Friday, November 30, 2007
ACTRESS IN A MOTION PICTURE, DRAMA
Julie Christie, "Away From Her" (Lionsgate)
Angelina Jolie, "A Mighty Heart" (Paramount Vantage)
Marion Cotillard, "La Vie En Rose" (Picturehouse Entertainment)
Tilda Swinton, "Stephanie Daley" (Regent Releasing)
Keira Knightly, "Atonement" (Focus Features)
Laura Linney, "The Savages" (Fox Searchlight)
Thank goodness this set of awards got Marion Cotillard put in the right category. Nice to see that Laura Linney got in too.
ACTOR IN A MOTION PICTURE, DRAMA
Denzel Washington, "American Gangster" (Universal Pictures)
Josh Brolin, "No Country For Old Men" (Miramax Films)
Christian Bale, "Rescue Dawn" (MGM)
Viggo Mortensen, "Eastern Promises" (Focus Features)
Frank Langella, "Starting Out in the Evening" (Roadside Attractions)
Tommy Lee Jones, "In the Valley of Elah" (Warner Independent Pictures)
Langella, Bale, and Brolin are all surprises here. Glad that Mortensen and Jones got in. I have no idea who this will go to though...
ACTRESS IN A MOTION PICTURE, COMEDY OR MUSICAL
Katherine Heigl, "Knocked Up" (Universal Pictures)
Amy Adams, "Enchanted" (Walt Disney Pictures)
Ellen Page, "Juno" (Fox Searchlight)
Emily Mortimer, "Lars and the Real Girl" (MGM)
Nicole Kidman, "Margot at the Wedding" (Paramount Vantage)
Cate Blanchett, "Im Not There" (The Weinstein Company)
*sigh* I'm glad Kidman is nominated, but couldn't they just kick out Jolie and stick Kidman in drama? Also surprising is the placement of Cate Blanchett in lead (same goes for Emily Mortimer). Ellen Page and Amy Adams are great choices, but Katherine Heigl's slot should've gone to Keri Russell (this is a first class example of how box office can help someone get nominated).
ACTOR IN A MOTION PICTURE, COMEDY OR MUSICAL
Richard Gere, "The Hoax" (Miramax Films)
Seth Rogen, "Knocked Up" (Universal Pictures)
Ben Kingsley, "You Kill Me" (IFC Films)
Ryan Gosling, "Lars and the Real Girl" (MGM)
Clive Owen, "Shoot 'Em Up" (New Line Cinema)
Don Cheadle, "Talk to Me" (Focus Features)
Yay for Gosling, but what the hell is Clive Owen doing in there for "Shoot Em Up" (a movie described as "gleefully trashy")?
ACTRESS IN A SUPPORTING ROLE
Saoirse Ronan, "Atonement" (Focus Features)
Emmanuelle Seigner, "La Vie En Rose" (Picturehouse Entertainment)
Tilda Swinton, "Michael Clayton" (Warner Bros. Pictures)
Amy Ryan, "Gone Baby Gone" (Miramax Films)
Taraji P. Henson, "Talk to Me" (Focus Features)
Ruby Dee, "American Gangster" (Universal Pictures)
Yay for Tilda Swinton and Saoirse Ronan! However, unlike many, I don't understand all the love for Ruby Dee's performance in American Gangster. Emmanuelle Seigner is also really surprising, seeing as all the acting buzz was so wholly dedicated to Her Majesty Marion Cotillard.
ACTOR IN A SUPPORTING ROLE
Jeff Daniels, "The Lookout" (Miramax Films)
Brian Cox, "Zodiac" (Paramount Pictures)
Tom Wilkinson, "Michael Clayton" (Warner Bros. Pictures)
Ben Foster, "3:10 To Yuma" (Lionsgate)
Javier Bardem, "No Country For Old Men" (Miramax Films)
Casey Affleck, "The Assassination of Jessie James" (Warner Bros. Pictures)
Amazing. My top three personal Supp. Actor noms (Affleck, Bardem, Wilkinson) are ALL HERE! The inclusion of Ben Foster is great as well, but Brian Cox for Zodiac is puzzling. He was brought in for roughly...2 scenes, and then he was gone.....
MOTION PICTURE, DRAMA
"The Lookout" (Miramax Films)
"Before the Devil Knows You're Dead" (ThinkFilm)
"Away From Her" (Lionsgate)
"Eastern Promises" (Focus Features)
"No Country For Old Men" (Miramax Films)
"3:10 To Yuma" (Lionsgate)
Hopefully No Country For Old Men will take the award, but "Devil" could surprise. Interesting choice in 3:10 to Yuma...
MOTION PICTURE, COMEDY OR MUSICAL
"Hairspray" (New Line Cinema)
"Shoot 'Em Up" (New Line Cinema)
"Lars and the Real Girl" (MGM)
"Knocked Up" (Universal Pictures)
Again, what the hell is with Shoot 'Em Up and Knocked up? Waitress and Once should be in there.
MOTION PICTURE, FOREIGN LANGUAGE
"Ten Canoes" Australia (Palm Pictures)
"Offside Iran" (Sony Pictures Classics)
"La Vie En Rose" France (Picturehouse Entertainment)
"Lust, Caution" China (Focus Features)
"4 Months 3 Weeks & 2 Days" Romania (IFC Films)
"The Orphanage" Spain (Picturehouse Entertainment)
"Margot at the Wedding" (Paramount Vantage)
Margot at the Wedding is foreign language (the awards are American based so...)? This has to be a typo of some sort.
MOTION PICTURE, ANIMATED OR MIXED MEDIA
"Persepolis" (Sony Pictures Classics)
"The Simpsons Movie" (Twentieth Century Fox)
"The Golden" Compass (New Line Cinema)
""Ratatouille"" (Buena Vista Pictures)
"300" (Warner Bros. Pictures)
"Beowulf" (Paramount Pictures)
Very interesting in that it's not just "animated" but also mixed media. Ratatouille and Persepolis have plenty of critical support, while "Simpsons" has sentimentality going for it. Beowulf was a big step forward but it's box office hasn't been as big as "300" and with "The Golden Compass" arriving in Dec and fresh on everyone's minds (not to mention that it features a huge amount of near seamless human-cgi interaction), could knock Beowulf down.
MOTION PICTURE, DOCUMENTARY
"The King Of Kong" (Picturehouse Entertainment)
"The 11th Hour Warner" (Independent Pictures)
"No End In Sight" (Magnolia Pictures)
"Darfur Now Warner" (Independent Pictures)
"Lake Of Fire" (ThinkFilm)
Ang Lee, "Lust, Caution" (Focus Features)
Olivier Dahan, "La Vie En Rose" (Picture House Entertainment)
David Cronenberg, "Eastern Promises" (Focus Features)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax Films)
Sidney Lumet, "Before the Devil Knows You're Dead" (ThinkFilm)
Sarah Polley, "Away From Her" (Lionsgate)
Dahan is a surprise, considering direction was the weakest aspect of LVER. Hopefully it'll go to the Coens.
Scott Frank, "The Lookout" (Miramax Films)
Diablo Cody, "Juno" (Fox Searchlight)
Kelly Masterson, "Before the Devil Knows You're Dead" (ThinkFilm)
Tony Gilroy, "Michael Clayton" (Warner Bros. Pictures)
Nancy Oliver,"Lars and the Real Girl" (MGM)
Steven Knight, "Eastern Promises" (Focus Features)
Diablo Cody is a almost a lock, and if not her, the other first time writer: Tony Gilroy.
James Vanderbilt, "Zodiac" (Paramount Pictures)
Christopher Hampton, "Atonement" (Focus Features)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax Films)
David Benioff, "The Kite Runner" (Paramount Vantage)
Sarah Polley, "Away From Her" (Lionsgate)
Wang Hui Ling, James Schamus, "Lust, Caution" (Focus Features)
probably between "No Country" and Atonement.
Dario Marianelli, "Atonement" (Focus Features)
James Newton Howard, "The Lookout" (Miramax Films)
Michael Giacchino, "Ratatouille" (Buena Vista Pictures)
Alberto Iglesias, "The Kite Runner" (Paramount Vantage)
Howard Shore, "Eastern Promises" (Focus Features)
Nick Cave, "The Assassination of Jesse James" (Warner Bros. Pictures)
glad to see Howard Shore and Nick Cave in their along with Marianelli (who will probably win with no trouble).
"Do You Feel Me"/Diane Warren, "American Gangster" (Universal Pictures)
"If You Want Me"/Glen Hansard & Marketa Irglova, "Once" (Fox Searchlight)
"Come So Far"/Marc Shaiman, "Hairspray" (New Line Cinema)
"Rise"/Eddie Vedder, "Into The Wild" (Paramount Vantage)
"Grace Is Gone"/Clint Eastwood & Carole Bayer Sager, "Grace Is Gone" (The Weinstein Company)
"Lyra"/Kate Bush, "The Golden Compass" (New Line Cinema)
I'm glad Once is nominated, but they picked the wrong song. Come So Far would be a good choice though. As much as I can't wait to see "Compass" I've listened to the original song, and it's pretty "blah".
Harris Savides, "Zodiac" (Paramount Pictures)
Robert Elswit, "There Will Be Blood" (Paramount Vantage)
Bruno Delbonnel, "Across The Universe" (Revolution Studios)
Janusz Kaminski, "The Diving Bell and the Butterfly" (Miramax Films)
Roger Deakins, "The Assassination Of Jesse James By the Coward Robert Ford" (Warner Bros. Pictures)
Henry Braham, "The Golden Compass" (New Line Cinema)
Talk about a tough category. All of these are so different and so striking. I'd be happy with anyone them.
Scott Farrar, "Transformers" (Paramount Pictures)
Michael Fink, "The Golden Compass" (New Line Cinema)
Chris Watts, Grant Freckelton, Derek Wentworth, Daniel Leduc, "300" (Warner Bros. Pictures)
Peter Chiang, Charlie Noble, David Vickery, Mattias Lindahl, "The Bourne Ultimatum" (Universal Pictures)
Thomas Schelesny, Matt Jacobs, Tom Gibbons, "Enchanted" (Walt Disney Pictures)
Jerome Chen, Sean Phillips, Kenn McDonald, Michael Lantieri, "Beowulf" (Paramount Pictures)
Enchanted won't win, and neither will "Bourne". Transformers is probably still in the lead, but with "Golden Compass" arriving, the complexity of the effects could win over voters.
Pietro Scalia, "American Gangster" (Universal Pictures)
Jill Savitt, "The Lookout" (Miramax)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax)
Richard Marizy, "La Vie En Rose" (Picturehouse Entertainment)
Christopher Rouse, "The Bourne Ultimatum" (Universal Pictures)
Ronald Sanders, "Eastern Promises" (Focus Features)
Again, the choice of La Vie En Rose is suprising. American Gangster and No Country are both plenty deserving.
SOUND (EDITING & MIXING)
Mike Prestwood-Smith, Mark Taylor, Glenn Freemantle, "The Golden Compass" (New Line Cinema)
Nikolas Javelle, Jean-Paul Hurier, "La Vie En Rose" (Picturehouse Entertainment)
Christopher Boyes, Paul Massey, Lee Orloff, George Watters II, "Pirates Of The Caribbean: At World's End" (Buena Vista Pictures)
Scott Heckler, Eric Norris, Derek Vanderhorst, "300" (Warner Bros. Pictures)
Karen Baker Landers, Kirk Francis, Per Hallberg, "The Bourne Ultimatum" (Universal Pictures)
Tod Maitland, Skip Lievsay, Rick Kline, Jeremy Peirson, "I Am Legend" (Warner Bros. Pictures)
ART DIRECTION & PRODUCTION DESIGN
Guy Dyas, David Allday, "Elizabeth: The Golden Age" (Universal Pictures)
Patricia Norris, Martin Gendron, Troy Sizemore, "The Assassination Of Jesse James By the Coward Robert Ford" (Warner Bros. Pictures)
Dennis Davenport, David Gropman, "Hairspray" (New Line Cinema)
Mark Tildesley, "Sunshine" (Fox Searchlight Pictures)
Gary Freeman, Stephen Morahan, Denis Schnegg, David Allday, Matthew Gray, Charles Wood, "Amazing Grace" (Samuel Goldwyn Films)
Mark Friedberg, Peter Rogness, "Across the Universe" (Revolution Studios)
What the...Amazing Grace? Harry Potter 5, Pirates 3, and Golden Compass would all be better picks.
Alexandra Byrne, "Elizabeth: The Golden Age" (Universal Pictures)
Yvonne Blake, "Goya's Ghosts" (Samuel Goldwyn Pictures)
Marit Allen, "La Vie En Rose" (Picturehouse Entertainment)
Rita Ryack, "Hairspray" (New Line Cinema)
Jenny Beavan, "Amazing Grace" (Samuel Goldwyn Films)
Jacqueline Durran, "Antonement" (Focus Features)
Again, Amazing Grace is an odd choice, as is La Vie En Rose. Goya's Ghosts is perhaps the strangest seeing as it flopped. "Elizabeth" should swipe this award and if not that, then Atonement.
"Jane Eyre" (BBC/WGBH)
"The Starter Wife" (USA Network)
"The Company" (TNT)
"Five Days" (HBO)
"The Amazing Mrs. Pritchard" (BBC/Kudos Productions)
MOTION PICTURE MADE FOR TELEVISION
"The Wind And The Willows, Masterpiece Theater" (PBS/BBC)
"Mitch Alboms For One More Day"(ABC)
"Longford" (HBO/Channel 4)
"Life Support" (HBO)
"The Trial Of Tony Blair" (Channel 4)
"Bury My Heart At Wounded Knee" (HBO)
ACTRESS IN A MINISERIES OR A MOTION PICTURE MADE FOR TELEVISION
Ruth Wilson, "Jane Eyre" (PBS/WGBH)
Ellen Burstyn, "Mitch Alboms For One More Day" (ABC)
Samantha Morton, "Longford" (HBO/Channel 4)
Queen Latifah, "Life Support" (HBO)
Debra Messing, "The Starter Wife" (USA Network)
Sharon Small, "Inspector Lynley Mysteries" (PBS/BBC)
ACTOR IN A MINISERIES OR A MOTION PICTURE MADE FOR TELEVISION
Toby Stephens, "Jane Eyre" (BBC)
Jim Broadbent, "Longford" (HBO/Channel 4)
Robert Lindsay, "The Trial Of Tony Blair" (Channel 4)
Aidan Quinn, "Bury My Heart At Wounded Knee" (HBO)
David Oyelowo, "Five Days" (HBO)
Tom Selleck, "Jesse Stone: Sea Change" (CBS)
ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
Vanessa Williams, "Ugly Betty" (ABC)
Judy Davis, "The Starter Wife" (USA Network)
Chandra Wilson, "Grey's Anatomy" (ABC)
Jamie Pressly, "My Name Is Earl" (NBC)
Polly Bergen, "Desperate Housewives" (ABC)
Rachel Griffiths, "Brothers and Sisters" (ABC)
ACTOR IN A SUPPORTING ROLE IN A SERIES, MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
Andy Serkis, "Longford" (HBO/Channel 4)
Michael Emerson, "Lost" (ABC)
Masi Oka, "Heroes" (NBC)
Justin Kirk, "Weeds" (Showtime)
T.R. Knight, "Grey's Anatomy" (ABC)
Harry Dean Stanton, "Big Love" (HBO)
G. David Zayas, "Dexter" (Showtime)
TELEVISION SERIES, DRAMA
"The Riches" (FX Network)
"Mad Men" (AMC)
"Friday Night Lights" (NBC)
"Grey's Anatomy" (ABC)
"Brothers and Sisters" (ABC)
ACTRESS IN A SERIES, DRAMA
Minnie Driver, "The Riches" (FX Network)
Kyra Sedgwick, "The Closer" (TNT)
Ellen Pompeo, "Grey's Anatomy" (ABC)
Sally Field, "Brothers and Sisters" (ABC)
Jeanne Tripplehorn, "Big Love" (HBO)
Glenn Close, "Damages" (FX Network)
ACTOR IN A SERIES, DRAMA
Eddie Izzard, "The Riches" (FX Network)
Michael C. Hall, "Dexter" (Showtime)
James Woods, "Shark" (NBC)
Hugh Laurie, "House" (Fox)
Bill Paxton, "Big Love" (HBO)
Denis Leary, "Rescue Me" (FX Network)
TELEVISION SERIES, COMEDY OR MUSICAL
"Ugly Betty" (ABC)
"Flight Of The Concords" (HBO)
"Pushing Daisies" (ABC)
ACTRESS IN A SERIES, COMEDY OR MUSICAL
America Ferrera, "Ugly Betty" (ABC)
Tina Fey, "30 Rock" (NBC)
Julia Louis-Dreyfus, "The New Adventures Of Old Christine" (CBS)
Felicity Huffman, "Desperate Housewives" (ABC)
Anna Friel, "Pushing Daisies" (ABC)
Patricia Heaton, "Back to You" (Fox)
ACTOR IN A SERIES, COMEDY OR MUSICAL
Lee Pace, "Pushing Daisies" (ABC)
Alec Baldwin, "30 Rock" (NBC)
Steve Carell, "The Office" (NBC)
Stephen Colbert, "The Colbert Report" (Comedy Central)
Ricky Gervais, "Extras" (HBO)
Zachary Levi, "Chuck" (NBC)
SPECIAL ACHIEVEMENT AWARDS
BEST ENSEMBLE, MOTION PICTURE
"Before The Devil Knows You're Dead"
MARY PICKFORD AWARD FOR OUTSTANDING ARTISTIC CONTRIBUTION TO THE ENTERTAINMENT INDUSTRY
NIKOLA TESLA AWARD IN RECOGNITION FOR VISIONARY ACHIEVEMENTS IN FILMMAKING TECHNOLOGY
Julian Schnabel, "The Diving Bell And The Butterfly"
Thursday, November 29, 2007
"To the extent ... that Lyra and her allies are taking a stand on behalf
of free will in opposition to the coercive force of the Magisterium,
they are of course acting entirely in harmony with Catholic teaching.
The heroism and self-sacrifice that they demonstrate provide appropriate
moral lessons for viewers."
"Is Pullman trying to undermine anyone's belief in God? Leaving the
books aside, and focusing on what has ended up on-screen, the script can
reasonably be interpreted in the broadest sense as an appeal against the
abuse of political power. Will seeing this film inspire teens to read
the books, which many have found problematic? Rather than banning the
movie or books, parents might instead take the opportunity to talk
through any thorny philosophical issues with their teens."
ah, and somewhere, Bill Donahue (head of the Catholic League) is crying himself to sleep.
"This is the very best sort of part for her: statuesque, elegant, seductive, with a hint of cold steel. In many ways, it's her juiciest character since the sociopathic meteorologist in To Die For."
"it certainly looks wonderful, with epic dash and a terrific central performance from Nicole Kidman, who may come to dominate our children's nightmares the way Robert Helpmann's Child Catcher in Chitty Chitty Bang Bang once did ours."
- peter bradshaw (the guardian)
"Absolutely stunning in the role of Mrs. Coulter, Kidman shines immediately as the seductive beauty with obviously torn emotions. A woman with enough solid charm to win a staring match with the Master of Jordan College deserves, as she explains later, to have no one controlling what she does."
"Happily appearing on screen for an abundantly beautiful time, actress Nicole Kidman shrugged off early reports of owning a flop and demonstrated all that is charm in her portrayal of Mrs. Coulter."
- erica fetterman
"Nicole Kidmans Mrs Coulter- beautifully sinister, she carries the role with the poise and inimitability of a master of her art. The sexual energy she radiates in her opening scene was subtly introduced, yet clearly apparent. The mood swings that are almost synonymous with Coulters character are perfectly implemented"
- david jones
"This injection of a greatly experienced actress into the fray is doubtless the icing of an excellent cake, her performance as the ruthless Marisa is nothing short of five-star. She has the steel and the sweetness of Mrs. Coulter, and she switches to the correct aura exactly on cue. "
- graham lord
"It's actually quite hard for me to tell whether or not I like the movie. Some bits of it were amazing. I had been quite happy when Kidman was cast as Mrs. Coulter; I was pleased as I felt she could play the role competently. I was wrong. Kidman's Mrs. Coulter was not just competent, she was just about perfect, far better than I thought possible. "
- edward miles
this changes the tally to 9 good vs 3 bad
In the TV races, some series that straddled classification have been decided, too: "Pushing Daisies," "Californication," "Chuck," "Psych," "Samantha Who" and "Reaper" will compete as comedies.
In the race for best animated feature: "Bee Movie," "Beowulf," "Happily N'ever After," "Meet the Robinsons," "Ratatouille," "Shrek the Third," "The Simpson's Movie," "Surf's Up," and "TMNT."
Sixty-one movies have landed in the category for best foreign-language film. (Among the foreign titles is "La Vie en Rose," whose star, Marion Cotillard, will compete in the race for best comedy/musical actress.)
Once again, the committee that decides the Golden Globe nominees has placed a biopic of a singer (La Vie en Rose) and its star in the Musical or Comedy category where it doesn't belong. For those who remember, they made the same mistake with the films "Ray" (2004) and "Walk the Line" (2005) along with their respective performances from Jamie Foxx, Joaquin Phoenix, and Reese Witherspoon. Now this means that the likes of Keri Russel and Amy Adams are going to be totally screwed out of a possible win. Also, Margot at the Wedding is no comedy. Noah Baumbach's comedic appeal (yes, some people find his films intentionally hilarious) is too much of an inside joke for those who understand what his characters are going through. It's not "smart humor" or "elevated humor"...it's isolationist humor. Put the damn film and everyone involved in competetion for drama. Best Actress in a Drama was already going to be pretty dull without Marion Cotillard and Nicole Kidman, now it's shaping up to be flat out dreary.
Wednesday, November 28, 2007
so far reviews have come from these sources
The London Times
Time Out (never, ever heard of it)
Fox News (which is.....surprising...)
The Daily Mail
This Is London
Though yes, more negative reviews will eventually arrive, all signs point to a generally good consensus on the film. WOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!
Emmanuel Levy's Review
5 new clips
Tuesday, November 27, 2007
The Guardian reviews The Golden Compass
Okay....so why isn't "Waitress" in here? I understand Once is out b/c it's a foreign film, but Waitress was surely better than that Oscar begging "A Mighty Heart"...bleh. Glad to see "Diving Bell" and Juno get mentioned, but I'm stunned that "The Savages" got snubbed.
Thank goodness Waitress and Savages got in here.
Yay for Ellen Page and Parker Posey, but Jolie? Oscar begging at its worst. And where in the world are Nicole Kidman for "Margot" and Laura Linney for "Savages"?
Blanchett's taking this one. The only one standing in her way is Jennifer Jason-Leigh.
Hopfeully it'll go to Once, and if not that Persepolis.
It'll be Todd Haynes or Julian Schnabel with Gus Van Sant as the dark horse.
Yech, another nomination for A Mighty Heart? Please, PLEASE let this go to Juno.
Yay for Hoffman.
A tough one. Kene Holliday definitely isn't winning but all the others have pretty decent chances.
Robert Altman Award
Axium Truer than Fiction Award
One last comment: WHERE IN THE WORLD ARE THE NOMINATIONS FOR "LARS AND THE REAL GIRL"!?
Sunday, November 25, 2007
Saturday, November 24, 2007
both of these being, obviously, music related.
Love in the Time of Cholera Score by Antonio Pinto and Shakira - Grade: B+/A-
Nominations: Best Original Score - Antonio Pinto (#1 WINNER), Best Original Song - Despedida by Shakira(#1 WINNER), Best Original Song - Hay Amores by Shakira(#3)
- the film is probably better suited to those who grew up with the classic Disney films seeing as its references/spoofs of them are incredibly light and gentle.
- Amy Adams is absolutely wonderful (she even looks like a Disney princess) and with the right campaign she could get an Oscar nomination (as of now she's a LOCK for a Golden Globe nomination).
- Has the best musical sequence of the year (one set in Central Park).
- Even though I enjoyed it, it's a little bit too light weight and might have benefited from a handful of sharper jokes.
Current Nominations: Best Actress - Amy Adams (#4), Best Original Song - How Does She Know? (#4)
Number of 2007 Films seen: 40
Friday, November 23, 2007
"I have read an spanish magazine "Imagenes" and they comment like if they have seen it. They like it, and they say the best is the cgi because it's really realistic, you don't realise you are viewing "cartoon". And the bad think for the magazine is the violence!! They say the there is no necessity for this story to be so violen, they say the film show "Disagreeable scenes". They say Witz have tone the film for a teen/adutl view and absolutely not for children.!! But they say the film it's really new, a fresh air to the fantastic cinema, they love it. (apart for the violence).The best think for them is the part SPOILER........
when Lyra is to be separeted from her daemon. And they also say the city of London is really great, diferent, mystic and another caracther to the story.. They also say they have done a complicated story, not for childre, that is difficult to understand, which I thing is great.
So, I thing it's very good news. I have to say the magazine is well respected in spain..."
Thursday, November 22, 2007
Wednesday, November 21, 2007
The Telegraph's Review
Well, I think I've found my "Pan's Labyrinth" of the year!! My #1 most anticipated film from a few posts back has become my #1 film of the year and stands a good chance of staying there (or at least in the top 5). I have no shame about declaring No Country for Old Men the best film of the year, and also one of the best of the decade. The story, set in
**Also interesting to note is that there is no background music in the entire film. There is some quiet music played over the credits by Carter Burwell (who composed the the score for 06's "Fur" and deserved to WIN), but that's it.
Grade: A (leaning towards A+...we'll see...)
Current Nominations: Best Picture (#1 WINNER), Best Director - Joel and Ethan Coen (#1 WINNER), Best Supporting Actor - Javier Bardem (#1 WINNER), Best Adapted Screenplay (#1 WINNER), Best Editing (#1 WINNER), Best Sound (#2)
Noah Baumbach is a tricky writer/director to figure out. His latest films, The Squid and the Whale (2005) and Margot at the Wedding (2007) are very similar: both feature intensely unlikeable characters, story lines driven by the characters rather than plot setups, and both have been misleading billed as "dysfunctional family comedy-dramas". Now, for Lars and the Real Girl, the style of film making was so charming that even if you went in expecting a laugh out loud comedy, you didn't leave disappointed. Margot is different because, like "Squid", it is so very real in its portrayal of unlikeable and dysfunctional people, and it spends all of its time de-constructing them (painfully) for us to watch. The simple premise is this: short story author Margot Zeller (Nicole Kidman) goes with her prepubescent son Claude to visit her more free spirited sister Pauline (Jennifer Jason Leigh) and her soon to be husband Malcolm (Jack Black). After that, there's no real plot, but rather just a sequence of loosely connected events that show how screwed up this family is, and what miserable people they are. That's where it gets real. There's no weird older relative or cliched gay brother to lighten things up or provide running gags. The "comedy" that MATW pulls off is little more than things that make you barely grin and go "ha" under your breath. Where the film does succeed however, is as a portrait of a realistic (warning, may be a bit too real for anyone who has known people like Margot...) family that just can't seem to click with each other. The chief cause of this is Margot, who is not only neurotic, but as we continue to watch, unstable. In one scene she compliments her young son and only scenes later she quietly tells him how he "used to be rounder but smarter looking. Now your face is thinner but you look dumber" (okay, that's not the exact quote...I'm sure the real thing sounded a lot harsher). Sometimes its horrifyingly obvious as in the example above, and other times its quick as a flash. In one scene with Malcolm, Margot is in the middle of a conversation about Pauline when she opens the refrigerator, pulls out a bottle of wine, and takes time to quip "doesn't anyone ever fill the ice trays in this house?" under her breath. Margot is an incredibly unlikeable character, and Nicole Kidman brilliantly digs into the role. She isn't trying to make Margot sympathetic, but rather show us what an unstable mess she is. Margot does love her son, but she's been too abused in childhood (as revealed in some early scenes) and can only be a parent the way her horrible father was to she and her sisters. Months ago, most of the acting buzz for this film was centered around Jason-Leigh, before slowly shifting to Kidman. After seeing the film, this shift is completely reasonable. In all her despicable acts, Margot is still a fascinating train wreck to watch in motion as she struggles (but often succumbs to) against the overwhelming amount of darkness in her. However, Mr. Baumbach does lose points for a error in the film's final act: he tries to make EVERYONE (sans the two principle kids and John Turturro) just as messy and wretched. Leigh and Black's characters were never people we were really rooting for, but geez, lay off already. This realism can be harsh as I said earlier and I have no trouble understanding why someone would hate this film the way I hated "Squid" (my parents and I each had drastically different thoughts on the film which is reeeeeeally rare). But for those who can stomach it for whatever reason, the film is a slice of life that puts elements A, B, and C into a room and lets them all collide with no direction whatsoever; we just observe the results.
Grade: A- (surprised? Yeah, me too.....)
Current Nominations: Best Leading Actress - Nicole Kidman (#2), Best Original Screenplay (#4).
- No Country for Old Men A+
- In the Valley of Elah A
- The Assassination of Jesse James by the Coward Robert Ford A
- Waitress A
- Once A
- Zodiac A
- Lars and the Real Girl A-
- Michael Clayton A-
- Margot at the Wedding A-
- Harry Potter and the Order of the
Best of the Rest:
American Gangster B+
Pirates of the
Eastern Promises B+
Across the Universe B+
Hot Fuzz B+
La Vie En Rose B+
Away From Her B+
The Simpsons Movie B+
The Brave One B+
The Bourne Ultimatum B+
Knocked Up B+
Fay Grim B+
Ocean’s 13 B+
Thursday, November 15, 2007
Starring: Natalie Portman, Scarlett Johannson, Eric Bana, and Kristin Scott Thomas.
Wednesday, November 14, 2007
5 more TV spots for The Golden Compass were unveiled today, with the last 3 having a nice piece of news: the film is rated PG-13 for "sequences of fantasy violence". *whew* Now, TGC isn't as "action-y" as say, The Lord of the Rings, but it does have its fair share of action scenes, which all deserve to have justice done to them. A PG-13 rating should ensure this seeing as it allows for a much higher level of violence that would be necessary for the big polar bear fight near the film's end. It's nice to see that the film hasn't been turned into another Narnia, or worse, Eragon *shudder*. Anyways, here's the best of the tv spots that features "rated PG-13" stuck on at the end.
The only weird thing about these ads is that New Line obviously wants to try and make the movie feels accessible, so the marketing (though not the structure of the film) has been altered into the "the quest for powerful object x." However, it's perfectly fine seeing as in one of the other spots (it might have been 3, 4, or 5..maybe 7...) we can hear Mrs. Coulter mentioning "the authority" which is good news for anyone fretting that religion had been completely wiped from the story (it never was completely removed, just toned down a notch).
Tuesday, November 13, 2007
Monday, November 12, 2007
Narcissa Malfoy role goes to Helen McCrory
they could have done better. Kristin Scott Thomas, Naomi Watts, or Nicole Kidman would have been much better choices. Observe, the proper mix of not just talent, but also beauty necessary to play Narcissa:
Wow, talk about "overrated". Goodfellas may be considered a classic, but I found it to be just another bloody gangster move. Though many die hard Scorcese fans would disagree, I think that his 2006 Oscar winner The Departed was a much better film. Though Goodfellas' first 45 minutes or so are incredibly entertaining, it drags through most of the middle, presenting niothing new or terribly interesting. Just lots and lots of shouting, swearing, and blood. Ray Liotta is fine as the central character, but there's something unfortunately bland about him in this role. Well, that's what we have colorful supporting characters for, right? Yes, but not here. Joe Pesci, who I loved in My Cousin Vinny, is just annoying while Robert De Niro doesn't get that much time to really..y'know...act (though he plays himself very well). Many complain that Goodfellas shouldn't have lost the best picture oscar to Dances with Wolves (not seen). After seeing Goodfellas though, I don't understand all the love it gets and I still give BP of 1990 to Edward Scissorhands.
Nominations: Best Supporting Actress - Lorraine Bracco (#1)
15 Year old girl from the Philippines sings "And I'm Telling You"
Saturday, November 10, 2007
14. Edward Scissorhands (1990) - delightful and whimsical, this is Tim Burton at his best. Though he doesn't get much time to speak, Johnny Depp is marvelous in the title role and wonderfully backed up by Diane Wiest, Wynona Ryder, and Alan Arkin. Though parts get a tad out of hand near the very end, the final scene so perfectly ties the opening together that it's forgivable.
13. Chinatown (1974) - what starts off rather sluggishly develops into an explosive labyrinthine masterpiece. Jack Nicholson and Faye Dunaway are excellent and Roman Polanski's direction and the script are nothing short of perfection.
12. The Silence of the Lambs (1991) - One of the most armrest-clenching, gasp inducing conclusions I've ever seen. Top notch work all around. That's funny, now I have a strange craving for fava beans.....
11. LA Confidential (1997) - The "Chinatown" of the neo-noir era. The entire cast is brilliant and the film is constantly gripping as the mystery gets deeper and deeper with all its little twists and turns.
10. Big Fish (2003) - Edward Scissorhands may be more iconic Burton, but as a whole I find Big Fish somewhat more satisfying. Even though the film is adapted from a novel, Burton never loses his signature touches, and he brilliantly blends them into the context of the film to create a story of life, love, death, and humor.
9. Network (1976) - what makes Network so brilliant is how it's just as (if not more) relevant today than it was back in '76. The best satire on the American media ever put on the silver screen; sharp observation, humor, and the right touches of the over-the-top.
8. Pulp Fiction (1994) - one of the most iconic movies of all time, and deservedly so. Despite running close to 3 hrs, the film is constantly engrossing. Quentin Tarantino and Roger Avary's script is pure brilliance, especially in the inane little exchanges between Travolta and Jackson's characters. Some of the best dialogue (as well as some of the best swearing) in history. And of course, there's that trademark Tarantino style of telling things out of order, put to good (if not entirely necessary) effect.
7. Moulin Rouge! (2001) - proof that it's not necessarily how good your story is, but how well you tell something that's been done to death. One of the definitive love/hate movies of all time, this makes me love it even more. From the gorgeous production values, to the fantastic incorporation of modern music into turn-of-the-century Paris, this is one acid trip of a musical. Two of my favorite moments of brilliance: 1) Ewan McGregor's "Elephant Love Medley" which seamlessly fuses together lyrics from over a dozen famous love songs into a new melody and 2) El Tango De Roxanne, a latin infused reworking of the song by The Police; absolutely haunting.
6. To Die For (1995) - a spectacular satire on ambition run amok. The entire cast is great, but ultimately, it's Nicole Kidman's movie, and she's flat out brilliant. The little facial expressions, the line delivery, and the utter shallowness of Suzanne Stone are all there all the time. The script (based loosely on a true story) is so beyond perfect; no words are wasted, especially on Kidman's character. Because of this, Kidman is completely imersed in her character 100% of the time, with no room for "lazy lines" of dialogue. But what's really brilliant about her performance, is the way she makes Suzanne a mystery: is she really smart, or is she just dumb with lots of ambition? Or is she just self absorbed and self advancing? It's a good thing Kidman nails this so perfectly because she practically is the movie; there are no other leads in sight. However, in the end it's not a lead, but a supporting character who ties the whole film together in the film's final, poetic scene.
5. The Lord of the Rings Trilogy (2001 - 2003) - one of the most sweeping, masterful achievements in all of cinema. Good acting, stunning production values, and one hell of an adaptation help JRR Tolkien's literary masterpiece spring vividly to life in one of the greatest stories ever told. But what's really impressive about Peter Jackson's film trilogy, is how it is so many things at once: an movie that's accessible to the average movie goer, a great epic, a strong drama, a fantasy, the list goes on.
4. Citizen Kane (1941) - cliche, I know, but hell, I can't help it if I thought it lived up to the hype. Anyway, what makes CK such a great movie is that despite how old it is, it's so ahead of its time that with a few tweaks it would feel like a mystery/drama that would come out in modern times. Few "classics" (I'm looking at you "Godfather") age this gracefully.
3. American Beauty (1999) - though AB was Sam Mendes' directorial debut, it feels like the work of an accomplished master director. So perfectly executed with the right mix of mystery, emotional suspense, and dark comedy, as well as visually stunning (the scenes with the rose petals), it's a modern classic. The entire cast turns in great performances even down to the smallest role (Allison Janney, so incredibly bleak). Few movies grab me within the first five minutes, and this is one of them.
2. Life is Beautiful (La Vita E Bella) (1998) - Sorry Schindler's List, but this is the best Holocaust movie ever made. Instead of skipping straight to the usual "it was grim" method, LIB takes a different route. It's first half is one of the most charming romances ever made, brilliantly infused with slap-stick humor. Seeing such love and beauty makes it that much more affecting when the central family is taken off to a Nazi work camp, where the father tries to convince his son that the whole situation is nothing more than a gigantic game. What helps the film be even more affecting is Nicola Piovani's score, the BEST FILM MUSIC IN HISTORY. Heartbreaking, romantic, and unspeakably beautiful, the music is a key part of the film itself that helps it succeed even more in telling a Holocaust story in a different (and risky) way.
1. Amadeus (1984) - the greatest movie about music and its creation ever made. Though it seems like an odd thing to do, director Milos Forman's (One Flew Over the Cukoo's Nest) decision to have the characters speak in a decidedly American way helps provide a sharp observation into the lives of composes like Mozart and Beethoven: that they were very much the rock stars of their time. F. Murray Abraham and Tom Hulce (who, quite hilariously, turns Mozart into a complete ass) give fantastic performances. Abraham's Salieri is a respectful man who wants nothing more than to write great music, but can't quite keep up with Mozart, who despite being a boor, has "God's gift". One scene demonstrates this as it flips between Salieri working hard on a piece of music as Mozart does nothing more than try on various powdered wigs and giggle. The operas are also done justice by the amazing set design (the best is easily the Queen of the Night scene) . The film's depiction of the relationship between Salieri and Mozart may be somewhat untrue, but that doesn't stop the film from telling a great story.