The Golden Globe Awards, presented by the Hollywood Foreign Press Association, were handed out last night. On the film side of things, things were fairly boring as the expected winners won. If you are starting to see a pattern, you are not paranoid. Once again, The Social Network triumphs. So here is a list of the winners in both the film and television categories:
2011 Golden Globe Awards Winners (For the year ended December 31, 2010)
FILM AWARDS
Picture, Drama: "The Social Network."
Picture, Musical or Comedy: "The Kids Are All Right."
Actor, Drama: Colin Firth, "The King's Speech."
Actress, Drama: Natalie Portman, "Black Swan."
Director: David Fincher, "The Social Network."
Actress, Musical or Comedy: Annette Bening, "The Kids Are All Right."
Actor, Musical or Comedy: Paul Giamatti, "Barney's Version."
Supporting Actor: Christian Bale, "The Fighter."
Supporting Actress: Melissa Leo, "The Fighter."
Foreign Language: "In a Better World."
Animated Film: "Toy Story 3."
Screenplay: Aaron Sorkin, "The Social Network."
Original Score: "The Social Network."
Original Song: "You Haven't Seen the Last of Me," (written by Diane Warren), "Burlesque."
TELEVISION AWARDS
Series, Drama: "Boardwalk Empire," HBO.
Actor, Drama: Steve Buscemi, "Boardwalk Empire."
Actress, Drama: Katey Sagal, "Sons of Anarchy."
Series, Musical or Comedy: "Glee," Fox.
Actor, Musical or Comedy: Jim Parsons, "The Big Bang Theory."
Actress, Musical or Comedy: Laura Linney, "The Big C."
Miniseries or Movie: "Carlos," Sundance Channel.
Actress, Miniseries or Movie: Claire Danes, "Temple Grandin."
Actor, Miniseries or Movie: Al Pacino, "You Don't Know Jack."
Supporting Actress, Series, Miniseries or Movie: Jane Lynch, "Glee."
Supporting Actor, Series, Miniseries or Movie: Chris Colfer, "Glee."
PREVIOUSLY ANNOUNCED
Cecil B. DeMille Lifetime Achievement Award: Robert De Niro.
Monday, January 17, 2011
Review: "Coming to America" is Still a Classic (Happy B'day, James Earl Jones)
TRASH IN MY EYE No. 34 (of 2006) by Leroy Douresseaux
Coming to America (1988)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – R
DIRECTOR: John Landis
WRITERS: David Sheffield and Barry W. Blaustein; from a story by Eddie Murphy
PRODUCERS: George Folsey, Jr. and Robert D. Wachs
CINEMATOGRAPHER: Woody Omens with Sol Negrin
EDITOR: George Folsey, Jr. and Malcolm Campbell
Academy Award nominee
COMEDY/ROMANCE
Starring: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, Shari Headley, Paul Bates, Eriq La Salle, Frankie Faison, Vanessa Bell , Louie Anderson, Allison Dean, Calvin Lockhart, Clint Smith, Don Ameche, Ralph Bellamy, and Samuel L. Jackson
A pampered heir to an African throne, Prince Akeem (Eddie Murphy), wants more out of life, and he wants a woman with her own mind, someone other than the beautiful woman to whom he’s engaged, Imani Izzi (Vanessa Bell). His father, King Jaffe Joffer (James Earl Jones), the ruler of Zamunda, encourages Akeem to go to America and sow his royal oats. However, Akeem heads to New York City, specifically Queens, to find a mate who will fall in love with him for who he is not what he is. Accompanied by his trusty sidekick, Semmi (Arsenio Hall), Akeem takes a low-paying job at a McDonald’s-like fast food restaurant, McDowell’s. He keeps his true identity secret and eventually begins a romance with Lisa McDowell (Shari Headley), the daughter of the boss, Cleo McDowell (John Amos). But will his royal lineage ruin Akeem’s chances with Lisa?
Coming to America remains one of my favorite Eddie Murphy films. It’s both funny, and the film also reveals the romantic side of Eddie Murphy’s talents as an actor – something we’d see more of in later films. The script by David Sheffield and Barry W. Blaustein, two writers who wrote many of Murphy’s sketches while he was a cast member of “Saturday Night Live” in the mid-80’s, crafted a light-hearted, but engaging romantic comedy, and sprinkle it with numerous comic sketches and scenes. The writers provide comic gems not only for Murphy and Arsenio Hall, but also for the rest of the cast, which gives even actors with the smallest parts something into which they can sink their teeth. James Earl Jones, John Amos, and Madge Sinclair as Queen Aoleon shine in supporting roles.
Many people remember the film for the fact that Murphy and Hall played more than one role, thanks in large part to the amazing makeup by Oscar-winning makeup effects whiz, Rick Baker (who earned an Oscar nomination for this film, but lost that year to the makeup team on Beetlejuice). Hall plays three characters in addition to Semmi, including one female character. Murphy plays three characters in addition to Prince Akeem, including a Caucasian male. The makeup and their performances were so convincing that some of the audience didn’t realize that Murphy and Hall were playing multiple parts, in particularly Murphy as the old white man, Saul.
Coming to America also had good production values, including an amazing array of colorful (though sometimes outlandish costumes) costumes and a multiplicity of sets reflecting everything from regal splendor to lower class squalor. Probably the best thing that the set decorator and art director did was create an African kingdom that reflects African-American fantasy and myth-making about African monarchies, but something with the whimsy of, say, the Emerald City in The Wizard of Oz. If that weren’t enough, the cast features many very talented black actors who rarely get work simple because they’re black, but this film gives us a chance to see these talented performers. That’s why Coming to America remains one of the great African-American romantic comedies, and it is also one of the first times in film that we see Eddie Murphy show the scope of his ability to play a variety of characters.
8 of 10
A
NOTES:
1989 Academy Awards: 2 nominations: “Best Costume Design” (Deborah Nadoolman) and “Best Makeup” (Rick Baker)
1990 Image Awards: 2 wins: “Outstanding Motion Picture” and “Outstanding Supporting Actor in a Motion Picture” (Arsenio Hall)
Monday, February 13, 2006
Coming to America (1988)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – R
DIRECTOR: John Landis
WRITERS: David Sheffield and Barry W. Blaustein; from a story by Eddie Murphy
PRODUCERS: George Folsey, Jr. and Robert D. Wachs
CINEMATOGRAPHER: Woody Omens with Sol Negrin
EDITOR: George Folsey, Jr. and Malcolm Campbell
Academy Award nominee
COMEDY/ROMANCE
Starring: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, Shari Headley, Paul Bates, Eriq La Salle, Frankie Faison, Vanessa Bell , Louie Anderson, Allison Dean, Calvin Lockhart, Clint Smith, Don Ameche, Ralph Bellamy, and Samuel L. Jackson
A pampered heir to an African throne, Prince Akeem (Eddie Murphy), wants more out of life, and he wants a woman with her own mind, someone other than the beautiful woman to whom he’s engaged, Imani Izzi (Vanessa Bell). His father, King Jaffe Joffer (James Earl Jones), the ruler of Zamunda, encourages Akeem to go to America and sow his royal oats. However, Akeem heads to New York City, specifically Queens, to find a mate who will fall in love with him for who he is not what he is. Accompanied by his trusty sidekick, Semmi (Arsenio Hall), Akeem takes a low-paying job at a McDonald’s-like fast food restaurant, McDowell’s. He keeps his true identity secret and eventually begins a romance with Lisa McDowell (Shari Headley), the daughter of the boss, Cleo McDowell (John Amos). But will his royal lineage ruin Akeem’s chances with Lisa?
Coming to America remains one of my favorite Eddie Murphy films. It’s both funny, and the film also reveals the romantic side of Eddie Murphy’s talents as an actor – something we’d see more of in later films. The script by David Sheffield and Barry W. Blaustein, two writers who wrote many of Murphy’s sketches while he was a cast member of “Saturday Night Live” in the mid-80’s, crafted a light-hearted, but engaging romantic comedy, and sprinkle it with numerous comic sketches and scenes. The writers provide comic gems not only for Murphy and Arsenio Hall, but also for the rest of the cast, which gives even actors with the smallest parts something into which they can sink their teeth. James Earl Jones, John Amos, and Madge Sinclair as Queen Aoleon shine in supporting roles.
Many people remember the film for the fact that Murphy and Hall played more than one role, thanks in large part to the amazing makeup by Oscar-winning makeup effects whiz, Rick Baker (who earned an Oscar nomination for this film, but lost that year to the makeup team on Beetlejuice). Hall plays three characters in addition to Semmi, including one female character. Murphy plays three characters in addition to Prince Akeem, including a Caucasian male. The makeup and their performances were so convincing that some of the audience didn’t realize that Murphy and Hall were playing multiple parts, in particularly Murphy as the old white man, Saul.
Coming to America also had good production values, including an amazing array of colorful (though sometimes outlandish costumes) costumes and a multiplicity of sets reflecting everything from regal splendor to lower class squalor. Probably the best thing that the set decorator and art director did was create an African kingdom that reflects African-American fantasy and myth-making about African monarchies, but something with the whimsy of, say, the Emerald City in The Wizard of Oz. If that weren’t enough, the cast features many very talented black actors who rarely get work simple because they’re black, but this film gives us a chance to see these talented performers. That’s why Coming to America remains one of the great African-American romantic comedies, and it is also one of the first times in film that we see Eddie Murphy show the scope of his ability to play a variety of characters.
8 of 10
A
NOTES:
1989 Academy Awards: 2 nominations: “Best Costume Design” (Deborah Nadoolman) and “Best Makeup” (Rick Baker)
1990 Image Awards: 2 wins: “Outstanding Motion Picture” and “Outstanding Supporting Actor in a Motion Picture” (Arsenio Hall)
Monday, February 13, 2006
-----------------------
Review: "Fun with Dick and Jane is Timely and Timeless" (Happy B'day, Jim Carrey)
TRASH IN MY EYE No. 189 (of 2005) by Leroy Douresseaux
Fun with Dick and Jane (2005)
Running time: 90 minutes (1 hour, 40 minutes)
MPAA – PG-13 for brief language, some sexual humor, and occasional drug references
DIRECTOR: Dean Parisot
WRITERS: Judd Apatow, Nicholas Stoller, and Peter Tolan; from a story by Judd Apatow, Nicholas Stoller, and Gerald Gaiser (based upon the novel by Gerald Gaiser)
PRODUCERS: Jim Carrey and Brian Grazer
CINEMATOGRAPHER: Jerzy Zielinski
EDITOR: Don Zimmerman
COMEDY/CRIME with elements of historical
Starring: Jim Carrey, Téa Leoni, Alec Baldwin, Richard Jenkins, Gloria Garayua, John Michael Higgins, Jeff Garlin, and Angie Harmon
In Fun with Dick and Jane, an upper middle class couple finds themselves unemployed and broke, even though they always played by the rules to reach their American dream. Desperate, they finally turn to crime to pay the bills.
It’s America, circa 2000. Dick Harper (Jim Carrey) and his wife Jane (Téa Leoni) have a lovely son, Billy, a Latino housekeeper named Blanca (Gloria Garayua) to take care of him, and a fancy two-story home in a swanky neighborhood. After waiting 15 years for that big promotion, Dick becomes Vice-President of Communications at Globodyne, a media consolidation company. This new prestige position allows Jane to quit her horrible job at a travel agency and become a stay-at-home mom.
But the American Dream is about to become a nightmare. Globodyne goes belly up in an Enron-style meltdown, and Globodyne CEO Jack McCallister (Alec Baldwin) leaves his new VP of Communications holding the bag. After months of ceaseless job searching, Dick can’t find another company to give him an executive job. Eventually, because the bank is about to foreclose on his home, he has to take any job he can find, which includes working as a greeter at a giant box store, a Wal-Mart type place named KostMart. Jane even bluffs her way into a job as a Tae Bo instructor.
Neither is good at their new jobs, so Dick, at his wit’s end, suggests that he and Jane start pulling off nighttime robberies. The screwball Bonnie and Clyde eventually have a chance encounter with former Globodyne CFO Frank Bascom (Richard Jenkins), who tells Dick that Jack McCallister siphoned off 400 million dollars from the company before it collapsed. Dick, Jane, and Frank promptly launch a plot to steal Jack’s ill-gotten gains, just as he stole them from Globodyne.
Fun with Dick and Jane is a remake of a 1977 film starring George Segal and Jane Fonda as an upwardly mobile couple who find themselves unemployed and in debt and turn to armed robbery to alleviate their problems. While the original film took place in the post-Nixon malaise of the late mid-1970’s, the new film starring Jim Carrey and Téa Leoni takes place at the turn of the century when the communications and Internet boom of the go-go 90’s hit an awful Wall Street bump and many people found themselves unemployed, in deep debt with mortgage companies, credit card companies, and sometimes the IRS – not to mention having much of their savings and/or personal worth died up in worthless stocks.
The current version actually looks at the Dick and Jane Harper’s situation from two angles. The first is to view the Harper’s disintegration as a satirical comment on materialism. The audience can certainly sympathize with the couple, but at the same time, the Harpers are largely responsible for their situation. They mortgaged their future for an expensive car (a Mercedes), a big home in a “good” neighborhood (the kind where the residents play “keeping up with the Joneses”), and a house full of expensive trinkets, accessories, appliances, and toys, such as a plasma screen TV. Their fall is not only poignant, but it is also quite real. This isn’t some idealized financial fall; people who go deeply into debt for the American dream often fall so low as too literally have nothing – to go from being executives to working lower paying service jobs. In the hands of the capable Jim Carrey and the surprisingly nimble Téa Leoni, the kind of financial “hardship” is actually quite funny to watch.
The second angle or second half of this film is purely a comic caper. Fun with Dick and Jane becomes a screwball, revenge film in which the Harpers gleefully rob various businesses. They even rob an executive (who made fun of Dick) of cash and expensive home furnishings. When Dick plots his revenge against Jack McCallister, the film goes overboard in asking us to suspend disbelief. However, Carrey and company give us such madcap antics that we can forgive the script’s more ridiculous notions.
Director Dean Parisot (Galaxy Quest) juggles satire with slapstick and pratfalls. He makes an even smarter move by giving Jim Carrey all the space he needs to roam. Carrey is the ultimate class clown, but he is also the consummate actor. Some may not give him enough credit for all that he can do, but in Fun with Dick and Jane, there is both pathos and farce in his performance. Like many of his performances, here, he realizes both the comic horror and monotonous drama of life. He is droll one second, wickedly funny the next, and miserable just a few second after that.
Téa Leoni may never convince anyone that she is a great actress, but she is a superbly capable co-star. Few actors, either male or female, can keep up with Carrey. She does that and brings her character to meaningful life. Too often, actresses allow their characters to be loose appendages to the big male star’s role. Leoni doesn’t go for that, making us believe that this is Jane Harper’s story, too.
Also good in smaller roles are Alec Baldwin and Richard Jenkins. Baldwin does a tart turn as the consummate Southern-born and bred businessman who uses his employees like slaves and then steals their wages. Jenkins is like a gleeful child as Richard Bascom, making the most of his screen time.
I liked the screenplay’s good mix of social satire and ludicrous comedy, though I regret that the entire film couldn’t be a satire. As fun as the revenge portion was, Fun with Dick and Jane was on the way to being an outstanding and dead-on commentary on corporate greed and crass materialism. Still, I enjoyed watching Jim Carrey, Téa Leoni, and their supporting cast make chaotic and zany comedy out of the material they had.
7 of 10
B+
Saturday, December 24, 2005
Fun with Dick and Jane (2005)
Running time: 90 minutes (1 hour, 40 minutes)
MPAA – PG-13 for brief language, some sexual humor, and occasional drug references
DIRECTOR: Dean Parisot
WRITERS: Judd Apatow, Nicholas Stoller, and Peter Tolan; from a story by Judd Apatow, Nicholas Stoller, and Gerald Gaiser (based upon the novel by Gerald Gaiser)
PRODUCERS: Jim Carrey and Brian Grazer
CINEMATOGRAPHER: Jerzy Zielinski
EDITOR: Don Zimmerman
COMEDY/CRIME with elements of historical
Starring: Jim Carrey, Téa Leoni, Alec Baldwin, Richard Jenkins, Gloria Garayua, John Michael Higgins, Jeff Garlin, and Angie Harmon
In Fun with Dick and Jane, an upper middle class couple finds themselves unemployed and broke, even though they always played by the rules to reach their American dream. Desperate, they finally turn to crime to pay the bills.
It’s America, circa 2000. Dick Harper (Jim Carrey) and his wife Jane (Téa Leoni) have a lovely son, Billy, a Latino housekeeper named Blanca (Gloria Garayua) to take care of him, and a fancy two-story home in a swanky neighborhood. After waiting 15 years for that big promotion, Dick becomes Vice-President of Communications at Globodyne, a media consolidation company. This new prestige position allows Jane to quit her horrible job at a travel agency and become a stay-at-home mom.
But the American Dream is about to become a nightmare. Globodyne goes belly up in an Enron-style meltdown, and Globodyne CEO Jack McCallister (Alec Baldwin) leaves his new VP of Communications holding the bag. After months of ceaseless job searching, Dick can’t find another company to give him an executive job. Eventually, because the bank is about to foreclose on his home, he has to take any job he can find, which includes working as a greeter at a giant box store, a Wal-Mart type place named KostMart. Jane even bluffs her way into a job as a Tae Bo instructor.
Neither is good at their new jobs, so Dick, at his wit’s end, suggests that he and Jane start pulling off nighttime robberies. The screwball Bonnie and Clyde eventually have a chance encounter with former Globodyne CFO Frank Bascom (Richard Jenkins), who tells Dick that Jack McCallister siphoned off 400 million dollars from the company before it collapsed. Dick, Jane, and Frank promptly launch a plot to steal Jack’s ill-gotten gains, just as he stole them from Globodyne.
Fun with Dick and Jane is a remake of a 1977 film starring George Segal and Jane Fonda as an upwardly mobile couple who find themselves unemployed and in debt and turn to armed robbery to alleviate their problems. While the original film took place in the post-Nixon malaise of the late mid-1970’s, the new film starring Jim Carrey and Téa Leoni takes place at the turn of the century when the communications and Internet boom of the go-go 90’s hit an awful Wall Street bump and many people found themselves unemployed, in deep debt with mortgage companies, credit card companies, and sometimes the IRS – not to mention having much of their savings and/or personal worth died up in worthless stocks.
The current version actually looks at the Dick and Jane Harper’s situation from two angles. The first is to view the Harper’s disintegration as a satirical comment on materialism. The audience can certainly sympathize with the couple, but at the same time, the Harpers are largely responsible for their situation. They mortgaged their future for an expensive car (a Mercedes), a big home in a “good” neighborhood (the kind where the residents play “keeping up with the Joneses”), and a house full of expensive trinkets, accessories, appliances, and toys, such as a plasma screen TV. Their fall is not only poignant, but it is also quite real. This isn’t some idealized financial fall; people who go deeply into debt for the American dream often fall so low as too literally have nothing – to go from being executives to working lower paying service jobs. In the hands of the capable Jim Carrey and the surprisingly nimble Téa Leoni, the kind of financial “hardship” is actually quite funny to watch.
The second angle or second half of this film is purely a comic caper. Fun with Dick and Jane becomes a screwball, revenge film in which the Harpers gleefully rob various businesses. They even rob an executive (who made fun of Dick) of cash and expensive home furnishings. When Dick plots his revenge against Jack McCallister, the film goes overboard in asking us to suspend disbelief. However, Carrey and company give us such madcap antics that we can forgive the script’s more ridiculous notions.
Director Dean Parisot (Galaxy Quest) juggles satire with slapstick and pratfalls. He makes an even smarter move by giving Jim Carrey all the space he needs to roam. Carrey is the ultimate class clown, but he is also the consummate actor. Some may not give him enough credit for all that he can do, but in Fun with Dick and Jane, there is both pathos and farce in his performance. Like many of his performances, here, he realizes both the comic horror and monotonous drama of life. He is droll one second, wickedly funny the next, and miserable just a few second after that.
Téa Leoni may never convince anyone that she is a great actress, but she is a superbly capable co-star. Few actors, either male or female, can keep up with Carrey. She does that and brings her character to meaningful life. Too often, actresses allow their characters to be loose appendages to the big male star’s role. Leoni doesn’t go for that, making us believe that this is Jane Harper’s story, too.
Also good in smaller roles are Alec Baldwin and Richard Jenkins. Baldwin does a tart turn as the consummate Southern-born and bred businessman who uses his employees like slaves and then steals their wages. Jenkins is like a gleeful child as Richard Bascom, making the most of his screen time.
I liked the screenplay’s good mix of social satire and ludicrous comedy, though I regret that the entire film couldn’t be a satire. As fun as the revenge portion was, Fun with Dick and Jane was on the way to being an outstanding and dead-on commentary on corporate greed and crass materialism. Still, I enjoyed watching Jim Carrey, Téa Leoni, and their supporting cast make chaotic and zany comedy out of the material they had.
7 of 10
B+
Saturday, December 24, 2005
---------------------
Sunday, January 16, 2011
"The Social Network" Wins Best Motion Picture-Drama Golden Globe
Best Motion Picture - Drama:
The Social Network (2010) WINNER
Black Swan (2010)
The Fighter (2010)
Inception (2010)
The King's Speech (2010)
The Social Network (2010) WINNER
Black Swan (2010)
The Fighter (2010)
Inception (2010)
The King's Speech (2010)
Colin Firth Wins "Best Actor-Drama" Golden Globe for "The King's Speech"
Best Performance by an Actor in a Motion Picture - Drama:
Colin Firth for The King's Speech WINNER
Jesse Eisenberg for The Social Network
James Franco for 127 Hours
Ryan Gosling for Blue Valentine
Mark Wahlberg for The Fighter
Colin Firth for The King's Speech WINNER
Jesse Eisenberg for The Social Network
James Franco for 127 Hours
Ryan Gosling for Blue Valentine
Mark Wahlberg for The Fighter
Paul Giamatti Wins "Best Actor-Musical or Comedy" Golden Globe for "Barney's Version"
Best Performance by an Actor in a Motion Picture - Musical or Comedy:
Paul Giamatti for Barney's Version WINNER
Johnny Depp for The Tourist
Johnny Depp for Alice in Wonderland
Jake Gyllenhaal for Love and Other Drugs
Kevin Spacey for Casino Jack
Paul Giamatti for Barney's Version WINNER
Johnny Depp for The Tourist
Johnny Depp for Alice in Wonderland
Jake Gyllenhaal for Love and Other Drugs
Kevin Spacey for Casino Jack
The Kids Are All Right Wins "Best Picture-Musical or Comedy" Golden Globe
Best Motion Picture - Musical or Comedy:
The Kids Are All Right (2010) WINNER
Alice in Wonderland (2010)
Burlesque (2010)
Red (2010)
The Tourist (2010)
The Kids Are All Right (2010) WINNER
Alice in Wonderland (2010)
Burlesque (2010)
Red (2010)
The Tourist (2010)
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