by Lucy Troy
The Antoinette Perry Award for Excellence in Theatre is more commonly known as the “Tony Award.” The Tony Awards recognize achievement in live Broadway theatre and are presented by the American Theatre Wing and The Broadway League at an annual ceremony in New York City. The awards are given for Broadway productions and performances, and there is an award given for regional theatre. There are also several discretionary, non-competitive Tony Awards, such as a Special Tony Award.
The Tony Awards are considered the highest theatre honor given in the United States. It is essentially New York theatre industry’s equivalent to the Oscars for motion pictures, the Grammy Awards for music, and the Emmy Awards for television.
The 67th Annual Tony Awards were held on Sunday, June 9, 2013, in order to recognize achievement in Broadway productions during the 2012–2013 season. CBS television broadcast the ceremony live from Radio City Music Hall in New York City with Neil Patrick Harris hosting for fourth time (his third consecutive year hosting).
I normally ignore the Tony Awards unless a film actor I like wins or is nominated. Tom Hanks received a “Best Performance by an Actor in a Leading Role in a Play” for his performance in the play, Lucky Guy. He lost to Tracy Letts for Who’s Afraid of Virginia Woolf?
I did note that half the acting categories: Best Actress in a Play, Best Actor in a Musical, Best Actress in a Musical, Best Featured Actor in a Play, went to African-American performers. Kinky Boots, with its score by 1980s pop music sensation, Cyndi Lauper, was the night’s big winner, receiving 6 awards out of a leading 13 nominations. Of course, Kinky Boots is based on the 2006 film of the same name, which is based on a true story. I got the winners list from Vulture.com.
2013 Tony Awards – Winners (in bold) and Nominees:
Best Musical:
Bring It On: The Musical
A Christmas Story, The Musical
Kinky Boots WINNER
Matilda: The Musical
Best Book of a Musical
A Christmas Story, The Musical, Joseph Robinette
Kinky Boots, Harvey Fierstein
Matilda: The Musical WINNER
Best Play
The Assembled Parties
Lucky Guy
The Testament of Mary
Vanya and Sonia and Masha and Spike WINNER
Best Revival of a Musical
Annie
The Mystery of Edwin Drood
Pippin WINNER
Rodgers + Hammerstein's Cinderella
Best Revival of a Play
Golden Boy
Orphans
The Trip to Bountiful
Who's Afraid of Virginia Woolf? WINNER
Best Performance by an Actor in a Leading Role in a Play
Tom Hanks, Lucky Guy
Nathan Lane, The Nance
Tracy Letts, Who's Afraid of Virginia Woolf? WINNER
David Hyde Pierce, Vanya and Sonia and Masha and Spike
Tom Sturridge, Orphans
Best Performance by an Actress in a Leading Role in a Play
Laurie Metcalf, The Other Place
Amy Morton, Who's Afraid of Virginia Woolf?
Kristine Nielsen, Vanya and Sonia and Masha and Spike
Holland Taylor, ANN
Cicely Tyson, The Trip to Bountiful WINNER
Best Performance by an Actor in a Leading Role in a Musical
Bertie Carvel, Matilda: The Musical
Santino Fontana, Rodgers + Hammerstein's Cinderella
Rob McClure, Chaplin
Billy Porter, Kinky Boots WINNER
Stark Sands, Kinky Boots
Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Mystery of Edwin Drood
Carolee Carmello, Scandalous
Valisia LeKae, Motown: The Musical
Patina Miller, Pippin WINNER
Laura Osnes, Rodgers + Hammerstein's Cinderella
Best Performance by an Actor in a Featured Role in a Play
Danny Burstein, Golden Boy
Richard Kind, The Big Knife
Billy Magnussen,Vanya and Sonia and Masha and Spike
Tony Shalhoub, Golden Boy
Courtney B. Vance, Lucky Guy WINNER
Best Performance by an Actress in a Featured Role in a Play
Carrie Coon, Who's Afraid of Virginia Woolf?
Shalita Grant, Vanya and Sonia and Masha and Spike
Judith Ivey, The Heiress
Judith Light, The Assembled Parties WINNER
Condola Rashad, The Trip to Bountiful
Best Performance by an Actor in a Featured Role in a Musical
Charl Brown, Motown: The Musical
Keith Carradine, Hands on a Hardbody
Will Chase, The Mystery of Edwin Drood
Gabriel Ebert, Matilda: The Musical WINNER
Terrence Mann, Pippin
Best Performance by an Actress in a Featured Role in a Musical
Annaleigh Ashford, Kinky Boots
Victoria Clark, Rodgers + Hammerstein's Cinderella
Andrea Martin, Pippin WINNER
Keala Settle, Hands on a Hardbody
Lauren Ward, Matilda: The Musical
Best Direction of a Play
Pam MacKinnon, Who's Afraid of Virginia Woolf? WINNER
Nicholas Martin, Vanya and Sonia and Masha and Spike
Bartlett Sher, Golden Boy
George C. Wolfe, Lucky Guy
Best Direction of a Musical
Scott Ellis, The Mystery of Edwin Drood
Jerry Mitchell, Kinky Boots
Diane Paulus, Pippin WINNER
Matthew Warchus, Matilda: The Musical
Best Original Score (Music and/or Lyrics) Written for the Theater
A Christmas Story, The Musical, music and lyrics by Benj Pasek and Justin Paul
Hands on a Hardbody, music by Trey Anastasio and Amanda Green; lyrics by Amanda Green
Kinky Boots, music and lyrics by Cyndi Lauper WINNER
Best Scenic Design of a Play
John Lee Beatty, The Nance WINNER
Santo Loquasto, The Assembled Parties
David Rockwell, Lucky Guy
Michael Yeargan, Golden Boy
Best Scenic Design of a Musical
Rob Howell, Matilda: The Musical WINNER
Anna Louizos, The Mystery of Edwin Drood
Scott Pask, Pippin
David Rockwell, Kinky Boots
Best Costume Design of a Play
Soutra Gilmour, Cyrano de Bergerac
Ann Roth, The Nance WINNER
Albert Wolsky, The Heiress
Catherine Zuber, Golden Boy
Best Costume Design of a Musical
Gregg Barnes, Kinky Boots
Rob Howell, Matilda: The Musical
Dominique Lemieux, Pippin
William Ivey Long, Rodgers + Hammerstein's Cinderella WINNER
Best Lighting Design of a Play
Jules Fisher & Peggy Eisenhauer, Lucky Guy WINNER
Donald Holder, Golden Boy
Jennifer Tipton, The Testament of Mary
Japhy Weideman, The Nance
Best Lighting Design of a Musical
Kenneth Posner, Kinky Boots
Kenneth Posner, Pippin
Kenneth Posner, Rodgers + Hammerstein's Cinderella
Hugh Vanstone, Matilda: The Musical WINNER
Best Sound Design of a Play
John Gromada, The Trip to Bountiful
Mel Mercier, The Testament of Mary
Leon Rothenberg, The Nance WINNER
Peter John Still and Marc Salzberg, Golden Boy
Best Sound Design of a Musical
Jonathan Deans & Garth Helm, Pippin
Peter Hylenski, Motown: The Musical
John Shivers, Kinky Boots WINNER
Nevin Steinberg, Rodgers + Hammerstein's Cinderella
Best Choreography
Andy Blankenbuehler, Bring It On: The Musical
Peter Darling, Matilda: The Musical
Jerry Mitchell, Kinky Boots WINNER
Chet Walker, Pippin
Best Orchestrations
Chris Nightingale, Matilda: The Musical
Stephen Oremus, Kinky Boots WINNER
Ethan Popp & Bryan Crook, Motown: The Musical
Danny Troob, Rodgers + Hammerstein's Cinderella
* * *
Recipients of Awards and Honors in Non-competitive Categories
Special Tony Award for Lifetime Achievement in the Theatre:
Bernard Gersten
Paul Libin
Ming Cho Lee
Regional Theatre Award:
Huntington Theatre Company, Boston, M.A.
Isabelle Stevenson Award:
Larry Kramer
Tony Honor for Excellence in the Theatre:
Career Transition for Dancers
William Craver
Peter Lawrence
The Lost Colony
The four actresses who created the title role of Matilda the Musical on Broadway: Sophia Gennusa, Oona Laurence, Bailey Ryon and Milly Shapiro
Saturday, June 15, 2013
Friday, June 14, 2013
Review: Brandon Routh Lifts "Superman Returns"
Superman Returns (2006)
Running time: 154 minutes (2 hours, 34 minutes)
MPAA – PG-13 for some intense action violence
DIRECTOR: Bryan Singer
WRITERS: Michael Dougherty and Dan Harris; from a story by Michael Dougherty and Dan Harris, and Bryan Singer (based upon the Superman characters created by Jerry Siegel and Joe Shuster and published by DC Comics)
PRODUCER: Jon Peters, Bryan Singer, and Gilbert Adler
CINEMATOGRAPHER: Newton Thomas Sigel, A.S.C.
EDITORS: John Ottman and Elliot Graham
COMPOSER: John Ottman
Academy Award nominee
SUPERHERO/ACTION/DRAMA/SCI-FI with elements of romance
Starring: Brandon Routh, Kate Bosworth, James Marsden, Frank Langella, Eva Marie Saint, Parker Posey, Kal Penn, Sam Huntington, Tristan Lake Leabu, and Kevin Spacey
To the world at large, he disappeared five years ago, but Superman (Brandon Routh) was searching for the planet of his birth, Krypton. Now, he’s back and so is his secret identity, Clark Kent. Clark returns to the city of Metropolis, where he works as a reporter for the newspaper, the Daily Planet. He discovers that the love of his life, fellow reporter, Lois Lane (Kate Bosworth), has moved on with her life, but still holds a grudge against the man she passionately loved before he disappeared, Kent’s other identity, Superman.
Lois has child Jason White (Tristan Lake Leabu) and is engaged to Jason’s alleged father, Richard White (James Marsden), nephew of Daily Planet editor-in-chief, Perry White (Frank Langella). While Lois claims that Richard, the editor of the Planet’s international desk, is Jason’s father, the child is five years old… Once upon a time – five years ago – Lois knew that Clark was Superman (before he wiped her mind of that secret) and they had an intimate affair. Clark would like to reveal his secret once more and perhaps rekindle their love, but he can’t shake the feeling that she doesn’t really want a relationship with Superman anymore.
Meanwhile, Superman’s bitterest enemy, Lex Luthor (Kevin Spacey), is out of prison and plotting both his conquest of the world and his revenge on Superman. Luthor invades Superman’s North Pole sanctum, the Fortress of Solitude, where he steals advanced technology and alien secrets from Krypton, which he in turn uses in a diabolical plan to recreate part of Krypton on earth. And if the Man of Steel interferes, he has a deadly Kryptonian item that will stop Superman once and for all.
Superman Returns is the first Superman film in 19 years (since 1987’s box office bomb, Superman IV: The Quest for Peace). Superman Returns takes place in the wake of the events of 1981’s Superman II (which saw Superman reveal his identity to Lois and the two have sexual relations). Director Bryan Singer (X-Men, X2: X-Men United, and The Usual Suspects) reuses parts of John Williams score for the 1978 film, Superman: The Movie. He also reuses parts of Marlon Brando’s performance from the original movie as Superman Kryptonian father, Jor-El. The two elements firmly connect Superman Returns with the franchise’s big budget cinematic beginnings.
Those touches are nice, but Superman Returns ends up feeling like the recent X-Men: The Last Stand, which was technically a well-made film, but had the fatal flaw of being a film in which the characters and situations were two dark or in which the characters seemed… oddly out of character. Superman Returns is also from a technical stand point very well made, and from a narrative point pretty good. Still, Bryan Singer, who not only directs the film, but also wrote the story upon which the screenplay is based, has two flaws. It’s too long and it is too obviously trying to be something important – something more than just being a movie based upon a comic book.
Singer stuffs the film with chick flick sensibilities – lots of romance, romantic entanglements, yearnings for lost love, etc. Some of it good, but it gets old after awhile. Actually it gets in the way of Superman in action, which is a bad thing because Superman is a superhero and superheroes do cool things with their powers. The film is also rife and ripe with mythic aspirations and religious symbolism. There are a few powerful speeches about Superman being Christ-like – the savior or the only son sent by powerful being (his Kryptonian father Jor-El) to Earth to help the tragically flawed humans. That’s nice, but it’s also overkill, just fluff in the way of the cool scenes of Superman being Superman.
That’s one of the good things about Superman Returns – which is that it occasionally remembers how cool Superman is, so Singer treats us to lots of scenes of him soaring over the city, through the sky, and into space. When Superman is using his powers or even if he’s just flexing his muscles (there’s a nice flashback of a young Clark Kent learning that he can run fast, leap to dizzying heights, and also levitate), Superman Returns springs to glorious life. The film also looks good, although some of the visual effects and CGI are so obviously fake that it’s painful to spot them. The score by John Ottman (who also co-edited the film) is a worthy successor to John Williams’ music in the original film.
The cast ranges from adequate to good. Kevin Spacey is cool, vicious, and sinister as Lex Luthor (because Spacey is evil). Sam Huntington has a youthful snappiness and genuine friendliness as Clark’s cub reporter pal, Jimmy Olsen. Kate Bosworth makes a decent love interest in the film, but she is wrong as Lois Lane; she just doesn’t capture the spunkiness and boldness that defines Lois Lane as the kind of reporter who can tackle any story. On the other hand, James Marsden makes Richard White more than just an add-on to the Superman mythos. While Parker Posey seemed out of place in Blade: Trinity, she fits in here as Luthor’s “girlfriend, Kitty Kowalski.
How well did Brandon Routh fill the late Christopher Reeve’s shoes as Clark Kent/Superman. He does a damn good job. Routh makes his Clark Kent a humble and gentle soul, but he shows us the secret and barely hidden fire that burns in Clark’s eyes – that which is Superman ready to burst out. Routh’s Superman is both mythic and godlike. Routh creates an otherness about Superman – a stoic savior who takes on any task without blinking and likely not a doubt in his mind. Not only is Routh as good as other actors who’ve given the best performances playing superheroes (Christian Bale as Bruce Wayne/Batman and Tobey Maguire as Peter Parker/Spider-Man), but Routh’s performance rings with truth. It’s as if the fictional Superman of the comics has sprung to life from the pages of a comic book.
I’ll give Superman Returns the provisional six out of 10 that I gave X-Men: The Last Stand, but Routh makes this colorful and brightly lit fantasy worth seeing. He puts the super and the hero in Superman Returns.
6 of 10
B
Saturday, July 1, 2006
NOTES:
2007 Academy Awards, USA: 1 nomination: “Best Achievement in Visual Effects” (Mark Stetson, Neil Corbould, Richard R. Hoover, and Jon Thum)
2007 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Mark Stetson, Neil Corbould, Richard Hoover, and Jon Thum)
2007 Razzie Awards: 1 nomination: “Worst Supporting Actress” (Kate Bosworth)
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Review: "Superhero Movie" a MAD Spoof of Spider-Man
Superhero Movie (2008)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG-13 for crude and sexual content, comic violence, drug references, and language
WRITER/DIRECTOR: Craig Mazin
PRODUCERS: Craig Mazin, Robert K. Weiss, and David Zucker
CINEMATOGRAPHER: Thomas E. Ackerman
EDITOR: Craig Herring
COMPOSER: James L. Venable
COMEDY/SUPERHERO
Starring: Drake Bell, Sara Paxton, Christopher McDonald, Leslie Nielsen, Kevin Hart, Marion Ross, Ryan Hansen, Keith David, Brent Spiner, Robert Joy, Jeffrey Tambor, Tracy Morgan, Regina Hall, and Pamela Anderson
The subject of this movie review is Superhero Movie, a 2008 comedy spoof film from writer-director Craig Mazin. The film stars Drake Bell as a teen-turned-superhero.
Superhero Movie, which spoofs (of course) superhero movies, is not in the vein of such classic spoof films as Blazing Saddles and Young Frankenstein, but is certainly a sibling of films like the Scary Movie series, Date Movie, and Epic Movie. In fact, Superhero Movie’s writer/director, Craig Mazin, co-wrote Scary Movie 3 and 4, and like Scary Movie, Superhero Movie has enough fart jokes and necrophilia to charm all preteen and teen male demographics.
High school loser Rick Riker (Drake Bell) pines away for Jill Johnson (Sara Paxton), the prettiest girl in school, but she hardly knows that Rick exists since her eyes are on Rick’s tormentor, the school bully, Lance Landers (Ryan Hansen). After being bitten by a genetically altered dragonfly, Rick develops superhuman abilities like incredible strength and armored skin. Deciding to use his new powers for good, Rick becomes a costumed crime fighter known as “The Dragonfly.”
However, any superhero needs a super villain, and standing in the way of Rick’s destiny is “The Hourglass.” After an experiment goes wrong, Lou Landers (Christopher McDonald) develops the power to steal a person's life force merely by grabbing that person’s hand. In a dastardly quest for immortality, Landers/The Hourglass plots to kill 1000 people in a single life force assault. Will Rick/The Dragonfly, with his unimaginable strength, unbelievable speed and deeply uncomfortable tights, be able to stop The Hourglass? And will he stay a virgin forever or get with Jill?
Although Superhero Movie pokes fun at the X-Men film franchise, and to a lesser extent Batman Begins, Fantastic Four, and Superman Returns, most of this movie is a comic riff on 2002 film, Spider-Man. Think of Superhero Movie as a MAD Magazine spoof of the first Spider-Man film, but with the kind of raw gross out humor that is way too much in bad taste to ever make it into the modern MAD. Talk about un-PC: Rick’s Uncle Albert (played in his inimitable style by Leslie Nielsen) humps the corpse of a pretty girl!
But is this movie funny? The answer is very much so. Craig Mazin’s script could be seen as inspired lunacy or being so shamelessly in bad taste that he should be shunned from polite society. Sometimes, it seems as if this movie has a thousand visual gags, clever and otherwise, but they trigger belly laughs – even the jokes that Mazin and his cast and crew can’t quite pull off.
5 of 10
B-
Sunday, March 30, 2008
Thursday, June 13, 2013
New "Transformers 4" Car - June 12, 2013
Michael Bay has unveiled the newest car from "TRANSFORMERS 4"
THE ULTIMATE SONIC RS, JUST PURE FUN!
OFFICIAL SITE: WWW.TRANSFORMERSMOVIE.COM
THE ULTIMATE SONIC RS, JUST PURE FUN!
Review: "New York Minute" is Surprisingly Fun (Happy B'day, Mary-Kate and Ashley Olsen)
New York Minute (2004)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – PG for mild sensuality and thematic elements
DIRECTOR: Dennie Gordon
WRITERS: Emily Fox, and Adam Cooper and Bill Collage, from a story by Emily Fox
PRODUCERS: Denise Di Novi, Ashley Olsen, Mary-Kate Olsen, and Robert Thorne
CINEMATOGRAPHER: Greg Gardiner
EDITORS: Roderick Davis and Michael Jablow
COMPOSER: George S. Clinton
Razzie Awards nominee
COMEDY/FAMILY/ADVENTURE with elements of action
Starring: Ashley Olsen, Mary-Kate Olsen, Eugene Levy, Andy Richter, Riley Smith, Jared Padalecki, Dr. Drew Pinsky, Darrell Hammond, Andrea Martin, Mary Bond Davis, Jack Osbourne, and Bob Saget
I’m glad I saw Mary-Kate and Ashley Olsen’s new film, New York Minute. I don’t have to blush when saying that I had a grand time watching it. In the film, Jane Ryan (Ashley Olsen), an uptight overachiever (a 4.2 g.p.a. to boot) travels to New York City to give a major speech at Columbia University for a competition to win a scholarship to Oxford University. Her sister, the rebellious Roxy (Mary-Kate Olsen), is going to skip school so that she can attend a video shoot in NYC for the band A Simple Plan. Roxy hopes to slip demo recording of her band to Simple Plan’s A & R representatives.
The sisters don’t see eye to eye, but they have to work together for the first time in years. Jane looses her all important day planner (which held her speech note cards), and an overzealous truancy officer named Max Lomax (Eugene Levy) is hot on Roxy’s trail. A low rent thug wannabe (Andy Richter) is after the girls because they have something he wants. On the run in the Big Apple, the girls have to use every bit of their resourcefulness to overcome their obstacles, and maybe there’ll be time to find new boyfriends.
Simply put, the film is a hoot and quite fun to watch. It’s not empty or vacuous, although the (a tad bit) overly fantastic film demands that you suspend disbelief. The film has some nice messages about family, and there’s something about watching those Olsen girls working together that’s oddly appealing. They have real charisma and charm, and of course, they’re incredibly gorgeous. And we have to give it up; they’re pretty good comic actresses and together have good screen chemistry.
The director Dennie Gordon and the screenwriters have carefully crafted a film that plays to the girls’ charming screen personalities. That the filmmakers make sure that the leads can carry this delightful farce for almost an hour and a half with hardly a misstep is worthy of notice. The supporting cast is good, though this isn’t one of Eugene Levy’s better outings. Every kids/teen/family flick needs a good soundtrack, and New York Minute has a pretty good one with a (shockingly) tolerable Simple Plan song.
This will probably end up being one of the better family films of the year, and if you’re not a jaded adult, you might relax for a little while and enjoy this delightful girl romp.
7 of 10
A-
NOTES:
2005 Razzie Awards: 2 nominations: “Worst Actress” (Mary-Kate Olsen, Ashley Olsen) and “Worst Screen Couple” (Mary-Kate Olsen and Ashley Olsen)
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Wednesday, June 12, 2013
Cable Dominates Third Annual Critics' Choice TV Awards
Broadcast Television Journalists Association Announces Winners of the 3rd Annual Critics’ Choice Television Awards
The Big Bang Theory is Most Honored Series and HBO is Most Awarded Network
LOS ANGELES--(BUSINESS WIRE)--The Broadcast Television Journalists Association (BTJA) tonight announced the winners of the 3rd annual Critics’ Choice Television Awards. The star-studded gala awards dinner to acknowledge and honor the best in television was held at the Beverly Hilton Hotel earlier this evening.
There was a tie for Best Drama Series with Breaking Bad and Game of Thrones sharing the honor while The Big Bang Theory won in the Best Comedy Series category.
There was also a tie for Best Reality Series, which went to Duck Dynasty and Push Girls. Best Reality Series-Competition went to The Voice for the second year in a row. The Daily Show with Jon Stewart was honored as Best Talk Show, Archer was honored as Best Animated Series for the second year in a row, and Behind the Candelabra was honored as Best Movie/Miniseries. HBO was the most awarded network with five wins followed by FX with four wins.
Actors Bryan Cranston and Louis C.K. won Best Actor in a Drama Series for Breaking Bad and Best Actor in a Comedy Series for Louie, respectively, and both for the second consecutive year. Tatiana Maslany was honored as Best Actress in a Drama Series for her role in Orphan Black while Julia Louis-Dreyfus won for Best Actress in a Comedy Series for her role in Veep.
Best Supporting Actress in a Drama Series went to Parenthood’s Monica Potter. Southland’s Michael Cudlitz was named Best Supporting Actor in a Drama Series. Kaley Cuoco and Eden Sher tied for Best Supporting Actress in a Comedy for their roles in The Big Bang Theory and The Middle, respectively. Simon Helberg won Best Supporting Actor in a Comedy Series for his role in The Big Bang Theory. Jane Fonda won Best Guest Performer in a Drama Series for The Newsroom, and Patton Oswalt won Best Guest Performer in a Comedy Series for his role on Parks and Recreation, marking the second year the series was awarded in this category.
Tom Bergeron of Dancing with the Stars was honored as Best Reality Host for the second year in a row. Michael Douglas was recognized as Best Actor in a Movie/Miniseries for his work in Behind the Candelabra, while Elizabeth Moss was named Best Actress in a Movie/Miniseries for her role in Top of the Lake. Zachary Quinto won Best Supporting Actor in a Movie or Mini-Series and Sarah Paulson won Best Supporting Actress in a Movie or Mini-Series for their roles in American Horror Story: Asylum.
In addition, The Bridge, Marvel's Agents of S.H.I.E.L.D., Masters of Sex, The Michael J. Fox Show, Ray Donovan and Under the Dome were honored as Most Exciting New Series.
BTJA honored Bob Newhart with the Critics’ Choice Television Icon Award, which Henry Winkler presented to the legendary comedian.
BTJA also partnered with thalo Magazine to recognize Bunheads with the thalo’s Critics’ Choice Inspiration Award, which honors a television show for illuminating the fine arts in its subject matter and production methods, along with the individuals who infuse those productions with their artistic passions.
Presenters included: Malin Akerman (Suburgatory), Angela Bassett (American Horror Story), Laura Carmichael (Downton Abbey), Miranda Cosgrove (iCarly), Hugh Dancy (Hannibal), Cat Deeley (So You Think You Can Dance), Yossi Dina (Beverly Hills Pawn), Josh Gad (1600 Penn), Johnny Galecki (The Big Bang Theory), Seth Green (Family Guy), Allison Janney (West Wing), Tatiana Maslany (Orphan Black), Maria Menounos (Extra), Garrett Morris (2 Broke Girls), Elizabeth Moss (Mad Men), Kunal Nayyar (The Big Bang Theory), Cory Oliver (Beverly Hills Pawn), Jack Osbourne (Alpha Dogs), Adam Pally (Happy Endings), Sarah Paulson (American Horror Story), Aubrey Plaza (Parks & Recreation), Zachary Quinto (American Horror Story), Kevin Rahm (Mad Men), John Ratzenberger (Legit), Emmy Rossum (Shameless), Jimmy Smits (Sons of Anarchy), Eric Stonestreet (Modern Family) and Sam Trammell (True Blood).
The Critics’ Choice Television Awards honored programs and performances that aired between June 1, 2012 and May 31, 2013, except for the Most Exciting New Series, which are shows premiering after June 1, 2013. Two new categories debuted this year including Best Supporting Actor in a Movie or Mini-Series and Best Supporting Actress in a Movie or Mini-Series. The full winners tally is included below.
The 3rd annual Critics’ Choice Television Awards were executive produced by Bob Bain for Bob Bain Productions.
About BTJA
The Broadcast Television Journalists Association (BTJA) is a partner organization to the Broadcast Film Critics Association. BTJA includes TV, radio and Internet journalists who cover television on a regular basis. For more information, visit: www.CriticsChoice.com
WINNERS OF THE 3rd ANNUAL CRITICS’ CHOICE TELEVISION AWARDS
Best Comedy Series: The Big Bang Theory – CBS
Best Actor in a Comedy Series: Louis C.K., Louie – FX
Best Actress in a Comedy Series: Julia Louis-Dreyfus, Veep - HBO
Best Supporting Actor in a Comedy Series: Simon Helberg, The Big Bang Theory – CBS
Best Supporting Actress in a Comedy Series (Tie):
Kaley Cuoco, The Big Bang Theory – CBS
Eden Sher, The Middle – ABC
Best Guest Performer in a Comedy Series: Patton Oswalt, Parks and Recreation – NBC
Best Drama Series (Tie):
Breaking Bad – AMC
Game of Thrones – HBO
Best Actor in a Drama Series: Bryan Cranston, Breaking Bad – AMC
Best Actress in a Drama Series: Tatiana Maslany, Orphan Black – BBC America
Best Supporting Actor in a Drama Series: Michael Cudlitz, Southland - TNT
Best Supporting Actress in a Drama Series: Monica Potter, Parenthood – NBC
Best Guest Performer in a Drama Series: Jane Fonda, The Newsroom – HBO
Best Movie or Mini-Series: Behind the Candelabra – HBO
Best Actor in a Movie or Mini-Series: Michael Douglas, Behind the Candelabra - HBO
Best Actress in a Movie or Mini-Series: Elisabeth Moss, Top of the Lake – Sundance
Best Supporting Actor in a Movie or Mini-Series: Zachary Quinto, American Horror Story: Asylum – FX
Best Supporting Actress in a Movie or Mini-Series: Sarah Paulson, American Horror Story: Asylum – FX
Best Reality Series (Tie):
Duck Dynasty – A&E
Push Girls – Sundance
Best Reality Series–Competition: The Voice – NBC
Best Reality Series Host: Tom Bergeron, Dancing with the Stars – ABC
Best Talk Show: The Daily Show with Jon Stewart – Comedy Central
Best Animated Series: Archer – FX
Critics’ Choice Television Icon Award: Bob Newhart
thalo’s Critics’ Choice Inspiration Award: Bunheads – ABC Family
Most Exciting New Series:
The Bridge - FX
Marvel's Agents of S.H.I.E.L.D. - ABC
Masters of Sex - Showtime
The Michael J. Fox Show - NBC
Ray Donovan - Showtime
Under the Dome - CBS
The Big Bang Theory is Most Honored Series and HBO is Most Awarded Network
LOS ANGELES--(BUSINESS WIRE)--The Broadcast Television Journalists Association (BTJA) tonight announced the winners of the 3rd annual Critics’ Choice Television Awards. The star-studded gala awards dinner to acknowledge and honor the best in television was held at the Beverly Hilton Hotel earlier this evening.
There was a tie for Best Drama Series with Breaking Bad and Game of Thrones sharing the honor while The Big Bang Theory won in the Best Comedy Series category.
There was also a tie for Best Reality Series, which went to Duck Dynasty and Push Girls. Best Reality Series-Competition went to The Voice for the second year in a row. The Daily Show with Jon Stewart was honored as Best Talk Show, Archer was honored as Best Animated Series for the second year in a row, and Behind the Candelabra was honored as Best Movie/Miniseries. HBO was the most awarded network with five wins followed by FX with four wins.
Actors Bryan Cranston and Louis C.K. won Best Actor in a Drama Series for Breaking Bad and Best Actor in a Comedy Series for Louie, respectively, and both for the second consecutive year. Tatiana Maslany was honored as Best Actress in a Drama Series for her role in Orphan Black while Julia Louis-Dreyfus won for Best Actress in a Comedy Series for her role in Veep.
Best Supporting Actress in a Drama Series went to Parenthood’s Monica Potter. Southland’s Michael Cudlitz was named Best Supporting Actor in a Drama Series. Kaley Cuoco and Eden Sher tied for Best Supporting Actress in a Comedy for their roles in The Big Bang Theory and The Middle, respectively. Simon Helberg won Best Supporting Actor in a Comedy Series for his role in The Big Bang Theory. Jane Fonda won Best Guest Performer in a Drama Series for The Newsroom, and Patton Oswalt won Best Guest Performer in a Comedy Series for his role on Parks and Recreation, marking the second year the series was awarded in this category.
Tom Bergeron of Dancing with the Stars was honored as Best Reality Host for the second year in a row. Michael Douglas was recognized as Best Actor in a Movie/Miniseries for his work in Behind the Candelabra, while Elizabeth Moss was named Best Actress in a Movie/Miniseries for her role in Top of the Lake. Zachary Quinto won Best Supporting Actor in a Movie or Mini-Series and Sarah Paulson won Best Supporting Actress in a Movie or Mini-Series for their roles in American Horror Story: Asylum.
In addition, The Bridge, Marvel's Agents of S.H.I.E.L.D., Masters of Sex, The Michael J. Fox Show, Ray Donovan and Under the Dome were honored as Most Exciting New Series.
BTJA honored Bob Newhart with the Critics’ Choice Television Icon Award, which Henry Winkler presented to the legendary comedian.
BTJA also partnered with thalo Magazine to recognize Bunheads with the thalo’s Critics’ Choice Inspiration Award, which honors a television show for illuminating the fine arts in its subject matter and production methods, along with the individuals who infuse those productions with their artistic passions.
Presenters included: Malin Akerman (Suburgatory), Angela Bassett (American Horror Story), Laura Carmichael (Downton Abbey), Miranda Cosgrove (iCarly), Hugh Dancy (Hannibal), Cat Deeley (So You Think You Can Dance), Yossi Dina (Beverly Hills Pawn), Josh Gad (1600 Penn), Johnny Galecki (The Big Bang Theory), Seth Green (Family Guy), Allison Janney (West Wing), Tatiana Maslany (Orphan Black), Maria Menounos (Extra), Garrett Morris (2 Broke Girls), Elizabeth Moss (Mad Men), Kunal Nayyar (The Big Bang Theory), Cory Oliver (Beverly Hills Pawn), Jack Osbourne (Alpha Dogs), Adam Pally (Happy Endings), Sarah Paulson (American Horror Story), Aubrey Plaza (Parks & Recreation), Zachary Quinto (American Horror Story), Kevin Rahm (Mad Men), John Ratzenberger (Legit), Emmy Rossum (Shameless), Jimmy Smits (Sons of Anarchy), Eric Stonestreet (Modern Family) and Sam Trammell (True Blood).
The Critics’ Choice Television Awards honored programs and performances that aired between June 1, 2012 and May 31, 2013, except for the Most Exciting New Series, which are shows premiering after June 1, 2013. Two new categories debuted this year including Best Supporting Actor in a Movie or Mini-Series and Best Supporting Actress in a Movie or Mini-Series. The full winners tally is included below.
The 3rd annual Critics’ Choice Television Awards were executive produced by Bob Bain for Bob Bain Productions.
About BTJA
The Broadcast Television Journalists Association (BTJA) is a partner organization to the Broadcast Film Critics Association. BTJA includes TV, radio and Internet journalists who cover television on a regular basis. For more information, visit: www.CriticsChoice.com
WINNERS OF THE 3rd ANNUAL CRITICS’ CHOICE TELEVISION AWARDS
Best Comedy Series: The Big Bang Theory – CBS
Best Actor in a Comedy Series: Louis C.K., Louie – FX
Best Actress in a Comedy Series: Julia Louis-Dreyfus, Veep - HBO
Best Supporting Actor in a Comedy Series: Simon Helberg, The Big Bang Theory – CBS
Best Supporting Actress in a Comedy Series (Tie):
Kaley Cuoco, The Big Bang Theory – CBS
Eden Sher, The Middle – ABC
Best Guest Performer in a Comedy Series: Patton Oswalt, Parks and Recreation – NBC
Best Drama Series (Tie):
Breaking Bad – AMC
Game of Thrones – HBO
Best Actor in a Drama Series: Bryan Cranston, Breaking Bad – AMC
Best Actress in a Drama Series: Tatiana Maslany, Orphan Black – BBC America
Best Supporting Actor in a Drama Series: Michael Cudlitz, Southland - TNT
Best Supporting Actress in a Drama Series: Monica Potter, Parenthood – NBC
Best Guest Performer in a Drama Series: Jane Fonda, The Newsroom – HBO
Best Movie or Mini-Series: Behind the Candelabra – HBO
Best Actor in a Movie or Mini-Series: Michael Douglas, Behind the Candelabra - HBO
Best Actress in a Movie or Mini-Series: Elisabeth Moss, Top of the Lake – Sundance
Best Supporting Actor in a Movie or Mini-Series: Zachary Quinto, American Horror Story: Asylum – FX
Best Supporting Actress in a Movie or Mini-Series: Sarah Paulson, American Horror Story: Asylum – FX
Best Reality Series (Tie):
Duck Dynasty – A&E
Push Girls – Sundance
Best Reality Series–Competition: The Voice – NBC
Best Reality Series Host: Tom Bergeron, Dancing with the Stars – ABC
Best Talk Show: The Daily Show with Jon Stewart – Comedy Central
Best Animated Series: Archer – FX
Critics’ Choice Television Icon Award: Bob Newhart
thalo’s Critics’ Choice Inspiration Award: Bunheads – ABC Family
Most Exciting New Series:
The Bridge - FX
Marvel's Agents of S.H.I.E.L.D. - ABC
Masters of Sex - Showtime
The Michael J. Fox Show - NBC
Ray Donovan - Showtime
Under the Dome - CBS
Tuesday, June 11, 2013
Review: Sparky Zaps Uninspired "Frankenweenie"
Frankenweenie (2012) – Black and White
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG for thematic elements, scary images and action
DIRECTOR: Tim Burton
WRITER: John August (based on the screenplay by Leonard Ripps, which was based on an original idea by Tim Burton)
PRODUCERS: Allison Abbate and Tim Burton
CINEMATOGRAPHER: Peter Sorg
EDITORS: Mark Solomon
COMPOSER: Danny Elfman
Academy Award nominee
SCI-FI/COMEDY/FAMILY with elements of horror
Starring: (voices) Charlie Tahan, Catherine O’Hara, Martin Short, Martin Landau, Atticus Shaffer, Winona Ryder, Robert Capron, James Hiroyuki Liao, and Conchata Ferrell, with Dee Bradley Baker and Frank Welker
Frankenweenie is a 2012 black and white, stop-motion animation film, presented in 3D, from director Tim Burton. This sci-fi family film is a remake of Burton’s 1984 live-action short film, also entitled Frankenweenie. Frankenweenie the movie is a parody of and pays homage to Universal Pictures’ 1931 film, Frankenstein (an adaptation of Mary Shelley’s 1818 novel, Frankenstein: or, The Modern Prometheus). Frankenweenie is the story of a boy scientist who brings his dead dog back to life.
Frankenweenie focuses on kid filmmaker and budding scientist, Victor Frankenstein (Charlie Tahan). Victor and his parents, Susan and Edward Frankenstein (Catherine O’Hara and Martin Short), live in the quiet town of New Holland. After his dog, Sparky (Frank Welker), is hit by a car and killed, Victor falls into a depression. Inspired by his teacher, Mr. Rzykruski (Martin Landau), Victor comes up with an idea to revive Sparky’s corpse. Bringing his beloved Sparky back to life, however, has unintended and monstrous consequences.
Screenwriter John August has written two Tim Burton films, the mediocre Big Fish and the wonderful Corpse Bride. He also wrote Burton’s Charlie and the Chocolate Factory, but the screenplay was not the film’s strong suit. August almost wrote a third mediocre Burton film, Frankenweenie, but there are some elements in the movie’s second half that do the heavy lifting of making this at least a good movie.
As in his best films, Burton focuses on the misfits, and since Frankenweenie is filled with misfits and oddballs, it should be a great film. But Frankenweenie isn’t great, and that is because many of the characters just aren’t that interesting or engaging. It takes practically the entire picture for Victor Frankenstein to come to life, and his mom and dad are cardboard cutout versions of parents from 1950s television sitcoms. The flat monotone voice performances from much of the cast don’t help.
There are two good human characters, neither of which have enough screen time, as far as I’m concerned. There is the sly Edgar “E” Gore (Atticus Shaffer), a hunch-backed kid who would have made a nice sidekick for Victor. Next is the Vincent Price-inspired Mr. Rzykruski, who delivers this movie’s best moment in a speech before a mob-like gathering of “concerned” parents.
The star is Sparky, or, at least, Sparky should have been the star. I think this movie would be much better if it were told from the re-animated dog’s point-of-view. Sparky is proof that when used wisely, a dog can be both the star and the saving grace of a movie. There are also a few science-created monsters that liven up Frankenweenie’s last act.
Filming this movie in black and white was the wrong decision. I know that the black and white choice had to do with all the movies to which Frankenweenie pays homage, but who cares? Referencing Frankenstein and Bride of Frankenstein has been done to death. Color would have made this movie visually pop on the screen, and this often-flat flick needed some pop. Animated films, even stop-motion, are best in color.
What does give this movie some pop is the musical score by Danny Elfman, a long-time collaborator with Burton. Elfman’s score is a lovely amalgamation of textures, styles, moods, and, if you can imagine it, colors. As the story advances, I could feel Elfman imposing his will on the movie. This is his best work in years.
So Mr. Burton: no more John August, no more black and white, and no more references to the films and pop culture that filled your childhood and apparently left an indelible mark on you. Your desire to parody and to homage hurt Frankenweenie.
6 of 10
B
NOTES:
2013 Academy Awards, USA: 1 nomination: “Best Animated Feature” (Tim Burton)
2013 BAFTA Awards: “Best Animated Film” (Tim Burton)
2013 Golden Globes, USA: “Best Animated Film”
Monday, June 10, 2013
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Review: "James and the Giant Peach" a Delight
James and the Giant Peach (1996)
Running time: 79 minutes (1 hour, 19 minutes)
MPAA – PG for some frightening images
DIRECTOR: Henry Selick
WRITERS: Karey Kirkpatrick, Jonathan Roberts, Steve Bloom (based upon the book by Roald Dahl)
PRODUCERS: Denise Di Novi and Tim Burton
CINEMATOGRAPHERS: Hiro Narita (live action) and Pete Kozachik (animation)
EDITOR: Stan Webb
COMPOSER: Randy Newman
Academy Award nominee
FANTASY/ANIMATION/MUSICAL and ADVENTURE/COMEDY/FAMILY
Starring: Paul Terry, Simon Callow, Richard Dreyfuss, Jane Leeves, Joanna Lumley, Miriam Margolyes, Pete Postlethwaite, Susan Sarandon, and David Thewlis
The subject of this movie review is James and the Giant Peach, a 1996 British-American stop-motion animation film and musical fantasy from director Henry Selick. The film is a co-production of Walt Disney Pictures and the British film production company, Allied Filmmakers.
Stop-motion animation director Henry Selick followed up his 1993 collaboration with Tim Burton, The Nightmare Before Christmas, with James and the Giant Peach. Based upon a children’s book by Roald Dahl (Charlie and the Chocolate Factory and Matilda), James and the Giant Peach is a mixture of live-action film and stop-motion animation.
While not as well done as Burton’s Nightmare Before Christmas, James and the Giant Peach is a beautiful film full of flights of fancy and imagination, and Randy Newman’s Oscar-nominated score (“Best Music – Original Musical or Comedy Score”) provides the delightful backdrop and joyous songs to carry the narrative forward. This film is also more for children than Nightmare Before Christmas (which has a large cult following among adults), but the magic of the filmmaking will still impress older viewers.
After a rogue rhinoceros kills his parents, James (Paul Terry) is forced to live with his nasty Aunt Spiker (Joanna Lumley) and Aunt Sponge (Miriam Margolyes), who make him work hard, go hungry, and bar him from having any fun, but when magic causes a giant peach to grow in his aunts’ backyard, James climbs inside the massive fruit to find adventure (at this point the film goes from live action to stop-motion animation). He befriends a group of giant insects that used to live in his yard; the same magic that grew the peach has made them human-like. Together with his new friends, James embarks on a great adventure to the place his parents had planned to take him, New York City.
Paul Terry is strong and engaging as the film’s central character, and the voiceovers are a treat. Listen for Richard Dreyfuss’ delightful turn as the brash and pugnacious Centipede.
7 of 10
A-
July 3, 2005
NOTES:
1997 Academy Awards, USA: 1 nomination: “Best Music, Original Musical or Comedy Score” (Randy Newman)
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Monday, June 10, 2013
"Hercules" Begins Filming with Dwayne Johnson
METRO-GOLDWYN-MAYER PICTURES AND PARAMOUNT PICTURES ANNOUNCE THE START OF PRINCIPAL PHOTOGRAPHY ON “HERCULES”
Starring Dwayne Johnson and directed by Brett Ratner
HOLLYWOOD, CA (June 10, 2013) Metro-Goldwyn-Mayer Pictures, a division of MGM Holdings, Inc., and Paramount Pictures, a division of Viacom, Inc., announced principal photography began today on “HERCULES,” starring Dwayne Johnson (“G.I. JOE: RETALIATION,” “Fast and Furious” franchise) and directed and produced by Brett Ratner (“Rush Hour” franchise, “X-Men: The Last Stand”). Filming takes place in Budapest, Hungary.
“HERCULES” will be distributed worldwide by Paramount Pictures on July 25, 2014 with select international territories as well as all television distribution being handled by MGM.
“HERCULES” also stars Golden Globe-winner Ian McShane (“Deadwood,” “PIRATES OF THE CARIBBEAN: ON STRANGER TIDES”), Rufus Sewell (“LEGEND OF ZORRO”), Joseph Fiennes (“SHAKESPEARE IN LOVE,” “American Horror Story”), Peter Mullan (“War Horse,” “Top of the Lake”) and Academy Award®-nominee John Hurt (“HARRY POTTER AND THE DEATHLY HALLOWS”). Rounding out the main cast is Rebecca Ferguson (The BBC’s “The White Queen”), Ingrid Bolsø Berdal (“HANSEL & GRETEL: WITCH HUNTERS”), Aksel Hennie (“HEADHUNTERS”) and Reece Ritchie (“PRINCE OF PERSIA: THE SANDS OF TIME”).
“HERCULES” is produced by Beau Flynn (“JOURNEY 2: THE MYSTERIOUS ISLAND,” “HANSEL & GRETEL: WITCH HUNTERS”), Barry Levine (“OBLIVION”) and Ratner. Executive producers are Peter Berg (“BATTLESHIP”), Sarah Aubrey (“BATTLESHIP”), Ross Fanger (“IRON MAN”) and Jesse Berger (“OBLIVION”).
Based on the graphic novel Hercules: The Thracian Wars, the ensemble-action film is a revisionist take on the classic myth set in a grounded world where the supernatural does not exist. The screenplay is by Ryan Condal and Evan Spiliotopoulos.
Everyone knows the legend of Hercules and his twelve labors. Our story begins after the labors, and after the legend…
Haunted by a sin from his past, Hercules has become a mercenary. Along with five faithful companions, he travels ancient Greece selling his services for gold and using his legendary reputation to intimidate enemies. But when the benevolent ruler of Thrace and his daughter seek Hercules' help to defeat a savage and terrifying warlord, Hercules finds that in order for good to triumph and justice to prevail... he must again become the hero he once was... he must embrace his own myth... he must be Hercules.
The behind-the-scenes creative team led by Ratner includes: Academy Award®-nominee director of photography Dante Spinotti (“THE INSIDER,” “LA CONFIDENTIAL”), editor Mark Helfrich (“X-MEN: THE LAST STAND”), production designer Jean-Vincent Puzos (“10,000 B.C.”), costume designer Jany Temime (“SKYFALL”), 2nd Unit director Alexander Witt (“SKYFALL”), VFX supervisor John Bruno (“AVATAR”), SFX Supervisor Neil Corbould (“BLACK HAWK DOWN”) and stunt coordinator Greg Powell (“FAST & FURIOUS 6,” “HARRY POTTER” franchise).
MGM and Paramount most recently partnered on the release of the blockbuster “G.I. JOE: RETALIATION,” also starring Dwayne Johnson, as well as the global box office hit “HANSEL & GRETEL: WITCH HUNTERS.”
About Metro-Goldwyn-Mayer Studios Inc.
Metro-Goldwyn-Mayer Inc. is a leading entertainment company focused on the production and distribution of film and television content globally. The company owns one of the world's deepest libraries of premium film and television content. In addition, MGM has investments in domestic and international television channels, including MGM-branded channels. For more information, visit www.mgm.com.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.
Starring Dwayne Johnson and directed by Brett Ratner
HOLLYWOOD, CA (June 10, 2013) Metro-Goldwyn-Mayer Pictures, a division of MGM Holdings, Inc., and Paramount Pictures, a division of Viacom, Inc., announced principal photography began today on “HERCULES,” starring Dwayne Johnson (“G.I. JOE: RETALIATION,” “Fast and Furious” franchise) and directed and produced by Brett Ratner (“Rush Hour” franchise, “X-Men: The Last Stand”). Filming takes place in Budapest, Hungary.
“HERCULES” will be distributed worldwide by Paramount Pictures on July 25, 2014 with select international territories as well as all television distribution being handled by MGM.
“HERCULES” also stars Golden Globe-winner Ian McShane (“Deadwood,” “PIRATES OF THE CARIBBEAN: ON STRANGER TIDES”), Rufus Sewell (“LEGEND OF ZORRO”), Joseph Fiennes (“SHAKESPEARE IN LOVE,” “American Horror Story”), Peter Mullan (“War Horse,” “Top of the Lake”) and Academy Award®-nominee John Hurt (“HARRY POTTER AND THE DEATHLY HALLOWS”). Rounding out the main cast is Rebecca Ferguson (The BBC’s “The White Queen”), Ingrid Bolsø Berdal (“HANSEL & GRETEL: WITCH HUNTERS”), Aksel Hennie (“HEADHUNTERS”) and Reece Ritchie (“PRINCE OF PERSIA: THE SANDS OF TIME”).
“HERCULES” is produced by Beau Flynn (“JOURNEY 2: THE MYSTERIOUS ISLAND,” “HANSEL & GRETEL: WITCH HUNTERS”), Barry Levine (“OBLIVION”) and Ratner. Executive producers are Peter Berg (“BATTLESHIP”), Sarah Aubrey (“BATTLESHIP”), Ross Fanger (“IRON MAN”) and Jesse Berger (“OBLIVION”).
Based on the graphic novel Hercules: The Thracian Wars, the ensemble-action film is a revisionist take on the classic myth set in a grounded world where the supernatural does not exist. The screenplay is by Ryan Condal and Evan Spiliotopoulos.
Everyone knows the legend of Hercules and his twelve labors. Our story begins after the labors, and after the legend…
Haunted by a sin from his past, Hercules has become a mercenary. Along with five faithful companions, he travels ancient Greece selling his services for gold and using his legendary reputation to intimidate enemies. But when the benevolent ruler of Thrace and his daughter seek Hercules' help to defeat a savage and terrifying warlord, Hercules finds that in order for good to triumph and justice to prevail... he must again become the hero he once was... he must embrace his own myth... he must be Hercules.
The behind-the-scenes creative team led by Ratner includes: Academy Award®-nominee director of photography Dante Spinotti (“THE INSIDER,” “LA CONFIDENTIAL”), editor Mark Helfrich (“X-MEN: THE LAST STAND”), production designer Jean-Vincent Puzos (“10,000 B.C.”), costume designer Jany Temime (“SKYFALL”), 2nd Unit director Alexander Witt (“SKYFALL”), VFX supervisor John Bruno (“AVATAR”), SFX Supervisor Neil Corbould (“BLACK HAWK DOWN”) and stunt coordinator Greg Powell (“FAST & FURIOUS 6,” “HARRY POTTER” franchise).
MGM and Paramount most recently partnered on the release of the blockbuster “G.I. JOE: RETALIATION,” also starring Dwayne Johnson, as well as the global box office hit “HANSEL & GRETEL: WITCH HUNTERS.”
About Metro-Goldwyn-Mayer Studios Inc.
Metro-Goldwyn-Mayer Inc. is a leading entertainment company focused on the production and distribution of film and television content globally. The company owns one of the world's deepest libraries of premium film and television content. In addition, MGM has investments in domestic and international television channels, including MGM-branded channels. For more information, visit www.mgm.com.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.
Sunday, June 9, 2013
Review: Christopher Reeve Still Shines in "Superman II"
Superman II (1980)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG
DIRECTOR: Richard Lester
WRITERS: Mario Puzo, David Newman, Leslie Newman; from a story by Mario Puzo (based upon the characters and situations created by Jerry Siegel and Joe Shuster)
PRODUCER: Pierre Spengler
CINEMATOGRAPHERS: Geoffrey Unsworth and Bob Paynter
EDITOR: John Victor-Smith
COMPOSER: Ken Thorne
SUPERHERO/ACTION/DRAMA with elements of comedy and sci-fi
Starring: Christopher Reeve, Gene Hackman, Margot Kidder, Ned Beatty, Jackie Cooper, Terrence Stamp, Sarah Douglas, Jack O’Halloran, Valerie Perrine, Leueen Willoughby, Clifton James, E.G. Marshall, Marc McClure, and Susannah York
The subject of this movie review is Superman II, a 1980 superhero drama and action film from director Richard Lester. This movie is based on the DC Comics character, Superman, created by comic book writer Jerry Siegel and comic book artist Joe Shuster. Superman II is also a direct sequel to the 1978 film, Superman: The Movie.
There was some controversy surrounding Superman II upon its release. It was originally being film simultaneously with Superman: The Movie by director Richard Donner. Donner ended up being fired by the Alexander and Ilya Salkind, who controlled the Superman film franchise at the time. Some of the film Donner shot for Superman II was apparently re-shot and some of it reused. Donner’s replacement, Richard Lester, is credited as the director of Superman II. Screenwriter Tom Mankiewicz is credited as a “creative consultant” for his contributions to the screenplay for Superman II.
Putting that aside, is Superman II a good movie? When I first saw Superman II, I considered it to be a better movie than Superman: The Movie. I no longer think so, but more on that later.
Superman II opens by going back in time to Superman’s birth planet, Krypton, prior to its destruction. There, the criminals: General Zod (Terence Stamp) and his followers, Ursa (Sarah Douglas) and Non (Jack O'Halloran), are sentenced by Jor-El (Superman’s Kryptonian father) to banishment into the Phantom Zone for insurrection and other crimes. After traveling through the galaxy for many years, the Phantom Zone, represented as a spinning, picture frame-like segment of space, is shattered near Earth by the detonation of a hydrogen bomb.
Meanwhile, Daily Planet reporters, Lois Lane (Margot Kidder) and Clark Kent (Christopher Reeve), who is Superman, leave Metropolis for an undercover story. In Niagara Falls, Lois and Clark pretend to be a married couple, which brings them closer, physically and emotionally, than they usually are. Suddenly, Lois thinks she knows Superman’s secret identity. That leads Clark to make a monumental decision just when Earth most needs Superman.
I once told a friend that I preferred Superman II over Superman: The Movie and Star Trek II: The Wrath of Kahn over Star Trek: The Motion Picture. He responded that people liked the sequels because they were “kick-ass.” That is true, to an extent, but Star Trek II is better than the first Trek film.
At the time I first saw it, I did like the fight scenes in Superman II, but there were many other elements that caught my attention. When I saw Superman II in a theatre, there was a woman a few rows in front of me who yelled, “Superman had sex,” when the film cutaway to a scene with Lois and Clark in bed, apparently post-coitus. I think what I liked about Superman II was that it confronted me with things I thought of has wrong in relation to Superman, especially Superman having sex with Lois, which also intrigued me. However, as a film critic said at the time of the film’s initial release, Superman and Lois should not have actual physical sex, because their version of sex was Superman carrying Lois in his arms as they fly over Metropolis.
Beside the sex, I found General Zod and company to be good villains, and, in a sense, they were the beginning of a series of things that endangered all that was great and good about Superman for me. They attacked the civilians that Superman protected, were disrespectful of the President of the United States of America, and they invaded Superman’s Fortress of Solitude. All these conflicts, dilemmas, and obstacles made for an exciting movie.
Years later, I find Superman II’s occasional campy moments and scenes a bit annoying, although its mostly those featuring Lex Luthor (Gene Hackman). There is quite a bit to like about this movie, but the main reason to like this is the late Christopher Reeve. Here, he is eternally youthful. As Clark Kent, he is humble and even sly. As Superman, Reeve is both a champion and a man for seasons.
Now, I think Superman: The Movie is the better film and a blueprint for what a superhero movie can be. Still, Superman II is memorable.
6 of 10
B
Thursday, June 06, 2013
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New "Transformers 4" Car Revealed - June 7 2013
MICHAEL BAY HAS UNVEILED YET ANOTHER SURPRISE FROM TRANSFORMERS 4
Meet the extraordinary and exhilirating 2013 Lamborghini Aventador LP 700-4 Coupe:
OFFICIAL SITE: WWW.TRANSFORMERSMOVIE.COM
Meet the extraordinary and exhilirating 2013 Lamborghini Aventador LP 700-4 Coupe:
OFFICIAL SITE: WWW.TRANSFORMERSMOVIE.COM
Saturday, June 8, 2013
Review: "Superman: The Movie" and Christopher Reeve Are Still Great
Superman: The Movie (1978)
Running time: 143 minutes (2 hours, 23 minutes)
MPAA – PG
DIRECTOR: Richard Donner
WRITERS: Mario Puzo, David Newman, Leslie Newman, and Robert Benton; from a story by Mario Puzo (based upon the characters and situations created by Jerry Siegel and Joe Shuster)
PRODUCER: Pierre Spengler
CINEMATOGRAPHER: Geoffrey Unsworth
EDITORS: Stuart Baird and Michael Ellis
COMPOSER: John Williams
Academy Award winner
SUPERHERO/ACTION/DRAMA with elements of comedy and sci-fi
Starring: Marlon Brando, Gene Hackman, Christopher Reeve, Margot Kidder, Ned Beatty, Jackie Cooper, Glenn Ford, Phyllis Thaxter, Valerie Perrine, Jeff East, Marc McClure, and Susannah York
The subject of this movie review is Superman: The Movie, a 1978 superhero drama and action film from director Richard Donner. This movie is based on the DC Comics character, Superman, created by comic book writer Jerry Siegel and comic book artist Joe Shuster. Superman: The Movie is a very good film, but more important is this film’s influence on the superhero movies that followed it. Superman: The Movie took its subject matter seriously and played it straight, rather than campy, proving that superhero movies could be more than silly comedies looking for cheap laughs.
Superman: The Movie is the first of four films starring the late actor, Christopher Reeve, in the role of Superman and also his civilian identity, Clark Kent. Although he does not receive a screenwriting credit, Tom Mankiewicz wrote Superman: The Movie’s final draft script. The father-son team of Alexander and Ilya Salkind produced this movie along with Pierre Spengler. The movie depicts Superman’s origin, from his birth on a distant planet to his youth in a rural small town, Smallville. The movie also begins to chronicle his adult life as a big city newspaper reporter and as Superman.
Mild-mannered Clark Kent (Christopher Reeve) works as a reporter at The Daily Planet, one of the major newspapers in the city of Metropolis (a stand-in for New York City). He has a crush on fellow ace reporter, Lois Lane (Margot Kidder), but Lois has a crush on the flying, impossibly strong hero, Superman (Christopher Reeve). Superman, however, is the alter ego of Clark Kent, and Kent also has many other secrets. He’s from another world, the planet Krypton, and before Krypton exploded, his father, Jor-El (Marlon Brando) sent baby Clark, whose birth name is Kal-El, in a starship on a three-year journey to Earth. Shortly after the star ship carrying Kal-El crashes in a Kansas field, a middle-aged couple, Martha and Jonathan Kent (Phyllis Thaxter and Glenn Ford), takes Kal-El as their own and names him Clark Kent.
Not long after Superman reveals himself to the world, he runs up against the nefarious genius, Lex Luthor (Gene Hackman), who has launched a plan to destroy much of western California in a real estate scheme that will make him perhaps the richest man on earth, although it will kill millions of people. Superman has met his match. Not only must he save millions of lives, but he must also save his friends Lois and cub reporter, Jimmy Olsen (Marc McClure), and even Superman might not have enough time to do that.
Nearly 30 years after its first release, many critics and fans still consider director Richard Donner’s (The Omen) Oscar-nominated film, Superman: The Movie, to be the definitive big screen version of DC Comics’ venerable superhero. Christopher Reeve, a then unknown when cast to play Clark Kent/Superman, also remains for many the definitive screen Superman, be it TV or film (I personally prefer George Reeves of the 1950’s “Superman” TV series).
This version of Superman is an example of producer spending a large sums of money on a film and actually getting superior results. A talented director and crew of good writers took a cast that included a few great actors and movie stars, quality character actors, and some up and coming new talent and told an epic story that fills the viewer with the same kind of wonder of which the film itself is made. Everything works: Marlon Brando is a solemn, otherworldly, mystic-like figure that presides over the first half of the film like a grand marshal in an ambitious parade.
Gene Hackman is a smooth, scene-stealing, genius wise guy as Lex Luthor (and though I’m a big fan of Hackman, I’ve always had slight misgivings about Hackman as Luthor). Other cast members also resonate: Jackie Cooper is pitch-perfect tart as Planet boss, Perry White; Margot Kidder as Lois Lane is both tomboyish and girlish with a touch of feminism; and Marc McClure is spot-on as a Jimmy. Simply put, Reeve seems to embody both Clark and Superman. It’s as if he stepped out of a classic Superman comic book, and that’s enough to make it all work.
Superman’s technical aspects were also high quality. The visual effects are actually still good; they stand up to much of the high-priced, over-the-top computer effects done today. Using a harness and cranes to lift Christopher Reeve and give him the illusion of flying was and still is great stuff. As the film’s tagline says, “You’ll Believe a Man Can Fly.”
8 of 10
A
NOTES:
1979 Academy Awards, USA: 1 win: “Special Achievement Award for Visual Effects” (Les Bowie, Colin Chilvers, Denys N. Coop, Roy Field, Derek Meddings, and Zoran Perisic); 3 nominations: “Best Film Editing” (Stuart Baird), “Best Music, Original Score” (John Williams), and “Best Sound” (Gordon K. McCallum, Graham V. Hartstone, Nicolas Le Messurier, and Roy Charman)
1979 BAFTA Awards: 1 win: “Most Promising Newcomer to Leading Film Roles” (Christopher Reeve); 4 nominations: “Best Cinematography” (Geoffrey Unsworth), “Best Production Design/Art Direction” (John Barry), “Best Sound” (Chris Greenham, Gordon K. McCallum, Peter Pennell, Mike Hopkins, Pat Foster, Stan Fiferman, John Foster, Roy Charman, Norman Bolland, Brian Marshall, Charles Schmitz, Richard Raguse, and Chris Large), and “Best Supporting Actor” (Gene Hackman)
1979 Golden Globes, USA: 1 nomination: “Best Original Score - Motion Picture” (John Williams)
Friday, July 14, 2006
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Cinemark Classics Presents "Raiders of the Lost Ark"
RAIDERS OF THE LOST ARK on June 9 and 12, 2013
Plano, TX – Cinemark Holdings, Inc. (NYSE: CNK), one of the world’s largest motion picture exhibitors, is pleased to announce the next film in our Classic Series will feature director Steven Spielberg’s RAIDERS OF THE LOST ARK on June 9 and 12. Other future films to play in this current series line-up will be E. T. THE EXTRA-TERRESTRIAL on June 16 and 19, and SCHINDLER’S LIST on June 23 and 26. Performances will be on Sundays at 2pm, and Wednesdays at two separate show times, 2 pm and 7pm.
Individual tickets for Cinemark’s Classic Series are now available at www.cinemark.com or at the participating theatre box office. For a full list of participating Cinemark locations, advance ticket purchases and show time information go to the Cinemark web site.
RAIDERS OF THE LOST ARK, ranked 66 on the American Film Institute’s list of 100 Greatest American Films, was a collaborative effort between Spielberg and George Lucas. The 1981 classic eventually spawned three sequels: INDIANA JONES AND THE TEMPLE OF DOOM (1984), INDIANA JONES AND THE LAST CRUSADE (1989), and INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008).
“Steven Spielberg’s work as a director is unparalleled. But as a humanitarian and through his endeavor with the Shoah Foundation, his work takes on new breadth and depth. Cinemark is proud to present his films on the big screen, and to partner with his charity, the USC-Shoah Foundation, by donating all proceeds from SCHINDLER’S LIST on June 23rd and 26th,” states James Meredith, VP of Marketing & Communications for Cinemark Theatres.
ABOUT CINEMARK HOLDINGS, INC.
Cinemark is a leading domestic and international motion picture exhibitor, operating 467 theatres with 5,259 screens in 39 U.S. states, Brazil, Mexico, Argentina and 10 other Latin American countries as of March 31, 2013. For more information go to www.cinemark.com.
Friday, June 7, 2013
Review: "Gangster Squad" Ain't Wangsta
Gangster Squad (2013)
Running time: 113 minutes; MPAA – R for strong violence and language
DIRECTOR: Ruben Fleischer
WRITER: Will Beall (based on the book Gangster Squad by Paul Lieberman)
PRODUCERS: Dan Lin, Kevin McCormick, and Michael Tadross
CINEMATOGRAPHER: Dion Beebe (D.o.P.)
EDITORS: Alan Baumgarten and James Herbert
COMPOSER: Steve Jablonsky
CRIME/ACTION
Starring: Sean Penn, Josh Brolin, Ryan Gosling, Emma Stone, Anthony Mackie, Michael Peña, Giovanni Ribisi, Robert Patrick, Nick Nolte, Sullivan Stapleton, Holt McCallany, Mireille Enos, Austin Abrams, and Jon Polito
Gangster Squad is a 2013 action and crime film from director Ruben Fleischer. The film is based on Paul Lieberman’s 2012 book, Gangster Squad: Covert Cops, the Mob, and the Battle for Los Angeles. Gangster Squad the movie follows a secret crew of police officers trying to end mob king Mickey Cohen’s reign over Los Angeles.
The reality is that Gangster Squad the movie is mostly fictional. It takes the Los Angeles Police Department’s real “Gangster Squad unit” and its efforts to protect the city from Mickey Cohen and his gang in the 1940s and 50s and turns it into a fanciful tale of two-fisted cops and one crazy mutha of gangster. But Gangster Squad is a hugely entertaining fanciful tale of cops and robbers.
Gangster Squad opens in Los Angeles, 1949. In post-World War II L.A., gangster Mickey Cohen (Sean Penn) is the most powerful figure in the California criminal underworld. In fact, Cohen does not intend on letting anyone from “back east,” especially Chicago, interfere with his bid to expand his criminal enterprise across the Western United States.
In the Los Angeles Police Department, Chief Bill Parker (Nick Nolte) wants to end Cohen’s influence over the city, which extends into the police department, the courts, and City Hall. Parker personally chooses Sgt. John O’Mara (Josh Brolin), a WWII veteran with a special operations background, to wage guerilla warfare on Cohen. With the help of his reluctant wife, Connie (Mireille Enos), O’Mara recruits fellow officers into his secret squad.
They choose the hard-headed African-American detective, Coleman Harris (Anthony Mackie); wire-tap expert, Conway Keeler (Giovanni Ribisi); and legendary gangster-killer and cowboy-type, Max Kennard (Robert Patrick). Kennard’s Latino partner, Navidad Ramirez (Michael Peña), is not initially picked, but he manages to bargain his way into the squad.
Fellow WWII vet, Sgt. Jerry Wooters (Ryan Gosling), turns down O’Mara’s offer, and focuses his attention on having an affair with Mickey Cohen’s girlfriend, Grace Faraday (Emma Stone). After he witnesses Cohen’s ruthlessness, Wooters joins O’Mara’s “Gangster Squad,” but these lawmen have no idea how truly sadistic Cohen can be when it comes to protecting his empire.
Gangster Squad has Oscar-nomination quality cinematography, art direction-set decoration, costume design, and perhaps, even sound editing. This movie’s cops vs. gangsters story is familiar material and, to some extent, is just retread. But Gangster Squad’s retread sure is entertaining. Somehow, cast, story, and action come together, and it is a combination that is a recognizable, yet tasty cinematic dish.
I rented Gangster Squad through Netflix. Normally, I watch my movie rentals over two days (or maybe even three). However, I couldn’t stop watching this mesmerizing crime/action movie. Gangster Squad is like a cool, color and colorful version of the old television series, “The Untouchables” (1959 to 1963 on ABC).
The performances are good. Sean Penn and Josh Brolin each do interesting takes on deranged, with Nick Nolte throwing in a cup of crazy, here and there. Contrary to what you may have read elsewhere, there is indeed excellent chemistry between Ryan Gosling and Emma Stone in this film. Actually, the supporting characters played by Anthony Mackie, Michael Peña, Giovanni Ribisi, and Robert Patrick are the most interesting in the movie. I think they are what keep Gangster Squad from being just another wanna-be-great, gangster period film.
Inevitably, Gangster Squad will end up on cable television, where it will receive countless repeat plays. I’ll be watching quite a few of those repeats.
7 of 10
B+
Friday, June 07, 2013
Henry Cavill to Host Special "Man of Steel" Screening
Warner Bros. Pictures and Henry Cavill Join Forces to Honor U.S. Men and Women in Uniform
“Man of Steel” ™ Star Kicks Off Nationwide Advance Screenings for Military Personnel and Families
BURBANK, Calif.--(BUSINESS WIRE)--Henry Cavill, who stars in the title role of the upcoming action adventure film “Man of Steel” from Warner Bros. Pictures and Legendary Pictures, will make a special appearance in Lancaster to welcome the men and women of Edwards Air Force Base to a special advance screening of the movie on Saturday, June 8. Cavill will introduce the film and greet the military in attendance, many of whom played extras in the movie, a portion of which was shot on the base.
In appreciation of our troops, and in recognition of First Lady Michelle Obama and Dr. Jill Biden’s Joining Forces initiative (www.whitehouse.gov/joiningforces), the Studio will also host advance screenings throughout the weekend at over three dozen military bases across the country. A video greeting from Mrs. Obama and Dr. Biden, thanking those in the audience for their service, will play ahead of the film.
The two “Man of Steel” screenings for the Edwards AFB personnel and guests will take place on June 8 at 2:00 p.m. at the Cinemark 22 Theater in Lancaster, California. The additional screenings for the servicemen and women and families who are currently stationed at Army, Air Force, Navy, Marine Corps and Coast Guard bases across the country will take place on either Saturday or Sunday at the following locations:
•Army: Ft. Meade, Baltimore, Maryland; Carlisle Barracks, Carlisle, Pennsylvania; Ft. Lewis, Tacoma, Washington; Ft. Warren, Cheyenne, Wyoming; Ft. Campbell, Clarksville, Tennessee; Ft. Jackson, Columbia, South Carolina; Ft. Stewart, Hinesville, Georgia; Ft. Hood, Killeen, Texas; Ft. Polk, Leesville, Louisiana; and Ft. Leonardwood, Waynesville, Missouri.
•Air Force: Hanscom AFB, Bedford, Massachusetts; Keesler AFB, Biloxi, Mississippi; Dover AFB, Dover, Delaware; Travis AFB, Fairfield, California; Goodfellow AFB, San Angelo, Texas; Lackland AFB, San Antonio, Texas; Schofield AFB, Wahiawa, Hawaii; Hickam AFB, Watertown, New York; Sheppard AFB, Wichita Falls, Texas; and McGuire AFB, Wrightstown, New Jersey.
•Navy: SUBASE Bangor, Bangor, Washington; NSWC Dahlgren, Dahlgren, Virginia; NAS El Centro, El Centro, California; NAS Fallon, Fallon, Nevada; NAS JRB Fort Worth, Fort Worth, Texas; SUBASE New London, Groton, Connecticut; NAB Little Creek, Little Creek, Virginia; NAS North Island, North Island, California; NAS Patuxent River, Patuxent River, Maryland; MCAS Miramar, San Diego, California; and NAS Whidbey Island, Whidbey Island, Washington.
•Marine Corps: MCAG 29 Palms, 29 Palms, California; MCAS Cherry Point, Cherry Point, North Carolina; MCB Kaneohe Bay, Kaneohe Bay, Hawaii; MCAS New River, New River, North Carolina; and MCB Yuma, Yuma, Arizona.
•Coast Guard: USCG in Petaluma, California; and USCG in Astoria, Oregon.
“Man of Steel” opens nationwide in 2D and 3D in select theatres and IMAX® on June 14, 2013. The film has been rated PG-13 for intense sequences of sci-fi violence, action and destruction, and for some language.
About the Film: From Warner Bros. Pictures and Legendary Pictures comes “Man of Steel,” starring Henry Cavill in the role of Clark Kent/Superman, under the direction of Zack Snyder. A young boy learns that he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind.
“Man of Steel” also stars Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni and Russell Crowe. The film is produced by Charles Roven, Christopher Nolan, Emma Thomas and Deborah Snyder. The screenplay was written by David S. Goyer from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Thomas Tull, Lloyd Phillips and Jon Peters serve as executive producers. Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Zack Snyder Film, “Man of Steel.” The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
www.manofsteel.com
“Man of Steel” ™ Star Kicks Off Nationwide Advance Screenings for Military Personnel and Families
BURBANK, Calif.--(BUSINESS WIRE)--Henry Cavill, who stars in the title role of the upcoming action adventure film “Man of Steel” from Warner Bros. Pictures and Legendary Pictures, will make a special appearance in Lancaster to welcome the men and women of Edwards Air Force Base to a special advance screening of the movie on Saturday, June 8. Cavill will introduce the film and greet the military in attendance, many of whom played extras in the movie, a portion of which was shot on the base.
In appreciation of our troops, and in recognition of First Lady Michelle Obama and Dr. Jill Biden’s Joining Forces initiative (www.whitehouse.gov/joiningforces), the Studio will also host advance screenings throughout the weekend at over three dozen military bases across the country. A video greeting from Mrs. Obama and Dr. Biden, thanking those in the audience for their service, will play ahead of the film.
The two “Man of Steel” screenings for the Edwards AFB personnel and guests will take place on June 8 at 2:00 p.m. at the Cinemark 22 Theater in Lancaster, California. The additional screenings for the servicemen and women and families who are currently stationed at Army, Air Force, Navy, Marine Corps and Coast Guard bases across the country will take place on either Saturday or Sunday at the following locations:
•Army: Ft. Meade, Baltimore, Maryland; Carlisle Barracks, Carlisle, Pennsylvania; Ft. Lewis, Tacoma, Washington; Ft. Warren, Cheyenne, Wyoming; Ft. Campbell, Clarksville, Tennessee; Ft. Jackson, Columbia, South Carolina; Ft. Stewart, Hinesville, Georgia; Ft. Hood, Killeen, Texas; Ft. Polk, Leesville, Louisiana; and Ft. Leonardwood, Waynesville, Missouri.
•Air Force: Hanscom AFB, Bedford, Massachusetts; Keesler AFB, Biloxi, Mississippi; Dover AFB, Dover, Delaware; Travis AFB, Fairfield, California; Goodfellow AFB, San Angelo, Texas; Lackland AFB, San Antonio, Texas; Schofield AFB, Wahiawa, Hawaii; Hickam AFB, Watertown, New York; Sheppard AFB, Wichita Falls, Texas; and McGuire AFB, Wrightstown, New Jersey.
•Navy: SUBASE Bangor, Bangor, Washington; NSWC Dahlgren, Dahlgren, Virginia; NAS El Centro, El Centro, California; NAS Fallon, Fallon, Nevada; NAS JRB Fort Worth, Fort Worth, Texas; SUBASE New London, Groton, Connecticut; NAB Little Creek, Little Creek, Virginia; NAS North Island, North Island, California; NAS Patuxent River, Patuxent River, Maryland; MCAS Miramar, San Diego, California; and NAS Whidbey Island, Whidbey Island, Washington.
•Marine Corps: MCAG 29 Palms, 29 Palms, California; MCAS Cherry Point, Cherry Point, North Carolina; MCB Kaneohe Bay, Kaneohe Bay, Hawaii; MCAS New River, New River, North Carolina; and MCB Yuma, Yuma, Arizona.
•Coast Guard: USCG in Petaluma, California; and USCG in Astoria, Oregon.
“Man of Steel” opens nationwide in 2D and 3D in select theatres and IMAX® on June 14, 2013. The film has been rated PG-13 for intense sequences of sci-fi violence, action and destruction, and for some language.
About the Film: From Warner Bros. Pictures and Legendary Pictures comes “Man of Steel,” starring Henry Cavill in the role of Clark Kent/Superman, under the direction of Zack Snyder. A young boy learns that he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind.
“Man of Steel” also stars Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni and Russell Crowe. The film is produced by Charles Roven, Christopher Nolan, Emma Thomas and Deborah Snyder. The screenplay was written by David S. Goyer from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Thomas Tull, Lloyd Phillips and Jon Peters serve as executive producers. Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Zack Snyder Film, “Man of Steel.” The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
www.manofsteel.com
Thursday, June 6, 2013
Review: "Cinderella Man" Ignores the Woman Next to the Man (Happy B'day, Paul Giamatti)
Cinderella Man (2005)
Running time: 144 minutes (2 hours, 24 minutes)
MPAA – PG-13 for intense boxing violence and some language
DIRECTOR: Ron Howard
WRITERS: Cliff Hollingsworth and Akiva Goldsman; from a story by Cliff Hollingsworth
PRODUCERS: Brian Grazer, Penny Marshall, and Ron Howard
CINEMATOGRAPHER: Salvatore Totino
EDITORS: Daniel P. Hanley and Mike Hill
COMPOSER: Thomas Newman
Academy Award nominee
DRAMA/BIOPIC/SPORTS
Starring: Russell Crowe, Renée Zellweger, Paul Giamatti, Craig Bierko, Paddy Considine, Bruce McGill, Ron Canada, Clint Howard, and Rufus Crawford
The subject of this movie review is Cinderella Man, a 2005 boxing drama and biographical film from director Ron Howard. The film is based on the life of heavyweight boxing champion, James J. Braddock (1935 to 1937), and the movie’s title is taken from Braddock’s nickname.
In 1928, James J. Braddock (Russell Crowe) was an up-and-coming prizefighter. By the early 1930, Jim Braddock was an impoverished ex-boxer – broken-down, beat-up, and as unfortunate and out of luck as so many Americans were who had hit rock bottom during the Depression. Although his boxing career was seemingly over, Braddock and still had a wife, Mae (Renée Zellweger), and three children to support, and to him they were what mattered most. Braddock was unable to pay his bills and eventually had to seek Public Relief (kind of like modern welfare); he even begged for money when things got that desperate.
However, Braddock never gave up on his dream to be a great boxer, even when the Boxing Commission took away his license to fight, and chance brings him a one-time fight. With his manager, Joe Gould (Paul Giamatti), at his side, Jim grabs the success of that fight and pushes his way back into boxing, each success keeping his family with a roof over their heads, food on the table, and light and heat. Eventually, he gets his dream match – a heavyweight championship fight with the reigning champion, the unstoppable Max Baer (Craig Bierko). Now, Jim, considered too old and finished by many in the boxing community, must face Baer, a man renowned for having killed two men in the ring.
Ron Howard’s biopic, Cinderella Man, based upon the real life of Depression-era boxing hero, Jim Braddock, was one of the best reviewed films of 2005, but considering the reviews and the pedigrees of the filmmakers involved, the film was not well attended. That’s a shame because Cinderella Man is one of those proverbial “good movies” of which many people, especially media watchers, complain there aren’t enough. This is actually Howard’s epic film, an ode to middle class values from a man, who as a child actor, played one of the ultimate Middle American children, Opie Taylor on “The Andy Griffith Show” and later played the teenage version of that in Richie Cunningham of “Happy Days.”
Cinderella Man is a film where you can really root for the hero, Jim Braddock. He’s the (not so) little guy battling against doubters, haters, financial misfortune, poverty, unemployment, etc., but he believes in himself. Though his back is often against the wall, he never quits, and he ain’t too proud to beg – if it keeps his family fed and off the streets. Russell Crowe’s performance embodies that plucky American spirit, but he shows something else we Americans really like – grit – the kind of grit it takes to fight the tough times. In fact, Paul Giamatti’s Joe Gould is like that voice inside our heads that keeps pushing us, and just when we think that the voice has left us, it’s back in our corner when it sees that we’re willing to fight out of the bad times. That’s the acting dynamic between Crowe and Giamatti – the hero and the voice of encouragement.
Cinderella Man actually does a few things to keep from being a perfect film. The lighting and cinematography are too murky; everything looks like an Old Master painting covered in soot. The script by Cliff Hollingsworth and Akiva Goldsman is good, but not great. One reason that it isn’t great is because it takes the easy road of turning Renée Zellweger’s Mae Braddock into the little wife at home fretting away for her man. I can imagine that Mae does as much to hold things together for the Braddocks, and Howard and his writers don’t have the imagination to really show her struggle – what she does to support the family unit. Mae is just a prop the filmmakers use when they need to send Jim home for scenes that don’t involve boxing or work.
Ultimately, this is Ron Howard’s Middle American fable, and he uses the elements of cinema to manipulate the audience as much as Steve Spielberg did in films like E.T. the Extraterrestrial and The Color Purple. However, Cinderella Man has many genuine and honest moments that speak to the American family and of the grit it takes for a family to keep it together. That’s enough to make me ignore the warts.
7 of 10
A-
NOTES:
2006 Academy Awards, USA: 3 nominations: “Best Performance by an Actor in a Supporting Role” (Paul Giamatti), “Best Achievement in Film Editing” (Daniel P. Hanley and Mike Hill), “Best Achievement in Makeup” (David LeRoy Anderson and Lance Anderson)
2006 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Cliff Hollingsworth and Akiva Goldsman)
2006 Golden Globes, USA: 2 nominations “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe) and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Paul Giamatti)
Tuesday, January 24, 2006
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Wednesday, June 5, 2013
Review: Shohreh Aghdashloo's Dazzling Memoir
HARPERCOLLINS – @HarperCollins
AUTHOR: Shohreh Aghdashloo
ISBN: 978-0-06-200980-7; hardcover (June 4, 2013)
288pp, B&W with 8-page color photo insert, $26.99 U.S.
Shohreh Aghdashloo is an Iranian-American actress. She is probably best known for the Oscar nomination she earned as “Best Actress in a Supporting Role” for portraying Nadereh “Nadi” Behrani, the wife of Ben Kingsley’s Colonel Behrani in the 2003 film, House of Sand and Fog (76th Academy Awards). In 2009, Aghdashloo won the Primetime Emmy Award for “Outstanding Supporting Actress in a Miniseries or a Movie” for portraying Sajida Khairallah Talfah in the BBC/HBO miniseries, House of Saddam (2008).
Superhero fans may remember Aghdashloo for portraying Dr. Kavita Rao in X-Men: The Last Stand (2006). In the film, Dr. Rao is a scientist working at Worthington Labs on the “mutant cure,” an inoculation (or shot) that will suppress the X-gene that gives mutants their abilities and makes them different from other humans.
Now, Shohreh Aghdashloo is sharing her journey from a childhood in Iran to the red carpets of Hollywood in her new memoir, The Alley of Love and Yellow Jasmines. The actress tells stories of family, faith, revolution, and hope.
She was born Shohreh Vaziri-Tabar on May 11, 1952 and grew up in affluent Tehran in the 1950s and 60s. However, Shohreh begins her story on Sunday, February 29, 2004 – the day of the 76th Academy Award ceremony. That day and the beginning of the night take up the first chapter, in which Shohreh even tells us about the two big Hollywood stars that snubbed her.
Afterwards, Shohreh, the author and storyteller, returns to her youth. Shohreh dreamed of becoming an actress, despite her parents’ more practical plans that she study to become a doctor. Shohreh was enchanted by the movies she watched while growing up in affluent Tehran in the 1950s and 60s. She fell in love and married her husband, Aydin Aghdashloo, a painter twelve years her senior and from whom she got her professional name. Shohreh made him promise he’d allow her to follow her passion.
The first years of their marriage were magical, as Shohreh began to build a promising acting career on screen and stage. Meanwhile, Aydin worked at the royal offices as an art director, exhibited his paintings in Tehran, and collected calligraphy. However, in 1979, revolution swept Iran, toppling the Shah Mohammed Reza Pahlavi’s regime and installing an Islamic republic ruled by the former exiled cleric, Ayatollah Khomeini. Shohreh, alarmed by the stifling new restrictions on women and art, decided to escape the new regime and her home country. She began a journey that would eventually lead her to Los Angeles, to a new home, to a new family, and finally to the Hollywood career of which she’d always dreamed.
The most surprising thing about The Alley of Love and Yellow Jasmines is how well-written it is, and I say that because the tale Shohreh Aghdashloo tells is occasionally mesmerizing. Shohreh the acclaimed actress becomes Shohreh the acclaimed author with this dazzling effort. Not every celebrity can pull off a well-written opinion piece, let alone an entire book. Is there anything that has come out of Charles Barkley and Bill O’Reilly’s mouths that makes you think they are actually articulate and literate enough to have written the books credited to them?
Shohreh’s prose is impressive and especially vivid. Readers will imagine that they are experiencing the sights, sounds, and sensations Shohreh describes, as if her memories are also their memories. Speaking personally, when Shohreh wrote of her time as a young fashion model, her words made my imagination work to envision the clothes and fashions she wore so many decades ago.
Iran comes to life for me as it never has before, because I was seeing a place where people lived and not as an enemy state, which is how Iran is so often portrayed in Western media. I think the most important thing, however, is that the reader comes to feel and to understand Shohreh Aghdashloo’s desire to be an artist and an actor.
I do think that Shohreh is vague in some spots. She really only scratches at the surface of her political and social activism. It is almost as if it is something she does not want to hide, yet is forced to leave out details in some instances.
Shohreh is relatively unknown to American audience, even with her success. The Alley of Love and Yellow Jasmines, this book written in such a dazzling and colorful manner, will make you want to know her. This is one book written by an actor about her life that is certainly worth reading.
Readers of actors’ memoirs must have The Alley of Love and Yellow Jasmines.
A-
Reviewed by Leroy Douresseaux
Tuesday, June 4, 2013
Review: "They Live" is Full of Cult Cinema Charm (Happy B'day, Keith David)
John Carpenter’s They Live (1988)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – R
DIRECTOR: John Carpenter
WRITER: Frank Armitage (based upon a short story by Ray Nelson)
PRODUCER: Larry Franco
CINEMATOGRAPHER: Gary B. Kibbe (D.o.P.)
EDITORS: Gib Jaffe and Frank E. Jimenez
COMPOSERS: John Carpenter and Alan Howarth
SCI-FI/THRILLER
Starring: Roddy Piper, Keith David, Meg Foster, George “Buck” Flower, Peter Jason, Raymond St. Jacques, Jason Robards III, John Lawrence, Susan Barnes, Sy Richardson, and Wendy Brainard
The subject of this movie review is They Live, a 1988 science fiction film from writer-director John Carpenter. Carpenter wrote the film using the pen named “Frank Armitage.”
They Live is based on two works by science fiction author, Ray Nelson. The first is Nelson’s short story “Eight O’Clock in the Morning” (The Magazine of Science Fiction and Fantasy, November 1963) and the second is “Nada,” a comic book adaptation of the short story, produced by Nelson and artist Bill Wray (Alien Encounters #6 – April 1986). They Live follows a drifter who finds a pair of sunglasses that allows him to discover that aliens have taken over the Earth.
In 2003, the pop culture magazine Entertainment Weekly published a special issue devoted to what the staff considered the top 50 cult movies of all time, and John Carpenter’s They Live made the list. It’s easy to see why with a film on a low budget that only allowed for cheesy-looking monster makeup and low rent flying robots. Writing under the name “Frank Armitage,” Carpenter weaves a delirious B-movie thriller that mixes the kind of Golden Age pulp sci-fi aimed at juveniles and morons with hippy idealism, counter-culture rage, conspiracy theorists’ paranoia, and a healthy dose of the National Enquirer-inspired zeal.
Nada (Roddy Piper), a down-on-his-luck construction worker, wanders into a large metropolitan area (presumably Los Angeles) to find work. He discovers a pair of special sunglasses, that when worn, shows him that our colorful world is really a society overrun by ugly aliens. Those alien rulers bombard human minds through a radio signal with subliminal messages that encourages people to eat, sleep, obey, consume, reproduce, etc. Without the aid of the glasses, this world remains hidden. Nada convinces a fellow construction worker, Frank (Keith David), to join him, and together they seek human resistance fighters who are searching for the source of the mind-controlling signal.
Carpenter’s film was more than just a science fiction and horror movie; it was also Carpenter’s commentary on the greed and rampant consumerism of the late 1980’s that was coupled with a total lack of regard on many people’s part for the growing number of people slipping into unemployment and poverty. It’s easy to dismiss They Live, what with it’s delightfully campy elements: aliens as free enterprisers who keep the majority of humans as slaves while enriching humans who turn traitors, sunglasses that allow you to see the “real world” (a decidedly William Castle idea), and a professional wrestler as the lead, among other things. The film is so silly sometimes that it makes you squirm.
However, Carpenter was clearly having fun and working within the confines of his genre. When you listen to what his characters say, a lot of things make quite a bit of sense. Lots of things, like the ugly aliens, are metaphors, granted they make silly metaphors, but they are nevertheless metaphors. Maybe Carpenter sabotages his point by using this kind of story to grind his ax about America’s materialist culture, dog-eat-dog society, and the callousness of people toward the less fortunate, but still, only someone dead set against “seeing the light” would miss the point.
I absolutely like the film’s hard, low-budget edge and the menace and gritty determination of Roddy Piper and Keith David’s characters. It’s one of my favorite Carpenter films, and it’s held up for me over repeated viewings. I also have to give credit to any film that makes a shantytown one of its major settings.
7 of 10
B+
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Lucasfilm Announces Second "Star Wars Reads Day"
LUCASFILM LTD., DISNEY PUBLISHING WORLDWIDE AND PUBLISHING PARTNERS ANNOUNCE SECOND ANNUAL STAR WARS READS DAY
Bookstore and library events to be held October 5, 2013.
New York, NY – Lucasfilm, Disney Publishing Worldwide, and its publishing partners announced today the second annual Star Wars Reads Day to be held this October 5, 2013. Last year, 30 authors and 1,500 costumed volunteers participated in over 1,200 Star Wars Reads Day events across North America. On October 5 of this year, Star Wars fans, authors, and artists will again come together in this multi-publisher initiative that celebrates reading and Star Wars. Participating publishing partners include Abrams, Chronicle Books, Dark Horse, Del Rey, DK, Quirk Books, Random House Audio, Scholastic, Titan Magazines, and Workman.
“Star Wars Reads Day is the kind of initiative that we at Lucasfilm love to support” says Carol Roeder, Director of Publishing at Lucasfilm. “Reading and Star Wars have gone hand-in-hand since 1976, when the novelization of the original Star Wars movie was released. Over the years, many fans have discovered the joy in reading through Star Wars books, and we hope to continue encouraging more people to read.”
Official Star Wars Reads Day author events are already confirmed at the following locations:
Ann Arbor, MI – Barnes & Noble
Austin, TX – Barnes & Noble
Carle Place, NY – Barnes & Noble
Cincinnati, OH – Joseph-Beth Booksellers
Denver, CO – Tattered Cover
Madison, WI – Barnes & Noble
New York, NY – The Scholastic Store
Portland, OR – Wordstock Festival
Redondo Beach, CA – Mysterious Galaxy
Richmond, VA – bbgb
Roseville, MN – Barnes & Noble
San Francisco, CA – Books Inc.
Seattle, WA – University Bookstore
Warwick, RI – Barnes & Noble
For updates and more information, follow Star Wars Reads on Facebook: https://www.facebook.com/StarWarsReads
An official Star Wars event kit (free of charge), including reproducible activity sheets and trivia, will be available for download at: http://starwars.com/reads/
Lucasfilm, STAR WARS™ and related properties are trademarks and/or copyrights, in the United States and other countries, of Lucasfilm Ltd. and/or its affiliates. TM & © Lucasfilm Ltd. All rights reserved. All other trademarks and trade names are properties of their respective owners.
Monday, June 3, 2013
Review: "Fast and Furious 6" is Pure Furious
Fast & Furious 6 (2013)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for intense sequences of violence and action and mayhem throughout, some sexuality and language
DIRECTOR: Justin Lin
WRITER: Chris Morgan (based on the characters created by Gary Scott Thompson)
PRODUCERS: Vin Diesel, Neal H. Moritz, and Clayton Townsend
CINEMATOGRAPHER: Stephen F. Windon
EDITORS: Greg D’Auria, Kelly Matsumoto, and Christian Wagner
COMPOSER: Lucas Vidal
ACTION/CRIME/DRAMA
Starring: Vin Diesel, Paul Walker, Dwayne Johnson, Luke Evans, Jordana Brewster, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Sung Kang, Gal Gadot, Elsa Pataky, Gina Carano, John Ortiz, and Shea Whigham
Two years ago, I started off my review of Fast Five, the fifth movie in The Fast and the Furious film franchise, by telling you, dear reader, that my beat up Random House dictionary defines the word “furious” as meaning full of fury, and defines the word, “fury,” as unrestrained or violent anger.
Fast & Furious 6 is a 2013 action movie from director Justin Lin and released by Universal Pictures. It is the sixth installment in The Fast and the Furious movie franchise. Justin Lin was able to add scenes he could not use in his previous franchise installments (for various reasons, including budget and technology), so Fast & Furious 6 is even more unrestrained than Fast Five. It is the first Summer 2013 movie I have seen that really made me say, “Wow!”
Following the successful Rio heist (shown in Fast Five), Dominic “Dom” Toretto (Vin Diesel) and his crew have retired to different places around the world. That includes disgraced FBI agent Brian O’Conner (Paul Walker) and his girlfriend, Mia Toretto (Jordana Brewster), who welcome the arrival of their first child, a baby boy.
Retirement is not to be. Diplomatic Security Service (DSS) officer, Lucas “Luke” Hobbs (Dwayne Johnson), who was tasked with capturing Dom and company in Rio, arrives at Dom’s home with a shocker. He has a recent photograph of Letty Ortiz (Michelle Rodriguez), Dom’s former girlfriend and fellow street racer who is supposed to be dead. Letty is apparently working for Owen Shaw (Luke Evans), a former British Special Forces soldier. Shaw leads a crew of professional criminals who steal military-grade technology.
Shaw plans to build a device that could leave an entire nation or region in the dark. Hobbs promises full pardons for Dom and his crew if they can help him capture Shaw and his gang. Roman Pearce (Tyrese Gibson), Tej Parker (Ludacris), and Han Lue (Sung Kang) reunite with Dom and Brian in what may be their fastest and most furious heist yet.
Fast & Furious 6 takes the massive gun battles, bone-crunching fights, and reality-bending car chases of Fast Five and makes them even crazier. I thought that Fast Five proved the franchise could still surprise, but Fast & Furious 6 seems to declare that this movie franchise will always surprise. You may think you’ve seen the car chases through the city streets before in other Fast and Furious movies, but you’ve never seen them with these cars (especially the cool “flip car”), nor have you seen these crashes, with cars spinning through the air, as you will see in Fast & Furious 6.
Remember the body-slamming brawls between Vin Diesel and Dwayne Johnson’s characters in Fast Five? Fast & Furious 6 offers the hot-chick version of that with Michelle Rodriguez and Gina Carano’s characters crashing into each other like angry bucks in two monster clashes of the lady titans.
But it comes down to this simply fact: Fast & Furious 6 is a joy to watch. It is another fine action movie from director Justin Lin. I laughed and cheered, and the audience that saw it with me did, too – almost as much as the audience that saw Marvel’s The Avengers with me liked that movie. Fast & Furious 6 is one of those movies that deserve to be called “the ultimate summer movie.” It has fights, non-stop action, car chases, tanks, gunplay, sleazy Euro-trash bad guys, girl fights, and guys who love cars probably more than they love girls (even if it’s just a little more). Fast & Furious 6 has all the low-brow stuff that makes an action movie good, and this action movie is quite good.
8 of 10
A
Monday, June 03, 2013
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