Monday, September 5, 2011

Sam Peckinpah's "Straw Dogs" Now on Blu-ray

EVERY MAN HAS A BREAKING POINT

Celebrating the 40th Anniversary of a Sam Peckinpah Classic, The Blu-ray Disc Arrives For The First Time Ever September 6

Theatrical Remake Premieres Everywhere September 16

Los Angeles, CA (August 11, 2011) – How far will one man go to protect his wife and his home? One of the grittiest and controversial thrillers of all-time and banned in the United Kingdom for over 18 years, STRAW DOGS debuts on Blu-ray Disc September 6 from Twentieth Century Fox Home Entertainment. Released in celebration of the film’s 40th Anniversary and in anticipation of the upcoming theatrical remake, this violent and suspenseful tale from legendary director Sam Peckinpah (The Wild Bunch, The Getaway) stars two-time Academy Award® winner Dustin Hoffman* (The Graduate, Little Fockers) and Susan George (Mandingo, The House Where Evil Dwells).

To escape the Vietnam-era chaos in the U.S., American mathematician David Sumner (Hoffman) moves with his British wife Amy (George) to an isolated English village. Their presence provokes antagonism among the village's men. Escalating from routine bullying to the gang rape of his wife, David finds his pacifist self being backed into a corner and responds in the violent and gruesome manner he abhors.

The STRAW DOGS Blu-ray has been carefully restored and is presented with all-new 5.1 audio.

STRAW DOGS Blu-ray Special Features:
Original Theatrical Trailer
Three Original Television Spots


About Metro-Goldwyn-Mayer Studios Inc.
Metro-Goldwyn-Mayer Studios Inc. is actively engaged in the worldwide production and distribution of motion pictures, television programming, home video, interactive media, music, and licensed merchandise. The company owns the world’s largest library of modern films, comprising around 4,100 titles. Operating units include Metro-Goldwyn-Mayer Studios Inc., Metro-Goldwyn-Mayer Pictures Inc., United Artists Films Inc., MGM Television Entertainment Inc., MGM Networks Inc., MGM Distribution Co., MGM International Television Distribution Inc., Metro-Goldwyn-Mayer Home Entertainment LLC, MGM ON STAGE, MGM Music, MGM Consumer Products and MGM Interactive. In addition, MGM has ownership interests in domestic and international TV channels reaching over 130 countries. For more information, visit http://www.mgm.com/.

About Twentieth Century Fox Home Entertainment LLC
Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film Corporation, a News Corporation company. Representing 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions on DVD, Blu-ray Disc Digital Copy, Video On Demand and Digital Download. The company also releases all products globally for MGM Home Entertainment. Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

STRAW DOGS Blu-ray (Catalogue # M125141)
Street Date: September 6, 2011
Screen Format: Widescreen
Audio: English: 5.1 DTS-HD Master Audio
Subtitles: English, French & Spanish
U.S. Rating: R
Total Run Time: 118 minutes
Closed Captioned: Yes


Review: "Beetle Juice" Never Loses its Juice (Happy B'day, Michael Keaton)

TRASH IN MY EYE No. 226 (of 2004) by Leroy Douresseaux

Beetle Juice (1988)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG
DIRECTOR: Tim Burton
WRITERS: Michael McDowell and Warren Skaaren; from a story by Larry Wilson and Michael McDowell
PRODUCERS: Michael Bender, Richard Hashimoto, and Larry Wilson
CINEMATOGRAPHER: Thomas Ackerman
EDITOR: Jane Kurson
COMPOSER: Danny Elfman
Academy Award winner

COMEDY/FANTASY with elements of horror

Starring: Alec Baldwin, Geena Davis, Michael Keaton, Winona Ryder, Jeffrey Jones, Catherine O’Hara, Glenn Shadix, Annie McEnroe, Rachel Mittelman, Patrice Martinex, Dick Cavett, and Sylvia Sidney

One of my very personal favorite films and the film that made me a Tim Burton fan is Beetle Juice, the story of a young couple whose accidental deaths starts them on a journey of wildly bizarre exploits filled with uncanny events, tricky people, and fantastic creatures. Adam (Alec Baldwin) and Barbara Maitland’s (Geena Davis) premature deaths in a car accident leaves them ghosts in their New England home. Getting used to death is one thing, but the Maitlands face an even bigger challenge. Charles (Jeffrey Jones) and Delia (Catherine O’Hara), a pretentious New York couple, have bought the Maitlands’ home and Delia is determined to transform the old-fashioned abode into a postmodern art show place.

Adam and Barbara befriend the couple’s daughter, Lydia (Winona Ryder), who is not only fascinated with all things morbid and macabre, but she can see the Maitlands. However, Adam and Barbara turn to Betelgeuse (Michael Keaton), a “bio-exorcist,” a mischievous spirit who claims he can exorcise the living, to chase Charles, Barbara, and their obnoxious friends from their house. But Betelgeuse has own evil agenda behind his guise of helping the undead young couple reclaim their home.

The concept was tailored made for director Tim Burton’s unique visual style, and he certainly molded the film with his “twisted” imagination and skewered vision, as he and his co-conspirators pack the film with clever ideas, fantastical objects and locations, and kooky gags. Beetle Juice was the last time Burton seemed to really let loose and have fun on a truly wacky filmed.

Still, some of the credit should go to the art director and set decorators, costume designers, SFX people, and make up artists, as the combination of these artists and craftsman created a film that gloriously combines pulp fiction nonsense, pop art, and modern art into one of the few films that looks and feels like a cool Looney Tunes cartoon. Also, Danny Elfman’s score for the movie is one of the great film scores of the last two decades of the 20th century.

When I first saw this film, I didn’t care for Michael Keaton’s performance as the title villain; at the time, his manic energy seemed forced and phony. Sixteen years later, it seems just right; go figure. The rest of the cast gives inspired performances that fit the film’s darkly comic tone, making Beetle Juice a unique film treat. It’s not a great film, (the third act seems rushed and… damaged), but I like it.

7 of 10
A-

NOTES:
1989 Academy Awards: 1 win: “Best Makeup” (Ve Neill, Steve LaPorte, and Robert Short)

1989 BAFTA Awards: 2 nominations: “Best Make Up Artist” (Ve Neill, Steve LaPorte, and Robert Short) and “Best Special Effects” (Peter Kuran, Alan Munro, Robert Short, and Ted Rae)

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Saturday, September 3, 2011

"Madea's Big Happy Family" a Big Happy Movie

TRASH IN MY EYE No. 76 (of 2011) by Leroy Douresseaux

Madea’s Big Happy Family (2011)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 drug content, language and some mature thematic material
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Roger M. Bobb, Reuben Cannon, and Tyler Perry
CINEMATOGRAPHER: Toyomichi Kurita
EDITOR: Maysie Hoy

COMEDY/DRAMA

Starring: Tyler Perry, Loretta Devine, Cassi Davis, Shannon Kane, Isaiah Mustafa, Natalie Desselle Reid, Rodney Perry, Tamela J. Mann, David Mann, Shad “Bow Wow” Moss, Teyana Taylor, Lauren London, Philip Anthony-Rodriguez, and Maury Povich

Madea’s Big Happy Family is a 2011 comedy/drama and is also the 11th film in the Tyler Perry film franchise. Based upon Perry’s play of the same title, Madea’s Big Happy Family finds super-grandmother Mabel “Madea” Simmons coming to the rescue of her dying niece and her big unhappy family.

Madea’s niece, Shirley (Loretta Devine), is dying of cancer, and she wants to bring her three children: Byron (Bow Wow), Tammy (Natalie Desselle Reid), and Kimberley (Shannon Kane) together to tell them the bad news. However, her two daughters are in the midst of awful marital discord with their husbands. Byron is having major baby mama drama from his ex, Sabrina (Teyana Taylor), and his money-hungry girlfriend, Renee (Lauren London), wants him to return to a life of crime.

Betty Ann Murphy, better known as the rambunctious Aunt Bam (Cassi Davis), pleads with Madea (Tyler Perry) to help bring Shirley’s children together. Madea decides to do it her way, with tough love and fists (if she has to) and a little laughter along the way. However, Madea has family drama of her own, with her baby daddy, Brown (David Mann), and their daughter, Cora (Tamela J. Mann).

As Madea movies go, Madea’s Big Happy Family is probably the one that most mixes the somberness and the outlandishness found in Tyler Perry’s movie starring or featuring Madea. The conflicts and confusion that surrounds Shirley’s family may seem over-the-top, but I can attest to directly experiencing or being familiar with some of this family’s problems. Besides, the actors give such tight, authentic performances that nothing their characters do really seems hysterical and contrived, which are occasional sins of Mr. Perry the screenwriter. Shad Moss, better known as the rapper, Bow Wow, delivers a surprisingly strong performance, subtle and graceful in some places. That is a trait not found in many rapper-turned-actors.

The craziness that ensues between Madea, Cora, and Brown is indeed funny – some of funniest Madea stuff since Madea’s Family Reunion. Perry deftly uses Madea’s no-nonsense approach to issues of life, death, pain, and general crisis to cloak some truth’s that a lot of people need to hear, especially members of the African-American audience under 40 years old. You would not be wrong to think that Madea’s Big Happy Family is Perry’s most potent message delivery system. If you get tired to the preaching, Madea, Cora, and Brown offer some excellent comic set pieces.

This film’s glaring weakness is the Shirley character. Ostensibly the lynchpin for a testy family reunion, Shirley is merely a prop or conversation piece that keeps the other characters’ roles advancing from one scene to the next. That is disappointing on a number of levels, one of them being that it robs Loretta Devine of a chance to show her range. Still, Madea’s Big Happy Family is a rousing success. The messages of a loving God, hope, love, self-respect, and respect for others go down smoothly in this spoonful of sweet medicine.

7 of 10
A-

Saturday, September 03, 2011

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Review: "I Can Do Bad All by Myself" Does All Good for Itself

TRASH IN MY EYE No. 10 (of 2009) by Leroy Douresseaux

I Can Do Bad All by Myself (2009)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA- PG-13 for mature thematic material involving a sexual assault on a minor, violence, drug references and smoking
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Tyler Perry and Reuben Cannon
CINEMATOGRAPHER: Alexander Gruszynski
EDITOR: Maysie Hoy
Image Award winner

DRAMA/MUSIC with elements of comedy and romance

Starring: Taraji P. Henson, Adam Rodrigeuz, Brian J. White, Hope Olaide Wilson, Kwesi Boakye, Frederick Siglar, Gladys Knight, Mary J. Blige, Marvin Winans, and Tyler Perry

One could make the argument that every Tyler Perry movie seems to be made from the same stencil or template. There are the good women and the bad men they love (Madea’s Family Reunion). There are also the good men and the troubled women they try to save (Madea Goes to Jail). And there are always those who need to go back to church because they don’t know which way is up (Daddy’s Little Girls). Of course, there is usually room for the unsinkable matriarch Madea, and her brother and housemate, the un-politically correct, Joe. Perry’s new film, I Can Do Bad All by Myself (based upon his play) distills the essence of Perry’s oeuvre into its most perfect form to date.

After the pistol-packing Madea (Tyler Perry) catches three siblings breaking into her home, she decides to take matters into her own hands. Madea marches 16-year-old Jennifer (Hope Olaide Wilson) and her two younger brothers, Manny (Kwesi Boakye) and Byron (Frederick Siglar), to the only relative she can find – their Aunt April (Taraji P. Henson), a hard-living, heavy-drinking nightclub singer. April lives off her married boyfriend, Randy (Brian J. White). Already having several children of his own, Randy doesn’t want April’s niece and nephews around, and April certainly doesn’t think her dead crackhead sister’s children are her problem.

Fate, however, brings Sandino (Adam Rodriguez) into April’s life. The handsome Mexican immigrant is looking for work, so the local Pastor Brian (Marvin Winans) asks April to allow Sandino to move into her basement room in exchange for doing handiwork. The hard-luck immigrant challenges April to open her heart, which forces her to make the biggest choice of her life. Will she keep Randy and her old ways or will she choose the new possibilities for life that taking in her niece and nephew offer?

Why do I think that I Can Do Bad All by Myself is the best Tyler Perry movie? I think this film’s strength is based on the performances of its cast. The script isn’t anything particularly special, at least in the context of Perry’s other writing. The motivations for their actions and explanations for what ails the characters in this film are the usual ingredients for a Tyler Perry psychodrama: alcohol, childhood sexual abuse, drug use, and not going to church.

It is a performance like the one given by Taraji P. Henson that allows I Can Do Bad All by Myself to soar as a film about triumph and redemption. Henson is such a natural that whatever character she plays comes across as honest and authentic. In her performance, the audience can buy April, in spite of whatever contrivances Perry fashions for that character’s past. Henson also deftly executes her skills so that she can amplify the comedic moments even in the midst of the intense drama of this film. For instance, there is pathos and merriment in the scene in which Madea first confronts April with her niece and nephews. This scene defines I Can Do Bad All by Myself’s attitude that there is joy even the darkest times in life. Using laughter, Perry and his star give the audience a chance to step back and take a different look at this pivotal moment in the film.

There are other good performances. Brian J. White as the philandering husband and boyfriend, Randy, is exquisite, and Adam Rodriguez alternately simmers and shines as Sandino, the do-the-right-thing handyman. I would be remiss if I failed to mention Hope Olaide Wilson as April’s fierce and stubborn niece, Jennifer, a character that is essentially a younger version of her aunt. It is a testament to young Miss Wilson’s talent that she could present Jennifer as being destined to follow April’s sad path in life without it seeming contrived.

It also doesn’t hurt to have two of the best ever rhythm and blues and soul singers, Gladys Knight and Mary J. Blige, belting out a few songs, giving the kind of vocal performances that will raise the roof and then knock down the walls. It is these performances that make I Can Do Bad All by Myself the standout drama, thus far, in Tyler Perry’s filmography and a movie not to be missed.

8 of 10
A

Sunday, October 04, 2009

NOTES:
2010 Black Reel Awards: 2 nominations: “Best Actress” (Taraji P. Henson) and “Best Song, Original or Adapted” (Mary J. Blige for the song "I Can Do Bad All By Myself")

2010 Image Awards: 1 win: “Outstanding Supporting Actor in a Motion Picture” (Adam Rodriguez); 2 nominations: “Outstanding Actress in a Motion Picture” (Taraji P. Henson) and “Outstanding Writing in a Motion Picture-Theatrical or Television” (Tyler Perry)

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Review: "Madea Goes to Jail" a Message-Heavy Film

TRASH IN MY EYE No. 6 (of 2009) by Leroy Douresseaux

Tyler Perry’s Madea Goes to Jail (2009)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for mature thematic material, drug content, some violence, and sexual situations
WRITER/DIRECTOR: Tyler Perry
PRODUCERS: Tyler Perry and Reuben Cannon
CINEMATOGRAPHER: Alexander Gruszynski (D.o.P.)
EDITOR: Maysie Hoy

COMEDY/DRAMA/ROMANCE

Starring: Tyler Perry, Derek Luke, Keshia Knight Pullman, David Mann, Tamela J. Mann, RonReaco Lee, Ion Overman, Vanessa Ferlito, Viola Davis, Sofia Vergara, and Robin Coleman

In the seventh Tyler Perry movie (the sixth Perry has directed), his most popular character, the matriarch Mabel “Madea” Simmons, finally lands in jail in the film, Madea Goes to Jail. Madea’s commotions aside, this film’s primary focus is on the efforts of an up and coming attorney to save a former classmate from a life of drug addiction and prostitution.

A high speed car chase lands Madea (performed by Tyler Perry in drag) on the steps of the jail, but a technicality allows her another in a long line of reprieves. However, Madea’s anger management issues lead to an outrageous act of violence that finally earns her a stiff prison sentence. Madea’s eccentric family, including her daughter, Cora (Tamela J. Mann), and Cora's father, Brown (David Mann), rally behind her and lead the effort to free Madea.

Meanwhile, Assistant District Attorney Joshua Hardaway (Derek Luke), who is on the fast track to career success, reunites with an old friend, Candace Washington (Keshia Knight Pullman), who is a drug addict and prostitute known to customers and colleagues as “Candy.” Joshua is determined to get Candy cleaned up, off drugs, and off the streets, but they share a dark secret from their past, which seems to hamper efforts to heal Candy. Joshua’s fiancé and fellow ADA, Linda Davis (Ion Overman) is simply enraged at Joshua’s efforts to help Candy, and she plots to permanently separate the two.

Like Tyler Perry’s other films, Madea Goes to Jail is filled with broad comedy (quite a bit of it slapstick), Christian themes, and principles of forgiveness, healing, and redemption, but of all of his films, this is one comes across as the most shallow in its message. Perry’s films, by his own admission, are more than just entertainment; they are message films, so criticizing them on the basis on that message or how the message is delivered is legitimate.

Madea Goes to Jail is Perry’s most polished effort to date, in terms of technical and craft aspects of filmmaking. The direction is smooth, and Perry has cast a group of highly-qualified and veteran actors. These actors bring a sense of weighty drama to this occasionally very dark movie. When this movie was first released earlier this year (2009), much was made of former child star, Keshia Knight Pulliam’s turn as a drug-addicted prostitute. This faux controversy about Pulliam (who played Rudy Huxtable on The Cosby Show) missed the truth of the excellent dramatic performance given by the underestimated Pulliam – not to mention that such criticism missed excellent dramatic turns by Derek Luke and the recently Oscar-nominated Viola Davis (Doubt).

What Madea Goes to Jail should be criticized for is its ultimately dishonest and shallow message to its audience, in particularly Black women whose lives are in shambles because of drug addiction and because of past and present physical, mental, and sexual abuse. They suffer such abuse at the hands of loved ones. Madea Goes to Jail is actually a great film until the last 15 minutes or so. Tyler Perry is good at depicting suffering and anguish, but not as good when he suggests methods of healing. It is during the last 15 minutes of Madea Goes to Jail that Tyler Perry, as he rushes to tie everything in a feel-really-good, happy-ending bow, offers Christian platitudes (such as forgiveness) and self-help bromides as the cure for deep-rooted ills. When life gives you lemons, you make Jesus-flavored lemonade? I don’t think so.

I don’t begrudge Perry his happy endings, but if he must send messages, he is going to have to think seriously about the social and personal issues that he makes the centerpieces of his films. If he is going to offer answers and solutions, they should be more than “forgive and forget.” Otherwise, Madea Goes to Jail is an entertaining, at times exceptionally entertaining, film. But it could have been a truly important film.

7 of 10
B+

Tuesday, June 30, 2009

NOTES:
2010 Black Reel Awards: 1 nomination: “Best Supporting Actor” (Derek Luke)

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Ken Loach Revealed (A Negromancer Bits and Bites Extra)

Reader Supported News gave its followers a chance to read the Guardian UK's piece on director Ken Loach.  The acclaimed and controversial director is currently the subject of a retrospective by the British Film Institute (BFI).

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Friday, September 2, 2011

Review: "The Matrix" Has Staying Power (Happy B'day, Keanu Reeves)

TRASH IN MY EYE No. 19 (of 2001) by Leroy Douresseaux

The Matrix (1999)
Running time: 136 minutes (2 hour, 16 minutes)
MPAA – R for sci-fi violence and brief language
DIRECTORS: The Wachowski Brothers
WRITERS: Andy Wachowski and Larry Wachowski
PRODUCER: Joel Silver
CINEMATOGRAPHER: Bill Pope (D.o.P.)
EDITOR: Zach Staenberg
COMPOSER: Don Davis
Academy Award winner

SCI-FI/FANTASY/ACTION with elements of a thriller

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Ann Moss, Hugo Weaving, Joe Pantoliano, Marcus Chong, Gloria Foster, Julian Arahanga, Matt Doran, Belinda McClory, and Anthony Ray Parker

The Matrix is a 1999 science fiction action film. Directed by the brothers Andy Wachowski and Larry Wachowski (who is now Lana), The Matrix was the first of three films and launched a franchise that includes video games, animation (The Animatrix), and a series of comic and webcomics that were eventually collected in two trade paperbacks. The film would go on to be influential and win four Oscars.

A computer programmer and hacker named Thomas A. Anderson (Keanu Reeves) is in a kind of funk; the world does not seem quite right to him, but he cannot put his finger on what bothers him. He encounters a mysterious band of rebels led by the Morpheus (Laurence Fishburne) who tells Anderson that Anderson is really Neo and that he is the Chosen One who will lead humanity out of the bondage in which machines keep them. Morpheus is abetted by Trinity (Carrie-Ann Moss), who believes completely in Neo as the savior.

The year isn’t 1999; it is 200 years later, says Morpheus. The world in which Neo lives is not real; it is instead an elaborate façade called the Matrix created by a malevolent Artificial Intelligence. The real world is a bombed shell of its former self. The ruling cyber intelligence has stored humans in stasis pods and uses humans for the fuel with which it operates itself. The Matrix, a kind of computer simulation of reality into which humanity is plugged, keeps humanity placated while the A.I., to power itself, leeches the energy human bodies naturally generate. Humans think they are living their lives when they are really all asleep and jacked into an electronic version of reality.

Morpheus believes that Neo is the one who will destroy the Matrix. Morpheus and his warriors live in the real world. They can send their consciousness into the Matrix to recruit converts to their cause. Their nemeses are Agents, A.I. who infiltrate and police the Matrix for rebellious humans. Led by the vicious Agent Smith (Hugo Weaving), the Agents pursue Neo and his newfound colleagues.

Written and directed by the Wachowski Brothers, The Matrix is glorious eye candy. Others have described the special effects as mind bending, and some audiences may have perceived them that way. The movie is visually dazzling, exciting, and invigorating; it’s a thrill ride in which you sit back and let yourself be entertained. While the Wachowki’s currently lack the skills to stage shots as well as Hitchcock or Kubrick would, they do know how to compose effective visuals. From a city with a sense of wrongness to the abandoned subway system where Morpheus and his rebels fight beautifully designed and wicked looking machinery, the film’s images deliver a coherent message.

Part Terminator and part The Invisibles (a comic book published by DC comics and created by Grant Morrison), the movie pretends at being ideologically and intellectually deep. However, man versus machine isn’t so much an issue in the movie as it is an impetus for violent action scenes. The brothers were smart in that they allowed Neo’s warrior friends to have the job of explaining the situation behind the Matrix.

The acting is very good. Fishburne has deep resonant tones, and he speaks clearly and confidently as explains things to Reeve’s somewhat slow Neo. Reeves, from the Kevin Costner school of wooden acting and halting speech mannerisms, would have lost the audience had he tried to make explanations. However, the camera loves the cool, West Coast looker, so Neo’s ascension from dull hacker to savior is something the audience can buy. Moss’s Trinity is a stand by you man woman and makes an able sidekick/love interest for Neo, and it is she who carries the load in the relationship. She delivers all the passion and provides all the strength while Neo finds his place as the One.

The most impressive, influential, and groundbreaking films usually sweep the technical Academy Awards for the year in which they are released, which The Matrix did while American Beauty won the high-end trophies. However, like Star Wars, Who Framed Roger Rabbit?, The Terminator, and Jurassic Park, The Matrix will stand the test of time as a technical landmark in cinematic history. Besides that, it’s a very good film. What it lacks in subtlety and intellect, it more than makes up for in visual bravado, suspense, and drama. Like the directors of the best films, the Wachowski’s let the images do the talking.

8 of 10
A

NOTES:
2000 Academy Awards: 4 wins: “Best Effects, Sound Effects Editing” (Dane A. Davis), “Best Effects, Visual Effects” (John Gaeta, Janek Sirrs, Steve Courtley, and Jon Thum), “Best Film Editing” (Zach Staenberg), and “Best Sound” (John T. Reitz, Gregg Rudloff, David E. Campbell, and David Lee)

2000 BAFTA Awards: 2 wins: “Best Achievement in Special Visual Effects” (John Gaeta, Steve Courtley, Janek Sirrs, and Jon Thum) and “Best Sound” (David Lee, John T. Reitz, Gregg Rudloff, David E. Campbell, and Dane A. Davis); 3 nominations: “Best Cinematography” (Bill Pope), “Best Editing” (Zach Staenberg), and “Best Production Design” (Owen Paterson)

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