1
PINEAPPLE EXPRESS – 1
RACHEL GETTING MARRIED – 1
WALTZ WITH BASHIR – 1
NOMINATIONS BY TELEVISION SERIES OR PROGRAM
IN TREATMENT – 5
RECOUNT – 5
JOHN ADAMS – 4
30 ROCK – 3
BERNARD AND DORIS – 3
CRANFORD – 3
ENTOURAGE – 3
MAD MEN – 3
BROTHERS AND SISTERS – 2
CALIFORNICATION – 2
DEXTER – 2
HOUSE – 2
THE OFFICE – 2
TRUE BLOOD – 2
WEEDS – 2
24: REDEMPTION – 1
A RAISIN IN THE SUN – 1
AN AMERICAN CRIME – 1
CLOSER, THE – 1
COCO CHANEL – 1
HOW I MET YOUR MOTHER – 1
LAW AND ORDER: SPECIAL VICTIMS UNIT – 1
MONK – 1
SAMANTHA WHO? – 1
THE STARTER WIFE – 1
UGLY BETTY – 1
Source: Hollywood Foreign Press
It's awards season!
And here are the only FIVE awards that really matter:
1. Golden Globes
2. SAGs (Screen Actors Guild)
3. BAFTAs (British Academy of Film and Television Arts)
4. Oscars
5. Emmys
Am I right, ladies? Am I right?
1. Golden Globes
2. SAGs (Screen Actors Guild)
3. BAFTAs (British Academy of Film and Television Arts)
4. Oscars
5. Emmys
Am I right, ladies? Am I right?
mardi 2 décembre 2008
DOUBT
You know who's sexy? Philip Seymour Hoffman. You know who's even sexier? Philip Seymour Hoffman as a priest. Judge me if you will! I am sticking to it. It started sometime around FIRST AND MAIN, a movie that slipped under the radar but is definitely worth a look, especially for PSH's lovable turn as a nebbish writer with a bit of the ol' writer's block (awww). I haven't had a smart crush like my hankering for some Hoffman since Pacey and his butt chin first used four-syllable SAT words in normal conversation on "Dawson's Creek." Talk dirty. Tell me what "perceptible epicenism" means. In fact, I don't even care.
Okay, okay, okay...I don't think PSH is sexy (in this movie). Sorry to start your gag reflex, but I'll be honest--I do usually find him oddly attractive. However, something about him as a man of the cloth eating meat cooked rare while being accused of fornicating with the youth...is not enticing. What DID get me with DOUBT were the leading women. Meryl Streep and Amy Adams were pretty on the money. Both of their characters were such caricatures of the time and the setting, so theatrically cartoonish, that I almost wanted to dismiss the two actresses for over-acting, but every time Meryl's Bronx accent would start to annoy me, or Amy's penchant for tears would get me down (letop5 cries a lot, too), I would realise that that was, in fact, the point. Are they acting hard, or hardly acting? The questions began to arise.
DOUBT centers around a small parochial parish and school in New York a year after JFK's assassination. The school's enjoying the awkward presence of their first black student (woooointegration!) under the chilly-cold stare of their principal, Sister Aloysius, played by the great Meryl. Meryl's young protogee, Sister James (Amy Adams) sees some suspect behavior transpire between PSH and the Black Student and sends word to her superior, who begins a targeted smoke out against the priest in question. She is certain he has done wrong. We don't know left from right. Hijinks do not ensue. But a little bit of heartache does.
The story with DOUBT, if you just saw MILK, is that the whole world is gay, and no one understands. The story with DOUBT, if you didn't see MILK and don't know what "epicenism" means, is probably still perceptible.
At the heart, DOUBT is definitely an example of a stage play eloquently being fit for the screen. At tonight's screening, the Pulitzer-winning playwright cum screenwriter/director of both the stage play and the movie, Mr. John Patrick Shanley (yes, he also wrote CONGO and JOE VERSUS THE VOLCANO), was on hand afterward for an LA Times-led Q&A, during which he impressed me (as I'm sure he was striving to do) with his attention to the historical context of, not only the time period during which his arresting, fictional story took place, but also the era during which he wrote it--in 2004 when the country was swinging between doubt and certainty, confusion and clarity, about the changing political climate. Even now in 2008 this movie's meta-theme is topical: we can, at best, only act with emotion. We are sure, yet unsure. We are wise, yet unwise. We are blue; we are red; we are pink; we are grey. In short, we know nothing! Of course it would take a movie to show us that.
plot: Everyone is scared of nuns.
thought: Way to make Angie run, Meryl.
in five: 4/5
assure yourself: http://doubt-themovie.com/
Okay, okay, okay...I don't think PSH is sexy (in this movie). Sorry to start your gag reflex, but I'll be honest--I do usually find him oddly attractive. However, something about him as a man of the cloth eating meat cooked rare while being accused of fornicating with the youth...is not enticing. What DID get me with DOUBT were the leading women. Meryl Streep and Amy Adams were pretty on the money. Both of their characters were such caricatures of the time and the setting, so theatrically cartoonish, that I almost wanted to dismiss the two actresses for over-acting, but every time Meryl's Bronx accent would start to annoy me, or Amy's penchant for tears would get me down (letop5 cries a lot, too), I would realise that that was, in fact, the point. Are they acting hard, or hardly acting? The questions began to arise.
DOUBT centers around a small parochial parish and school in New York a year after JFK's assassination. The school's enjoying the awkward presence of their first black student (woooointegration!) under the chilly-cold stare of their principal, Sister Aloysius, played by the great Meryl. Meryl's young protogee, Sister James (Amy Adams) sees some suspect behavior transpire between PSH and the Black Student and sends word to her superior, who begins a targeted smoke out against the priest in question. She is certain he has done wrong. We don't know left from right. Hijinks do not ensue. But a little bit of heartache does.
The story with DOUBT, if you just saw MILK, is that the whole world is gay, and no one understands. The story with DOUBT, if you didn't see MILK and don't know what "epicenism" means, is probably still perceptible.
At the heart, DOUBT is definitely an example of a stage play eloquently being fit for the screen. At tonight's screening, the Pulitzer-winning playwright cum screenwriter/director of both the stage play and the movie, Mr. John Patrick Shanley (yes, he also wrote CONGO and JOE VERSUS THE VOLCANO), was on hand afterward for an LA Times-led Q&A, during which he impressed me (as I'm sure he was striving to do) with his attention to the historical context of, not only the time period during which his arresting, fictional story took place, but also the era during which he wrote it--in 2004 when the country was swinging between doubt and certainty, confusion and clarity, about the changing political climate. Even now in 2008 this movie's meta-theme is topical: we can, at best, only act with emotion. We are sure, yet unsure. We are wise, yet unwise. We are blue; we are red; we are pink; we are grey. In short, we know nothing! Of course it would take a movie to show us that.
plot: Everyone is scared of nuns.
thought: Way to make Angie run, Meryl.
in five: 4/5
assure yourself: http://doubt-themovie.com/
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