Will Ferrell and Kevin Hart Headline New Comedy “Get Hard”
BURBANK, Calif.--(BUSINESS WIRE)--Will Ferrell and Kevin Hart join forces on the feature comedy “Get Hard,” which began filming on location in New Orleans Monday, March 17, for director Etan Cohen.
When millionaire hedge fund manager James King (Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell Lewis (Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison. Together, the two men do whatever it takes for James to ‘get hard’ and, in the process, discover how wrong they were about a lot of things – including each other.
The film also stars Craig T. Nelson, Alison Brie, and rapper Tip “T.I.” Harris.
Cohen marks his feature directorial debut with “Get Hard,” following a successful writing career, with credits including “Tropic Thunder.”
“Get Hard” is written by Jay Martel & Ian Roberts and Etan Cohen, with a story by Adam McKay and Jay Martel & Ian Roberts. It will be produced by Adam McKay, Will Ferrell, and Chris Henchy, with Kevin Messick and Ravi Mehta serving as executive producers.
The creative filmmaking team includes director of photography Tim Suhrstedt (“Little Miss Sunshine”); production designer Maher Ahmad (“The Hangover Part III”); editor Michael Sale (“We’re the Millers”); and costume designer Shay Cunliffe (“The Bourne Legacy”).
“Get Hard” is scheduled to open nationwide on Friday, March 27, 2015.
A Warner Bros. Pictures presentation of a Gary Sanchez Production, the film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Wednesday, March 19, 2014
Tuesday, March 18, 2014
Review: "The White Countess" Does Not Quite Capture Old Merchant Ivory Magic (Remembering Natasha Richardson)
The White Countess (2005)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – PG-13 for some violent images and thematic elements
DIRECTOR: James Ivory
WRITER: Kazuo Ishiguro
PRODUCER: Ismail Merchant
CINEMATOGRAPHER: Christopher Doyle (director of photography)
EDITOR: John David Allen
COMPOSER: Richard Robbins
DRAMA/HISTORICAL with elements of romance
Starring: Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Hiroyuki Sanada, Lynn Redgrave, Allan Corduner, Da Ying, and Madeleine Daly
The subject of this movie review is The White Countess, a 2005 period drama from director James Ivory and producer Ismail Merchant for their Merchant Ivory Productions. This is the last film produced by Merchant, who died during production of the film. Written by Kazuo Ishiguro, The White Countess is set in 1930s Shanghai and focuses on a blind American diplomat and a young Russian trying to support members of her dead husband’s aristocratic family.
A traumatic political event took the lives of both his wife and son, and a second one killed his daughter and blinded him. Now, 40-something, disenchanted, ex-U.S. diplomat Todd Jackson (Ralph Fiennes) lives a lonely life amid the political turmoil of 1930’s Shanghai, and dreams of owning a gentleman’s club – the kind that he can still see in his mind and quite unlike the hotels and clubs in which he currently languishes.
However, his life changes when he crosses paths with Countess Sofia Belinskya (Natasha Richardson), a widowed Russian countess living in impoverished exile with her in-laws and her daughter. Where once she lived the life of nobility, now, she accepts sordid jobs to support her family. When fortune strikes and gives Jackson the means to open his bar, he names it The White Countess, and convinces Sofia to accept a job as the club’s hostess. But will he have the strength to admit his love before a coming Japanese invasion of Shanghai separates them forever?
The team of director James Ivory and producer Ismail Merchant are known to the film world as Merchant Ivory Productions and have produced such Oscar-winning and Oscar-nominated films as A Room with a View, Howard’s End, and Remains of the Day. The Indian born Merchant (who also directed films) died in May of 2005, and The White Countess was his final collaboration with James Ivory. The film is quiet and lacks the grandeur of the better-known Merchant Ivory Production like Howard’s End. It’s very low key, and dialogue moves the narrative. It’s almost as if The White Countess is more a historical epic made for television than it is a work for the cinema.
Ralph Fiennes and Natasha Richardson give strange, quiet performances. Fiennes is as usual quite good, and Richardson is mysterious and detached. One would think that the two couldn’t have any chemistry, but their facial expressions and subtle physical movements give their characters and their relationship a deeply evocative tone. They essentially define this slow moving, but classy period piece, as all the other actors seem to follow their tranquil acting.
In fact, there are a number of fine supporting performances including a rare appearance in the same film by famous acting sisters, Vanessa Redgrave and Lynn Redgrave (real life mother and aunt respectively of Natasha Richardson), in small but well-done roles. Hiroyuki Sanada gives an excellent turn as the mysterious Mr. Matsuda, who establishes the film’s exotic, but politically volatile setting, 1930’s Shanghai. The White Countess may seem overly serene at times, but the impeccable cast makes it a good choice for fans of fine acting and Merchant Ivory films.
6 of 10
B
Saturday, June 17, 2006
Updated: Tuesday, March 18, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
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Monday, March 17, 2014
Marvel-Netflix Deal a Landmark for New York and NYC
GOVERNOR CUOMO, THE WALT DISNEY COMPANY, MARVEL AND NETFLIX ANNOUNCE LANDMARK LIVE-ACTION TV SERIES BASED ON MARVEL CHARACTERS TO FILM IN NEW YORK
NYC To Serve As Principal Filming Location For Four Series Epic and One Mini-Series, Representing The Biggest Production Commitment in NYS History
Productions Will Result in Hundreds of Millions of Dollars in Investments and Lead to Creation of At Least 3,000 Industry Jobs
Governor Andrew M. Cuomo, The Walt Disney Company, Marvel and Netflix Inc. today announced that Marvel’s landmark live-action television series, which will bring Marvel’s ‘flawed heroes of Hell’s Kitchen’ characters to Netflix, the world’s leading Internet TV network, will principally film in New York State. Produced by Marvel Television, in association with ABC Studios, this groundbreaking series is Marvel’s most ambitious foray yet into live-action television storytelling and represents the largest film or television production project commitment in New York State history.
Filming is set to begin in the Summer 2014 and will create at least three thousand jobs in New York State including up to 400 full time jobs. The project will include nearly 60 one-hour episodes focused on the 4 Defenders characters: Daredevil, Jessica Jones, Luke Cage and Iron Fist.
“New York is where the entertainment industry started, and this unprecedented commitment from Disney and Marvel is further evidence that we’re bringing it back bigger and better than ever before,” said Governor Cuomo. “And when the entertainment industry thrives, it fuels dozens of other industries and businesses. The competition for these projects is fierce and Disney could have chosen to film these shows anywhere, but they knew that shooting in New York means getting to work with the best in world. These shows bring New York’s superheroes home where they belong – along with hundreds of jobs and millions of dollars in new business.”
“Since 2008 Disney has directly contributed almost half a billion dollars to New York’s economy through television and film production, along with approximately 9,000 jobs for New Yorkers,” said Robert A. Iger, Chairman and CEO, The Walt Disney Company. “The Governor’s policies make this great state a more affordable and attractive location, opening the door for even greater economic investment and job creation for New Yorkers. Our Marvel series for Netflix will inject millions directly into the local economy and create hundreds of new jobs.”
“We thank the Governor and the great state of New York for helping us create the ultimate backdrop to this epic series. Setting our production in New York City truly underscores the authenticity and excitement we plan to bring to The Defenders and their ‘flawed heroes of Hell’s Kitchen’ stories,” said Alan Fine, President, Marvel Entertainment.
Last November, Disney and Netflix announced an unprecedented deal for Marvel TV to bring multiple original series of live-action adventures of four of Marvel's most popular characters exclusively to the world's leading Internet TV Network beginning in 2015. This pioneering agreement calls for Marvel to develop four serialized programs totaling 52 one-hour episodes culminating in a four to eight episode mini-series programming event. Led by a series focused on "Daredevil," followed by "Jessica Jones," "Iron Fist" and "Luke Cage," the epic will unfold over multiple years of original programming, taking viewers deep into the gritty world of heroes and villains of Hell's Kitchen, New York. Netflix has committed to a minimum of four, thirteen episodes series and a mini-series event in which the Marvel characters from the first four series team up as "The Defenders," much like “The Avengers.”
This new original TV deal follows last year's landmark movie distribution deal through which, beginning with 2016 theatrically released feature films, Netflix will be the exclusive U.S. subscription television service for first-run, live-action and animated movies from the Walt Disney Studios, including titles from Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Disneynature and Lucasfilm.
"The Defenders are classic New York characters; smart, resourceful and tough enough to always stand up for what's right," said Ted Sarandos, Netflix Chief Content Officer. "We're delighted they're coming to life on their home turf thanks to Governor Cuomo and his team."
When Governor Cuomo took office in 2011, he made the attraction of the film and television production and post-production industries, and jobs and the economic impact they bring with them, a key part of his overall strategy to grow New York State’s economy. Since that time, he has signed into law several important changes to both programs to make New York more competitive in this global marketplace, and the results have been significant. Both programs enjoyed record-breaking years in 2013, bringing billions of dollars in new spending and thousands of jobs into the Empire State. The stability provided by multiyear funding has particularly encouraged the development of television series production work, like the new Marvel series, as well as long term investments in infrastructure, all of which creates thousands of jobs directly and indirectly related to the actual productions themselves.
During calendar year 2013, applications for 183 film productions were submitted that included 124 films, 33 television programs and 26 pilots. These projects will:
•Generate a direct spend of $2.11 billion in NYS;
•Collect a projected $477 million in credits; and
•Hire an estimated 128,165 actors and crew for the 183 projects submitted.
John Ford, President, International Alliance of Theatrical and Stage Employees (IATSE) Local 52 said, “The men and women of the IATSE look forward to participating in this ground breaking endeavor. Thanks to the vision of Governor Cuomo and the Legislature, the long term funding of the production incentives gives employers the comfort they need to invest in these new avenues of entertainment, which will provide thousands of new jobs with good wages and benefits.”
Thomas J. O'Donnell, President Teamsters Local 817 said, “Theatrical Teamsters Local 817 is thrilled that Marvel's newest television series will be filmed in New York. This long-term commitment is an incredible accomplishment that will bring not just jobs, but also stability to our members work and family lives.”
NYC To Serve As Principal Filming Location For Four Series Epic and One Mini-Series, Representing The Biggest Production Commitment in NYS History
Productions Will Result in Hundreds of Millions of Dollars in Investments and Lead to Creation of At Least 3,000 Industry Jobs
Governor Andrew M. Cuomo, The Walt Disney Company, Marvel and Netflix Inc. today announced that Marvel’s landmark live-action television series, which will bring Marvel’s ‘flawed heroes of Hell’s Kitchen’ characters to Netflix, the world’s leading Internet TV network, will principally film in New York State. Produced by Marvel Television, in association with ABC Studios, this groundbreaking series is Marvel’s most ambitious foray yet into live-action television storytelling and represents the largest film or television production project commitment in New York State history.
Filming is set to begin in the Summer 2014 and will create at least three thousand jobs in New York State including up to 400 full time jobs. The project will include nearly 60 one-hour episodes focused on the 4 Defenders characters: Daredevil, Jessica Jones, Luke Cage and Iron Fist.
“New York is where the entertainment industry started, and this unprecedented commitment from Disney and Marvel is further evidence that we’re bringing it back bigger and better than ever before,” said Governor Cuomo. “And when the entertainment industry thrives, it fuels dozens of other industries and businesses. The competition for these projects is fierce and Disney could have chosen to film these shows anywhere, but they knew that shooting in New York means getting to work with the best in world. These shows bring New York’s superheroes home where they belong – along with hundreds of jobs and millions of dollars in new business.”
“Since 2008 Disney has directly contributed almost half a billion dollars to New York’s economy through television and film production, along with approximately 9,000 jobs for New Yorkers,” said Robert A. Iger, Chairman and CEO, The Walt Disney Company. “The Governor’s policies make this great state a more affordable and attractive location, opening the door for even greater economic investment and job creation for New Yorkers. Our Marvel series for Netflix will inject millions directly into the local economy and create hundreds of new jobs.”
“We thank the Governor and the great state of New York for helping us create the ultimate backdrop to this epic series. Setting our production in New York City truly underscores the authenticity and excitement we plan to bring to The Defenders and their ‘flawed heroes of Hell’s Kitchen’ stories,” said Alan Fine, President, Marvel Entertainment.
Last November, Disney and Netflix announced an unprecedented deal for Marvel TV to bring multiple original series of live-action adventures of four of Marvel's most popular characters exclusively to the world's leading Internet TV Network beginning in 2015. This pioneering agreement calls for Marvel to develop four serialized programs totaling 52 one-hour episodes culminating in a four to eight episode mini-series programming event. Led by a series focused on "Daredevil," followed by "Jessica Jones," "Iron Fist" and "Luke Cage," the epic will unfold over multiple years of original programming, taking viewers deep into the gritty world of heroes and villains of Hell's Kitchen, New York. Netflix has committed to a minimum of four, thirteen episodes series and a mini-series event in which the Marvel characters from the first four series team up as "The Defenders," much like “The Avengers.”
This new original TV deal follows last year's landmark movie distribution deal through which, beginning with 2016 theatrically released feature films, Netflix will be the exclusive U.S. subscription television service for first-run, live-action and animated movies from the Walt Disney Studios, including titles from Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Disneynature and Lucasfilm.
"The Defenders are classic New York characters; smart, resourceful and tough enough to always stand up for what's right," said Ted Sarandos, Netflix Chief Content Officer. "We're delighted they're coming to life on their home turf thanks to Governor Cuomo and his team."
When Governor Cuomo took office in 2011, he made the attraction of the film and television production and post-production industries, and jobs and the economic impact they bring with them, a key part of his overall strategy to grow New York State’s economy. Since that time, he has signed into law several important changes to both programs to make New York more competitive in this global marketplace, and the results have been significant. Both programs enjoyed record-breaking years in 2013, bringing billions of dollars in new spending and thousands of jobs into the Empire State. The stability provided by multiyear funding has particularly encouraged the development of television series production work, like the new Marvel series, as well as long term investments in infrastructure, all of which creates thousands of jobs directly and indirectly related to the actual productions themselves.
During calendar year 2013, applications for 183 film productions were submitted that included 124 films, 33 television programs and 26 pilots. These projects will:
•Generate a direct spend of $2.11 billion in NYS;
•Collect a projected $477 million in credits; and
•Hire an estimated 128,165 actors and crew for the 183 projects submitted.
John Ford, President, International Alliance of Theatrical and Stage Employees (IATSE) Local 52 said, “The men and women of the IATSE look forward to participating in this ground breaking endeavor. Thanks to the vision of Governor Cuomo and the Legislature, the long term funding of the production incentives gives employers the comfort they need to invest in these new avenues of entertainment, which will provide thousands of new jobs with good wages and benefits.”
Thomas J. O'Donnell, President Teamsters Local 817 said, “Theatrical Teamsters Local 817 is thrilled that Marvel's newest television series will be filmed in New York. This long-term commitment is an incredible accomplishment that will bring not just jobs, but also stability to our members work and family lives.”
Review: Kurt Russell is the Soul of "Soldier" (Happy B'day, Kurt Russell)
Soldier (1998)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – R for strong violence and brief language
DIRECTOR: Paul Anderson
WRITER: David Webb Peoples
PRODUCER: Jerry Weintraub
CINEMATOGRAPHER: David Tattersall (D.o.P.)
EDITOR: Martin Hunter
COMPOSER: Joel McNeely
SCI-FI/ACTION with elements of a thriller
Starring: Kurt Russell, Jason Scott Lee, Jason Isaacs, Connie Nielsen, Sean Pertwee, Jared Thorne, Taylor Thorne, Mark Bringleson, and Gary Busey
The subject of this movie review is Soldier, a 1998 science fiction and action film from director Paul W.S. Anderson. The film focuses on a discarded soldier who defends crash survivors on a waste disposal planet from the genetically-engineered soldiers ordered to eliminate them.
At the beginning of director Paul Anderson and writer David Webb Peoples’s sci-fi action film, Soldier, the military industrial complex chooses it soldiers from the cradle, from where they are taken and turned into barely human killing machines. The best of the lot is Todd 3465 (Kurt Russell). Todd 3465 or Sergeant Todd is an efficient, effective soldier who does nothing but follow orders to the letter. [This is funny now, but at the time of this film’s release, I thought that Russell seemed to be one of a relatively small number of Hollywood actors who could convincingly play a heterosexual man a/k/a “a real man.”)
After one of his genetically engineered replacements defeats him and leaves him for dead, the military dumps Todd’s body on a remote planetoid, Arcadia 234. There, Todd encounters a peaceful community of castaways who teach him about a life without the destruction of war. Later, Todd’s super-soldier replacements arrive on the planet for military exercises. Now, Todd must take up the colonists’ defense, after the soldiers are ordered to kill the settlers.
While Peoples’s script hints at multiple layers and subtexts, Anderson’s direction is too busy to bother with stories and ideas. Peoples, the writer of Blade Runner and Unforgiven, is an excellent screenwriter, but his vision is often supplanted by the director’s goals. Ridley Scott unleashed a visual feast with Blade Runner, while delivering Peoples’s ideas through pictures rather than spoken words. Clint Eastwood’s Unforgiven was a kind of apology to his gunfighter pictures, but he managed to deliver his sermon by mostly keeping Peoples’s work intact.
Anderson (Mortal Kombat and Event Horizon), at the precipice of being a hack or a halfway decent director-for-hire, looses Peoples in a series of standard action film clichés and direction-by-numbers staging. Still, Peoples basic story is so strong that it shines through even the bad shots like those that have Russell standing in the foreground while explosions in the background tear the world apart. Russell, however, doesn’t get the directorial shaft like his co-stars do.
Caine 607 (Jason Scott Lee, Dragon: the Bruce Lee Story), Todd’s genetically engineered opposite, is ripe for metaphoric play as Todd’s counterpart. His screen time barely registers; our only solace for how good the Todd/Caine dynamic might have been is their end battle. Sandra (Connie Nielsen, Gladiator), a beautiful colonist who draws Todd’s stares, is lost in the haze of soft lens shots. She is certainly beautiful, and Anderson never lets us forget that. He traps Sandra in a snow globe; he softly lights every close-up of her and turns her into a porcelain doll. She seems like a good character, but this is an action movie and we can’t be bothered with girls’ stories.
What really carries the movie is the mostly silently relationship between Todd and Sandra’s small son, Nathan (Jared Thorne). Todd rarely speaks, and when he does, it’s mostly “yes’s” and “sir’s.” It was the way he was both reared and trained, an unquestioning soldier who silently went about his brutal duty. Nathan cannot speak because of a serpent’s bite. His placid face is silent, and the only thing one can read from his piercing gaze is need. Nathan needs Todd to protect him, and Todd needs Nathan to help him to gain some measure of being a human. Todd can learn to defend Nathan both as a soldier and as a father, while Nathan can learn to defend himself, yet remain a peaceful human.
Russell is boyish as Todd, and he never lets Todd lose the boy that learned to be a killing machine; watching Russell’s stone face is also like watching the boy Todd through the shadows that linger on Todd’s face. Russell’s cinematic presence speaks loud volumes of his character; the story is in him, and the audience must ever watch him to learn it. Russell built his body solidly and strongly, eschewing the artificiality of bodybuilding. It gives him an earthy ruggedness that hints at a man of base origins. His facial expressions mirror the youthfulness of Nathan’s face and makes them counterparts. Nathan is Todd, a blank slate ready to mold as Todd was, and perhaps it is Todd who will mold him, but not with the brutality with which the military molded him.
There is much to the Todd/Nathan relationship, as there is to this entire movie. However, Anderson, like the serpent that stole Nathan’s speech and like the military machines strangled Todd’s voice, silences this movie with a heavy handiness that reveals someone determined bring a product to the market and not a story to the audience.
It is a testament to Russell’s star presence and acting ability that this movie is still worth watching.
6 of 10
B
Updated: Monday, March 17, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
Saturday, March 15, 2014
Review: "Videodrome" Still Dazzles (Happy B'day, David Cronenberg)
Videodrome (1983)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – R
WRITER/DIRECTOR: David Cronenberg
PRODUCER: Claude Héroux
CINEMATOGRAPHER: Mark Irwin (D.o.P.)
EDITOR: Ronald Sanders
COMPOSER: Howard Shore
SCI-FI/HORROR/THRILLER with elements of fantasy
Starring: James Wood, Sonja Smits, Deborah Harry, Peter Dvorsky, Les Carlson, Jack Creley, and Lynne Gorman
The subject of this movie review is Videodrome, a 1983 Canadian science fiction and horror film from writer-director, David Cronenberg. Possessing elements of the “body horror” genre, this film focuses on a sleazy cable television programmer who acquires a new kind of programming for his station then, watches as everything, including his life, spins out of control. The film received eight Genie Award nominations (once Canada’s top film award), and won four, including a best director honor for Cronenberg (who shared the win with Bob Clark of A Christmas Story).
Although the term “visionary director” is bandied about so often (even more so now with so many movie reviewers and film critics crowding information space via the Internet, print, and televised media), Canadian filmmaker David Cronenberg is truly a visionary as displayed in his film Videodrome.
Max Renn (James Woods) is a low-level cable TV operator who runs a television station and is looking for new material when he stumbles upon a kind of “snuff film” and porno TV broadcast called Videodrome. Max wants to acquire the rights to Videodrome, but has a hard time finding out who owns the rights or from where exactly the program’s signal originates. He finally discovers the creator of Videodrome, only to learn there is a larger conspiracy involved, and that watching Videodrome also causes the viewer to experience strange hallucinations.
The film has the usual characteristics of a Cronenberg production: bodily invasion and penetration, body alteration, hallucinations, rape paranoia, and altered realities. While certainly heavy with sci-fi and horror themes, Videodrome is firmly rooted in everyday reality. The film deals with how television and video images can physically, as well as mentally, alter and affect the human body. Cronenberg’s most successful experiment in this film is to make the viewer as totally lost and confused as Max Renn is. We truly don’t know anymore than he does, and he holds no clues secretly in head from the viewer.
The film’s third act is one of the most brilliant film portrayals of altered perception, as it becomes almost impossible to say what is the real world and what is imagination and hallucination. Even more brilliant, Cronenberg creates this sense of detachment from reality without loosing the viewer. We may never know what is meant to be “real,” as this film draws to its shocking finale, but we can’t look away.
Videodrome does drag a little in the first act, but Cronenberg is a smart filmmaker of smart films that unveil slowly and intelligently before our eyes. It is a dazzling examination of how TV has and is changing humanity – truly a movie masterpiece of the late 20th Century.
9 of 10
A+
Updated: Saturday, March 15, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
Friday, March 14, 2014
Review: "Superman: Unbound" is Quite Unsound
Superman: Unbound (2013) – straight-to-video
Running minutes: 75 minutes (1 hour, 15 minutes)
MPAA – PG-13 for sequences of violence and action, and a rude gesture
DIRECTOR: James Tucker
WRITER: Bob Goodman (based on the story “Superman: Brainiac” by Geoff Johns and Gary Frank; and characters created by Jerry Siegel and Joe Shuster; and Jerry Ordway and Tom Grummet)
EDITOR: Christopher D. Lozinski
COMPOSER: Kevin Kliesch
ANIMATION STUDIO: MOI Animation Studios
ANIMATION/SUPERHERO/ACTION
Starring: (voices) Matt Bomer, Stana Katic, John Noble, Molly Quinn, Diedrich Bader, Frances Conroy, Melissa Disney, Alexander Gould, Sirena Irwin, Stephen Root, Wade Williams, and Michael Leon Wooley
Superman: Unbound is a 2013 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics’ most famous superhero, Superman, this is also the 16th feature in the DC Universe Animated Original Movies line.
Superman: Unbound is an adaptation of the comic book story arc, “Superman: Braniac,” which was published in Action Comics #866-870 (cover date: August 2008 to December 2008). The story was written by Geoff Johns and drawn by artist Gary Frank. In Superman: Unbound, Superman and Supergirl take on a powerful cyborg that collects cities and destroys worlds
Superman: Unbound finds Kara Zor-El AKA Supergirl (Molly Quinn) trying to find her place on Earth. Like her cousin, Clark Kent AKA Superman (Matt Bomer), she is from the planet Krypton, but she has more traumatic memories involving the destroyed world than her cousin does. She remembers how a space-faring cyborg, called Brainiac (John Noble), attacked Krypton and stole the city of Kandor. Now, Brainiac has set his sights on Earth. Superman is ready to battle the monster, but can Supergirl overcome her trauma in order to fight a villain she very much fears?
Superman: Unbound is not a tie-in to The Man of Steel, the 2013 live-action reboot of the Superman film franchise. However, both films depict Superman’s home world of Krypton in distress. Both are also mediocre action movies that feature overly long sequences of destruction and battles. The Man of Steel was a tedious excursion into the Superman mythos. Superman: Unbound uses the Superman mythos as window-dressing for a story that is just an excuse for super-powered beings to bash and thrash.
It is pointless to even go into detail about the subplot concerning Clark Kent and Lois Lane’s (Stana Katic) relationship dysfunction. It’s lame. I hate that I wasted time watching this. I can’t even explain why I thought that I should watch it. Well, I am a longtime comic book fan, and I have watched the other DC Universe Animated Original Movies released prior to this one. Superman: Unbound: it’s hard to find moments in it that I liked.
3 of 10
D+
Thursday, March 13, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
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Thursday, March 13, 2014
"Tiger and Bunny: The Rising" Hits U.S. Theatres
Catch Japan’s Favorite Corporately Sponsored Superheroes On The Big Screen With A New Look, New Heroes, And An Intense Battle Against A New Cast Of Powerful Villains
VIZ Media, LLC (VIZ Media), the largest distributor and licensor of manga and anime in North America, teams with Los Angeles-based film distribution company ELEVEN ARTS to bring the riveting anime action of TIGER & BUNNY THE MOVIE: THE RISING to a host of major U.S. cities for series of special theatrical screenings beginning Saturday, March 15th.
TIGER & BUNNY THE MOVIE: THE RISING is the second and latest feature film in the popular Japanese superhero action franchise. The film is scheduled to premiere in Japan in February prior to the theatrical premieres in 20 cities throughout the U.S. including New York, Chicago, Los Angeles, Seattle and more. Tickets will be available for $15 each, and attendees will receive a free 12” x 18” premium cardstock movie poster and while supplies last, an exclusive movie clear file. A complete list of screenings and theatre locations is available at: http://www.elevenarts.net/th_gallery/tigerandbunny-therising/
A special screening scheduled for March 22nd brings the hero-inspired big screen action of the smash hit anime property home to the Bay Area for a very special theatrical event to be held at the NEW PEOPLE Cinema, located inside the dynamic Japanese pop culture entertainment venue in San Francisco’s Japantown at 1746 Post St. Details for this screening will be announced soon on the TIGER & BUNNY Facebook page at: https://www.facebook.com/TigerAndBunny.
In TIGER & BUNNY THE MOVIE: THE RISING, the heroes are back in an all-new feature-length film! Kotetsu T. Kaburagi, a.k.a. Wild Tiger, and Barnaby Brooks Jr.’s partnership comes to a sudden end when Apollon Media’s new owner Mark Schneider fires Kotetsu and moves Barnaby back into the First League, pairing him up with Golden Ryan, a new hero with awesome powers and a huge ego to match. When the heroes are sent to investigate a string of strange incidents tied closely to the city’s Goddess Legend, they discover three superpowered NEXTs plotting to bring terror and destruction to Stern Bild.
“TIGER & BUNNY THE MOVIE: THE RISING is the all-new feature film in the smash hit series, and this time the tables are turned as it becomes Barnaby Brooks Jr., aka Bunny, who now has to work with a young and arrogant upstart,” says Charlene Ingram, Senior Marketing Manager, Animation. “Barnaby is more mature now, honoring and passing on the values he learned from his former partner. And though the beloved Wild Tiger is no longer partnered with Barnaby, he’ll also get his fair share of action. Don’t miss the big screen superhero action and drama as TIGER & BUNNY THE MOVIE: THE RISING premieres in North America!”
VIZ Media is the also distributor of the TIGER & BUNNY manga series (rated ‘T’ for Teens), which features artwork by Mizuki Sakakibara and is based on the smash hit animated series, created by the famed Tokyo-based anime studio Sunrise. VIZ Media also licenses and distributes the popular TIGER & BUNNY feature film and anime series that are available on DVD/Blu-ray as well as on the company’s Neon Alley 24/7 anime channel.
More information on the TIGER & BUNNY anime is available at: www.facebook.com/TigerAndBunny and VIZAnime.com/tiger-and-bunny/
For more information on manga titles available from VIZ Media, please visit www.VIZ.com.
About ELEVEN ARTS:
ELEVEN ARTS is the Los Angeles based film distribution company that has brought many acclaimed Japanese films, live-action and animated features, to North American audiences. ELEVEN ARTS’s major live-action titles include Japan Academy Awards winner Memories of Tomorrow (starring Ken Watanabe) and Oscar nominated director (with The Twilight Samurai in 2004) Yoji Yamada’s samurai film Love and Honor. ELEVEN ARTS is also a respected distributor of popular animation titles such as the Evangelion franchise, Fullmetal Alchemist: The Sacred Star of Milos, and Puella Magi Madoka Magica The Movie Part 1: Beginnings/ Part 2: Eternal/ Part 3: Rebellion. For additional information, go to www.elevenarts.net.
About VIZ Media, LLC
Headquartered in San Francisco, California, VIZ Media distributes, markets and licenses the best anime and manga titles direct from Japan. Owned by three of Japan's largest manga and animation companies, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media has the most extensive library of anime and manga for English speaking audiences in North America, the United Kingdom, Ireland and South Africa. With its popular digital manga anthology WEEKLY SHONEN JUMP and blockbuster properties like NARUTO, BLEACH and INUYASHA, VIZ Media offers cutting-edge action, romance and family friendly properties for anime, manga, science fiction and fantasy fans of all ages. VIZ Media properties are available as graphic novels, DVDs, animated television series, feature films, downloadable and streaming video and a variety of consumer products. Learn more about VIZ Media, anime and manga at www.VIZ.com.
Wednesday, March 12, 2014
Review: "Thank You for Smoking" is Too Glib (Happy B'day, Aaron Eckhart)
TRASH IN MY EYE No. 229 (of 2006) by Leroy Douresseaux
Thank You for Smoking (2005)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – R for language and some sexual content
DIRECTOR: Jason Reitman
WRITERS: Jason Reitman (based upon the novel by Christopher Buckley)
PRODUCER: David O. Sacks
CINEMATOGRAPHER: James Whitaker (D.o.P.)
EDITOR: Dana E. Glauberman
COMPOSER: Rolfe Kent
Golden Globes nominee
COMEDY with elements of drama
Starring: Aaron Eckhart, Maria Bello, Cameron Bright, Sam Elliot, Katie Holmes, David Koechner, Rob Lowe, William H. Macy, J.K. Simmons, and Robert Duvall, Kim Dickens, Adam Brody, and Todd Louiso
The subject of this movie review is Thank You for Smoking, a 2005 satirical comedy written for the screen and directed by Jason Reitman. The film is based on the 1994 novel, Thank You for Smoking, by author Christopher Buckley. Thank You for Smoking the movie follows the tobacco industry’s chief spokesman as he spins and disseminates information on behalf of cigarettes, while trying to remain a role model for his twelve-year-old son.
As Vice-President of the Academy of Tobacco Studies, Nick Naylor (Aaron Eckhart) is the main lobbyist and primary spin doctor for Big Tobacco. Naylor is on a mission to make the country forget the dangers and health risks of smoking cigarettes. However, his mission gets tougher with health advocates and the opportunistic Senator Ortolan K. Finistirre (William H. Macy) determined to put a new poison label (in the form of an image of the skull & bones) on cigarette packs. Naylor goes on the PR offensive with a strategy to get big Hollywood actors to smoke on screen, as the movie stars of yesteryear did in the Golden Age of Hollywood movies. Nick enlists, Jeff Megall (Rob Lowe), a Hollywood super-agent, to help him get smoking on screen again.
However, Nicky’s newfound notoriety does not go unnoticed by Big Tobacco’s head honcho, The Captain (Robert Duvall), who gives his blessing to Nick’s Hollywood plan. Nick’s activities also get the attention of a beautiful, young investigative reporter, Heather Halloway (Katie Holmes), who is willing to use her body to get Nick to tell her his secrets. Even with a busy schedule, Nick still finds time to hold forth with two comrades – two other lobbyists for industries also facing public backlash: Polly Bailey (Maria Bello) of the alcohol industry and Bobby Jay Bliss (David Koechner) of the gun industry. Together, the three of them are the Merchants of Death or M.O.D. Squad. Nick’s also a father, and he’s trying to remain a role model to his young, impressionable son, Joey Naylor (Cameron Bright), who thinks his dad is a god, but Nick’s ex-wife, Jill Naylor (Kim Dickens), isn’t sure a tobacco lobbyist is the best dad material.
Jason Reitman, the son of famed comedy director, Ivan Reitman (Animal House, Ghostbusters), has a more cerebral approach to film comedy than his father, and that’s clearly evident in the clever, offhand satire, Thank You for Smoking, which Reitman adapted from the novel by Christopher Buckley. The film comes across as a savage satire of the tobacco industry, but Reitman directs the film with such elegance that Thank You for Smoking sometimes comes across as glib and soulless. In his attempt to impale Big Tobacco, and also throw sand in the face of shallow Hollywood, opportunistic big media, and shameless Congress, Reitman’s movie ends up gabby and has no real villains. This is a satire that comes across as if it’s teasing its targets rather than criticizing them.
While Thank You for Smoking holds up the characters and subject matter for detached scrutiny, the cast isn’t afraid to get down and dirty. The actors take delight in revealing the characters for all their oily selfishness. They’re all out for their own interests, and what little guilt they feel merely adds a light pungent flavor to the characters. The best performance is delivered, of course, by Aaron Eckhart as the film’s protagonist/quasi-villain, Nick Naylor. A character actor who can play an amazing range of lead characters, Eckhart gives Thank You for Smoking its gift of gab. Eckhart’s screen chemistry with Cameron Bright, the young actor who plays Nick’s son, Joey, is supernaturally real. It’s like a real father and son duo.
Eckhart humanizes Naylor, and makes the viewer like him and want to engage him. Thank You for Smoking is well-written and well-directed (considering the inexperience of the director), and the technical aspects are pretty good. But it’s Aaron Eckhart who makes Thank You for Smoking something more than just another satirical film essay. He makes it memorable.
7 of 10
B+
Monday, November 06, 2006
NOTES:
2007 Golden Globes: 2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Aaron Eckhart)
Updated: Wednesday, March 12, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
------------------------
Tuesday, March 11, 2014
Review: Father and Daughter Hold Down the "Homefront"
Homefront (2013)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for strong violence, pervasive language, drug content and brief sexuality
DIRECTOR: Gary Fleder
WRITER: Sylvester Stallone (based upon the novel by Chuck Logan)
PRODUCERS: Sylvester Stallone, Kevin King Templeton, John Thompson, and Les Weldon
CINEMATOGRAPHER: Theo van de Sande
EDITOR: Padraic McKinley
COMPOSER: Mark Isham
CRIME/ACTION/DRAMA/THRILLER
Starring: Jason Statham, James Franco, Izabela Vidovic, Kate Bosworth, Marcus Hester, Winona Ryder, Clancy Brown, Omar Benson Miller, Rachelle Lefevre, Frank Grillo, Chuck Zito, Pruitt Taylor Vince, Linds Edward, and Austin Craig
Homefront is a 2013 crime thriller and action movie from director Gary Fleder. The film is loosely based on the 2005 novel, Homefront, by author Chuck Logan. Homefront the movie focuses on a former DEA agent who moves to a small town, where he soon catches the attention of a local drug lord.
Homefront is a mean, gritty little bastard of a film. It is a true southern gothic in the tradition of such movies as White Lighting (a Burt Reynolds classic), Deliverance, and Walking Tall.
Widowed ex-solider Phil Broker (Jason Statham) works undercover for the Drug Enforcement Agency (DEA). After an operation goes bad, Broker retires, and he and his 10-year-old daughter, Maddy (Izabela Vidovic), move to the quiet Southern town of Rayville. However, the small town is riddled with drugs and violence, and, after Maddy gets into a fight at her new school, Broker discovers that Rayville is not as idyllic as it seems on the surface. Broker catches the attention of Gator Bodine (James Franco), a local drug lord with big ambitions. Those ambitions cause Gator to go into Broker’s past, which brings trouble for everyone.
It is too easy to mock a screenplay written by Sylvester Stallone; after all, he has been writing movie scripts for four decades. His Homefront screenplay is tightly written, perhaps a bit too tightly. The movie runs at about an hour-and-a-half of actual story time, which is too short for the plot and characters. Stallone introduces several characters and establishes them as potentially having a major impact on the story. Many of them, however, end up being used sparingly, especially the teacher Susan Hetch (Rachelle Lefevre), who might have romantic feelings for Broker. Cassie Bodine Klum (Kate Bosworth), as a character connected to both Broker and Bodine, has the most potential to improve the drama in Homefront, but, except for a few scenes, Cassie is underutilized.
What Stallone’s script gets right is the relationship between Broker and his daughter, Maddy. The film takes the time to establish how important both characters are to each other. The movie emphasizes two things: as a family that recently underwent loss, Broker and Maddy are in a fragile state and also that external threats are not the only things that can damage the family. Maddy is every bit as stubborn and determined as her father, and her love for him won’t deter her from confronting him. So when the bad guys start attacking, the audience will buy into the threat to the family because the film made the bond and relationship between Broker and Maddy seem genuine and honest.
Fear not, Jason Statham fans; our guy gets to kick ass and pop caps. Director Gary Fleder and film editor Padraic McKinley largely eschew CGI god-tech and instead, offer old-fashioned, no-gloss gunfights that will glue your attention to the screen. The bone-crunching, ball-rupturing, face-smashing fights are short and to the point, and I found myself re-watching them.
Homefront is one of the better Jason Statham vehicles because his character seems more grounded in realism. Phil Broker is both susceptible to being hurt and has something to lose. And because this movie was not a box office success, we likely won’t get to see Statham as Broker in another film – a pity.
6 of 10
B
Sunday, March 09, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
Monday, March 10, 2014
Denis Villeneuve's "Enemy" Wins Canada's "Best Picture" Award
The Canadian Screen Awards honor achievements in Canadian film and television production, as well as achievements in digital media. In 2012, the formerly separate Genie Awards (for film) and Gemini Awards (for television) merged into a single ceremony, the Canadian Screen Awards.
The Canadian Screen Awards are presented by the Academy of Canadian Cinema & Television. This is a national, no-profit, professional association dedicated to the promotion, recognition and celebration of exceptional achievements in Canadian film, television and digital media. The Academy describes itself as a “Unifying industry professionals across Canada, the Academy is a vital force representing all screen – based industries.”
The Academy’s Canadian Screen Awards is the annual awards show to celebrate the best in film, television and digital media. They are part of Canadian Screen Week (March 3‐9, 2014).
The 2014 Canadian Screen Awards were presented at an awards gala on Sunday, March 9, 2014. This two-hour live broadcast was presented on the CBC. Actor Martin Short was the host.
The following list of winners is only a partial list, which excludes the television and new media categories, as well as most of the 2014 Special Award winners. For a full list of winners and nominees, go here:
http://www.academy.ca/Canadian-Screen-Awards/2014-Nominees-Winners/Film
2nd / 2014 CANADIAN SCREEN AWARDS Winners (for the year in film 2013):
Feature Film Winners:
Best Motion Picture / MEILLEUR FILM (Sponsor / Commanditaire | William F. White International and Comweb Group):
ENEMY – Kim McCraw, Luc Déry, Miguel A. Faura, Niv Fichman, Sari Friedland
Best Director: ACHIEVEMENT IN DIRECTION / MEILLEURE RÉALISATION (Sponsor / Commanditaire | Pinewood Toronto Studios):
DENIS VILLENEUVE – Enemy
Best Actor: PERFORMANCE BY AN ACTOR IN A LEADING ROLE / INTERPRÉTATION MASCULINE DANS UN PREMIER RÔLE
GABRIEL ARCAND – Le Démantèlement / The Dismantlement
Best Supporting Actor: PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE / INTERPRÉTATION MASCULINE DANS UN RÔLE DE SOUTIEN
GORDON PINSENT – The Grand Seduction
Best Actress: PERFORMANCE BY AN ACTRESS IN A LEADING ROLE / INTERPRÉTATION FÉMININE DANS UN PREMIER RÔLE
GABRIELLE MARION‐RIVARD – Gabrielle
Best Supporting Actress: PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE /INTERPRÉTATION FÉMININE DANS UN RÔLE DE SOUTIEN
SARAH GADON – Enemy
ORIGINAL SCREENPLAY / MEILLEUR SCÉNARIO (Sponsor / Commanditaire | Harold Greenberg Fund):
SHANNON MASTERS – Empire of Dirt
ADAPTED SCREENPLAY / MEILLEURE ADAPTATION
ELAN MASTAI – The F‐Word
ACHIEVEMENT IN ART DIRECTION/PRODUCTION DESIGN / MEILLEURE
DIRECTION ARTISTIQUE
MICHEL PROULX – Louis Cyr, l’homme le plus fort du monde / Louis Cyr: The Strongest Man in the World
ACHIEVEMENT IN COSTUME DESIGN / MEILLEURS COSTUMES
CARMEN ALIE – Louis Cyr, l’homme le plus fort du monde / Louis Cyr: The Strongest Man in the World
ACHIEVEMENT IN CINEMATOGRAPHY / MEILLEURES IMAGES:
NICOLAS BOLDUC CSC – Enemy
ACHIEVEMENT IN EDITING / MEILLEUR MONTAGE (Sponsor / Commanditaire | The PostMan):
MATTHEW HANNAM ‐ Enemy
ACHIEVEMENT IN MAKE‐UP / MEILLEURS MAQUILLAGES (Sponsor / Commanditaire | M•A•C Cosmetics)
JO‐ANN MACNEIL, KAROLA DIRNBERGER, PAUL JONES – The Mortal Instruments: City of Bones
ACHIEVEMENT IN MUSIC ‐ ORIGINAL SCORE / MEILLEURE MUSIQUE ORIGINALE
DANNY BENSI, SAUNDER JURRIAANS – Enemy
ACHIEVEMENT IN MUSIC ‐ ORIGINAL SONG / MEILLEURE CHANSON ORIGINALE (Sponsor / Commanditaire | Slaight Music)
JIMMY HARRY, SERENA RYDER – The Right Kind of Wrong – “It’s No Mistake”
ACHIEVEMENT IN OVERALL SOUND / MEILLEUR SON D'ENSEMBLE (Sponsor / Commanditaire | Deluxe Toronto):
ANDREW TAY, DAVID DRAGE, DAVID GIAMMARCO, GREG CHAPMAN, MATT MCKENZIE, PETER PERSAUD – The Mortal Instruments: City of Bones
ACHIEVEMENT IN SOUND EDITING / MEILLEUR MONTAGE SONORE (Sponsor / Commanditaire | IMAX):
ALEX BULLICK, CHRISTIAN SCHAANING, J.R. FOUNTAIN, JILL PURDY, KEVIN BANKS, NATHAN ROBITAILLE, NELSON FERREIRA, STEPHEN BARDEN, STEVE BAINE – The Mortal Instruments: City of Bones
ACHIEVEMENT IN VISUAL EFFECTS / MEILLEURS EFFETS VISUELS:
ANDY ROBINSON, DENNIS BERARDI, EDWARD J. TAYLOR IV, JAMES COOPER, JASON EDWARDH, JO HUGHES, LEANN HARVEY, SEAN MILLS, STEPHEN WAGNER, TREY HARRELL – The Mortal Instruments: City of Bones
Docs & Short Film Winners:
Best Documentary: TED ROGERS BEST FEATURE LENGTH DOCUMENTARY / MEILLEUR LONG MÉTRAGE DOCUMENTAIRE TED ROGERS
WATERMARK – Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier, Daniel Iron
BEST SHORT DOCUMENTARY / MEILLEUR COURT MÉTRAGE DOCUMENTAIRE (Sponsor / Commanditaire | Hot Docs)
CHI – Anne Wheeler, Yves J. Ma, Tracey Friesen
BEST LIVE ACTION SHORT DRAMA / MEILLEUR COURT MÉTRAGE DRAMATIQUE
NOAH – Patrick Cederberg, Walter Woodman
BEST ANIMATED SHORT / MEILLEUR COURT MÉTRAGE D'ANIMATION
SUBCONSCIOUS PASSWORD – Chris Landreth, Marcy Page, Mark Smith
Lifetime Achievement Award - For Exceptional Contribution to the Canadian Film & Television Industry: DAVID CRONENBERG
Earle Grey Award – For Acting: COLM FEORE
Claude Jutra Award: Emanuel Hoss-Desmarais, Whitewash
Golden Reel Award: The Mortal Instruments: City of Bones
http://www.academy.ca/awards/
The Canadian Screen Awards are presented by the Academy of Canadian Cinema & Television. This is a national, no-profit, professional association dedicated to the promotion, recognition and celebration of exceptional achievements in Canadian film, television and digital media. The Academy describes itself as a “Unifying industry professionals across Canada, the Academy is a vital force representing all screen – based industries.”
The Academy’s Canadian Screen Awards is the annual awards show to celebrate the best in film, television and digital media. They are part of Canadian Screen Week (March 3‐9, 2014).
The 2014 Canadian Screen Awards were presented at an awards gala on Sunday, March 9, 2014. This two-hour live broadcast was presented on the CBC. Actor Martin Short was the host.
The following list of winners is only a partial list, which excludes the television and new media categories, as well as most of the 2014 Special Award winners. For a full list of winners and nominees, go here:
http://www.academy.ca/Canadian-Screen-Awards/2014-Nominees-Winners/Film
2nd / 2014 CANADIAN SCREEN AWARDS Winners (for the year in film 2013):
Feature Film Winners:
Best Motion Picture / MEILLEUR FILM (Sponsor / Commanditaire | William F. White International and Comweb Group):
ENEMY – Kim McCraw, Luc Déry, Miguel A. Faura, Niv Fichman, Sari Friedland
Best Director: ACHIEVEMENT IN DIRECTION / MEILLEURE RÉALISATION (Sponsor / Commanditaire | Pinewood Toronto Studios):
DENIS VILLENEUVE – Enemy
Best Actor: PERFORMANCE BY AN ACTOR IN A LEADING ROLE / INTERPRÉTATION MASCULINE DANS UN PREMIER RÔLE
GABRIEL ARCAND – Le Démantèlement / The Dismantlement
Best Supporting Actor: PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE / INTERPRÉTATION MASCULINE DANS UN RÔLE DE SOUTIEN
GORDON PINSENT – The Grand Seduction
Best Actress: PERFORMANCE BY AN ACTRESS IN A LEADING ROLE / INTERPRÉTATION FÉMININE DANS UN PREMIER RÔLE
GABRIELLE MARION‐RIVARD – Gabrielle
Best Supporting Actress: PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE /INTERPRÉTATION FÉMININE DANS UN RÔLE DE SOUTIEN
SARAH GADON – Enemy
ORIGINAL SCREENPLAY / MEILLEUR SCÉNARIO (Sponsor / Commanditaire | Harold Greenberg Fund):
SHANNON MASTERS – Empire of Dirt
ADAPTED SCREENPLAY / MEILLEURE ADAPTATION
ELAN MASTAI – The F‐Word
ACHIEVEMENT IN ART DIRECTION/PRODUCTION DESIGN / MEILLEURE
DIRECTION ARTISTIQUE
MICHEL PROULX – Louis Cyr, l’homme le plus fort du monde / Louis Cyr: The Strongest Man in the World
ACHIEVEMENT IN COSTUME DESIGN / MEILLEURS COSTUMES
CARMEN ALIE – Louis Cyr, l’homme le plus fort du monde / Louis Cyr: The Strongest Man in the World
ACHIEVEMENT IN CINEMATOGRAPHY / MEILLEURES IMAGES:
NICOLAS BOLDUC CSC – Enemy
ACHIEVEMENT IN EDITING / MEILLEUR MONTAGE (Sponsor / Commanditaire | The PostMan):
MATTHEW HANNAM ‐ Enemy
ACHIEVEMENT IN MAKE‐UP / MEILLEURS MAQUILLAGES (Sponsor / Commanditaire | M•A•C Cosmetics)
JO‐ANN MACNEIL, KAROLA DIRNBERGER, PAUL JONES – The Mortal Instruments: City of Bones
ACHIEVEMENT IN MUSIC ‐ ORIGINAL SCORE / MEILLEURE MUSIQUE ORIGINALE
DANNY BENSI, SAUNDER JURRIAANS – Enemy
ACHIEVEMENT IN MUSIC ‐ ORIGINAL SONG / MEILLEURE CHANSON ORIGINALE (Sponsor / Commanditaire | Slaight Music)
JIMMY HARRY, SERENA RYDER – The Right Kind of Wrong – “It’s No Mistake”
ACHIEVEMENT IN OVERALL SOUND / MEILLEUR SON D'ENSEMBLE (Sponsor / Commanditaire | Deluxe Toronto):
ANDREW TAY, DAVID DRAGE, DAVID GIAMMARCO, GREG CHAPMAN, MATT MCKENZIE, PETER PERSAUD – The Mortal Instruments: City of Bones
ACHIEVEMENT IN SOUND EDITING / MEILLEUR MONTAGE SONORE (Sponsor / Commanditaire | IMAX):
ALEX BULLICK, CHRISTIAN SCHAANING, J.R. FOUNTAIN, JILL PURDY, KEVIN BANKS, NATHAN ROBITAILLE, NELSON FERREIRA, STEPHEN BARDEN, STEVE BAINE – The Mortal Instruments: City of Bones
ACHIEVEMENT IN VISUAL EFFECTS / MEILLEURS EFFETS VISUELS:
ANDY ROBINSON, DENNIS BERARDI, EDWARD J. TAYLOR IV, JAMES COOPER, JASON EDWARDH, JO HUGHES, LEANN HARVEY, SEAN MILLS, STEPHEN WAGNER, TREY HARRELL – The Mortal Instruments: City of Bones
Docs & Short Film Winners:
Best Documentary: TED ROGERS BEST FEATURE LENGTH DOCUMENTARY / MEILLEUR LONG MÉTRAGE DOCUMENTAIRE TED ROGERS
WATERMARK – Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier, Daniel Iron
BEST SHORT DOCUMENTARY / MEILLEUR COURT MÉTRAGE DOCUMENTAIRE (Sponsor / Commanditaire | Hot Docs)
CHI – Anne Wheeler, Yves J. Ma, Tracey Friesen
BEST LIVE ACTION SHORT DRAMA / MEILLEUR COURT MÉTRAGE DRAMATIQUE
NOAH – Patrick Cederberg, Walter Woodman
BEST ANIMATED SHORT / MEILLEUR COURT MÉTRAGE D'ANIMATION
SUBCONSCIOUS PASSWORD – Chris Landreth, Marcy Page, Mark Smith
Lifetime Achievement Award - For Exceptional Contribution to the Canadian Film & Television Industry: DAVID CRONENBERG
Earle Grey Award – For Acting: COLM FEORE
Claude Jutra Award: Emanuel Hoss-Desmarais, Whitewash
Golden Reel Award: The Mortal Instruments: City of Bones
http://www.academy.ca/awards/
Sunday, March 9, 2014
"12 Years a Slave," "The Dirties" Lead Vancouver Critics Awards
The Vancouver Film Critics Association or Vancouver Film Critics Circle (VFCC) was apparently founded to represent Vancouver’s print, on-line, and broadcast media. The group honors the best in Canadian and international filmmaking with the annual VFCC Awards.
In anticipation of the 2014 Canadian Screen Awards, here, is a look at the 2014 VFCC Award winners.
2014 Canadian Screen Awards (for the year in film 2013) – a complete list of winners follows:
INTERNATIONAL AWARDS:
BEST FILM
12 Years a Slave
BEST ACTOR
Oscar Isaac, Inside Llewyn Davis
BEST ACTRESS
Cate Blanchett, Blue Jasmine
BEST SUPPORTING ACTOR
Jared Leto, Dallas Buyers Club
BEST SUPPORTING ACTRESS
Jennifer Lawrence, American Hustle
BEST DIRECTOR
Alfonso Cuarón, Gravity
BEST SCREENPLAY
Joel and Ethan Coen, Inside Llewyn Davis
BEST FOREIGN FILM
The Hunt
BEST DOCUMENTARY
The Act of Killing
CANADIAN AWARDS:
BEST CANADIAN FILM
The Dirties
BEST ACTOR IN A CANADIAN FILM
Matt Johnson, The Dirties
BEST ACTRESS IN A CANADIAN FILM
Sophie Desmarais, Sarah Prefers to Run
BEST SUPPORTING ACTOR IN A CANADIAN FILM
Alexandre Landry, Gabrielle
BEST SUPPORTING ACTRESS IN A CANADIAN FILM
Lise Roy, Tom at the Farm
BEST DIRECTOR OF A CANADIAN FILM
Jeff Barnaby, Rhymes for Young Ghouls
BEST CANADIAN DOCUMENTARY
My Prairie Home
BEST FIRST FILM BY A CANADIAN DIRECTOR
The Dirties
BEST BRITISH COLUMBIA FILM
Down River
IAN CADDELL AWARD FOR ACHIEVEMENT
Al Sens
AWARD FOR ACHIEVEMENT
Corinne Lea
----------------------------
In anticipation of the 2014 Canadian Screen Awards, here, is a look at the 2014 VFCC Award winners.
2014 Canadian Screen Awards (for the year in film 2013) – a complete list of winners follows:
INTERNATIONAL AWARDS:
BEST FILM
12 Years a Slave
BEST ACTOR
Oscar Isaac, Inside Llewyn Davis
BEST ACTRESS
Cate Blanchett, Blue Jasmine
BEST SUPPORTING ACTOR
Jared Leto, Dallas Buyers Club
BEST SUPPORTING ACTRESS
Jennifer Lawrence, American Hustle
BEST DIRECTOR
Alfonso Cuarón, Gravity
BEST SCREENPLAY
Joel and Ethan Coen, Inside Llewyn Davis
BEST FOREIGN FILM
The Hunt
BEST DOCUMENTARY
The Act of Killing
CANADIAN AWARDS:
BEST CANADIAN FILM
The Dirties
BEST ACTOR IN A CANADIAN FILM
Matt Johnson, The Dirties
BEST ACTRESS IN A CANADIAN FILM
Sophie Desmarais, Sarah Prefers to Run
BEST SUPPORTING ACTOR IN A CANADIAN FILM
Alexandre Landry, Gabrielle
BEST SUPPORTING ACTRESS IN A CANADIAN FILM
Lise Roy, Tom at the Farm
BEST DIRECTOR OF A CANADIAN FILM
Jeff Barnaby, Rhymes for Young Ghouls
BEST CANADIAN DOCUMENTARY
My Prairie Home
BEST FIRST FILM BY A CANADIAN DIRECTOR
The Dirties
BEST BRITISH COLUMBIA FILM
Down River
IAN CADDELL AWARD FOR ACHIEVEMENT
Al Sens
AWARD FOR ACHIEVEMENT
Corinne Lea
----------------------------
2014 VFCC Award Nominations - Complete List
The Vancouver Film Critics Association or Vancouver Film Critics Circle (VFCC) was apparently founded to represent Vancouver’s print, on-line, and broadcast media. The group honors the best in Canadian and international filmmaking with the annual VFCC Awards.
In anticipation of the 2014 Canadian Screen Awards, here, is a look at the 2014 VFCC Award nominations. Steve McQueen’s 12 Years a Slave led all films in the 2014 VFCC Awards with six nominations in the Vancouver Film Critics Circle’s International category.
The Dirties, the story of two film geeks planning a high school shooting, received five VFCC nominations in the Canadian category, including “Best Canadian Film” and “Best First Film by a Canadian Director.” Director-star Matt Johnson was also nominated for “Best Director of a Canadian Film” and “Best Actor in a Canadian Film.”
The Vancouver Film Critics Circle introduced a new award, “Best First Film by a Canadian Director.”
2014 VFCC Awards – International category (for the year in film 2013) – full list of nominees:
BEST FILM
12 Years a Slave
Gravity
Inside Llewyn Davis
BEST ACTOR
Chiwetel Ejiofor, 12 Years a Slave
Oscar Isaac, Inside Llewyn Davis
Matthew McConaughey, Dallas Buyers Club
BEST ACTRESS
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Greta Gerwig, Frances Ha
BEST SUPPORTING ACTOR
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jared Leto, Dallas Buyers Club
BEST SUPPORTING ACTRESS
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
June Squibb, Nebraska
BEST DIRECTOR
Joel and Ethan Coen, Inside Llewyn Davis
Alfonso Cuaron, Gravity
Steve McQueen, 12 Years a Slave
BEST SCREENPLAY
Joel and Ethan Coen, Inside Llewyn Davis
Spike Jonze, Her
John Ridley, 12 Years a Slave
BEST FOREIGN LANGUAGE FILM
Blancanieves
Blue is the Warmest Colour
The Hunt
BEST DOCUMENTARY
The Act of Killing
Blackfish
West of Memphis
---------------------------------
2014 VFCC Awards – Canadian categories (for the year in film 2013) – full list of nominees:
BEST CANADIAN FILM
The Dirties
Gabrielle
Watermark
BEST ACTOR IN A CANADIAN FILM
Thomas Haden Church, Whitewash
Matt Johnson, The Dirties
Tom Scholte, The Dick Knost Show
BEST ACTRESS IN A CANADIAN FILM
Michelle Giroux, Blood Pressure
Tatiana Maslany, Picture Day
Sophie Desmarais, Sarah Prefers to Run
BEST SUPPORTING ACTOR IN A CANADIAN FILM
Marc Labreche, Whitewash
Alexandre Landry, Gabrielle
Owen Williams, The Dirties
BEST SUPPORTING ACTRESS IN A CANADIAN FILM
Romane Bohringer, Vic + Flo Saw a Bear
Lise Roy, Tom at the Farm
Gabrielle Rose, The Dick Knost Show
BEST DIRECTOR OF A CANADIAN FILM
Louise Archambault, Gabrielle
Jeff Barnaby, Rhymes for Young Ghouls
Matt Johnson, The Dirties
BEST CANADIAN DOCUMENTARY
My Prairie Home
Oil Sands Karaoke
Watermark
BEST BRITISH COLUMBIA FILM
Down River
Oil Sands Karaoke
When I Walk
BEST FIRST FILM BY A CANADIAN DIRECTOR
The Dirties
Rhymes for Young Ghouls
Sarah Prefers to Run
The Vancouver Film Critics Circle also announced that Canadian animation pioneer Al Sens is the winner of the 2014 Ian Caddell Award for Achievement. Presented to a British Columbian who has made a significant contribution to the province’s film industry, this award is named in honour of the VFCC’s cofounder, Ian Caddel, who passed away in 2012.
A Vancouver native, the self-taught animator founded Al Sens Animation, the city’s first animation studio, in 1958. Since then, he has amassed an impressive body of inventive work (including 1965’s The See Hear Talk Think Dream and Act Film and 1978’s Canadian Vignettes: Logger), developed his trademark “spit technique,” and served as a mentor to generations of animators.
Sens, who had recently turned 80, was to presented with his award at the VFCC’s 14th annual awards ceremony on Tuesday, January 7, 2014.
----------------
In anticipation of the 2014 Canadian Screen Awards, here, is a look at the 2014 VFCC Award nominations. Steve McQueen’s 12 Years a Slave led all films in the 2014 VFCC Awards with six nominations in the Vancouver Film Critics Circle’s International category.
The Dirties, the story of two film geeks planning a high school shooting, received five VFCC nominations in the Canadian category, including “Best Canadian Film” and “Best First Film by a Canadian Director.” Director-star Matt Johnson was also nominated for “Best Director of a Canadian Film” and “Best Actor in a Canadian Film.”
The Vancouver Film Critics Circle introduced a new award, “Best First Film by a Canadian Director.”
2014 VFCC Awards – International category (for the year in film 2013) – full list of nominees:
BEST FILM
12 Years a Slave
Gravity
Inside Llewyn Davis
BEST ACTOR
Chiwetel Ejiofor, 12 Years a Slave
Oscar Isaac, Inside Llewyn Davis
Matthew McConaughey, Dallas Buyers Club
BEST ACTRESS
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Greta Gerwig, Frances Ha
BEST SUPPORTING ACTOR
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jared Leto, Dallas Buyers Club
BEST SUPPORTING ACTRESS
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
June Squibb, Nebraska
BEST DIRECTOR
Joel and Ethan Coen, Inside Llewyn Davis
Alfonso Cuaron, Gravity
Steve McQueen, 12 Years a Slave
BEST SCREENPLAY
Joel and Ethan Coen, Inside Llewyn Davis
Spike Jonze, Her
John Ridley, 12 Years a Slave
BEST FOREIGN LANGUAGE FILM
Blancanieves
Blue is the Warmest Colour
The Hunt
BEST DOCUMENTARY
The Act of Killing
Blackfish
West of Memphis
---------------------------------
2014 VFCC Awards – Canadian categories (for the year in film 2013) – full list of nominees:
BEST CANADIAN FILM
The Dirties
Gabrielle
Watermark
BEST ACTOR IN A CANADIAN FILM
Thomas Haden Church, Whitewash
Matt Johnson, The Dirties
Tom Scholte, The Dick Knost Show
BEST ACTRESS IN A CANADIAN FILM
Michelle Giroux, Blood Pressure
Tatiana Maslany, Picture Day
Sophie Desmarais, Sarah Prefers to Run
BEST SUPPORTING ACTOR IN A CANADIAN FILM
Marc Labreche, Whitewash
Alexandre Landry, Gabrielle
Owen Williams, The Dirties
BEST SUPPORTING ACTRESS IN A CANADIAN FILM
Romane Bohringer, Vic + Flo Saw a Bear
Lise Roy, Tom at the Farm
Gabrielle Rose, The Dick Knost Show
BEST DIRECTOR OF A CANADIAN FILM
Louise Archambault, Gabrielle
Jeff Barnaby, Rhymes for Young Ghouls
Matt Johnson, The Dirties
BEST CANADIAN DOCUMENTARY
My Prairie Home
Oil Sands Karaoke
Watermark
BEST BRITISH COLUMBIA FILM
Down River
Oil Sands Karaoke
When I Walk
BEST FIRST FILM BY A CANADIAN DIRECTOR
The Dirties
Rhymes for Young Ghouls
Sarah Prefers to Run
The Vancouver Film Critics Circle also announced that Canadian animation pioneer Al Sens is the winner of the 2014 Ian Caddell Award for Achievement. Presented to a British Columbian who has made a significant contribution to the province’s film industry, this award is named in honour of the VFCC’s cofounder, Ian Caddel, who passed away in 2012.
A Vancouver native, the self-taught animator founded Al Sens Animation, the city’s first animation studio, in 1958. Since then, he has amassed an impressive body of inventive work (including 1965’s The See Hear Talk Think Dream and Act Film and 1978’s Canadian Vignettes: Logger), developed his trademark “spit technique,” and served as a mentor to generations of animators.
Sens, who had recently turned 80, was to presented with his award at the VFCC’s 14th annual awards ceremony on Tuesday, January 7, 2014.
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Saturday, March 8, 2014
Review: "Tsotsi" a Familiar Tale from Another Place
Tsotsi (2005)
COUNTRY OF ORIGIN: South Africa and the U.K.; Languages: Zulu, Afrikaans, and others
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for language and some violent content
DIRECTOR: Gavin Hood
WRITER: Gavin Hood (based upon the novel by Athol Fugard)
PRODUCER: Peter Fudakowski
CINEMATOGRAPHER: Lance Gewer
EDITOR: Megan Gill
COMPOSERS: Paul Hepker and Mark Kilian
Academy Award winner
DRAMA
Starring: Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe, Zola, Rapulana Seiphemo, Nambitha Mpumlwana, Jerry Mofokeng, Ian Roberts, Percy Matsemela, and Thembi Nyandeni
The subject of this movie review is Tsotsi, a 2005 South African drama adapted for the screen and directed by Gavin Hood. The film is based on the 1980 novel, Tsotsi, from author Athol Fugard. “Tsotsi” is apparently a slang word in Johannesburg, South Africa that can be translated to mean “thug.” Tsotsi the film follows six days in the violent life of a young Johannesburg gang leader.
Tsotsi (Presley Chweneyagae) is a ruthless hood living in an impoverished township in Johannesburg, South Africa, where he leads the trio of miscreants that make up his gang. One night he shoots a woman (Nambitha Mpumlwana) in a well-to-do suburban neighborhood and drives off in her car, but he discovers that he isn’t alone. The woman’s infant son is in the backseat, so he grudgingly takes the infant to his humble abode. Through his efforts to care for the baby, Tsotsi (his nickname is urban slang that loosely translates to “thug”) rediscovers compassion, self-respect, and the capacity to love, but he still struggles with his old ways.
Tsotsi won the 2006 Oscar for “Best Foreign Language Film of the Year” as a representative of South Africa. The film is sturdy and earnest, and maybe a little too melodramatic in its too obvious determination to spend a yarn of moral redemption. Still, the film is powerful and the emotions run deep and are raw, primarily because of the lead character’s hardened criminal life. It’s kind of hard to be sympathetic towards Tsotsi because his decisions lead to the murder of an innocent man and the wounding of several others.
What makes Tsotsi rise above preachy, well-meaning social drama is that this is basically a familiar tale, but set in an unfamiliar place with strange and exotic characters. In that way, Tsotsi engages the viewer to discover a new way of looking at a familiar premise. The performances are good, though not great. Presley Chweneyagae, however, is a solid actor and carries the film like a veteran movie star.
7 of 10
B+
NOTES:
2006 Academy Awards, USA: 1 win: “Best Foreign Language Film of the Year” (South Africa)
2006 BAFTA Awards: 2 nominations: “Best Film not in the English Language” (Gavin Hood and Peter Fudakowski) and the “Carl Foreman Award for Most Promising Newcomer” (Peter Fudakowski-producer)
2006 Golden Globes: 1 nomination for “Best Foreign Language Film” (South Africa)
2007 Image Awards: 1 nomination: “Outstanding Independent or Foreign Film”
Monday, August 07, 2006
Updated: Thursday, March 06, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
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Friday, March 7, 2014
Thursday, March 6, 2014
Review: Asa Butterfield the Best Player in "Ender's Game"
Ender’s Game (2013)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for some violence, sci-fi action and thematic material
DIRECTOR: Gavin Hood
WRITER: Gavin Hood (based on the novel by Orson Scott Card)
PRODUCERS: Orson Scott Card, Robert Chartoff, Lynn Hendee, Alex Kurtzman, Linda McDonough, Roberto Orci, Gigi Pritzker, and Ed Ulbrich
CINEMATOGRAHER: Donald A. McAlpine
EDITORS: Lee Smith and Zach Staenberg
COMPOSER: Steve Jablonsky
SCI-FI/DRAMA
Starring: Asa Butterfield, Harrison Ford, Hailee Steinfeld, Abigail Breslin, Ben Kingsley, Viola Davis, Aramis Knight, Suraj Partha, Moises Arias, Khylin Rhambo, Jimmy “Jax” Pinchak, Nonso Anozie, and Conor Carroll
Ender’s Game is a 2013 science fiction and drama film from director Gavin Hood. It is based on the 1985 award-winning novel, Ender’s Game, by Orson Scott Card. Ender’s Game the film focuses on a boy who is recruited to lead the new fight against an alien race that nearly annihilated the human race in a previous invasion.
Ender’s Game opens in the year 2086. An alien species called the Formics (or “Buggers”) have invaded Earth and only a legendary commander, Mazer Rackham, manages to stop the invasion, by great sacrifice. The story jumps ahead 50 years. Young cadet, Andrew “Ender” Wiggin (Asa Butterfield), has attracted the attention of Colonel Hyrum Graff (Harrison Ford) and Major Gwen Anderson (Viola Davis) from International Fleet, the organization that leads the fight against the Formics.
Graff and Anderson offer Ender a spot in Battle School, the place where he would be trained to lead the battle against the Formics. Graff has the highest hopes for the boy. However, the very things that makes him attractive: his intelligence, ruthlessness, and empathy, may also cause him to fail.
Although I have been planning to do so for a long time, I have yet to read Ender’s Game the novel. I think I even once had a two-volume edition of the novel and its sequel (Speaker for the Dead) that I bought from the Science Fiction Book Club. From what I’ve read, much about the novel is left out of Gavin Hood’s film adaptation.
That may explain why Ender’s Game the film seems shallow and superficial. It is an entertaining movie. It even raises some issues that have real-world relevance: child soldiers, war-mongering military institutions, lying governments, etc. When it comes to military training and science fiction, the narrative simply offers the familiar. It is as if the filmmakers did not want to offer the audience anything new for fear of making them avoid Ender’s Game. As I watched this movie, I often thought, “There’s something missing here that I want to see.”
Another problem is that the film never really delves into the characters beyond Ender Wiggin. The female characters fare the worst. Ender’s female academy mate, Petra Arkanian (Hailee Steinfeld), and Ender’s sister, Valentine (Abigail Breslin), are wasted. Because of her immense talent and skill, Viola Davis makes every moment that she is on screen as Major Anderson powerful. The latter half of the movie sorely misses what Davis brings to the film. By the way, Harrison Ford is not good here, or, to be put it nicely, is perhaps miscast as Graff.
Asa Butterfield is the champion here, creating Ender’s Game’s most powerful moments by making the rest of the cast rise to the level of his game. I found that he glued my attention to this story. There are several scenes in which he gives this movie an emotional charge when it really needs it. There is depth and layers to his performance as Ender Wiggin. Butterfield is the reason to see Ender’s Game. He makes me want to see a sequel to this movie and to also follow his career.
6 of 10
B
Thursday, March 06, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
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Wednesday, March 5, 2014
Transformers: Age of Extinction "The Rules Have Changed" Poster
The rules have changed.
Official Transformers YouTube: https://www.youtube.com/user/TransformersMovie
In theaters 06.27.14
Official site: TransformersMovie.com
Official Facebook: https://www.facebook.com/transformersmovie
Official Twitter: https://twitter.com/transformers
Mark Wahlberg as "Cade" in New Transformers: Age of Extinction Poster
Mark Wahlberg as "Cade."
Official Transformers YouTube: https://www.youtube.com/user/TransformersMovie
In theaters 06.27.14
Official site: TransformersMovie.com
Official Facebook: https://www.facebook.com/transformersmovie
Official Twitter: https://twitter.com/transformers
Warner Bros. Announces Cast Additions to "Entourage" Movie
“Entourage” Expands as Additional Cast Joins the Film, Now in Production
BURBANK, Calif.--(BUSINESS WIRE)--Debi Mazar, Rex Lee, Constance Zimmer, Nora Dunn and Emily Ratajkowski have joined the cast of Warner Bros. Pictures’ theatrical feature “Entourage.” Mazar, Lee, Zimmer and Dunn will reprise their roles as Shauna, Lloyd, Dana Gordon and Dr. Marcus from the HBO hit series, and Ratajkowski will appear as herself in the film, which began principal photography in Los Angeles on February 19.
“Entourage” will open in theaters nationwide on Friday, June 12, 2015.
Written and directed by series creator Doug Ellin, the big-screen version of the award-winning show stars Kevin Connolly, Adrian Grenier, Kevin Dillon, Jerry Ferrara and Jeremy Piven in their original roles, as well as Billy Bob Thornton and Haley Joel Osment as Larsen and Travis McCredle. The film also reunites series regulars Perrey Reeves as Ari Gold’s wife, Emmanuelle Chriqui as Sloan, and Rhys Coiro as Billy Walsh.
“Entourage” is produced by Mark Wahlberg, Stephen Levinson and Doug Ellin, with Wayne Carmona serving as executive producer. The creative filmmaking team includes director of photography Steve Fierberg, production designer Chase Harlan, and costume designer Olivia Miles-Payne, all of whom worked on the long-running HBO series.
Movie star Vincent Chase (Adrian Grenier), together with his boys, Eric (Kevin Connolly), Turtle (Jerry Ferrara) and Johnny (Kevin Dillon), are back…and back in business with super agent-turned-studio head Ari Gold (Jeremy Piven). Some of their ambitions have changed, but the bond between them remains strong as they navigate the capricious and often cutthroat world of Hollywood.
In addition to Los Angeles, “Entourage” will also film on location in Miami, Florida.
“Entourage” is a presentation of Warner Bros. Pictures, in association with Home Box Office. The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
BURBANK, Calif.--(BUSINESS WIRE)--Debi Mazar, Rex Lee, Constance Zimmer, Nora Dunn and Emily Ratajkowski have joined the cast of Warner Bros. Pictures’ theatrical feature “Entourage.” Mazar, Lee, Zimmer and Dunn will reprise their roles as Shauna, Lloyd, Dana Gordon and Dr. Marcus from the HBO hit series, and Ratajkowski will appear as herself in the film, which began principal photography in Los Angeles on February 19.
“Entourage” will open in theaters nationwide on Friday, June 12, 2015.
Written and directed by series creator Doug Ellin, the big-screen version of the award-winning show stars Kevin Connolly, Adrian Grenier, Kevin Dillon, Jerry Ferrara and Jeremy Piven in their original roles, as well as Billy Bob Thornton and Haley Joel Osment as Larsen and Travis McCredle. The film also reunites series regulars Perrey Reeves as Ari Gold’s wife, Emmanuelle Chriqui as Sloan, and Rhys Coiro as Billy Walsh.
“Entourage” is produced by Mark Wahlberg, Stephen Levinson and Doug Ellin, with Wayne Carmona serving as executive producer. The creative filmmaking team includes director of photography Steve Fierberg, production designer Chase Harlan, and costume designer Olivia Miles-Payne, all of whom worked on the long-running HBO series.
Movie star Vincent Chase (Adrian Grenier), together with his boys, Eric (Kevin Connolly), Turtle (Jerry Ferrara) and Johnny (Kevin Dillon), are back…and back in business with super agent-turned-studio head Ari Gold (Jeremy Piven). Some of their ambitions have changed, but the bond between them remains strong as they navigate the capricious and often cutthroat world of Hollywood.
In addition to Los Angeles, “Entourage” will also film on location in Miami, Florida.
“Entourage” is a presentation of Warner Bros. Pictures, in association with Home Box Office. The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Tuesday, March 4, 2014
Review: "The Lone Ranger" is a Little Bit Stranger
The Lone Ranger (2013)
Running time: 149 minutes (2 hours, 29 minutes)
MPAA – PG-13 for sequences of intense action and violence, and some suggestive material
DIRECTOR: Gore Verbinski
WRITERS: Justine Haythe and Ted Elliot & Terry Rossio; from Justine Haythe and Ted Elliot and Terry Rossio
PRODUCERS: Jerry Bruckheimer and Gore Verbinski
CINEMATOGRAPHER: Bojan Bazelli
EDITORS: James Haygood and Craig Wood
COMPOSER: Hans Zimmer
Academy Award nominee
WESTERN/ACTION with elements of fantasy
Starring: Johnny Depp, Armie Hammer, William Fichtner, Tom Wilkinson, Ruth Wilson, Helena Bonham Carter, James Badge Dale, Bryant Prince, Barry Pepper, Leon Rippy, Stephen Root, Terry Treadaway, Saginaw Grant, Joaquin Cosio, James Frain, Leonard Earl Howze, Grover Coulson, and Mason Cook.
For those who don’t know: The Lone Ranger is a fictional character that first debuted in a radio show in late January 1933. The Lone Ranger is a Texas Ranger who fights injustice in the American Old West with the assistance of Tonto, his Native American friend.
The radio show ran from 1933 to the mid-1950s for almost 3,000 episodes. The character is probably best-remembered for the television series, The Lone Ranger, which aired for eight seasons (1949 to 1957) for over 200 episodes on the ABC television network. Clayton Moore starred as the Lone Ranger, and Jay Silverheels played Tonto. The character also made several appearance in film, the last being an infamous and unsuccessful 1981 movie. Early in the Summer of 2013, the Lone Ranger and Tonto returned to the big screen.
The Lone Ranger is a 2013 action and Western film from producer-director Gore Verbinski and producer Jerry Bruckheimer. Starring Johnny Depp and Armie Hammer, The Lone Ranger 2013 focuses on the earliest efforts of The Lone Ranger and Tonto to end corruption in and to bring justice to the American Old West.
[A NOTE: Since the following review is a longish one, I’ll summarize it here. I thoroughly enjoyed The Lone Ranger 2013, and had a blast watching it. However, it is not a traditional Western movie, just as the Pirate of the Caribbean movies are not typical pirate movies. The Lone Ranger is funny, but quirky. If you look past its oddness and focus on the action, you might find it to be quite entertaining.]
The Lone Ranger opens in 1933 at a fair in San Francisco. In a sideshow, a boy named Will (Mason Cook) just happens to meet an elderly Native American who claims to be Tonto (Johnny Depp). Learning that Will idolizes the Lone Ranger, Tonto tells the boy the story of how he first met the legendary hero.
The story moves back to 1869. Lawyer John Reid (Armie Hammer) returns to his hometown of Colby, Texas. He finds the Transcontinental Railroad to be the focus of attention, but railroad tycoon, Latham Cole (Tom Wilkinson), is focused on the capture of outlaw, Butch Cavendish (William Fichtner). John joins his brother, Texas Ranger Dan Reid (James Badge Dale), who leads the search for Cavendish and his gang.
John discovers that Native American Comanche warrior, Tonto (Johnny Depp), is also searching for Cavendish, whom the Indian believes is a creature he calls “windigo.” Events leave John a “lone Ranger,” and he is forced join Tonto in an often-contentious but effective partnership. But can the two new partners stop a conspiracy that is bigger and older than they may realize?
I think that the movie reviews which accompanied The Lone Ranger upon its initial theatrical release back in late June 2013 can be described as mostly negative to mixed. I unequivocally like this movie, although I will admit that it has some flaws. For instance, I have a question that has already been asked by other critics. What is the target audience for The Lone Ranger?
The Lone Ranger 2013 is a Western. It has several elements that can be found throughout the history of American Western films: brothels, construction of a railroad, cowboys and Indians, lone lawman, outlaws, quests for redemption, revenge, and the shoot ‘em up. However, this new Lone Ranger is nothing like The Lone Ranger television series, which was a traditional Hollywood Western aimed at a general audience and relied on stock elements that were familiar to viewers of all ages.
This movie is also a comedy and action flick as much as it is a Western, but it is not reverent about the things found in many Western movies and television programs from the 1930s to the 1950s. The film has those big, reality-bending action scenes we have come to expect of Jerry Bruckheimer movies like the Pirates of the Caribbean franchise (which also stars Johnny Depp). As a comedy, the film sometimes mocks elements and aspects associated with The Lone Ranger franchise. Some of the dialogue and scenes in this movie have a single purpose – be funny.
The Lone Ranger 2013 is also surprisingly quirky. It is kind of a “weird Western,” like the films, Jonah Hex and Wild Wild West (1999). The movie has a strange mixture of imitation Native American mysticism and quasi-occultism, with a funky supernatural twist. Much of that is tied to violence, cannibalism in particular.
I think that in order to enjoy this film, the viewer has to focus more on the basic plot, the characters, and the big action scenes and sequences and less on the setting (the post-Civil War “Old West”) and genre (the Western). I didn’t mind that The Lone Ranger is an unusual Western film, and I certainly like the plot, characters, and action set pieces.
Also, Armie Hammer turned out to fit in this movie better than I thought he would. Still, to me, it seems as if he can never make his character, John Reid/The Lone Ranger, escape the tremendous shadow cast by Johnny Depp’s Tonto. Depp owns this movie, and that is a bigger problem for this movie than anything else. It is more about Tonto than it is about The Lone Ranger. In fact, whenever the story switched to other characters, I could feel myself chomping-at-the-bits for the movie to go back to Depp/Tonto.
I have to admit that I wish that we get a sequel to The Lone Ranger. That is unlikely, as this movie is considered a box office disappointment and, to some, a flop.
7 of 10
B+
NOTES:
2014 Academy Awards, USA: 2 nominations: ‘Best Achievement in Makeup and Hairstyling” (Joel Harlow and Gloria Pasqua Casny) and “Best Achievement in Visual Effects” (Tim Alexander, Gary Brozenich, Edson Williams, and John Frazier)
2014 Razzie Awards: 1 win: “Worst Remake, Rip-Off or Sequel;” 4 nominations: “Worst Picture,” “Worst Actor” (Johnny Depp), “Worst Director” (Gore Verbinski), and “Worst Screenplay” (Ted Elliott-screen story and screenplay, Justin Haythe-screen story and screenplay, and Terry Rossio-screen story and screenplay)
Tuesday, March 04, 2014
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
2014 Razzie Awards - Complete Winners aka Losers List
by Amos Semien
The Golden Raspberry Award or, as it is best known, the Razzie Award, is basically the opposite of the Academy Awards (the Oscars). This award honors the worst achievements in film in a calendar year, as determined by the paid membership of the Golden Raspberry Award Foundation.
And now… the haters. The winners (or losers, if you will) of the 2014 Razzie Awards were announced Saturday, March 1, 2014, one day before the Academy Awards ceremony (or “Oscar eve”) – the traditional date for the Razzies.
After Earth and Movie 43 each won three awards. Movie 43, an anthology comedy film, was named “Worst Picture” of 2013. Grown Up 2, the Adam Sandler and pals film that was a sequel to an earlier Adam Sandler and pals film, had received nine nominations, but did not win any – apparently the biggest shutout in Razzie Award history.
2014 / 34th Annual Razzie Awards winners (for the year in film, 2013):
WORST PICTURE:
Movie 43 – Relativity Media
WORST ACTOR
Jaden Smith: After Earth
WORST ACTRESS
Tyler Perry: A Madea Christmas
WORST SUPPORTING ACTRESS
Kim Kardashian: Tyler Perry’s Temptation
WORST SUPPORTING ACTOR
Will Smith: After Earth
WORST DIRECTOR:
The 13 People Who Directed Movie 43 (Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Peter Farrelly, Patrik Forsberg, Will Graham, James Gunn, Bob Odenkirk, Brett Ratner, and Jonathan van Tulleken)
WORST SCREEN COMBO
Jaden Smith & Will Smith on Planet Nepotism: After Earth
WORST SCREENPLAY
Movie 43: Written by 19 “Screenwriters” (Steve Baker, Ricky Blitt, Will Carlough, Tobias Carlson, Jacob Fleisher, Patrik Forsberg, Will Graham, James Gunn, Claes Kjellstrom, Jack Kukoda, Bob Odenkirk, Bill O'Malley, Matthew Alec Portenoy, Greg Pritikin, Rocky Russo, Olle Sarri, Elizabeth Wright Shapiro, Jeremy Sosenko, Jonathan van Tulleken and Jonas Wittenmark)
WORST REMAKE, RIP-OFF or SEQUEL
The Lone Ranger – Walt Disney Pictures
http://www.razzies.com/
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The Golden Raspberry Award or, as it is best known, the Razzie Award, is basically the opposite of the Academy Awards (the Oscars). This award honors the worst achievements in film in a calendar year, as determined by the paid membership of the Golden Raspberry Award Foundation.
And now… the haters. The winners (or losers, if you will) of the 2014 Razzie Awards were announced Saturday, March 1, 2014, one day before the Academy Awards ceremony (or “Oscar eve”) – the traditional date for the Razzies.
After Earth and Movie 43 each won three awards. Movie 43, an anthology comedy film, was named “Worst Picture” of 2013. Grown Up 2, the Adam Sandler and pals film that was a sequel to an earlier Adam Sandler and pals film, had received nine nominations, but did not win any – apparently the biggest shutout in Razzie Award history.
2014 / 34th Annual Razzie Awards winners (for the year in film, 2013):
WORST PICTURE:
Movie 43 – Relativity Media
WORST ACTOR
Jaden Smith: After Earth
WORST ACTRESS
Tyler Perry: A Madea Christmas
WORST SUPPORTING ACTRESS
Kim Kardashian: Tyler Perry’s Temptation
WORST SUPPORTING ACTOR
Will Smith: After Earth
WORST DIRECTOR:
The 13 People Who Directed Movie 43 (Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Peter Farrelly, Patrik Forsberg, Will Graham, James Gunn, Bob Odenkirk, Brett Ratner, and Jonathan van Tulleken)
WORST SCREEN COMBO
Jaden Smith & Will Smith on Planet Nepotism: After Earth
WORST SCREENPLAY
Movie 43: Written by 19 “Screenwriters” (Steve Baker, Ricky Blitt, Will Carlough, Tobias Carlson, Jacob Fleisher, Patrik Forsberg, Will Graham, James Gunn, Claes Kjellstrom, Jack Kukoda, Bob Odenkirk, Bill O'Malley, Matthew Alec Portenoy, Greg Pritikin, Rocky Russo, Olle Sarri, Elizabeth Wright Shapiro, Jeremy Sosenko, Jonathan van Tulleken and Jonas Wittenmark)
WORST REMAKE, RIP-OFF or SEQUEL
The Lone Ranger – Walt Disney Pictures
http://www.razzies.com/
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Monday, March 3, 2014
2014 - 86th Academy Awards - Complete Winners List
by Leroy Douresseaux
The 86th Academy Awards for outstanding film achievements of 2013 were presented on Sunday, March 2, 2014, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation, produced by Craig Zadan and Neil Meron, and hosted by Ellen DeGeneres.
So I was wrong. 12 Years a Slave won the Oscar for “Best Motion Picture of the Year” (2013), one of three awards the film received, including a best supporting actress Oscar for Lupita Nyong’o. Gravity won the most Oscars, winning in seven of the 10 categories in which it was nominated, including a best director Oscar for Alfonso Cuarón (who also shared the film editing Oscar).
2014 / 86th OSCAR winners (for the year in film 2013):
Best motion picture of the year:
“12 Years a Slave”
Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers
Achievement in directing:
“Gravity” Alfonso Cuarón
Performance by an actor in a leading role
Matthew McConaughey in “Dallas Buyers Club”
Performance by an actor in a supporting role
Jared Leto in “Dallas Buyers Club”
Performance by an actress in a leading role
Cate Blanchett in “Blue Jasmine”
Performance by an actress in a supporting role
Lupita Nyong’o in “12 Years a Slave”
Adapted screenplay
“12 Years a Slave” Screenplay by John Ridley
Original screenplay
“Her” Written by Spike Jonze
Best animated feature film of the year
“Frozen” Chris Buck, Jennifer Lee and Peter Del Vecho
Achievement in cinematography
“Gravity” Emmanuel Lubezki
Achievement in costume design
“The Great Gatsby” Catherine Martin
Best documentary feature
“20 Feet from Stardom” Morgan Neville, Gil Friesen and Caitrin Rogers
Best documentary short subject
“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
Achievement in film editing
“Gravity” Alfonso Cuarón and Mark Sanger
Best foreign language film of the year
“The Great Beauty” Italy
Achievement in makeup and hairstyling
“Dallas Buyers Club” Adruitha Lee and Robin Mathews
Achievement in music written for motion pictures (Original score)
“Gravity” Steven Price
Achievement in music written for motion pictures (Original song):
“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
Achievement in production design
“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn
Best animated short film
“Mr. Hublot” Laurent Witz and Alexandre Espigares
Best live action short film
“Helium” Anders Walter and Kim Magnusson
Achievement in sound editing
“Gravity” Glenn Freemantle
Achievement in sound mixing
“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
Achievement in visual effects
“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
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The 86th Academy Awards for outstanding film achievements of 2013 were presented on Sunday, March 2, 2014, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation, produced by Craig Zadan and Neil Meron, and hosted by Ellen DeGeneres.
So I was wrong. 12 Years a Slave won the Oscar for “Best Motion Picture of the Year” (2013), one of three awards the film received, including a best supporting actress Oscar for Lupita Nyong’o. Gravity won the most Oscars, winning in seven of the 10 categories in which it was nominated, including a best director Oscar for Alfonso Cuarón (who also shared the film editing Oscar).
2014 / 86th OSCAR winners (for the year in film 2013):
Best motion picture of the year:
“12 Years a Slave”
Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers
Achievement in directing:
“Gravity” Alfonso Cuarón
Performance by an actor in a leading role
Matthew McConaughey in “Dallas Buyers Club”
Performance by an actor in a supporting role
Jared Leto in “Dallas Buyers Club”
Performance by an actress in a leading role
Cate Blanchett in “Blue Jasmine”
Performance by an actress in a supporting role
Lupita Nyong’o in “12 Years a Slave”
Adapted screenplay
“12 Years a Slave” Screenplay by John Ridley
Original screenplay
“Her” Written by Spike Jonze
Best animated feature film of the year
“Frozen” Chris Buck, Jennifer Lee and Peter Del Vecho
Achievement in cinematography
“Gravity” Emmanuel Lubezki
Achievement in costume design
“The Great Gatsby” Catherine Martin
Best documentary feature
“20 Feet from Stardom” Morgan Neville, Gil Friesen and Caitrin Rogers
Best documentary short subject
“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
Achievement in film editing
“Gravity” Alfonso Cuarón and Mark Sanger
Best foreign language film of the year
“The Great Beauty” Italy
Achievement in makeup and hairstyling
“Dallas Buyers Club” Adruitha Lee and Robin Mathews
Achievement in music written for motion pictures (Original score)
“Gravity” Steven Price
Achievement in music written for motion pictures (Original song):
“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
Achievement in production design
“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn
Best animated short film
“Mr. Hublot” Laurent Witz and Alexandre Espigares
Best live action short film
“Helium” Anders Walter and Kim Magnusson
Achievement in sound editing
“Gravity” Glenn Freemantle
Achievement in sound mixing
“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
Achievement in visual effects
“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
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Sunday, March 2, 2014
"12 Years a Slave" Wins 2014 Oscar as "Best Picture of 2013"
Best motion picture of the year:
“12 Years a Slave”
Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers WINNER
Nominees:
“American Hustle”
Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers
“Captain Phillips”
Scott Rudin, Dana Brunetti and Michael De Luca, Producers
“Dallas Buyers Club”
Robbie Brenner and Rachel Winter, Producers
“Gravity”
Alfonso Cuarón and David Heyman, Producers
“Her”
Megan Ellison, Spike Jonze and Vincent Landay, Producers
“Nebraska”
Albert Berger and Ron Yerxa, Producers
“Philomena”
Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers
“The Wolf of Wall Street”
Martin Scorsese, Leonardo DiCaprio, Joey McFarland and Emma Tillinger Koskoff, Producers
“12 Years a Slave”
Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers WINNER
Nominees:
“American Hustle”
Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers
“Captain Phillips”
Scott Rudin, Dana Brunetti and Michael De Luca, Producers
“Dallas Buyers Club”
Robbie Brenner and Rachel Winter, Producers
“Gravity”
Alfonso Cuarón and David Heyman, Producers
“Her”
Megan Ellison, Spike Jonze and Vincent Landay, Producers
“Nebraska”
Albert Berger and Ron Yerxa, Producers
“Philomena”
Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers
“The Wolf of Wall Street”
Martin Scorsese, Leonardo DiCaprio, Joey McFarland and Emma Tillinger Koskoff, Producers
Matthew McConaughey Wins 2014 "Best Actor" Oscar
Performance by an actor in a leading role:
Matthew McConaughey in “Dallas Buyers Club” WINNER
Nominees:
Christian Bale in “American Hustle”
Bruce Dern in “Nebraska”
Leonardo DiCaprio in “The Wolf of Wall Street”
Chiwetel Ejiofor in “12 Years a Slave”
Matthew McConaughey in “Dallas Buyers Club” WINNER
Nominees:
Christian Bale in “American Hustle”
Bruce Dern in “Nebraska”
Leonardo DiCaprio in “The Wolf of Wall Street”
Chiwetel Ejiofor in “12 Years a Slave”
Cate Blanchett Wins 2014 "Best Actress" Oscar
Performance by an actress in a leading role:
Cate Blanchett in “Blue Jasmine” WINNER
Nominees:
Amy Adams in “American Hustle”
Sandra Bullock in “Gravity”
Judi Dench in “Philomena”
Meryl Streep in “August: Osage County”
Cate Blanchett in “Blue Jasmine” WINNER
Nominees:
Amy Adams in “American Hustle”
Sandra Bullock in “Gravity”
Judi Dench in “Philomena”
Meryl Streep in “August: Osage County”
Alfonso Cuarón Wins 2014 "Best Directing" Oscar
Achievement in directing:
“Gravity” Alfonso Cuarón WINNER
Nominees:
“American Hustle” David O. Russell
“Nebraska” Alexander Payne
“12 Years a Slave” Steve McQueen
“The Wolf of Wall Street” Martin Scorsese
“Gravity” Alfonso Cuarón WINNER
Nominees:
“American Hustle” David O. Russell
“Nebraska” Alexander Payne
“12 Years a Slave” Steve McQueen
“The Wolf of Wall Street” Martin Scorsese
"Her" Wins 2014 "Best Original Screenplay" Oscar
Original screenplay:
“Her” Written by Spike Jonze WINNER
Nominees:
“American Hustle” Written by Eric Warren Singer and David O. Russell
“Blue Jasmine” Written by Woody Allen
“Dallas Buyers Club” Written by Craig Borten & Melisa Wallack
“Nebraska” Written by Bob Nelson
“Her” Written by Spike Jonze WINNER
Nominees:
“American Hustle” Written by Eric Warren Singer and David O. Russell
“Blue Jasmine” Written by Woody Allen
“Dallas Buyers Club” Written by Craig Borten & Melisa Wallack
“Nebraska” Written by Bob Nelson
"12 Years a Slave" Wins 2014 "Best Adapted Screenplay" Oscar
Adapted screenplay:
“12 Years a Slave” Screenplay by John Ridley WINNER
Nominees:
“Before Midnight” Written by Richard Linklater, Julie Delpy, Ethan Hawke
“Captain Phillips” Screenplay by Billy Ray
“Philomena” Screenplay by Steve Coogan and Jeff Pope
“The Wolf of Wall Street” Screenplay by Terence Winter
“12 Years a Slave” Screenplay by John Ridley WINNER
Nominees:
“Before Midnight” Written by Richard Linklater, Julie Delpy, Ethan Hawke
“Captain Phillips” Screenplay by Billy Ray
“Philomena” Screenplay by Steve Coogan and Jeff Pope
“The Wolf of Wall Street” Screenplay by Terence Winter
"Let It Go" from "Frozen" Wins 2014 "Best Song" Oscar
Achievement in music written for motion pictures (Original song):
“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez WINNER
Nominees:
“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams
“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze
“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen (also known as the rock band U2); Lyric by Paul Hewson (also known as Bono)
“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez WINNER
Nominees:
“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams
“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze
“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen (also known as the rock band U2); Lyric by Paul Hewson (also known as Bono)
"Gravity" Wins 2014 "Best Score" Oscar
Achievement in music written for motion pictures (Original score):
“Gravity” Steven Price WINNER
Nominees:
“The Book Thief” John Williams
“Her” William Butler and Owen Pallett
“Philomena” Alexandre Desplat
“Saving Mr. Banks” Thomas Newman
“Gravity” Steven Price WINNER
Nominees:
“The Book Thief” John Williams
“Her” William Butler and Owen Pallett
“Philomena” Alexandre Desplat
“Saving Mr. Banks” Thomas Newman
"The Great Gatsby" Wins 2014 "Best Production Design" Oscar
Achievement in production design:
“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn WINNER
Nominees:
“American Hustle” Production Design: Judy Becker; Set Decoration: Heather Loeffler
“Gravity” Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard
“Her” Production Design: K.K. Barrett; Set Decoration: Gene Serdena
“12 Years a Slave” Production Design: Adam Stockhausen; Set Decoration: Alice Baker
“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn WINNER
Nominees:
“American Hustle” Production Design: Judy Becker; Set Decoration: Heather Loeffler
“Gravity” Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard
“Her” Production Design: K.K. Barrett; Set Decoration: Gene Serdena
“12 Years a Slave” Production Design: Adam Stockhausen; Set Decoration: Alice Baker
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