The National Society of Film Critics was founded in New York City in 1966. Known for their highbrow tastes, these critics form one of the most prestigious film groups on the United States. Current members include some of my favorite film critics: Roger Ebert, David Edelstein, and J. Hoberman, among others. The society has produced several anthologies about movies, including the must-have for film fans, Produced and Abandoned: The Best Films You’ve Never Seen (1990).
The group announced its 2010 winners yesterday (Sat., Jan. 8th). As has been the trend do far, The Social Network wins a "Best Picture" honor.
2010 National Society of Film Critics Winners:
Best Film: The Social Network
Best Director: David Fincher – The Social Network
Best Actor: Jesse Eisenberg – The Social Network
Best Actress: Giovanna Mezzogiorno – Vincere
Best Supporting Actor: Geoffrey Rush – The King's Speech
Best Supporting Actress: Olivia Williams – The Ghost Writer
Best Screenplay: Aaron Sorkin – The Social Network
Best Cinematography: Roger Deakins – True Grit
Best Foreign Language Film: Carlos
Best Film - Non-Fiction: Inside Job
Readers who go to http://www.nationalsocietyoffilmcritics.com/ can see the top three finishers in each category, see who the special honorees are, and read the statements the group issued with this year's awards.
Sunday, January 9, 2011
Review: "Toy Story 3" is Really Good; So What Else is New?
TRASH IN MY EYE No. 3 (of 2011) by Leroy Douresseaux
Toy Story 3 (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA - G
DIRECTOR: Lee Unkrich
WRITERS: Michael Arndt; from a story by John Lasseter, Andrew Stanton, and Lee Unkrich
PRODUCER: Darla K. Anderson
CINEMATOGRAPHERS: Jeremy Lasky (D.o.P.) and Kim White (D.o.P.)
EDITOR: Ken Schretzmann
COMPOSER: Randy Newman
ANIMATION/FANTASY/COMEDY/
ADVENTURE/FAMILY
Starring: (voices) Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Don Rickles, Michael Keaton, Wallace Shawn, John Ratzenberger, Estelle Harris, John Morris, Jodi Benson, Emily Hahn, Laurie Metcalf, Blake Clark, and Whoopi Goldberg
It was an 11-year wait for a sequel to Toy Story 2. The beloved, computer-animated Toy Story film franchise closes with Toy Story 3. The creation of Pixar Animation Studios (Monsters, Inc., Up), Toy Story 3 opened to near universal acclaim and record-setting box office, so I don’t know what more I can say. I was spellbound by the previous films. If I’d had a vote, I would have voted the first two Toy Story movies the best picture Oscar winners for 1995 and 1999, respectively.
Toy Story 3 begins with 17-year-old Andy Davis (John Morris) packing as he prepares to head off to college. Andy has not played with his toys in years, but he decides to take Woody (Tom Hanks) to college with him and store the other toys in the attic. Of course, Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), and the rest of the toys are disappointed. However, when Andy’s mom, Mrs. Davis (Laurie Metcalf), mistakenly throws them out, they’re furious. They climb into a box of stuff to be donated to Sunnyside Daycare. They also refuse to listen to Woody when he tries to explain that Mrs. Davis’ action was a mistake.
Andy’s toys are enthusiastically welcomed by the numerous toys at Sunnyside. The leader of the Sunnyside toys, Lots O’-Huggin Bear a.k.a. “Lotso” (Ned Beatty), gives the newcomers a tour. Andy’s toys quickly become enamored with their new home, and Woody is forced to leave without them in his attempt to return home to Andy. However, all is not sunny at Sunnyside, and so, a thrilling rescue mission and breathless adventure ensue before they return home, again.
Lots O’-animated movies blend adventure, comedy, and emotion, some more deftly than others, but the difference is that in every Pixar film, the emotions are always honest and genuine. Even with expectations so high for Toy Story 3, Pixar still managed to produce a movie that charmed, captivated, and moved audiences so deeply, even making grown men cry at the end.
Starting with the first film, I was not surprised that a 3D digitally animated film about plastic toys could charm us. I’ve been watching the work of animators and filmmakers of animated movies entertain, impress, and dazzle for decades. The more talented the animators, the more they are able to match the power of live-action film, and sometimes even surpass the work of the best live-action filmmakers. Toy Story 3 is clever and exhilarating, poignant and stirring, and amusing and sometimes just plain funny.
Still, I can say the above about a lot of Pixar productions, but this time there is something a bit darker and perhaps, more special about this movie. The story echoes themes of death and endings, betrayal and bitterness, and change and new beginnings – with children’s playthings as the characters. It is like classic juvenile literature that speaks to all of us. That’s it. Toy Story 3 is great.
10 of 10
Sunday, January 09, 2011
------------------------
Toy Story 3 (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA - G
DIRECTOR: Lee Unkrich
WRITERS: Michael Arndt; from a story by John Lasseter, Andrew Stanton, and Lee Unkrich
PRODUCER: Darla K. Anderson
CINEMATOGRAPHERS: Jeremy Lasky (D.o.P.) and Kim White (D.o.P.)
EDITOR: Ken Schretzmann
COMPOSER: Randy Newman
ANIMATION/FANTASY/COMEDY/
ADVENTURE/FAMILY
Starring: (voices) Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Don Rickles, Michael Keaton, Wallace Shawn, John Ratzenberger, Estelle Harris, John Morris, Jodi Benson, Emily Hahn, Laurie Metcalf, Blake Clark, and Whoopi Goldberg
It was an 11-year wait for a sequel to Toy Story 2. The beloved, computer-animated Toy Story film franchise closes with Toy Story 3. The creation of Pixar Animation Studios (Monsters, Inc., Up), Toy Story 3 opened to near universal acclaim and record-setting box office, so I don’t know what more I can say. I was spellbound by the previous films. If I’d had a vote, I would have voted the first two Toy Story movies the best picture Oscar winners for 1995 and 1999, respectively.
Toy Story 3 begins with 17-year-old Andy Davis (John Morris) packing as he prepares to head off to college. Andy has not played with his toys in years, but he decides to take Woody (Tom Hanks) to college with him and store the other toys in the attic. Of course, Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), and the rest of the toys are disappointed. However, when Andy’s mom, Mrs. Davis (Laurie Metcalf), mistakenly throws them out, they’re furious. They climb into a box of stuff to be donated to Sunnyside Daycare. They also refuse to listen to Woody when he tries to explain that Mrs. Davis’ action was a mistake.
Andy’s toys are enthusiastically welcomed by the numerous toys at Sunnyside. The leader of the Sunnyside toys, Lots O’-Huggin Bear a.k.a. “Lotso” (Ned Beatty), gives the newcomers a tour. Andy’s toys quickly become enamored with their new home, and Woody is forced to leave without them in his attempt to return home to Andy. However, all is not sunny at Sunnyside, and so, a thrilling rescue mission and breathless adventure ensue before they return home, again.
Lots O’-animated movies blend adventure, comedy, and emotion, some more deftly than others, but the difference is that in every Pixar film, the emotions are always honest and genuine. Even with expectations so high for Toy Story 3, Pixar still managed to produce a movie that charmed, captivated, and moved audiences so deeply, even making grown men cry at the end.
Starting with the first film, I was not surprised that a 3D digitally animated film about plastic toys could charm us. I’ve been watching the work of animators and filmmakers of animated movies entertain, impress, and dazzle for decades. The more talented the animators, the more they are able to match the power of live-action film, and sometimes even surpass the work of the best live-action filmmakers. Toy Story 3 is clever and exhilarating, poignant and stirring, and amusing and sometimes just plain funny.
Still, I can say the above about a lot of Pixar productions, but this time there is something a bit darker and perhaps, more special about this movie. The story echoes themes of death and endings, betrayal and bitterness, and change and new beginnings – with children’s playthings as the characters. It is like classic juvenile literature that speaks to all of us. That’s it. Toy Story 3 is great.
10 of 10
Sunday, January 09, 2011
------------------------
Saturday, January 8, 2011
Southeastern Film Critics Show "The Social Network" Southern Hospitality
Since 1992, the Southeastern Film Critics Association (SEFCA) seeks to "promote the art of film criticism, the ethics of journalism and the camaraderie of peers among professionals working in the print, radio and online media in the Southeast." Like practically every other film critics organization, they chose The Social Network as their "Best Picture."
2010 SEFCA Winners:
Best Picture: The Social Network
Best Actor: Colin Firth, The King's Speech
Best Actress: Natalie Portman, Black Swan
Best Supporting Actor: Geoffrey Rush, The King's Speech
Best Supporting Actress: Hailee Steinfeld, True Grit
Best Ensemble: The Social Network
Best Director: David Fincher, The Social Network
Best Original Screenplay: David Seidler, The King's Speech
Best Adapted Screenplay: Aaron Sorkin, The Social Network
Best Foreign-Language Film: Mother (South Korea)
Best Documentary: Inside Job
Best Animated Feature: Toy Story 3
Best Cinematography: Roger Deakins, True Grit
Wyatt Award: Winter's Bone (The Wyatt is given in memory of late SEFCA member Gene Wyatt, and is awarded to a film that captures the spirit of the South.)
TOP TEN FILMS of 2010
1. The Social Network
2. The King's Speech
3. Winter's Bone
4. Black Swan
5. Inception
6. True Grit
7. Toy Story 3
8. 127 Hours
9. The Fighter
10. The Kids Are All Right
http://www.sefca.org/
2010 SEFCA Winners:
Best Picture: The Social Network
Best Actor: Colin Firth, The King's Speech
Best Actress: Natalie Portman, Black Swan
Best Supporting Actor: Geoffrey Rush, The King's Speech
Best Supporting Actress: Hailee Steinfeld, True Grit
Best Ensemble: The Social Network
Best Director: David Fincher, The Social Network
Best Original Screenplay: David Seidler, The King's Speech
Best Adapted Screenplay: Aaron Sorkin, The Social Network
Best Foreign-Language Film: Mother (South Korea)
Best Documentary: Inside Job
Best Animated Feature: Toy Story 3
Best Cinematography: Roger Deakins, True Grit
Wyatt Award: Winter's Bone (The Wyatt is given in memory of late SEFCA member Gene Wyatt, and is awarded to a film that captures the spirit of the South.)
TOP TEN FILMS of 2010
1. The Social Network
2. The King's Speech
3. Winter's Bone
4. Black Swan
5. Inception
6. True Grit
7. Toy Story 3
8. 127 Hours
9. The Fighter
10. The Kids Are All Right
http://www.sefca.org/
Review: Go Have Fun with Pulp Fiction-Inspired "Go" (Happy B'day, Sarah Polley)
TRASH IN MY EYE No. 47 (of 2003) by Leroy Douresseaux
Go (1999)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for strong drug content, sexuality, language and some violence
DIRECTOR/CINEMATOGRAPHER: Doug Liman
WRITER: John August
PRODUCERS: Matt Freeman Mickey Liddell, and Paul Rosenberg
EDITOR: Stephen Mirrione
COMPOSER: BT and Moby
COMEDY/CRIME/DRAMA
Starring: Sarah Polley, Jay Mohr, Scott Wolf, Desmond Askew, Timothy Olyphant, William Fichtner, Breckin Meyer, and Taye Diggs
Some have compared it to Pulp Fiction, and Go, a film from Doug Liman (Swingers), certainly bears some similarities to Quentin Tarantino’s Oscar-winning film. Go is alternately a dark, teen comedy, a delirious action movie, a snarky crime caper, and a candy coated Tarantino movie for the late teen/early 20’s set.
On first glance, Go seems to tell the story of the events that happen after a drug deal. The real launching point is simply the changing of work shifts between two young working stiffs at a small grocery store. From there, Go is three interconnected short movies, in which many of the characters from each short movie encounter one another. In that sense, it is similar to Pulp Fiction, but only stylistically and superficially.
In one story, Ronna Martin (Sarah Polley) tries to raise rent money by selling ecstasy to two men (Jay Mohr and Scott Wolf) looking to buy from her co-worker, Simon Baines (Desmond Askew), who normally deals drugs. When Ronna is forced to ditch the drugs, she has to scam Simon’s supplier, a nasty little thug named, Todd (Timothy Olyphant), to whom she now owes some drug money.
Meanwhile, in the second story, Simon tears through Las Vegas with four buds. Simon and one of his pals, Marcus (Taye Diggs), find themselves in an awful mess at a strip club and on the fun from the owners.
In the third story, Adam (Wolf) and Zack (Mohr) find themselves in a predicament over drugs with the police. Their situation becomes more precarious when an undercover officer shows special interests in the two buddies, and the drama doesn’t let up when the two later become involved in a hit and run.
Go is a comedy, although there are times when it seems too dangerous to be funny, but even those tense moments unravel and reveal themselves to be uproarious situations. John August’s script is filled with over the top moments that make sense in a strange way instead of simply being over the top or just too much. It’s outlandish and absurd, but stunningly well put together. The movie plays at being very violent, but it’s mostly cartoonish, as if the film won’t quite acknowledge how painful violence can be. Or maybe, this is just part of the hedonistic life the film portrays. It’s all done in fun, and at the end of the day, all the players get to walk away from their various little “car wrecks,” though maybe an occasional fatal mistake would teach them all a lesson. Well, maybe not. They’d be slacking, doing drugs, and playing with guns the very day after burying a homie who shot himself playing with a gun or overdosing on ecstasy.
I give Liman much credit for directed this very funny film. It’s slick and glossy, but incredibly well executed. On the surface, it might seem like a rave culture version of Pulp Fiction, though it does owe more than a nodding acknowledgement to that film. However, it’s a modern, violent physical comedy where each actor and filmmaker has to hit his marks. Liman plays with incredible timing, and most of the time he gets it right. One misstep, and the film falls apart. Luckily, the film doesn’t begin to shake to pieces until the very end, but up until the closing scenes, Go is near flawless and near perfect. I’ve rarely laughed so hard at something so obviously meant to be eye candy. But Liman’s film is gourmet candy, thoughtfully concocted by a director determined to give his audience a good show. Most Tarantino clones were content simply to copy, whereas Liman and screenwriter John August were determined to give us a lurid taste of pulp fiction made from their own very best recipe.
7 of 10
B+
Go (1999)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for strong drug content, sexuality, language and some violence
DIRECTOR/CINEMATOGRAPHER: Doug Liman
WRITER: John August
PRODUCERS: Matt Freeman Mickey Liddell, and Paul Rosenberg
EDITOR: Stephen Mirrione
COMPOSER: BT and Moby
COMEDY/CRIME/DRAMA
Starring: Sarah Polley, Jay Mohr, Scott Wolf, Desmond Askew, Timothy Olyphant, William Fichtner, Breckin Meyer, and Taye Diggs
Some have compared it to Pulp Fiction, and Go, a film from Doug Liman (Swingers), certainly bears some similarities to Quentin Tarantino’s Oscar-winning film. Go is alternately a dark, teen comedy, a delirious action movie, a snarky crime caper, and a candy coated Tarantino movie for the late teen/early 20’s set.
On first glance, Go seems to tell the story of the events that happen after a drug deal. The real launching point is simply the changing of work shifts between two young working stiffs at a small grocery store. From there, Go is three interconnected short movies, in which many of the characters from each short movie encounter one another. In that sense, it is similar to Pulp Fiction, but only stylistically and superficially.
In one story, Ronna Martin (Sarah Polley) tries to raise rent money by selling ecstasy to two men (Jay Mohr and Scott Wolf) looking to buy from her co-worker, Simon Baines (Desmond Askew), who normally deals drugs. When Ronna is forced to ditch the drugs, she has to scam Simon’s supplier, a nasty little thug named, Todd (Timothy Olyphant), to whom she now owes some drug money.
Meanwhile, in the second story, Simon tears through Las Vegas with four buds. Simon and one of his pals, Marcus (Taye Diggs), find themselves in an awful mess at a strip club and on the fun from the owners.
In the third story, Adam (Wolf) and Zack (Mohr) find themselves in a predicament over drugs with the police. Their situation becomes more precarious when an undercover officer shows special interests in the two buddies, and the drama doesn’t let up when the two later become involved in a hit and run.
Go is a comedy, although there are times when it seems too dangerous to be funny, but even those tense moments unravel and reveal themselves to be uproarious situations. John August’s script is filled with over the top moments that make sense in a strange way instead of simply being over the top or just too much. It’s outlandish and absurd, but stunningly well put together. The movie plays at being very violent, but it’s mostly cartoonish, as if the film won’t quite acknowledge how painful violence can be. Or maybe, this is just part of the hedonistic life the film portrays. It’s all done in fun, and at the end of the day, all the players get to walk away from their various little “car wrecks,” though maybe an occasional fatal mistake would teach them all a lesson. Well, maybe not. They’d be slacking, doing drugs, and playing with guns the very day after burying a homie who shot himself playing with a gun or overdosing on ecstasy.
I give Liman much credit for directed this very funny film. It’s slick and glossy, but incredibly well executed. On the surface, it might seem like a rave culture version of Pulp Fiction, though it does owe more than a nodding acknowledgement to that film. However, it’s a modern, violent physical comedy where each actor and filmmaker has to hit his marks. Liman plays with incredible timing, and most of the time he gets it right. One misstep, and the film falls apart. Luckily, the film doesn’t begin to shake to pieces until the very end, but up until the closing scenes, Go is near flawless and near perfect. I’ve rarely laughed so hard at something so obviously meant to be eye candy. But Liman’s film is gourmet candy, thoughtfully concocted by a director determined to give his audience a good show. Most Tarantino clones were content simply to copy, whereas Liman and screenwriter John August were determined to give us a lurid taste of pulp fiction made from their own very best recipe.
7 of 10
B+
It Ain't Bragging if it's True, Eh, Warner Bros.?
Warner Bros. Pictures Group Earns Triple Crown for 2010
The Studio Takes This Year’s Top Spots in Domestic Market Share with $1.884 Billion; International Market Share with $2.930 Billion; and Worldwide Market Share for the Second Consecutive Year with $4.814 Billion
BURBANK, Calif.--(BUSINESS WIRE)--The Warner Bros. Pictures Group broke the all-time industry worldwide box office record with a 2010 gross of $4.814 billion, which surpasses the prior record of $4.010 billion (set by Warner Bros. in 2009). The announcement was made today by Jeff Robinov, President, Warner Bros. Pictures Group.
Setting new benchmarks for both the international and global box office grosses in 2010 and retaining the domestic box office number one ranking (after achieving a record gross in 2009), the Studio now holds the industry record in all three categories. Additionally, Warner Bros. surpassed its own worldwide gross from the previous year by $800 million to earn the number one position in worldwide market share for the second consecutive year and for the sixth time in the past 10 years, also an industry record.
“We are so proud of these incredible accomplishments, which were made possible through the global efforts of an exceptional group of people who collaborated to create, produce, market, and distribute more than two dozen films this past year,” said Robinov. “We have a terrific leadership team behind these efforts, including Sue Kroll, Dan Fellman and Veronika Kwan-Rubinek, and, along with Barry Meyer and Alan Horn, I applaud everyone who contributed to this year’s record-breaking success.”
Warner Bros. Pictures’ domestic gross is estimated at $1.884 billion, making it number one in domestic market share for 2010. This is the third year in a row the Studio has held that crown and is the only studio to exceed the $1 billion threshold domestically for 10 consecutive years. Warner Bros. has been ranked either one or two domestically for seven of the last 10 years. The Studio had five films gross over $100 million domestically in 2010 – “Inception,” “Harry Potter and the Deathly Hallows – Part 1,” “Clash of the Titans,” “Valentine’s Day,” and “Due Date.”
“Our tentpole strategy combined with a remarkably diverse overall slate has once again proved enormously profitable at the box office,” said Dan Fellman, President, Distribution, Warner Bros. Pictures. “We could not be more proud of the Studio’s achievements this year.”
Warner Bros. Pictures International set a new industry record in overseas box office with an estimated $2.930 billion year-end gross, breaking the previous industry record of $2.450 billion in 2009. This is the tenth consecutive year the Studio has exceeded $1 billion and third time it has surpassed $2 billion in international box office receipts. The Studio has had seven films gross more than $100 million internationally in 2010 – “Sherlock Holmes” ($264 million, for a total of $315 million, including 2009’s take); “Valentine’s Day” ($106 million); “Clash of the Titans” ($330 million); “Sex and the City 2” ($193 million); “Inception” ($531 million); “Due Date” ($100 million); and “Harry Potter and the Deathly Hallows – Part 1” ($611 million, and still in release).
“We’re elated to reach these incredible numbers internationally,” said Veronika Kwan-Rubinek, President, Distribution, Warner Bros. Pictures International. “This achievement is a testament to the company’s strategy to make event films with global appeal, and it would not have been possible without the hard work and innovative thinking from our outstanding marketing and distribution teams around the world.”
Among the Studio’s 2011 releases are “Red Riding Hood,” directed by Catherine Hardwicke; the Zack Snyder-directed action fantasy “Sucker Punch”; “The Hangover Part II,” the sequel to the 2009 breakout hit; “Green Lantern,” the highly anticipated adaptation of the popular DC Comics title, starring Ryan Reynolds and Blake Lively; the conclusion of the most successful film franchise of all time, “Harry Potter and the Deathly Hallows – Part 2”; “Crazy, Stupid, Love.” starring Steve Carell and Ryan Gosling; Steven Soderbergh’s thriller “Contagion,” with an ensemble cast led by Matt Damon; “Happy Feet 2,” the sequel to the 2006 Academy Award®-winning animated musical hit; New Line Cinema’s “New Year’s Eve,” an all-star ensemble romantic comedy from director Garry Marshall; and “Sherlock Holmes II,” Guy Ritchie’s follow up to the 2009 hit, starring Robert Downey Jr. and Jude Law.
The Studio Takes This Year’s Top Spots in Domestic Market Share with $1.884 Billion; International Market Share with $2.930 Billion; and Worldwide Market Share for the Second Consecutive Year with $4.814 Billion
BURBANK, Calif.--(BUSINESS WIRE)--The Warner Bros. Pictures Group broke the all-time industry worldwide box office record with a 2010 gross of $4.814 billion, which surpasses the prior record of $4.010 billion (set by Warner Bros. in 2009). The announcement was made today by Jeff Robinov, President, Warner Bros. Pictures Group.
Setting new benchmarks for both the international and global box office grosses in 2010 and retaining the domestic box office number one ranking (after achieving a record gross in 2009), the Studio now holds the industry record in all three categories. Additionally, Warner Bros. surpassed its own worldwide gross from the previous year by $800 million to earn the number one position in worldwide market share for the second consecutive year and for the sixth time in the past 10 years, also an industry record.
“We are so proud of these incredible accomplishments, which were made possible through the global efforts of an exceptional group of people who collaborated to create, produce, market, and distribute more than two dozen films this past year,” said Robinov. “We have a terrific leadership team behind these efforts, including Sue Kroll, Dan Fellman and Veronika Kwan-Rubinek, and, along with Barry Meyer and Alan Horn, I applaud everyone who contributed to this year’s record-breaking success.”
Warner Bros. Pictures’ domestic gross is estimated at $1.884 billion, making it number one in domestic market share for 2010. This is the third year in a row the Studio has held that crown and is the only studio to exceed the $1 billion threshold domestically for 10 consecutive years. Warner Bros. has been ranked either one or two domestically for seven of the last 10 years. The Studio had five films gross over $100 million domestically in 2010 – “Inception,” “Harry Potter and the Deathly Hallows – Part 1,” “Clash of the Titans,” “Valentine’s Day,” and “Due Date.”
“Our tentpole strategy combined with a remarkably diverse overall slate has once again proved enormously profitable at the box office,” said Dan Fellman, President, Distribution, Warner Bros. Pictures. “We could not be more proud of the Studio’s achievements this year.”
Warner Bros. Pictures International set a new industry record in overseas box office with an estimated $2.930 billion year-end gross, breaking the previous industry record of $2.450 billion in 2009. This is the tenth consecutive year the Studio has exceeded $1 billion and third time it has surpassed $2 billion in international box office receipts. The Studio has had seven films gross more than $100 million internationally in 2010 – “Sherlock Holmes” ($264 million, for a total of $315 million, including 2009’s take); “Valentine’s Day” ($106 million); “Clash of the Titans” ($330 million); “Sex and the City 2” ($193 million); “Inception” ($531 million); “Due Date” ($100 million); and “Harry Potter and the Deathly Hallows – Part 1” ($611 million, and still in release).
“We’re elated to reach these incredible numbers internationally,” said Veronika Kwan-Rubinek, President, Distribution, Warner Bros. Pictures International. “This achievement is a testament to the company’s strategy to make event films with global appeal, and it would not have been possible without the hard work and innovative thinking from our outstanding marketing and distribution teams around the world.”
Among the Studio’s 2011 releases are “Red Riding Hood,” directed by Catherine Hardwicke; the Zack Snyder-directed action fantasy “Sucker Punch”; “The Hangover Part II,” the sequel to the 2009 breakout hit; “Green Lantern,” the highly anticipated adaptation of the popular DC Comics title, starring Ryan Reynolds and Blake Lively; the conclusion of the most successful film franchise of all time, “Harry Potter and the Deathly Hallows – Part 2”; “Crazy, Stupid, Love.” starring Steve Carell and Ryan Gosling; Steven Soderbergh’s thriller “Contagion,” with an ensemble cast led by Matt Damon; “Happy Feet 2,” the sequel to the 2006 Academy Award®-winning animated musical hit; New Line Cinema’s “New Year’s Eve,” an all-star ensemble romantic comedy from director Garry Marshall; and “Sherlock Holmes II,” Guy Ritchie’s follow up to the 2009 hit, starring Robert Downey Jr. and Jude Law.
Review: Walt Disney's "Beauty and the Beast" is Still Glorious Three Decades Later
TRASH IN MY EYE No. 2 (of 2011) by Leroy Douresseaux
Beauty and the Beast (1991)
Running time: 84 minutes (1 hour, 24 minutes)
MPAA – G
DIRECTOR: Gary Trousdale and Kirk Wise
WRITERS: Linda Woolverton; from a story by Brenda Chapman, Burny Mattinson, Brian Pimental, Joe Ranft, Kelly Asbury, Christopher Sanders, Kevin Harkey, Bruce Woodside, Tom Ellery and Robert Lence (based upon the story by Jeanne-Marie Leprince de Beaumont)
PRODUCER: Don Hahn
EDITORS: John Carnochan with Bill Wilner
COMPOSER: Alan Menken
SONGS: Alan Menken and Howard Ashman
Academy Award winner
ANIMATION/FANTASY/ROMANCE/COMEDY with elements of action
Starring: (voices) Paige O’Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Angela Lansbury, Bradley Pierce, Rex Everhart, and Jesse Corti
Until a few days ago, I hadn’t watched the entirety of Walt Disney’s Beauty and the Beast in 19 years, and after enjoying it as much as I did recently, I can say that this tale did not grow old with time. Beauty and the Beast is still dazzling… and timeless.
Disney’s film is based on the fairy tale La Belle et la Bête by Jeanne-Marie Le Prince de Beaumont and also takes a view elements from the 1946 French film based upon the same fairy tale. This animated take on a classic fairy tale is set in 18th century France and focuses on two characters.
First, there is Beast (Robby Benson). He was once a cold-hearted young prince transformed by an enchantress into a monster. Now, he is virtually a prisoner inside his forlorn castle. The second is Belle (Paige O’Hara), an unusual young woman who lives in nearby village with her inventor father, Maurice (Rex Everhart). Belle spends her days reading books and yearning for a life beyond her provincial village. She does have a suitor, Gaston (Richard White), a conceited local hero and fearsome hunter, but Belle has no interest in him.
When her father becomes the Beast’s prisoner, Belle offers herself in his place. Although she is cold and aloof to the Beast, Belle warms to his servants, a large group of magical, talking furniture and household times, including Lumière (Jerry Orbach), the candelabra and maître d’; Cogsworth (David Ogden Stiers), the clock and majordomo, and Mrs. Potts (Angela Lansbury), the teapot and head of the castle’s kitchens. They all hope that Belle falls in love with the Beast, because only love can unravel the curse that hangs over them and the castle. But time is running out!
Beauty and the Beast is a Broadway style musical like the 1989 Walt Disney animated feature, The Little Mermaid. Here the songs, music by Alan Menken and lyrics by the late Howard Ashman, both move the narrative forward and embellish the story’s mood and themes. In fact, the moods, emotions, and colors of the songs themselves are vivid and clear; on their own, they’re memorable numbers that will stay with you long after you’ve seen this movie.
The quality of the songs actually symbolizes everything that is terrific about this movie. The mix of hand-drawn animation and computer-generated imagery and computer-aided coloring blend seamlessly and do nothing to keep Beauty and the Beast from looking like it belongs with Disney’s animated classics of the past. The lush, sparkling colors and lavish set designs bring the fairytale to life and make it feel magical.
The fluid animation, the hallmark of Walt Disney animation (often described as creating the illusion of life) is clearly evident in this film. Combine that quality of animation with the excellent performances of the voice actors and the endearing characters not only spring to life; they are also hard to forget – even after 19 years. I am sure that I will continue to watch Beauty and the Beast, but this time I won’t wait so long to visit my friends again.
10 of 10
NOTES:
1992 Academy Awards: 2 wins: “Best Music, Original Score” (Alan Menken) and “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Beauty and the Beast"); 4 nominations: “Best Picture” (Don Hahn), “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Belle"), “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Be Our Guest"), and “Best Sound” (Terry Porter, Mel Metcalfe, David J. Hudson, and Doc Kan)
1993 BAFTA Awards: 2 nominations: “Best Original Film Score” (Alan Menken and Howard Ashman) and “Best Special Effects” (Randy Fullmer)
1992 Golden Globes: 3 wins: “Best Motion Picture - Comedy/Musical, “Best Original Score - Motion Picture” (Alan Menken) and “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song "Beauty and the Beast"); 1 nomination: “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song "Be Our Guest")
Saturday, January 08, 2011
Beauty and the Beast (1991)
Running time: 84 minutes (1 hour, 24 minutes)
MPAA – G
DIRECTOR: Gary Trousdale and Kirk Wise
WRITERS: Linda Woolverton; from a story by Brenda Chapman, Burny Mattinson, Brian Pimental, Joe Ranft, Kelly Asbury, Christopher Sanders, Kevin Harkey, Bruce Woodside, Tom Ellery and Robert Lence (based upon the story by Jeanne-Marie Leprince de Beaumont)
PRODUCER: Don Hahn
EDITORS: John Carnochan with Bill Wilner
COMPOSER: Alan Menken
SONGS: Alan Menken and Howard Ashman
Academy Award winner
ANIMATION/FANTASY/ROMANCE/COMEDY with elements of action
Starring: (voices) Paige O’Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Angela Lansbury, Bradley Pierce, Rex Everhart, and Jesse Corti
Until a few days ago, I hadn’t watched the entirety of Walt Disney’s Beauty and the Beast in 19 years, and after enjoying it as much as I did recently, I can say that this tale did not grow old with time. Beauty and the Beast is still dazzling… and timeless.
Disney’s film is based on the fairy tale La Belle et la Bête by Jeanne-Marie Le Prince de Beaumont and also takes a view elements from the 1946 French film based upon the same fairy tale. This animated take on a classic fairy tale is set in 18th century France and focuses on two characters.
First, there is Beast (Robby Benson). He was once a cold-hearted young prince transformed by an enchantress into a monster. Now, he is virtually a prisoner inside his forlorn castle. The second is Belle (Paige O’Hara), an unusual young woman who lives in nearby village with her inventor father, Maurice (Rex Everhart). Belle spends her days reading books and yearning for a life beyond her provincial village. She does have a suitor, Gaston (Richard White), a conceited local hero and fearsome hunter, but Belle has no interest in him.
When her father becomes the Beast’s prisoner, Belle offers herself in his place. Although she is cold and aloof to the Beast, Belle warms to his servants, a large group of magical, talking furniture and household times, including Lumière (Jerry Orbach), the candelabra and maître d’; Cogsworth (David Ogden Stiers), the clock and majordomo, and Mrs. Potts (Angela Lansbury), the teapot and head of the castle’s kitchens. They all hope that Belle falls in love with the Beast, because only love can unravel the curse that hangs over them and the castle. But time is running out!
Beauty and the Beast is a Broadway style musical like the 1989 Walt Disney animated feature, The Little Mermaid. Here the songs, music by Alan Menken and lyrics by the late Howard Ashman, both move the narrative forward and embellish the story’s mood and themes. In fact, the moods, emotions, and colors of the songs themselves are vivid and clear; on their own, they’re memorable numbers that will stay with you long after you’ve seen this movie.
The quality of the songs actually symbolizes everything that is terrific about this movie. The mix of hand-drawn animation and computer-generated imagery and computer-aided coloring blend seamlessly and do nothing to keep Beauty and the Beast from looking like it belongs with Disney’s animated classics of the past. The lush, sparkling colors and lavish set designs bring the fairytale to life and make it feel magical.
The fluid animation, the hallmark of Walt Disney animation (often described as creating the illusion of life) is clearly evident in this film. Combine that quality of animation with the excellent performances of the voice actors and the endearing characters not only spring to life; they are also hard to forget – even after 19 years. I am sure that I will continue to watch Beauty and the Beast, but this time I won’t wait so long to visit my friends again.
10 of 10
NOTES:
1992 Academy Awards: 2 wins: “Best Music, Original Score” (Alan Menken) and “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Beauty and the Beast"); 4 nominations: “Best Picture” (Don Hahn), “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Belle"), “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Be Our Guest"), and “Best Sound” (Terry Porter, Mel Metcalfe, David J. Hudson, and Doc Kan)
1993 BAFTA Awards: 2 nominations: “Best Original Film Score” (Alan Menken and Howard Ashman) and “Best Special Effects” (Randy Fullmer)
1992 Golden Globes: 3 wins: “Best Motion Picture - Comedy/Musical, “Best Original Score - Motion Picture” (Alan Menken) and “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song "Beauty and the Beast"); 1 nomination: “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song "Be Our Guest")
Saturday, January 08, 2011
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Friday, January 7, 2011
Roger Ebert Relaunches "At the Movies" on Public Television
Press release:
ROGER EBERT ANNOUNCES FILM CRITIC IGNATIY VISHNEVETSKY AS NEW CO-HOST OF EBERT PRESENTS AT THE MOVIES
CHICAGO, January 4, 2011 - Ebert Productions is proud to announce that Ignatiy Vishnevetsky has joined the team at Ebert Presents At the Movies. Vishnevetsky will accompany the previously announced Christy Lemire of The Associated Press as co-host on the new weekly program. The show is scheduled to debut on January 21st on public television stations across the country, representing almost 90% national coverage and will be produced in Chicago at WTTW, where Gene Siskel and Roger Ebert began taping the legendary "Sneak Previews" some 35 years ago. It will be distributed by American Public Television (APT).
Fans of the original shows will be pleased to find that in addition to serving as co-producer of the show, Roger Ebert will also host a special segment each week and had direct input into the selection of the show's host critics including Chicago-based Ignatiy Vishnevetsky (Ig.nah.tee) (Vish.na.vet.ski). Hearing him discuss films in the Lake Street Screening Room used by Chicago critics, Ebert said, "I was struck by the depth and detail of his film knowledge, and by how articulate he was." After reading his work online, Ebert was sold.
Vishnevetsky is a critic and essayist for Mubi.com, a new multi-national streaming online cinematheque. Ignatiy moved to America from Russia when he was not quite 9. He graduated from high school in Milwaukee and then moved to Chicago, "because I could find more films to see here." He is a co-founder of the acclaimed Cine-File.info, and continues to write criticism for it on a weekly basis. He is also a contributor to The Chicago Reader, and helps program the current Cine-File Selects series at the University of Chicago's Doc Fims, the nation's oldest film society. Prior to becoming a film critic, Vishnevetsky, who is multi-lingual, worked as a translator for Novoe Literaturnoe Obozrenie, Russia's premier literary journal.
Vishnevetsky will go head to head each week with Christy Lemire, who has been reviewing movies for The Associated Press for 12 years and was named the first full-time film critic in the news organization's history in 2004. Christy filled in for Roger Ebert several times on "At the Movies" in 2007 and has appeared on "The Charlie Rose Show," "Good Morning America" and "The View," to name a few. She also covers the Oscars, Golden Globes and many other awards shows each year. A third-generation L.A. native, Christy is a member of the Los Angeles Film Critics Association. Of Lemire, Ebert says, "I admired the way she reviewed with Richard Roeper when she co-hosted our show," Ebert said, "and I respect her criticism. On television, Christy is a natural."
Ebert Presents At The Movies, marks the rebirth of a dream for both Roger and Chaz Ebert, who will serve as executive producer of the show. Chaz Ebert says she is happy to have this rare opportunity in television to bring back a show that started 35 years ago at WTTW, had a successful run at Tribune Entertainment and Disney, and is now once again being embraced by public stations nationwide.
ABOUT EBERT PRESENTS AT THE MOVIES
Ebert Presents At the Movies will be executive produced by Roger his wife Chaz Ebert, and will be directed by Don Dupree, who logged 15 years as director of "Siskel & Ebert" and "Ebert & Roeper." Joining Christy and Ignatiy from time to time will be an impressive line-up of contributing critics on various aspects of the movies, from business issues to social media. The first shows will include Kim Morgan (sunsetgun.com) and Omar Moore (popcornreel.com). It will be distributed nationwide by APT (American Public Television).
ROGER EBERT ANNOUNCES FILM CRITIC IGNATIY VISHNEVETSKY AS NEW CO-HOST OF EBERT PRESENTS AT THE MOVIES
CHICAGO, January 4, 2011 - Ebert Productions is proud to announce that Ignatiy Vishnevetsky has joined the team at Ebert Presents At the Movies. Vishnevetsky will accompany the previously announced Christy Lemire of The Associated Press as co-host on the new weekly program. The show is scheduled to debut on January 21st on public television stations across the country, representing almost 90% national coverage and will be produced in Chicago at WTTW, where Gene Siskel and Roger Ebert began taping the legendary "Sneak Previews" some 35 years ago. It will be distributed by American Public Television (APT).
Fans of the original shows will be pleased to find that in addition to serving as co-producer of the show, Roger Ebert will also host a special segment each week and had direct input into the selection of the show's host critics including Chicago-based Ignatiy Vishnevetsky (Ig.nah.tee) (Vish.na.vet.ski). Hearing him discuss films in the Lake Street Screening Room used by Chicago critics, Ebert said, "I was struck by the depth and detail of his film knowledge, and by how articulate he was." After reading his work online, Ebert was sold.
Vishnevetsky is a critic and essayist for Mubi.com, a new multi-national streaming online cinematheque. Ignatiy moved to America from Russia when he was not quite 9. He graduated from high school in Milwaukee and then moved to Chicago, "because I could find more films to see here." He is a co-founder of the acclaimed Cine-File.info, and continues to write criticism for it on a weekly basis. He is also a contributor to The Chicago Reader, and helps program the current Cine-File Selects series at the University of Chicago's Doc Fims, the nation's oldest film society. Prior to becoming a film critic, Vishnevetsky, who is multi-lingual, worked as a translator for Novoe Literaturnoe Obozrenie, Russia's premier literary journal.
Vishnevetsky will go head to head each week with Christy Lemire, who has been reviewing movies for The Associated Press for 12 years and was named the first full-time film critic in the news organization's history in 2004. Christy filled in for Roger Ebert several times on "At the Movies" in 2007 and has appeared on "The Charlie Rose Show," "Good Morning America" and "The View," to name a few. She also covers the Oscars, Golden Globes and many other awards shows each year. A third-generation L.A. native, Christy is a member of the Los Angeles Film Critics Association. Of Lemire, Ebert says, "I admired the way she reviewed with Richard Roeper when she co-hosted our show," Ebert said, "and I respect her criticism. On television, Christy is a natural."
Ebert Presents At The Movies, marks the rebirth of a dream for both Roger and Chaz Ebert, who will serve as executive producer of the show. Chaz Ebert says she is happy to have this rare opportunity in television to bring back a show that started 35 years ago at WTTW, had a successful run at Tribune Entertainment and Disney, and is now once again being embraced by public stations nationwide.
ABOUT EBERT PRESENTS AT THE MOVIES
Ebert Presents At the Movies will be executive produced by Roger his wife Chaz Ebert, and will be directed by Don Dupree, who logged 15 years as director of "Siskel & Ebert" and "Ebert & Roeper." Joining Christy and Ignatiy from time to time will be an impressive line-up of contributing critics on various aspects of the movies, from business issues to social media. The first shows will include Kim Morgan (sunsetgun.com) and Omar Moore (popcornreel.com). It will be distributed nationwide by APT (American Public Television).
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