The Social Network express rolls on, as the Chicago Film Critics Association named the David Fincher film its "Best Picture" in the 22nd edition of these awards. The film, which chronicles the drama around the development of Facebook, also won the director's award for Fincher and a screenplay prize. Another film that is dominating its category during the awards season is Toy Story 3 (of which I've only seen the first half hour - more on that later), and it continues with the Chicago critics.
THE WINNERS:
Best Picture: The Social Network
Best Director: David Fincher "The Social Network"
Best Actor: Colin Firth "The King's Speech"
Best Actress: Natalie Portman "Black Swan"
Best Supporting Actor: Christian Bale "The Fighter"
Best Supporting Actress: Hailee Steinfeld "True Grit"
Best Original Screenplay: Christopher Nolan "Inception"
Best Adapted Screenplay: Aaron Sorkin "The Social Network"
Best Foreign Language Film: A Prophet
Best Documentary: Exit Through the Gift Shop
Best Animated Feature: Toy Story 3
Best Cinematography: Wally Pfister "Inception"
Best Original Score: Clint Mansell "Black Swan"
Most Promising Performer: Jennifer Lawrence "Winter's Bone"
Most Promising Filmmaker: Derek Cianfrance "Blue Valentine"
Wednesday, December 22, 2010
Tuesday, December 21, 2010
Review: "The Last Airbender" Doesn't Fly
TRASH IN MY EYE No. 105 (of 2010) by Leroy Douresseaux
The Last Airbender (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG for fantasy action violence
DIRECTOR: M. Night Shyamalan
WRITER: M. Night Shyamalan (based upon the animated television series, Avatar: The Last Airbender created by Michael Dante DiMartino and Bryan Konietzko)
PRODUCERS: Scott Aversano, Sam Mercer, and M. Night Shyamalan
CINEMATOGRAPHER: Andrew Lesnie
EDITOR: Conrad Buff
COMPOSER: James Newton Howard
FANTASY/ADVENTURE/ACTION
Starring: Noah Ringer, Dev Patel, Nicola Peltz, Jackson Rathbone, Shaun Toub, Aasif Mandvi, Cliff Curtis, Seychelle Gabriel, Damon Gupton, and Summer Bishil
The Last Airbender, a film by M. Night Shyamalan, is based on the animated television series, Avatar: The Last Airbender, created by Michael Dante DiMartino and Bryan Konietzko and which originally aired on Nickelodeon. In The Last Airbender, the world is divided into four kingdoms named after the element they harness: water (Water Tribe), air (Air Nomads), earth (Earth Kingdom), and fire (Fire Nation).
The world has been ravaged by the Fire Nation’s aggression and its endless war against the other nations. Katara (Nicola Peltz) and her older brother, Sokka (Jackson Rathbone), of the Southern Water Tribe, discover an iceberg that shoots a beam of light into the sky. Inside that iceberg is a boy named Aang (Noah Ringer), a young successor to a long line of Avatars. The Avatar is the only person who can “bend” or manipulate all four elements and also restore peace on the planet, which makes him wanted by the Fire Nation.
Katara and Sokka learn that Aang never completed his training to be the Avatar. They become his companions and protectors as they journey to the stronghold of the Northern Water Tribe, where Aang and Katara can learn to bend water. Prince Zuko (Dev Patel), the 16-year-old exiled son of the Fire Nation’s leader, Fire Lord Ozai (Cliff Curtis), follows the trio, hoping to capture the Avatar in a bid to restore his own honor. Can Zuko and the Fire Nation really stand in the way of Aang’s destiny?
Visually, The Last Airbender is dazzling. The special effects are impressive; although I didn’t see this in 3D, I thought the effects made for good eye candy. The exotic locales transported me to a wide range of magical and mystical places that gave the world of The Last Airbender a sense of enchantment. The striking sets, colorful costumes, and computer-generated backdrops added to supernatural charm.
Too bad that everything else in the movie is mediocre or problematic. This movie feels compressed, as if it were a half-hour too short. Even the fight scenes, which are at times nice, seem to be missing something. The nonsensical plot twists, the characters who just pop out of nowhere with almost no context, and the constant shifting from one setting to the next makes The Last Airbender feel like a disappointing, condensed version of a much better movie.
The writing is also poor because nothing feels or works as it should. The romance is bland and sometimes feels rushed and phony. The dialogue is wooden, especially the clumsy voiceovers, and the narrative is sodden. The characters are flat, and the overacting of some of the performers only makes those characters seem even flatter. Aang, the hero and ostensibly the lead, lacks personality, and as Aang, Noah Ringer is either a bad actor or is just struggling with a personality-free character.
The Last Airbender keeps throwing so many things at the viewers, and while some of it is pretty and stirring, the heart of the story: the drama, the conflict, and the characters are not at all stirring. You can like The Last Airbender, at the same time you marvel at how writer/director M. Night Shyamalan seems not to have a clue what he is doing. Everything is there to make The Last Airbender a really good fantasy epic, but apparently the notion that Shyamalan was the right director to make that good movie turned out to be a fantasy.
5 of 10
C+
Tuesday, December 21, 2010
The Last Airbender (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG for fantasy action violence
DIRECTOR: M. Night Shyamalan
WRITER: M. Night Shyamalan (based upon the animated television series, Avatar: The Last Airbender created by Michael Dante DiMartino and Bryan Konietzko)
PRODUCERS: Scott Aversano, Sam Mercer, and M. Night Shyamalan
CINEMATOGRAPHER: Andrew Lesnie
EDITOR: Conrad Buff
COMPOSER: James Newton Howard
FANTASY/ADVENTURE/ACTION
Starring: Noah Ringer, Dev Patel, Nicola Peltz, Jackson Rathbone, Shaun Toub, Aasif Mandvi, Cliff Curtis, Seychelle Gabriel, Damon Gupton, and Summer Bishil
The Last Airbender, a film by M. Night Shyamalan, is based on the animated television series, Avatar: The Last Airbender, created by Michael Dante DiMartino and Bryan Konietzko and which originally aired on Nickelodeon. In The Last Airbender, the world is divided into four kingdoms named after the element they harness: water (Water Tribe), air (Air Nomads), earth (Earth Kingdom), and fire (Fire Nation).
The world has been ravaged by the Fire Nation’s aggression and its endless war against the other nations. Katara (Nicola Peltz) and her older brother, Sokka (Jackson Rathbone), of the Southern Water Tribe, discover an iceberg that shoots a beam of light into the sky. Inside that iceberg is a boy named Aang (Noah Ringer), a young successor to a long line of Avatars. The Avatar is the only person who can “bend” or manipulate all four elements and also restore peace on the planet, which makes him wanted by the Fire Nation.
Katara and Sokka learn that Aang never completed his training to be the Avatar. They become his companions and protectors as they journey to the stronghold of the Northern Water Tribe, where Aang and Katara can learn to bend water. Prince Zuko (Dev Patel), the 16-year-old exiled son of the Fire Nation’s leader, Fire Lord Ozai (Cliff Curtis), follows the trio, hoping to capture the Avatar in a bid to restore his own honor. Can Zuko and the Fire Nation really stand in the way of Aang’s destiny?
Visually, The Last Airbender is dazzling. The special effects are impressive; although I didn’t see this in 3D, I thought the effects made for good eye candy. The exotic locales transported me to a wide range of magical and mystical places that gave the world of The Last Airbender a sense of enchantment. The striking sets, colorful costumes, and computer-generated backdrops added to supernatural charm.
Too bad that everything else in the movie is mediocre or problematic. This movie feels compressed, as if it were a half-hour too short. Even the fight scenes, which are at times nice, seem to be missing something. The nonsensical plot twists, the characters who just pop out of nowhere with almost no context, and the constant shifting from one setting to the next makes The Last Airbender feel like a disappointing, condensed version of a much better movie.
The writing is also poor because nothing feels or works as it should. The romance is bland and sometimes feels rushed and phony. The dialogue is wooden, especially the clumsy voiceovers, and the narrative is sodden. The characters are flat, and the overacting of some of the performers only makes those characters seem even flatter. Aang, the hero and ostensibly the lead, lacks personality, and as Aang, Noah Ringer is either a bad actor or is just struggling with a personality-free character.
The Last Airbender keeps throwing so many things at the viewers, and while some of it is pretty and stirring, the heart of the story: the drama, the conflict, and the characters are not at all stirring. You can like The Last Airbender, at the same time you marvel at how writer/director M. Night Shyamalan seems not to have a clue what he is doing. Everything is there to make The Last Airbender a really good fantasy epic, but apparently the notion that Shyamalan was the right director to make that good movie turned out to be a fantasy.
5 of 10
C+
Tuesday, December 21, 2010
--------------------------
41 Songs Compete for "Original Song" Oscar Nominations
Press release:
41 Original Songs Queue for 2010 Oscar®
Beverly Hills, CA (December 15, 2010) – Forty-one songs from eligible feature-length motion pictures are in contention for nominations in the Original Song category for the 83rd Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film and song title:
"Alice" from "Alice in Wonderland"
"Forever One Love" from "Black Tulip"
"Freedom Song" from "Black Tulip"
"Bound to You" from "Burlesque"
"Welcome to Burlesque" from "Burlesque"
"You Haven’t Seen the Last of Me" from "Burlesque"
"There’s a Place for Us" from "The Chronicles of Narnia: The Voyage of the Dawn Treader"
"Coming Home" from "Country Strong"
"Me and Tennessee" from "Country Strong"
"Despicable Me" from "Despicable Me"
"Prettiest Girls" from "Despicable Me"
"Dear Laughing Doubters" from "Dinner for Schmucks"
"Better Days" from "Eat Pray Love"
"If You Run" from "Going the Distance"
"Darkness before the Dawn" from "Holy Rollers"
"Sticks & Stones" from "How to Train Your Dragon"
"Le Gris" from "Idiots and Angels"
"Chanson Illusionist" from "The Illusionist"
"Never Say Never" from "The Karate Kid"
"To the Sky" from "Legend of the Guardians: The Owls of Ga’Hoole"
"What If" from "Letters to Juliet"
"Life during Wartime" from "Life during Wartime"
"Made in Dagenham" from "Made in Dagenham"
"Little One" from "Mother and Child"
"Be the One" from "The Next Three Days"
"If I Rise" from "127 Hours"
"When You See Forever" from "The Perfect Game"
"I Remain" from "Prince of Persia: The Sands of Time"
"Dream Big" from "Pure Country 2: The Gift"
"How I Love You" from "Ramona and Beezus"
"Darling I Do" from "Shrek Forever After"
"Noka Oi" from "Six Days in Paradise"
"This Is a Low" from "Tamara Drewe"
"I See the Light" from "Tangled"
"Rise" from "3 Billion and Counting"
"We Belong Together" from "Toy Story 3"
"Eclipse: All Yours" from "The Twilight Saga: Eclipse"
"Nothing" from "Tyler Perry’s Why Did I Get Married Too"
"A Better Life" from "Unbeaten"
"Shine" from "Waiting for ‘Superman’"
"The Reasons Why" from "Wretches & Jabberers"
On Thursday, January 6, the Academy will screen clips featuring each song, in random order, for voting members of the Music Branch in Los Angeles. Following the screenings, members will determine the nominees by an averaged point system vote. If no song receives an average score of 8.25 or more, there will be no nominees in the category. If only one song achieves that score, it and the song receiving the next highest score shall be the two nominees. If two or more songs (up to five) achieve that score, they shall be the nominees. A DVD copy of the song clips will be made available to those branch members who are unable to attend the screening and who request it for home viewing. A mail-in ballot will be provided.
Under Academy rules, a maximum of two songs may be nominated from any one film. If more than two songs from a film are in contention, the two songs with the most votes will be the nominees.
To be eligible, a song must consist of words and music, both of which are original and written specifically for the film. A clearly audible, intelligible, substantive rendition of both lyric and melody must be used in the body of the film or as the first music cue in the end credits.
The 83rd Academy Awards nominations will be announced live on Tuesday, January 25, 2011, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
41 Original Songs Queue for 2010 Oscar®
Beverly Hills, CA (December 15, 2010) – Forty-one songs from eligible feature-length motion pictures are in contention for nominations in the Original Song category for the 83rd Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film and song title:
"Alice" from "Alice in Wonderland"
"Forever One Love" from "Black Tulip"
"Freedom Song" from "Black Tulip"
"Bound to You" from "Burlesque"
"Welcome to Burlesque" from "Burlesque"
"You Haven’t Seen the Last of Me" from "Burlesque"
"There’s a Place for Us" from "The Chronicles of Narnia: The Voyage of the Dawn Treader"
"Coming Home" from "Country Strong"
"Me and Tennessee" from "Country Strong"
"Despicable Me" from "Despicable Me"
"Prettiest Girls" from "Despicable Me"
"Dear Laughing Doubters" from "Dinner for Schmucks"
"Better Days" from "Eat Pray Love"
"If You Run" from "Going the Distance"
"Darkness before the Dawn" from "Holy Rollers"
"Sticks & Stones" from "How to Train Your Dragon"
"Le Gris" from "Idiots and Angels"
"Chanson Illusionist" from "The Illusionist"
"Never Say Never" from "The Karate Kid"
"To the Sky" from "Legend of the Guardians: The Owls of Ga’Hoole"
"What If" from "Letters to Juliet"
"Life during Wartime" from "Life during Wartime"
"Made in Dagenham" from "Made in Dagenham"
"Little One" from "Mother and Child"
"Be the One" from "The Next Three Days"
"If I Rise" from "127 Hours"
"When You See Forever" from "The Perfect Game"
"I Remain" from "Prince of Persia: The Sands of Time"
"Dream Big" from "Pure Country 2: The Gift"
"How I Love You" from "Ramona and Beezus"
"Darling I Do" from "Shrek Forever After"
"Noka Oi" from "Six Days in Paradise"
"This Is a Low" from "Tamara Drewe"
"I See the Light" from "Tangled"
"Rise" from "3 Billion and Counting"
"We Belong Together" from "Toy Story 3"
"Eclipse: All Yours" from "The Twilight Saga: Eclipse"
"Nothing" from "Tyler Perry’s Why Did I Get Married Too"
"A Better Life" from "Unbeaten"
"Shine" from "Waiting for ‘Superman’"
"The Reasons Why" from "Wretches & Jabberers"
On Thursday, January 6, the Academy will screen clips featuring each song, in random order, for voting members of the Music Branch in Los Angeles. Following the screenings, members will determine the nominees by an averaged point system vote. If no song receives an average score of 8.25 or more, there will be no nominees in the category. If only one song achieves that score, it and the song receiving the next highest score shall be the two nominees. If two or more songs (up to five) achieve that score, they shall be the nominees. A DVD copy of the song clips will be made available to those branch members who are unable to attend the screening and who request it for home viewing. A mail-in ballot will be provided.
Under Academy rules, a maximum of two songs may be nominated from any one film. If more than two songs from a film are in contention, the two songs with the most votes will be the nominees.
To be eligible, a song must consist of words and music, both of which are original and written specifically for the film. A clearly audible, intelligible, substantive rendition of both lyric and melody must be used in the body of the film or as the first music cue in the end credits.
The 83rd Academy Awards nominations will be announced live on Tuesday, January 25, 2011, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Review: Birthday Boy Samuel L. Jackson Shines in "Coach Carter"
TRASH IN MY EYE No. 140 (of 2005) by Leroy Douresseaux
Coach Carter (2005)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for violence, sexual content, language, teen partying, and some drug material
DIRECTOR: Thomas Carter
WRITERS: Mark Schwain and John Gatins (Inspired by the life of Ken Carter)
PRODUCERS: Brian Robbins, Mike Tollin, and David Gale
CINEMATOGRAPHER: Sharone Meir
EDITOR: Peter Berger, A.C.E.
Black Reel Award winner
DRAMA/SPORTS
Starring: Samuel L. Jackson, Robert Ri’chard, Rob Brown, Debbi Morgan, and Ashanti, Rick Gonzalez, Antwon Tanner, Nana Gbewonyo, Channing Tatum, Denise Dowse, and Texas Battle
A true story inspires the film, Coach Carter, in which former high school basketball star named Ken Carter (Samuel L. Jackson) takes the job as the head basketball coach at his alma mater, an inner city high school in Richmond, California. The film is not only inspirational, but is also an excellent look at what one person can do when he demands much of young people – the kind of whom no one expects much except prison, dead end jobs, or death by violence. To watch Carter take on a community that believes that playing on a winning team is the last good thing that will happen in the lives of these young athletes is rousing. It’s also depressingly true because so many people think that the only good thing many young black men have is sports; maybe they’re right, but Carter helped a few of them gain a little high ground.
Watching the team play before he formerly accepts the job, Carter is taken aback by the players’ lack of cohesiveness as a team and their disdain for rudimentary basketball skills. After he takes the job as coach of the Richmond High Oilers, he demands that the players respect both himself and one another. In order to stay on the team, the players must each sign a contract promising to attend class, maintain a 2.3 grade point average (they formerly only needed to maintain a 2.0 gpa), and wear a coat and tie on game day. Carter wants the boys to reach for more in life than just basketball, and he wants them to certainly see attending college as a realistically attainable goal. In the real life story, Carter received both high praise and staunch criticism when he made national news for padlocking the Richmond High gym, benching his entire team, and forfeiting games because some had failed to meet the academic requirements of their contract. The community, which had never had a championship basketball team, erupted in dissension when he refused to allow the players access to the gym for the failing to keep up their grades. The movie Coach Carter is a fictionalized account of the events, from the time Carter became Richmond’s coach to the resolution of the lockout.
Coach Carter is very much a basketball movie; although the script frequently delves into the lives of Ken Carter and some of his players off the court, it does so with a mixture of brevity and succinctness. There are nicely played, but rich subplots. One involves a player, Kenyan Stone (Rob Brown), and his girlfriend, Kyra (singer Ashanti), dealing with teen pregnancy. It is tough, heartfelt, and honest, rather than fake, cloying, and sociopolitical; there’s enough in that subplot to be a movie all its own. A second subplot follows Timo Cruz, superbly played by a rising talent, Rick Gonzalez (The Rookie), a troubled young man who almost becomes a victim of Richmond’s drug culture. One plot that was sadly glossed over (or underdeveloped) is the relationship between Ken Carter and his son, Damien Carter (Robert Ri’chard); Damien leaves a prestigious private school and transfers to Richmond to play for his father, much to Coach Carter’s chagrin, at least initially. That’s pretty much where that subplot ends.
The film really doesn’t deal with the opposition to Ken Carter as being villains. The thoughts, feelings, and beliefs of the community aren’t denigrated. In a non-stereotypical fashion, screenwriters Mark Schwain and John Gatins depict people’s disagreements with Ken Carter as the result of them having limited vision. He shows the good and bad of high school sports, and shows how it can exacerbate the reluctance to strive in people who already have narrow dreams. While Schwain and Gatins deal with the character and philosophical issues, director Thomas Carter makes sure Coach Carter works as a basketball movie. The game sequences have an edge-of-the seat feel to them, the kind of verisimilitude that suggests watching live games up close and personal, as if the viewer were actually in the game. That’s probably better than watching the majority of collegiate and pro basketball telecasts.
As usual, Samuel L. Jackson is the consummate professional actor, and he’s played the best African-American disciplinarian since Morgan Freeman in Lean On Me. He’s a star, and he sells this movie to the audience the way Ken Carter sold his athletes on his message – perhaps more so. Although a movie star, Jackson can climb into a fictional character and give it a skin, bringing the fictional to starkly radiant life. It’s evident from the first time Ken Carter confronts Richmond High Principal Garrison (Denise Dowse) who doesn’t see that both she and he, as well the entire school, must ask these young men to reach for more and to believe that they are capable of more than just being basketball players. This is the kind of really good movie that affirms our way of life and the belief in an American dream, and Jackson is the head salesman and best preacher.
8 of 10
A
NOTES:
2006 Black Reel Awards: 1 win: “Best Director” (Thomas Carter); 3 nominations: “Best Actor” (Samuel L. Jackson), “Best Breakthrough Performance” (Ashanti), and “Best Film”
2006 Image Awards: 1 win “Outstanding Actor in a Motion Picture” (Samuel L. Jackson); 3 nominations: “Outstanding Directing in a Feature Film/Television Movie” (Thomas Carter), “Outstanding Motion Picture,” and “Outstanding Supporting Actress in a Motion Picture” (Ashanti)
Coach Carter (2005)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for violence, sexual content, language, teen partying, and some drug material
DIRECTOR: Thomas Carter
WRITERS: Mark Schwain and John Gatins (Inspired by the life of Ken Carter)
PRODUCERS: Brian Robbins, Mike Tollin, and David Gale
CINEMATOGRAPHER: Sharone Meir
EDITOR: Peter Berger, A.C.E.
Black Reel Award winner
DRAMA/SPORTS
Starring: Samuel L. Jackson, Robert Ri’chard, Rob Brown, Debbi Morgan, and Ashanti, Rick Gonzalez, Antwon Tanner, Nana Gbewonyo, Channing Tatum, Denise Dowse, and Texas Battle
A true story inspires the film, Coach Carter, in which former high school basketball star named Ken Carter (Samuel L. Jackson) takes the job as the head basketball coach at his alma mater, an inner city high school in Richmond, California. The film is not only inspirational, but is also an excellent look at what one person can do when he demands much of young people – the kind of whom no one expects much except prison, dead end jobs, or death by violence. To watch Carter take on a community that believes that playing on a winning team is the last good thing that will happen in the lives of these young athletes is rousing. It’s also depressingly true because so many people think that the only good thing many young black men have is sports; maybe they’re right, but Carter helped a few of them gain a little high ground.
Watching the team play before he formerly accepts the job, Carter is taken aback by the players’ lack of cohesiveness as a team and their disdain for rudimentary basketball skills. After he takes the job as coach of the Richmond High Oilers, he demands that the players respect both himself and one another. In order to stay on the team, the players must each sign a contract promising to attend class, maintain a 2.3 grade point average (they formerly only needed to maintain a 2.0 gpa), and wear a coat and tie on game day. Carter wants the boys to reach for more in life than just basketball, and he wants them to certainly see attending college as a realistically attainable goal. In the real life story, Carter received both high praise and staunch criticism when he made national news for padlocking the Richmond High gym, benching his entire team, and forfeiting games because some had failed to meet the academic requirements of their contract. The community, which had never had a championship basketball team, erupted in dissension when he refused to allow the players access to the gym for the failing to keep up their grades. The movie Coach Carter is a fictionalized account of the events, from the time Carter became Richmond’s coach to the resolution of the lockout.
Coach Carter is very much a basketball movie; although the script frequently delves into the lives of Ken Carter and some of his players off the court, it does so with a mixture of brevity and succinctness. There are nicely played, but rich subplots. One involves a player, Kenyan Stone (Rob Brown), and his girlfriend, Kyra (singer Ashanti), dealing with teen pregnancy. It is tough, heartfelt, and honest, rather than fake, cloying, and sociopolitical; there’s enough in that subplot to be a movie all its own. A second subplot follows Timo Cruz, superbly played by a rising talent, Rick Gonzalez (The Rookie), a troubled young man who almost becomes a victim of Richmond’s drug culture. One plot that was sadly glossed over (or underdeveloped) is the relationship between Ken Carter and his son, Damien Carter (Robert Ri’chard); Damien leaves a prestigious private school and transfers to Richmond to play for his father, much to Coach Carter’s chagrin, at least initially. That’s pretty much where that subplot ends.
The film really doesn’t deal with the opposition to Ken Carter as being villains. The thoughts, feelings, and beliefs of the community aren’t denigrated. In a non-stereotypical fashion, screenwriters Mark Schwain and John Gatins depict people’s disagreements with Ken Carter as the result of them having limited vision. He shows the good and bad of high school sports, and shows how it can exacerbate the reluctance to strive in people who already have narrow dreams. While Schwain and Gatins deal with the character and philosophical issues, director Thomas Carter makes sure Coach Carter works as a basketball movie. The game sequences have an edge-of-the seat feel to them, the kind of verisimilitude that suggests watching live games up close and personal, as if the viewer were actually in the game. That’s probably better than watching the majority of collegiate and pro basketball telecasts.
As usual, Samuel L. Jackson is the consummate professional actor, and he’s played the best African-American disciplinarian since Morgan Freeman in Lean On Me. He’s a star, and he sells this movie to the audience the way Ken Carter sold his athletes on his message – perhaps more so. Although a movie star, Jackson can climb into a fictional character and give it a skin, bringing the fictional to starkly radiant life. It’s evident from the first time Ken Carter confronts Richmond High Principal Garrison (Denise Dowse) who doesn’t see that both she and he, as well the entire school, must ask these young men to reach for more and to believe that they are capable of more than just being basketball players. This is the kind of really good movie that affirms our way of life and the belief in an American dream, and Jackson is the head salesman and best preacher.
8 of 10
A
NOTES:
2006 Black Reel Awards: 1 win: “Best Director” (Thomas Carter); 3 nominations: “Best Actor” (Samuel L. Jackson), “Best Breakthrough Performance” (Ashanti), and “Best Film”
2006 Image Awards: 1 win “Outstanding Actor in a Motion Picture” (Samuel L. Jackson); 3 nominations: “Outstanding Directing in a Feature Film/Television Movie” (Thomas Carter), “Outstanding Motion Picture,” and “Outstanding Supporting Actress in a Motion Picture” (Ashanti)
--------------------------
Monday, December 20, 2010
Steve Carell Comedy, "Crazy, Stupid, Love" Get New Release Date
Press release:
“Crazy, Stupid, Love.” Gets Summer Play Date
The Release of the New Steve Carell Comedy Moves to July 29, 2011
BURBANK, Calif.--(BUSINESS WIRE)--Responding to overwhelmingly positive test screening results, Warner Bros. Pictures is moving the release date of “Crazy, Stupid, Love.” starring Steve Carell, to July 29, 2011.
The announcement was made today by Dan Fellman, President of Domestic Distribution, who stated, “From our early recruited screenings, we have seen that audiences love ‘Crazy, Stupid, Love.’ From all indications, we feel strongly that the film has a very broad appeal, so we have decided to release it where it will have the widest possible platform. The studio is very excited to include this film in our powerhouse Summer slate, alongside films like ‘The Hangover Part II,’ ‘Green Lantern’ and ‘Harry Potter and the Deathly Hallows – Part 2.’”
“Crazy, Stupid, Love.” also stars Ryan Gosling, Julianne Moore, Emma Stone, John Carroll Lynch, Marisa Tomei and Kevin Bacon.
Carell leads the cast as straight-laced, fortysomething Cal Weaver, who is living the dream—good job, nice house, great kids and marriage to his high school sweetheart. But when Cal learns that his wife, Emily (Julianne Moore), has cheated on him and wants a divorce, his perfect life quickly unravels. Worse, in today’s single world, Cal, who hasn’t dated in decades, stands out as the epitome of un-smooth. Now spending his free evenings sulking alone at a local bar, the hapless Cal is taken on as wingman and protégé to handsome, thirtysomething player Jacob Palmer (Ryan Gosling). In an effort to help Cal get over his wife and start living his life, Jacob opens Cal’s eyes to the many options before him: flirty women, manly drinks and a sense of style that can’t be found at Supercuts or The Gap. But despite Cal’s makeover and his many new conquests, the one thing that can’t be made over is his heart, which seems to keep leading him back to where he began.
Glenn Ficarra and John Requa directed “Crazy, Stupid, Love.” from a screenplay by Dan Fogelman. The film is produced by Carell and Denise Di Novi, with David A. Siegel, Vance DeGeneres and Charlie Hartsock serving as executive producers. Warner Bros. Pictures presents “Crazy, Stupid, Love.” a production of Carousel Productions and DiNovi Pictures. The film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and has been rated PG-13 for coarse humor, sexual content and language.
“Crazy, Stupid, Love.” Gets Summer Play Date
The Release of the New Steve Carell Comedy Moves to July 29, 2011
BURBANK, Calif.--(BUSINESS WIRE)--Responding to overwhelmingly positive test screening results, Warner Bros. Pictures is moving the release date of “Crazy, Stupid, Love.” starring Steve Carell, to July 29, 2011.
The announcement was made today by Dan Fellman, President of Domestic Distribution, who stated, “From our early recruited screenings, we have seen that audiences love ‘Crazy, Stupid, Love.’ From all indications, we feel strongly that the film has a very broad appeal, so we have decided to release it where it will have the widest possible platform. The studio is very excited to include this film in our powerhouse Summer slate, alongside films like ‘The Hangover Part II,’ ‘Green Lantern’ and ‘Harry Potter and the Deathly Hallows – Part 2.’”
“Crazy, Stupid, Love.” also stars Ryan Gosling, Julianne Moore, Emma Stone, John Carroll Lynch, Marisa Tomei and Kevin Bacon.
Carell leads the cast as straight-laced, fortysomething Cal Weaver, who is living the dream—good job, nice house, great kids and marriage to his high school sweetheart. But when Cal learns that his wife, Emily (Julianne Moore), has cheated on him and wants a divorce, his perfect life quickly unravels. Worse, in today’s single world, Cal, who hasn’t dated in decades, stands out as the epitome of un-smooth. Now spending his free evenings sulking alone at a local bar, the hapless Cal is taken on as wingman and protégé to handsome, thirtysomething player Jacob Palmer (Ryan Gosling). In an effort to help Cal get over his wife and start living his life, Jacob opens Cal’s eyes to the many options before him: flirty women, manly drinks and a sense of style that can’t be found at Supercuts or The Gap. But despite Cal’s makeover and his many new conquests, the one thing that can’t be made over is his heart, which seems to keep leading him back to where he began.
Glenn Ficarra and John Requa directed “Crazy, Stupid, Love.” from a screenplay by Dan Fogelman. The film is produced by Carell and Denise Di Novi, with David A. Siegel, Vance DeGeneres and Charlie Hartsock serving as executive producers. Warner Bros. Pictures presents “Crazy, Stupid, Love.” a production of Carousel Productions and DiNovi Pictures. The film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and has been rated PG-13 for coarse humor, sexual content and language.
Review: Michael Douglas' Performance in Original "Wall Street" Still Amazes
TRASH IN MY EYE No. 104 (of 2010) by Leroy Douresseaux
Wall Street (1987)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R
DIRECTOR: Oliver Stone
WRITERS: Stanley Weiser and Oliver Stone
PRODUCER: Edward R. Pressman
CINEMATOGRAPHER: Robert Richardson (D.o.P.)
EDITOR: Claire Simpson
COMPOSER: Stewart Copeland
Academy Award winner
DRAMA
Starring: Michael Douglas, Charlie Sheen, Darryl Hannah, Martin Sheen, John C. McGinley, Hal Holbrook, James Karen, Terrence Stamp, Sean Young, James Spader, Saul Rubinek, and Tamara Tunie
Although I was hot to see it when it was first released, I finally watched director Oliver Stone’s Wall Street – 23 years after it debuted in theatres. The film, which follows a young stockbroker’s adventures with an immoral corporate raider, is certainly one of Stone’s most popular films.
Wall Street opens in 1985, as Bud Fox (Charlie Sheen), a junior stockbroker (salesman) at Jackson Steinem & Co., struggles to get out of a rut and make it big. Fox wants to become involved with his hero, Gordon Gekko (Michael Douglas), the corporate raider and Wall Street player who is legendary for both his ruthlessness and his success. Bud’s father, Carl (Martin Sheen), an airline maintenance worker and union president, inadvertently provides his son with the information that captures Gekko’s interest. Gekko takes on Bud as a kind of apprentice and co-conspirator and helps him to become wealthy. Bud also gets a new girlfriend, an interior decorator named Darien (Daryl Hannah), a close friend of Gekko’s. Bud, however, begins to lose himself the deeper he goes in with Gekko.
Michael Douglas’ performance as Gordon Gekko is one of the best of the last quarter of the 20th century. Simply, it is magnificent. It is hard to believe that at the time of the film, Douglas was apparently considered a mediocre actor – more of a film producer than a performer. In Douglas’ hands, Gekko not only personifies “Wall Street greed,” but also the nature of greed and the competitive urge in humanity. Douglas as Gekko could make you think the phrase, “tour de force,” was created specifically to describe such an awesome and awe-inspiring performance. Like Raging Bull, Wall Street is a movie that enters the rarefied air of remarkable dramatic films made important because of great performances by lead actors.
Still, Wall Street is not completely about Michael Douglas. Charlie Sheen’s stiff-acting style actually makes Bud Fox the perfect dupe/foil for Gekko. Sheen’s (then) exceedingly fresh-looking baby face embodies America’s youth (relatively speaking), and his facial expressions are all about lust for success and money. At other times, Sheen depicts in Fox that inherent guilt that keeps our gluttony and baser appetites in check, for the most part.
Oliver Stone even draws out Wall Street’s religious subtext in scenes where the devilish Gekko mentors (or tempts) Fox on how to get ahead the unethical and illegal way. Stone and Douglas are quite good at presenting their vision of greed. Wall Street makes it look sexy – as if greed were really good, as Gekko says in his legendary monologue. Wall Street is still fantastic, and it may make you remember just how good Stone and Douglas were when they were at the top of their respective games.
8 of 10
A
NOTES:
1988 Academy Awards: 1 win: “Best Actor in a Leading Role” (Michael Douglas)
1988 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture – Drama” (Michael Douglas)
1988 Razzie Awards: 1 win: “Worst Supporting Actress” (Daryl Hannah)
Monday, December 20, 2010
Wall Street (1987)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R
DIRECTOR: Oliver Stone
WRITERS: Stanley Weiser and Oliver Stone
PRODUCER: Edward R. Pressman
CINEMATOGRAPHER: Robert Richardson (D.o.P.)
EDITOR: Claire Simpson
COMPOSER: Stewart Copeland
Academy Award winner
DRAMA
Starring: Michael Douglas, Charlie Sheen, Darryl Hannah, Martin Sheen, John C. McGinley, Hal Holbrook, James Karen, Terrence Stamp, Sean Young, James Spader, Saul Rubinek, and Tamara Tunie
Although I was hot to see it when it was first released, I finally watched director Oliver Stone’s Wall Street – 23 years after it debuted in theatres. The film, which follows a young stockbroker’s adventures with an immoral corporate raider, is certainly one of Stone’s most popular films.
Wall Street opens in 1985, as Bud Fox (Charlie Sheen), a junior stockbroker (salesman) at Jackson Steinem & Co., struggles to get out of a rut and make it big. Fox wants to become involved with his hero, Gordon Gekko (Michael Douglas), the corporate raider and Wall Street player who is legendary for both his ruthlessness and his success. Bud’s father, Carl (Martin Sheen), an airline maintenance worker and union president, inadvertently provides his son with the information that captures Gekko’s interest. Gekko takes on Bud as a kind of apprentice and co-conspirator and helps him to become wealthy. Bud also gets a new girlfriend, an interior decorator named Darien (Daryl Hannah), a close friend of Gekko’s. Bud, however, begins to lose himself the deeper he goes in with Gekko.
Michael Douglas’ performance as Gordon Gekko is one of the best of the last quarter of the 20th century. Simply, it is magnificent. It is hard to believe that at the time of the film, Douglas was apparently considered a mediocre actor – more of a film producer than a performer. In Douglas’ hands, Gekko not only personifies “Wall Street greed,” but also the nature of greed and the competitive urge in humanity. Douglas as Gekko could make you think the phrase, “tour de force,” was created specifically to describe such an awesome and awe-inspiring performance. Like Raging Bull, Wall Street is a movie that enters the rarefied air of remarkable dramatic films made important because of great performances by lead actors.
Still, Wall Street is not completely about Michael Douglas. Charlie Sheen’s stiff-acting style actually makes Bud Fox the perfect dupe/foil for Gekko. Sheen’s (then) exceedingly fresh-looking baby face embodies America’s youth (relatively speaking), and his facial expressions are all about lust for success and money. At other times, Sheen depicts in Fox that inherent guilt that keeps our gluttony and baser appetites in check, for the most part.
Oliver Stone even draws out Wall Street’s religious subtext in scenes where the devilish Gekko mentors (or tempts) Fox on how to get ahead the unethical and illegal way. Stone and Douglas are quite good at presenting their vision of greed. Wall Street makes it look sexy – as if greed were really good, as Gekko says in his legendary monologue. Wall Street is still fantastic, and it may make you remember just how good Stone and Douglas were when they were at the top of their respective games.
8 of 10
A
NOTES:
1988 Academy Awards: 1 win: “Best Actor in a Leading Role” (Michael Douglas)
1988 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture – Drama” (Michael Douglas)
1988 Razzie Awards: 1 win: “Worst Supporting Actress” (Daryl Hannah)
Monday, December 20, 2010
--------------------------
Sunday, December 19, 2010
San Diego Film Critics Not Feeling Sociable; Choose "Winter's Bone"
San Diego Film Critics Society Choose Top Films of 2010
December 14th, the San Diego Film Critics Society announced their film awards for 2010 and surprised everyone by being the first film critics group NOT to choose The Social Network as the best film of the 2010. The San Diego critics chose hot indie drama, Winter's Bone.
In fact, San Diego was being quite contrary. Winter's Bone won two acting awards: Best Actress for Jennifer Lawrence and Best Supporting Actor for John Hawkes - both well deserved. San Diego even went with Colin Farrell as Best Actor for Ondine and not with Colin Firth (The King's Speech) or Jesse Eisenberg (The Social Network), the two names that have dominated film awards thus far.
2010 Awards (Winners in bold and CAPS):
BEST FILM: - WINTER’S BONE
BLACK SWAN
INCEPTION
THE KING’S SPEECH
THE SOCIAL NETWORK
BEST DIRECTOR – Darren Aronofsky, BLACK SWAN
Christopher Nolan, INCEPTION
Danny Boyle, 127 HOURS
David Fincher, THE SOCIAL NETWORK
Debra Granik, WINTER’S BONE
BEST ACTRESS – Jennifer Lawrence, WINTER’S BONE
Carey Mulligan, NEVER LET ME GO
Michelle Williams, BLUE VALENTINE
Natalie Portman, BLACK SWAN
Tilda Swinton, I AM LOVE
BEST ACTOR – Colin Farrell, ONDINE
Aaron Eckhart, RABBIT HOLE
Colin Firth, THE KING’S SPEECH
James Franco, 127 HOURS
Jesse Eisenberg, THE SOCIAL NETWORK
BEST SUPPORTING ACTRESS – Lesley Manville, ANOTHER YEAR
Blake Lively, THE TOWN
Dale Dickey, WINTER’S BONE
Jacki Weaver, ANIMAL KINGDOM
Melissa Leo, THE FIGHTER
BEST SUPPORTING ACTOR – John Hawkes, WINTER’S BONE
Christian Bale, THE FIGHTER
Geoffrey Rush, THE KING’S SPEECH
Jeremy Renner, THE TOWN
John Hurt, 44 INCH CHEST
BEST ORIGINAL SCREENPLAY – Jesse Armstrong, Sam Bain and Chris Morris, FOUR LIONS
Christopher Nolan, INCEPTION
David Seidler, THE KING’S SPEECH
Michael Arndt, TOY STORY 3
Neil Jordan, ONDINE
BEST ADAPTED SCREENPLAY – Aaron Sorkin, THE SOCIAL NETWORK
Debra Granik & Anne Rosellini, WINTER’S BONE
Laeta Kalogridis, SHUTTER ISLAND
Michael Bacall & Edgar Wright, SCOTT PILGRIM VS THE WORLD
Peter Craig & Ben Affleck & Aaron Stockard, THE TOWN
BEST FOREIGN LANGUAGE FILM – I AM LOVE
BIUTIFUL
MOTHER
NO ONE KNOWS ABOUT PERSIAN CATS
THE GIRL WITH THE DRAGON TATTOO
BEST DOCUMENTARY – EXIT THROUGH THE GIFT SHOP
A FILM UNFINISHED
INSIDE JOB
THE TILLMAN STORY
WAITING FOR ‘SUPERMAN’
BEST CINEMATOGRAPHY – Wally Pfister, INCEPTION
Anthony Dod Mantle & Enrique Chediak, 127 HOURS
Eduardo Serra, HARRY POTTER & THE DEATHLY HALLOWS: PART 1
Matthew Libatique, BLACK SWAN
Robert Richardson, SHUTTER ISLAND
BEST ANIMATED FILM – TOY STORY 3
DESPICABLE ME
HOW TO TRAIN YOUR DRAGON
TANGLED
THE ILLUSIONIST
BEST EDITING – Jonathan Amos & Paul Machliss, SCOTT PILGRIM VS THE WORLD
Andrew Weisblum, BLACK SWAN
Angus Wall & Kirk Baxter, THE SOCIAL NETWORK
Jon Harris, 127 HOURS
Lee Smith, INCEPTION
BEST PRODUCTION DESIGN – Dante Ferretti, SHUTTER ISLAND
Guy Hendrix Dyas, INCEPTION
Robert Stromberg, ALICE IN WONDERLAND
Stuart Craig, HARRY POTTER & THE DEATHLY HALLOWS: PART 1
Thérèse DePrez, BLACK SWAN
BEST SCORE – Rachel Portman, NEVER LET ME GO
A. R. Rahman, 127 HOURS
Clint Mansell, BLACK SWAN
Danny Elfman, ALICE IN WONDERLAND
Trent Reznor and Atticus Ross, THE SOCIAL NETWORK
BEST ENSEMBLE PERFORMANCE – 44 INCH CHEST
ANOTHER YEAR
THE FIGHTER
THE SOCIAL NETWORK
WINTER’S BONE
BODY OF WORK FOR 2010
Rebecca Hall, (RED RIDING 1974, PLEASE GIVE, THE TOWN)
KYLE COUNTS AWARD
Duncan Shepherd (San Diego Reader film critic)
http://sdfcs.org/2010/12/14/san-diego-film-critics-choose-top-films-of-2010/
December 14th, the San Diego Film Critics Society announced their film awards for 2010 and surprised everyone by being the first film critics group NOT to choose The Social Network as the best film of the 2010. The San Diego critics chose hot indie drama, Winter's Bone.
In fact, San Diego was being quite contrary. Winter's Bone won two acting awards: Best Actress for Jennifer Lawrence and Best Supporting Actor for John Hawkes - both well deserved. San Diego even went with Colin Farrell as Best Actor for Ondine and not with Colin Firth (The King's Speech) or Jesse Eisenberg (The Social Network), the two names that have dominated film awards thus far.
2010 Awards (Winners in bold and CAPS):
BEST FILM: - WINTER’S BONE
BLACK SWAN
INCEPTION
THE KING’S SPEECH
THE SOCIAL NETWORK
BEST DIRECTOR – Darren Aronofsky, BLACK SWAN
Christopher Nolan, INCEPTION
Danny Boyle, 127 HOURS
David Fincher, THE SOCIAL NETWORK
Debra Granik, WINTER’S BONE
BEST ACTRESS – Jennifer Lawrence, WINTER’S BONE
Carey Mulligan, NEVER LET ME GO
Michelle Williams, BLUE VALENTINE
Natalie Portman, BLACK SWAN
Tilda Swinton, I AM LOVE
BEST ACTOR – Colin Farrell, ONDINE
Aaron Eckhart, RABBIT HOLE
Colin Firth, THE KING’S SPEECH
James Franco, 127 HOURS
Jesse Eisenberg, THE SOCIAL NETWORK
BEST SUPPORTING ACTRESS – Lesley Manville, ANOTHER YEAR
Blake Lively, THE TOWN
Dale Dickey, WINTER’S BONE
Jacki Weaver, ANIMAL KINGDOM
Melissa Leo, THE FIGHTER
BEST SUPPORTING ACTOR – John Hawkes, WINTER’S BONE
Christian Bale, THE FIGHTER
Geoffrey Rush, THE KING’S SPEECH
Jeremy Renner, THE TOWN
John Hurt, 44 INCH CHEST
BEST ORIGINAL SCREENPLAY – Jesse Armstrong, Sam Bain and Chris Morris, FOUR LIONS
Christopher Nolan, INCEPTION
David Seidler, THE KING’S SPEECH
Michael Arndt, TOY STORY 3
Neil Jordan, ONDINE
BEST ADAPTED SCREENPLAY – Aaron Sorkin, THE SOCIAL NETWORK
Debra Granik & Anne Rosellini, WINTER’S BONE
Laeta Kalogridis, SHUTTER ISLAND
Michael Bacall & Edgar Wright, SCOTT PILGRIM VS THE WORLD
Peter Craig & Ben Affleck & Aaron Stockard, THE TOWN
BEST FOREIGN LANGUAGE FILM – I AM LOVE
BIUTIFUL
MOTHER
NO ONE KNOWS ABOUT PERSIAN CATS
THE GIRL WITH THE DRAGON TATTOO
BEST DOCUMENTARY – EXIT THROUGH THE GIFT SHOP
A FILM UNFINISHED
INSIDE JOB
THE TILLMAN STORY
WAITING FOR ‘SUPERMAN’
BEST CINEMATOGRAPHY – Wally Pfister, INCEPTION
Anthony Dod Mantle & Enrique Chediak, 127 HOURS
Eduardo Serra, HARRY POTTER & THE DEATHLY HALLOWS: PART 1
Matthew Libatique, BLACK SWAN
Robert Richardson, SHUTTER ISLAND
BEST ANIMATED FILM – TOY STORY 3
DESPICABLE ME
HOW TO TRAIN YOUR DRAGON
TANGLED
THE ILLUSIONIST
BEST EDITING – Jonathan Amos & Paul Machliss, SCOTT PILGRIM VS THE WORLD
Andrew Weisblum, BLACK SWAN
Angus Wall & Kirk Baxter, THE SOCIAL NETWORK
Jon Harris, 127 HOURS
Lee Smith, INCEPTION
BEST PRODUCTION DESIGN – Dante Ferretti, SHUTTER ISLAND
Guy Hendrix Dyas, INCEPTION
Robert Stromberg, ALICE IN WONDERLAND
Stuart Craig, HARRY POTTER & THE DEATHLY HALLOWS: PART 1
Thérèse DePrez, BLACK SWAN
BEST SCORE – Rachel Portman, NEVER LET ME GO
A. R. Rahman, 127 HOURS
Clint Mansell, BLACK SWAN
Danny Elfman, ALICE IN WONDERLAND
Trent Reznor and Atticus Ross, THE SOCIAL NETWORK
BEST ENSEMBLE PERFORMANCE – 44 INCH CHEST
ANOTHER YEAR
THE FIGHTER
THE SOCIAL NETWORK
WINTER’S BONE
BODY OF WORK FOR 2010
Rebecca Hall, (RED RIDING 1974, PLEASE GIVE, THE TOWN)
KYLE COUNTS AWARD
Duncan Shepherd (San Diego Reader film critic)
http://sdfcs.org/2010/12/14/san-diego-film-critics-choose-top-films-of-2010/
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