Review: "Master and Commander" Was One of 2003's Best Films (Happy B'day, Russell Crowe)

TRASH IN MY EYE No. 82 (of 2004) by Leroy Douresseaux

Master and Commander: The Far Side of the World (2003)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for intense battle sequences, related images, and brief language
DIRECTOR: Peter Weir
WRITERS: John Collee and Peter Weir (from the novels by Patrick O’Brian)
PRODUCERS: Samuel Goldwyn Jr., Duncan Henderson, and Peter Weir
CINEMATOGRAPHER: Russell Boyd
EDITOR: Lee Smith
COMPOSERS: Iva Davies, Christopher Gordon, and Richard Tognetti
Academy Award winner

WAR/ADVENTURE/DRAMA/ACTION/THRILLER

Starring: Russell Crowe, Paul Bettany, James D’Arcy, Edward Woodall, Chris Larkin, Max Pirkis, Jack Randall, Max Benitz, Lee Ingleby, Richard Pates, Robert Pugh, and Richard McCabe

The subject of this movie review is Master and Commander: The Far Side of the World, a 2003 historical war drama. Much of the film’s plot comes from the 1984 novel, The Far Side of the World.

One of the best films of 2003 is Australian director Peter Weir’s film, Master and Commander: The Far Side of the World. It was also one of the most honored films of the year, earning many award nominations and capturing quite a few critical prizes, including wins of two Oscars (for Russell Boyd’s cinematography and Richard King’s sound editing). It’s on my very short list of best pictures of the year, and it’s one of the best films of the last half-decade.

Based upon an outline in the tenth book of Patrick O’Brian’s series of 20 novels about Lucky Jack Aubrey (Russell Crowe), the British Royal Navy’s greatest fighting captain, and his ship’s doctor, Stephen Maturin (Paul Bettany), Master and Commander is set during the Napoleonic Wars. The brash Lucky Jack pushes the crew of his ship, the Surprise, in pursuit of a formidable French frigate, the Acheron. The Acheron launches a sneak attack on the Surprise near Brazil. Although his ship is heavily damaged, Lucky Jack, the “Master” of the Surprise and the “Commander” of his men, chases the Acheron around South America, all leading to a daring showdown near the Galapagos Islands.

As an expensive film production by three of the biggest film studios in the world (Fox, Miramax, and Universal), Master and Commander is blessed with a big production budget that guaranteed that the film would look brilliant and the technical aspects of the film would be quite good. But what makes this film is that the basics are topnotch. First, the story is a rousing sea adventure, something that is sure to please the male audience – there’s something to the lure of the sea. When a sea adventure movie is done well, we have a memorable film on our hands.

Secondly, the Peter Weir, one of the great directors of the last three or so decades (and one of the most underrated and under-appreciated in proportion to his talent and work) simply makes this a grand movie: a brilliant tale of fighting men, camaraderie, brotherhood, and old-fashioned adventure that is the superb and perfect vicarious experience for those of us that have never had to run from a cannonball or live through the hardships of naval life during wartime.

Last, but not least, is a collection of excellent performances. It goes without saying that Russell Crowe was good. Can he ever be bad? In the tradition of old Hollywood stars, Crowe allows his film personality to shine through every performance. There’s a basic template that we recognize no matter how disparate the roles he takes. Still, he’s the great method actor who can also bury himself in a part.

However, I must also give shout outs to Paul Bettany as the ship surgeon, Dr. Maturin. He well plays Maturin as both confidant and foil to Crowe’s’ Aubrey. A child talent to watch is Max Pirkis, as the young Lord Blakeney, Midshipman. I think Pirkis’ character is the one the audience lives through, as we, like him, are novices. Pirkis’ performance is open and invites us in to suffer the hardships, enjoy the good times, and learn from his experiences. His performance is so good and plays such an important part in the film’s success that it can be considered a gift.

I heartily endorse Master and Commander: The Far Side of the World. Not only is it good drama, it’s also an adventure film likely to stand the test of time, and if it doesn’t, it’s still damn fine for the here and now.

10 of 10

NOTES:
2004 Academy Awards: 2 wins: “Best Cinematography” (Russell Boyd) and “Best Sound Editing” (Richard King); 8 nominations: “Best Picture” (Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson), “Best Director” (Peter Weir), “Best Art Direction-Set Decoration” (William Sandell-art director and Robert Gould-set decorator), “Best Costume Design” (Wendy Stites), “Best Film Editing” (Lee Smith), “Best Makeup” (Edouard F. Henriques and Yolanda Toussieng), “Best Sound Mixing” (Paul Massey, Doug Hemphill, and Art Rochester), and “Best Visual Effects” (Daniel Sudick, Stefen Fangmeier, Nathan McGuinness, and Robert Stromberg)

2004 BAFTA Awards: 4 wins: “Best Costume Design” (Wendy Stites), “Best Production Design” (William Sandell), “Best Sound” (Richard King, Doug Hemphill, Paul Massey, and Art Rochester), and “David Lean Award for Direction” (Peter Weir); 4 nominations: “Best Achievement in Special Visual Effects” (Stefen Fangmeier, Nathan McGuinness, Robert Stromberg, Daniel Sudick), and “Best Cinematography” (Russell Boyd), “Best Film” (Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson), “Best Performance by an Actor in a Supporting Role” (Paul Bettany)

2004 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Peter Weir), “Best Motion Picture – Drama,” and “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe)

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"Margin Call" Sure as Heck Ain't Marginal

TRASH IN MY EYE No. 12 (of 2012) by Leroy Douresseaux


Margin Call (2011)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for language
WRITER/DIRECTOR: J.C. Chandor
PRODUCERS: Robert Ogden Barnum, Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, and Zachary Quinto
CINEMATOGRAPHER: Frank G. DeMarco
EDITOR: Pete Beaudreau
COMPOSER: Nathan Larson
Academy Award nominee

DRAMA

Starring: Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker, Stanley Tucci, Demi Moore, Aasif Mandvi, and Mary McDonnell

Margin Call is a 2011 ensemble drama written and directed by J.C. Chandor. This independent film takes place over a 36-hour period and is set in an investment firm during the early days of the 2008 financial crisis.

At an unnamed investment firm, a typical morning in 2008 turns atypical with a round of layoffs. One of these fired employees, Eric Dale (Stanley Tucci), passes a USB drive to one of his former subordinates, Peter Sullivan (Zachary Quinto). While perusing the data on the drive, Sullivan makes a shocking discovery, so he alerts the firm’s trading desk bosses, Sam Rogers (Kevin Spacey) and Will Emerson (Paul Bettany). The news goes to more senior executives, including division head, Jared Cohen (Simon Baker), and finally to CEO John Tuld (Jeremy Irons). How they fix this crisis could damage the firm, to say nothing of the damage done to people and entities outside the firm.

Not only is Zachary Quinto a cast member of Margin Call, but his production company, Before the Door Pictures (owned with fellow Margin Call producers, Neal Dodson and Corey Moosa), is also one of the companies behind this film. Because he produced this movie, I think it means that Quinto may have a good sense for quality screenplays. Margin Call is sharply written, and rather than bogging down the audience in the jargon of mortgage back securities and investment trading, the script looks at the characters, personalities, and people behind the decisions that rock the financial foundations of both our nation and also of the entire world.

Writer/director J.C. Chandor has earned an Oscar nomination for this screenplay, but the more impressive feat is directing this cast. There are three Oscar wins between Kevin Spacey and Jeremy Irons and a lot of superb work on the theatre stage. Stanley Tucci has years of excellent performances behind him, and he deserves an Oscar. The rest of the cast is rock solid.

Chandor gives each actor a chance not only to shine as an individual performer, but also to help bring all the performances together to tell a riveting story. Chandor and his cast turn this character drama into a Wall Street thriller. There are some hiccups in the script, and there are also moments when the performances seem like stiff dialogue reading, but they don’t hurt this excellent film. Overall, Margin Call has a better story and screenplay than Oliver Stone’s Wall Street (1987), although Margin Call doesn’t have a monster performance like what Michael Douglas gives Wall Street. Thus far, however, Margin Call is this new century’s signature film about the callous greedy.

8 of 10
A

NOTES:
2012 Academy Awards: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (J.C. Chandor)

Friday, February 10, 2012

Review: "Priest" Wants to Be a Cowboy

TRASH IN MY EYE No. 74 (of 2011) by Leroy Douresseaux

Priest (2011)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG-13 for intense sequences of violence and action, disturbing images and brief strong language
DIRECTOR: Scott Stewart
WRITER: Cory Goodman (based on the graphic novel series Priest by Min-Woo Hyung)
PRODUCERS: Michael De Luca, Joshua Donen, and Mitchell Peck
CINEMATOGRAPHER: Don Burgess
EDITORS: Lisa Zeno Churgin and Rebecca Weigold
COMPOSER: Christopher Young
ANIMATION STUDIO: Viking Animation Studios

SCI-FI/FANTASY/HORROR/ACTION

Starring: Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins, Christopher Plummer, Brad Dourif, Stephen Moyer, Madchen Amick, and Alan Dale

Priest is a 2011 post-apocalyptic, vampire action movie. The film is based on the Korean comic book, Priest, by Min-Woo Hyung, which was published in the U.S. by American manga and graphic novel publisher, TOKYOPOP. The film follows a vampire-killing priest who disobeys orders to track down his niece and the vampire that kidnapped her.

Priest takes place on a world where for centuries, humans and vampires (who are bestial and don’t have eyes) have been at war. The Church (similar to the Roman Catholic Church) created an elite group of warriors called “Priests” who are blessed with special powers that allowed them to slay vampires. Humans won the war, killing most of the vampires and placing the rest in reservations. The Church built giant walled cities to protect mankind and to better control people.

The movie opens in Cathedral City and focuses on the character known only as Priest (Paul Bettany), and like other Priests, he has lived as an outcast since the end of the war. Hicks (Cam Gigandet), the sheriff of the nearby small town of Augustine, arrives to tell the Priest that his brother’s family was attacked by a pack of vampires and that Priest’s niece, Lucy Pace (Lily Collins), has been kidnapped by the vampires. Black Hat (Karl Urban), a mysterious vampire leader with a connection to Priest, now has Lucy. Disobeying the Church’s demand for him to stay in Cathedral City, Priest sets out into the Wastelands with Hicks, Lucy’s boyfriend, to recover her. Along the way, they are joined by a talented warrior, Priestess (Maggie Q), who helps them uncover a shocking vampire plot.

Although it may not be as obvious as Cowboys and Aliens, Priest is basically a post-apocalyptic, science fiction Western film. The Priests are something like sheriff’s deputies, with Paul Bettany’s Priest being a renegade Western gunslinger as hero. Of course, Karl Urban’s Black Hat is the villain in a black hat. Sadly, the film does not really do much with the very talented Karl Urban, who has terrific screen chops. By the end of this movie, I couldn’t help but think that Urban was vastly under-utilized.

In fact, Priest is a concept with a lot of good ideas, and the film under-utilizes most of them. Priest’s version of the vampire is wickedly good and the environment in which they live is cool, creepy, and scary, but this film never seems to do enough with that. Luckily, the story does make good use of Hicks, the Priestess, and even Lucy.

Priest does make great use of its lead character, Priest, and of the film’s lead actor, Paul Bettany. Priest is the strong, silent type – part Wesley Snipes’ Blade and part Clint Eastwood’s the Man with no Name. Bettany is a talented actor with movie star looks and skills, and he also has a great speaking voice. Director Scott Stewart, who worked with Bettany on the recent horror movie, Legion, recognizes this and makes great use of his star. Bettany makes the journey through Priest’s kooky world of gruesome vampires and creepy Church officials an entertaining road trip. Priest could have been a B-movie hot mess; instead, Stewart and Bettany make it hot stuff.

5 of 10
B-

Saturday, August 27, 2011

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"The Tourist" May Trap Jolie and Depp Fans

TRASH IN MY EYE No. 37 (of 2011) by Leroy Douresseaux


The Tourist (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for violence and brief strong language
DIRECTOR: Florian Henckel von Donnersmarck
WRITERS: Florian Henckel von Donnersmarck, Christopher McQuarrie, and Julian Fellowes (based upon the film Anthony Zimmer by Jérôme Salle)
PRODUCERS: Gary Barber, Roger Birnbaum, Jonathan Glickman, Tim Headington, and Graham King
CINEMATOGRAPHER: John Seale
EDITORS: Joe Hutshing and Patricia Rommel
COMPOSER: James Newton Howard
Golden Globe nominee

CRIME/ROMANCE with elements of comedy

Starring: Johnny Depp, Angelina Jolie, Paul Bettany, Timothy Dalton, Steve Berkoff and Rufus Sewell

Movies that bring together a big-time male and female movie star for a tale of romance and/or sex can be disastrous, such as Perfect Strangers with Halle Berry and Bruce Willis. The recent film, The Tourist, brings together A-list stars, Johnny Depp and Angelina Jolie (although they weren’t the original choices for this movie). Depp and Jolie have almost no screen chemistry; they simply seem like a mismatched pair, and for some reason, this works for The Tourist.

A remake of a French action film, The Tourist is the story of an American in Venice who becomes a decoy in a cat-and-mouse game involving the police, gangsters, a thief, and his lover. Widower Frank Tupelo (Johnny Depp) is an American tourist on a train to Venice, Italy, when he encounters a mysterious beauty, Elise Clifton-Ward (Angelina Jolie). Ward is going to Venice for a long-awaited reunion with her former boyfriend, Alexander Pearce.

Frank is smitten with Elise, and while she surprisingly spends some time with him, Elise abandons Frank to find Pearce. Elise isn’t the only one looking for Pearce. The others include Robert Shaw (Steve Berkoff), a gangster from whom Pearce stole 2.3 billion dollars, and Inspector John Acheson (Paul Bettany) and Scotland Yard. The problem for Frank is that they think he is Pearce because they saw Frank kissing Elise. But no one knows what Pearce now looks like, even Elise.

Truthfully, The Tourist has a slow, muddled plot. Combine that with the obvious-from-the-beginning lack of chemistry between Johnny Depp and Angelina Jolie, and this is a recipe for disaster. So why do I like this movie? Well, I am a huge fan of Depp, and I also like Jolie quite a bit. Perhaps, putting them in such a lovely setting as Venice and also adding a bit of international intrigue are just enough to get a sap like me to go along for The Tourist’s ride.

This film is beautifully photographed by the accomplished, Australian cinematographer, John Seale, who won an Academy Award for his work on The English Patient (1996). Seale also received Oscar nominations for Witness, Rain Man, and Cold Mountain. Seale does the majority of the work that gives The Tourist its elegance and sophistication. This glowing, shimmering romantic, half-romp is one of the most beautiful movies of the year. It seems as if the director, writers, and even the stars Depp and Jolie didn’t know how to make The Tourist work, but the cinematographer did. How often does that happen?

That’s okay. Fans of Jolie and Depp can find reasons to enjoy The Tourist. It does not matter what those reason are.

6 of 10
B

NOTES:
2011 Golden Globes: 3 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Johnny Depp), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Angelina Jolie)

Thursday, May 05, 2011

Review: "A Beautiful Mind" is Beautiful

TRASH IN MY EYE No. 24 (of 2002) by Leroy Douresseaux

A Beautiful Mind (2001)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for intense thematic material, sexual content and a scene of violence
DIRECTOR: Ron Howard
WRITER: Akiva Goldsman (based upon the book by Sylvia Nasar)
PRODUCERS: Brian Glazer and Ron Howard
CINEMATOGRAPHER: Roger Deakins
EDITORS: Dan Hanley and Mike Hill
Academy Award winner

DRAMA with elements of mystery and romance

Starring: Russell Crowe, Ed Harris, Jennifer Connelly, Christopher Plummer, Paul Bettany, Adam Goldberg, Josh Lucas, Anthony Rapp, Jason Gray-Stanford, and Judd Hirsch

A Beautiful Mind is based upon the real life story of John Forbes Nash, Jr. (Russell Crowe), a math prodigy, who goes on to win the Nobel Prize after years of struggling with schizophrenia. The handsome and arrogant Nash made an astonishing discovery early in his career and also meets his wife Alicia (Jennifer Connelly). On the brink of international fame, his world falls apart when he succumbs to mental illness. With the help of his wife, he struggles to regain his career and his social life and to be a husband and father to his wife and child.

Directed by Ron Howard, A Beautiful Mind is an engaging and riveting biopic that runs the gamut of emotions from elation to revulsion and from despair to hope. It is earnest and intense, playful and romantic, heartbreaking and life affirming. Not a biography in the art house mold, but a wonderful sort of middlebrow picture with a feel-good resolution for the masses, or at least those who are interested in Hollywood product that doesn’t involve SFX and titillation.

The artistry here is the performance of Russell Crowe. Increasingly a controversial figure hounded by the tabloids and infotainment news organizations, he has replaced Kevin Spacey as the actor of the moment. Here, he combines the best of his performances in The Insider (for which he earned an Academy Award nomination) and in Gladiator (for which he won an Academy Award) to portray John Nash – the paranoid hero of the former and the never-say-die leader of the latter. Since Romper Stomper, Crowe has been a mesmerizing screen presence, and he is at full wattage here.

He sells us on this movie, and we buy asking for more. When Nash is the shy boy, we yearn for him to get a woman. We thrill and laugh at Nash’s clumsy arrogance, and we enjoy his success. We cringe at his illness and hope against hope for his recovery. And who couldn’t, at least, almost shed tears when Nash’s peers and the Nobel committee honor him.

Ron Howard does good work here, and Ms. Connelly is pretty good as Alicia Nash, but this is Russell’s show, he can win the audience over. Since the twilight so-called Golden Age of studio pictures in Hollywood, there have been so few real, masculine men in movies. Some of them, post Golden Age are not great actors, and some that are, don’t have the box office draw. Crowe is all man, a fine actor, and a box office draw.

He’s an artist. He attracts the audience to Nash using every part of himself – in his gestures and the way he moves his body. We can believe Crowe is Nash in the way it seems that Crowe really loves mathematics. His face is a tapestry of emotions that are so convincing and so important to selling the scene, so layered and three-dimensional that were transported into the movie. We live and suffer vicariously with Crowe’s Nash.

For the haters out there, the best is yet to come. Things about the real Nash’s past that were left out of this film don’t matter one wit in respect to Crowe’s amazing performance. No disrespect to his collaborators, but A Beautiful Mind is all his.

8 of 10
A

NOTES:
2002 Academy Awards: 4 wins: “Best Picture” (Brian Grazer and Ron Howard), “Best Actress in a Supporting Role” (Jennifer Connelly), “Best Director” (Ron Howard), and “Best Writing, Screenplay Based on Material Previously Produced or Published” (Akiva Goldsman); 4 nominations: “Best Actor in a Leading Role” (Russell Crowe), “Best Editing” (Mike Hill and Daniel P. Hanley), “Best Makeup” (Greg Cannom and Colleen Callaghan), and “Best Music, Original Score” (James Horner)

2002 BAFTA Awards: 2 wins: “Best Performance by an Actor in a Leading Role” (Russell Crowe) and “Best Performance by an Actress in a Supporting Role” (Jennifer Connelly); 3 nominations: “Best Film” (Brian Grazer and Ron Howard), “Best Screenplay – Adapted” (Akiva Goldsman) and “David Lean Award for Direction” (Ron Howard)

2002 Golden Globes: 4 wins: “Best Motion Picture – Drama,” “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jennifer Connelly), and “Best Screenplay - Motion Picture” (Akiva Goldsman); 2 nominations: “Best Director - Motion Picture” (Ron Howard) and “Best Original Score - Motion Picture” (James Horner)

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Review: Emily Blunt Powers Tasty "Young Victoria"

TRASH IN MY EYE No. 38 (of 2010) by Leroy Douresseaux

The Young Victoria (2009)
COUNTRY OF ORIGIN: UK/USA
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG for some mild sensuality, a scene of violence, and brief incidental language and smoking
DIRECTOR: Jean-Marc Vallée
WRITER: Julian Fellowes
PRODUCER: Sarah Ferguson, Tim Headington, Graham King, and Martin Scorsese
CINEMATOGRAPHER: Hagen Bogdanski (director of photography)
EDITOR: Jill Bilcock and Matt Garner
Academy Award winner

DRAMA/HISTORICAL/ROMANCE

Starring: Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson, Jim Broadbent, Thomas Kretschmann, Mark Strong, Jesper Christensen, Harriet Walter, Jeanette Hain, Julian Glover, Michael Maloney, and Michiel Huisman

Some period dramas are classy affairs. They are pretty to look at because of the lush production values, from sumptuous costumes to lavish sets. They can also be quite boring. Then, there are period dramas like the Oscar-winning Dangerous Liaisons and Shakespeare in Love, which are beautiful and lavish productions. They are also highly entertaining. Seeing them is to understand why some critics and reviewers sometimes describe movies as “delicious.”

The Young Victoria is one of those tasty period dramas. This film boasts an impressive list of producers, including Martin Scorsese, Graham King, and Sarah, Duchess of York (among others). It is a romantic dramatization and partly fictional account of the events preceding and following the coronation of Queen Victoria.

The 18-year old British royal, Victoria (Emily Blunt), is destined to ascend to the throne because her three uncles, the sons of King George III, do not have any surviving legitimate children. As her uncle, King William IV (Jim Broadbent), nears death, people plot to control Victoria. Victoria’s mother, Duchess of Kent (Miranda Richardson), and her private secretary, Sir John Conroy (Mark Strong), bully Victoria to allow them to form a regency government, which would put them in control, but she resists.

Meanwhile, her uncle, King Leopold I of Belgium (Thomas Kretschmann), plots to influence the future queen by marrying her to one of his nephews, Prince Albert (Rupert Friend), who is also Victoria’s cousin. Albert is willing to court Victoria solely for political motives, but he soon finds himself falling for her. However, Victoria is determined to rule as her own woman, but a constitutional crisis forces her to reconsider her feelings for Albert.

When Emily Blunt delivered her acclaimed performance as “Emily Charlton,” the snide assistant to Miranda Priestly in The Devil Wears Prada, many thought she was a star in the making. Blunt, certainly a fine actress, delivers on that promise in The Young Victoria, and she depicts all sides of the young Queen with aplomb and skill. Blunt’s performance is rich, and she gives Victoria such depth, presenting the young royal as playful, petulantly, brave, grim, and even romantic as Victoria finds her heart ensnared by Prince Albert.

Director Jean-Marc Vallée relies on Blunt because it is her performance that sells the political intrigue. Although the romance between Victoria and Albert is nice, The Young Victoria is really about palace intrigue, political machinations, and the lust for power. Vallée deftly uses all the scheming offered by Julian Fellowes’ screenplay to transform what could have been a staid period drama into a rollicking costume drama. Laugh at the scandal; gasp at the political scheming, and cry at the romance and reconciliation.

Marked by good performances throughout – especially Paul Bettany as Lord Melbourne and Miranda Richardson as Duchess of Kent, The Young Victoria relies less on subtlety and more on power – the power of the darker side of human nature – lust and wanting after power and control. The Young Victoria reveals that royalty is just like rabble. Both will stab you in the back; the royals are just better dressed. Yes, being bad looks so good on film.

8 of 10
A

NOTES:
2010 Academy Awards: 1 win: “Best Achievement in Costume Design” (Sandy Powell); 2 wins: “Best Achievement in Art Direction” (Patrice Vermette-art director and Maggie Gray-set decorator) and “Best Achievement in Makeup” (John Henry Gordon and Jenny Shircore)

2010 BAFTA Awards: 2 win: “Best Costume Design” (Sandy Powell) and “Best Make Up & Hair” (Jenny Shircore)

2010 Golden Globes: 1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Emily Blunt)

Wednesday, May 26, 2010

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