Friday, January 28, 2011
Happy Birthday, Baby Anna!
You're 5 now, so I guess you aren't a baby anymore, but you'll always be your uncle's baby.
Review: In "Wall Street: Money Never Sleeps" Michael Douglas is Still King
TRASH IN MY EYE No. 9 (of 2011) by Leroy Douresseaux
Wall Street: Money Never Sleeps (2010)
Running time: 133 minutes (2 hours, 13 minutes)
MPAA – PG-13 for brief strong language and thematic elements
DIRECTOR: Oliver Stone
WRITERS: Allan Loeb and Stephen Schiff (based upon characters created by Stanley Weiser and Oliver Stone)
PRODUCER: Edward R. Pressman, Eric Kopeloff, and Oliver Stone
CINEMATOGRAPHER: Rodrigo Prieto (D.o.P.)
EDITORS: David Brenner and Julie Monroe
Golden Globe nominee
DRAMA
Starring: Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan, Frank Langella, Susan Sarandon, Vanessa Ferlito, John Buffalo Mailer, Eli Wallach, Austin Pendleton, Oliver Stone and Charlie Sheen
Wall Street: Money Never Sleeps, a film from Oliver Stone, is a sequel to Stone’s 1987 movie, Wall Street. Money Never Sleeps is set 23 years after the original and revolves around the 2008 financial crisis. It focuses on a young trader working to unite a legendary Wall Street figure with his daughter, the trader’s girlfriend. As good as it is, however, the new film does not resonate the way the original did.
The film opens in 2001 with Gordon Gekko (Michael Douglas), the Wall Street titan of the first film, being released from federal prison after serving eight years for insider trading and securities fraud. Jumping seven years later, the film shifts focus to Jacob “Jake” Moore (Shia LaBeouf), a trader at Keller Zabel, a major Wall Street investment bank. Jake is trying to raise 100 million dollars to fund a fusion research project. Keller Zabel, however, is in trouble, and the firm’s managing director, Louis Zabel (Frank Langella), who is also Jake’s mentor, goes down with his firm.
In the aftermath, Jake proposes to his girlfriend, Winnie Gekko (Carey Mulligan), Gordon Gekko’s daughter. Jake also meets Gordon and retries to reunite him with Winnie, who wants nothing to do with her father. Behind Winnie’s back, Jake and Gekko plot revenge against Bretton James (Josh Brolin). The CEO of investment firm Churchill Schwartz, James helped bring down Keller Zabel. Gekko also has a score to settle, but Jake is about to learn how troublesome Gekko is to friend and foe alike.
The original Wall Street was about power, insiders, information, influence, and greed. Wall Street: Money Never Sleeps is about lying, cheating, and a monstrous form of greed that will eat and/or destroy everything around it, regardless of the damage done or even potential harm done to itself. With that kind of subject matter, Money Never Sleeps should be a better film than it is. It is certainly a good film, with excellent performances, but it never reaches its potential.
Neither the film’s writers nor Stone, its director, seem able to distinguish what Money Never Sleeps’ focus is supposed to be. Is it about Jake and Gekko or Jake versus Bretton James or Jake and Gekko versus Bretton? Is it about Jake trying to reunite Gekko with his estranged daughter, Winnie? The film tries all these plots and storylines, but mostly leaves them with unsatisfying and/or half-done resolutions.
Where as the first film had the central conflict of Douglas’ Gordon Gekko versus Charlie Sheen’s Bud Fox (who makes a cameo in the new film), Money Never Sleeps lacks a strong central conflict. The first film dealt with insider trading, giving the audience clear details into how this illegal practice works. Because the bugaboo of the new film is the confusing matter of derivatives, the screenplay avoids the details, and the movie suffers for it.
The performances are all good. Shia LaBeouf is surprising and holds his own against Michael Douglas, affirming that the young actor can be a leading man. Douglas gets better with age, and he has been good for longer than LaBeouf has been alive. It is easy to forget how capable Douglas is of being subtle, as he gives Gekko more layers than the viewer can count.
Watching Douglas, it becomes obvious that even if the new movie is about the new players on Wall Street, the movie loves the smartest, most dangerous, and most enigmatic player, Gordon Gekko. One of the reasons that Wall Street: Money Never Sleeps is good is because it has the strongest element from the first film, Gekko. Despite its strengths, the new film cannot come up with anything of its own that is as memorable as Gordon Gekko.
7 of 10
B+
NOTES:
2011 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Michael Douglas)
Friday, January 28, 2011
Wall Street: Money Never Sleeps (2010)
Running time: 133 minutes (2 hours, 13 minutes)
MPAA – PG-13 for brief strong language and thematic elements
DIRECTOR: Oliver Stone
WRITERS: Allan Loeb and Stephen Schiff (based upon characters created by Stanley Weiser and Oliver Stone)
PRODUCER: Edward R. Pressman, Eric Kopeloff, and Oliver Stone
CINEMATOGRAPHER: Rodrigo Prieto (D.o.P.)
EDITORS: David Brenner and Julie Monroe
Golden Globe nominee
DRAMA
Starring: Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan, Frank Langella, Susan Sarandon, Vanessa Ferlito, John Buffalo Mailer, Eli Wallach, Austin Pendleton, Oliver Stone and Charlie Sheen
Wall Street: Money Never Sleeps, a film from Oliver Stone, is a sequel to Stone’s 1987 movie, Wall Street. Money Never Sleeps is set 23 years after the original and revolves around the 2008 financial crisis. It focuses on a young trader working to unite a legendary Wall Street figure with his daughter, the trader’s girlfriend. As good as it is, however, the new film does not resonate the way the original did.
The film opens in 2001 with Gordon Gekko (Michael Douglas), the Wall Street titan of the first film, being released from federal prison after serving eight years for insider trading and securities fraud. Jumping seven years later, the film shifts focus to Jacob “Jake” Moore (Shia LaBeouf), a trader at Keller Zabel, a major Wall Street investment bank. Jake is trying to raise 100 million dollars to fund a fusion research project. Keller Zabel, however, is in trouble, and the firm’s managing director, Louis Zabel (Frank Langella), who is also Jake’s mentor, goes down with his firm.
In the aftermath, Jake proposes to his girlfriend, Winnie Gekko (Carey Mulligan), Gordon Gekko’s daughter. Jake also meets Gordon and retries to reunite him with Winnie, who wants nothing to do with her father. Behind Winnie’s back, Jake and Gekko plot revenge against Bretton James (Josh Brolin). The CEO of investment firm Churchill Schwartz, James helped bring down Keller Zabel. Gekko also has a score to settle, but Jake is about to learn how troublesome Gekko is to friend and foe alike.
The original Wall Street was about power, insiders, information, influence, and greed. Wall Street: Money Never Sleeps is about lying, cheating, and a monstrous form of greed that will eat and/or destroy everything around it, regardless of the damage done or even potential harm done to itself. With that kind of subject matter, Money Never Sleeps should be a better film than it is. It is certainly a good film, with excellent performances, but it never reaches its potential.
Neither the film’s writers nor Stone, its director, seem able to distinguish what Money Never Sleeps’ focus is supposed to be. Is it about Jake and Gekko or Jake versus Bretton James or Jake and Gekko versus Bretton? Is it about Jake trying to reunite Gekko with his estranged daughter, Winnie? The film tries all these plots and storylines, but mostly leaves them with unsatisfying and/or half-done resolutions.
Where as the first film had the central conflict of Douglas’ Gordon Gekko versus Charlie Sheen’s Bud Fox (who makes a cameo in the new film), Money Never Sleeps lacks a strong central conflict. The first film dealt with insider trading, giving the audience clear details into how this illegal practice works. Because the bugaboo of the new film is the confusing matter of derivatives, the screenplay avoids the details, and the movie suffers for it.
The performances are all good. Shia LaBeouf is surprising and holds his own against Michael Douglas, affirming that the young actor can be a leading man. Douglas gets better with age, and he has been good for longer than LaBeouf has been alive. It is easy to forget how capable Douglas is of being subtle, as he gives Gekko more layers than the viewer can count.
Watching Douglas, it becomes obvious that even if the new movie is about the new players on Wall Street, the movie loves the smartest, most dangerous, and most enigmatic player, Gordon Gekko. One of the reasons that Wall Street: Money Never Sleeps is good is because it has the strongest element from the first film, Gekko. Despite its strengths, the new film cannot come up with anything of its own that is as memorable as Gordon Gekko.
7 of 10
B+
NOTES:
2011 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Michael Douglas)
Friday, January 28, 2011
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It's Our Anniversary! Negromancer Blogger at 1-Year-Old
Yep, it's one year since Negromancer returned as blog, and I'm luvin' it. I find it way more functional than the old site that I ran through Earthlink. For one thing, it's easier to get feedback from readers. I also still have hundreds of old movie reviews to post, so the site will have fresh (sort of) content at least everyday.
I want to thank everyone who visits and also thank those who have donated. I would do this even if no one visited, but having visitors certainly does make things happier. Best wishes, everyone!
I want to thank everyone who visits and also thank those who have donated. I would do this even if no one visited, but having visitors certainly does make things happier. Best wishes, everyone!
Review: 2001 Oscar Nominee "The Cell" Finds Power in Vincent D'Onofrio
TRASH IN MY EYE No. 175 (of 2004) by Leroy Douresseaux
The Cell (2000)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for bizarre violence and sexual images, nudity, and language
DIRECTOR: Tarsem Singh
WRITER: Mark Protosevich
PRODUCERS: Julie Caro and Eric McLeod
CINEMATOGRAPHER: Paul Laufer
EDITORS: Robert Duffy and Paul Rubell
Academy Award nominee
THRILLER/SCI-FI/HORROR
Starring: Jennifer Lopez, Vince Vaughn, Vincent D’Onofrio, Marianne Jean-Baptiste, Dylan Baker, Jake Weber, James Gammon, Colton James, and Jake Thomas
I never liked music video director Tarsem’s video for rock band R.E.M.’s fondly remembered single, “Losing My Religion,” – pretentious video for a pretentious song. However, I have a little more tolerance for Tarsem Singh (his full name) because of his movie, The Cell. In the film, science can send one person’s consciousness into the mind of another person. That scenario allows Tarsem to create wonderfully colorful and bizarre images that would make for a nice music video, but that also work in the context of a film narrative.
Carl Rudolph Stargher (Vincent D’Onofrio) is a serial killer, but before he can kill his latest victim, he has a seizure related to schizophrenia that puts him in a coma from which he will not recover. FBI Agent Peter Novak (Vince Vaughn) knows from studying the evidence in Carl’s house that they have less than two days to find the latest victim before she drowns in a cell (or chamber) Carl has rigged to flood via a time release device. But where is the cell?
Enter pyschotherapist Catherine Dean (Jennifer Lopez). She is the only person with experience entering the mind of another human being, so Agent Novak convinces her to journey into Stargher’s mind to communicate with him in hopes that he will reveal the whereabouts of his latest victim to Catherine. However, Catherine has never entered the mind of someone she hadn’t studied. When she enters Stargher’s mind, Catherine finds a world of revulsion and hyper bizarre images. Before long she meets Stargher’s idealized version of himself, a powerful, cross-dressing, behemoth emperor of a strange land, who captures and traps Catherine in his mind.
No doubt, The Cell was released in hopes of attracting the same audience that liked the mind-bending trip of The Matrix’s shifting realities. The Cell isn’t anywhere nearly as good as The Matrix, but it’s a convincing thriller; Tarsem also creates a real sense that the clock is ticking while they search for Stargher’s latest victim. The bizarre landscapes and visuals within Stargher’s mind are intriguing and, with a few exceptions, both visually striking and appealing.
Sometimes, it all seems a little silly, but the journey into Stargher’s mind and the Stargher character are the entire film. Jennifer Lopez’s acting is quite bad in this film; she shows no emotion or life for that matter. There is little or nothing there; she’s an empty vessel. Vince Vaughn is just as bad, if not worse. He’s not acting; he’s pretending and doing a bad job of it.
Vincent D’Onofrio, who always seems willing to put himself through the contortions of makeup or to jump through emotional hoops, gives the performance that saves this film. He has a great film presence, especially when he plays the heavy or plays a bad guy. There’s an air of menace about him, or better yet, he always looks like he’s about to go postal. So everything that is scary and thrilling about this movie goes through him, and luckily Tarsem just happened to notice that.
5 of 10
C+
NOTES:
2001 Academy Awards: 1 nomination: “Best Makeup” (Michèle Burke and Edouard F. Henriques)
The Cell (2000)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for bizarre violence and sexual images, nudity, and language
DIRECTOR: Tarsem Singh
WRITER: Mark Protosevich
PRODUCERS: Julie Caro and Eric McLeod
CINEMATOGRAPHER: Paul Laufer
EDITORS: Robert Duffy and Paul Rubell
Academy Award nominee
THRILLER/SCI-FI/HORROR
Starring: Jennifer Lopez, Vince Vaughn, Vincent D’Onofrio, Marianne Jean-Baptiste, Dylan Baker, Jake Weber, James Gammon, Colton James, and Jake Thomas
I never liked music video director Tarsem’s video for rock band R.E.M.’s fondly remembered single, “Losing My Religion,” – pretentious video for a pretentious song. However, I have a little more tolerance for Tarsem Singh (his full name) because of his movie, The Cell. In the film, science can send one person’s consciousness into the mind of another person. That scenario allows Tarsem to create wonderfully colorful and bizarre images that would make for a nice music video, but that also work in the context of a film narrative.
Carl Rudolph Stargher (Vincent D’Onofrio) is a serial killer, but before he can kill his latest victim, he has a seizure related to schizophrenia that puts him in a coma from which he will not recover. FBI Agent Peter Novak (Vince Vaughn) knows from studying the evidence in Carl’s house that they have less than two days to find the latest victim before she drowns in a cell (or chamber) Carl has rigged to flood via a time release device. But where is the cell?
Enter pyschotherapist Catherine Dean (Jennifer Lopez). She is the only person with experience entering the mind of another human being, so Agent Novak convinces her to journey into Stargher’s mind to communicate with him in hopes that he will reveal the whereabouts of his latest victim to Catherine. However, Catherine has never entered the mind of someone she hadn’t studied. When she enters Stargher’s mind, Catherine finds a world of revulsion and hyper bizarre images. Before long she meets Stargher’s idealized version of himself, a powerful, cross-dressing, behemoth emperor of a strange land, who captures and traps Catherine in his mind.
No doubt, The Cell was released in hopes of attracting the same audience that liked the mind-bending trip of The Matrix’s shifting realities. The Cell isn’t anywhere nearly as good as The Matrix, but it’s a convincing thriller; Tarsem also creates a real sense that the clock is ticking while they search for Stargher’s latest victim. The bizarre landscapes and visuals within Stargher’s mind are intriguing and, with a few exceptions, both visually striking and appealing.
Sometimes, it all seems a little silly, but the journey into Stargher’s mind and the Stargher character are the entire film. Jennifer Lopez’s acting is quite bad in this film; she shows no emotion or life for that matter. There is little or nothing there; she’s an empty vessel. Vince Vaughn is just as bad, if not worse. He’s not acting; he’s pretending and doing a bad job of it.
Vincent D’Onofrio, who always seems willing to put himself through the contortions of makeup or to jump through emotional hoops, gives the performance that saves this film. He has a great film presence, especially when he plays the heavy or plays a bad guy. There’s an air of menace about him, or better yet, he always looks like he’s about to go postal. So everything that is scary and thrilling about this movie goes through him, and luckily Tarsem just happened to notice that.
5 of 10
C+
NOTES:
2001 Academy Awards: 1 nomination: “Best Makeup” (Michèle Burke and Edouard F. Henriques)
--------------------------
Thursday, January 27, 2011
Paramount Pictures Celebrates 2011 Academy Award Nominations
PARAMOUNT EARNS A RECORD 20 ACADEMY AWARD NOMINATIONS, INCLUDING TWO BEST PICTURE NOMINATIONS FOR “TRUE GRIT” AND “THE FIGHTER”
“True Grit” received a total 10 nominations, while “The Fighter” received 7
HOLLYWOOD, CA (January 25, 2011) - Paramount Pictures received a total of 20 Academy Award nominations this morning, following the Academy of Motion Pictures Arts and Sciences announcement of the best films of 2010.
“On behalf of everyone at Paramount, we are incredibly proud of the recognition our films received today from the Academy. The tremendous and continued success that each film has achieved is deeply gratifying and is a testament to the extraordinary work of all of the artists involved,” said Brad Grey, Paramount Pictures Chairman and CEO.
TRUE GRIT received a total of 10 Academy Award nominations, including for Picture, Directing for Joel Coen and Ethan Coen, Adapted Screenplay, Actor for Jeff Bridges, Best Supporting Actress for Hailee Steinfeld, Sound Mixing, Sound Editing, Costume Design, Cinematography and Art Direction.
The Fighter received a total of 7 Academy Award nominations, including for Picture, Directing for David O. Russell, Original Screenplay, Supporting Actress for Amy Adams and Melissa Leo, Supporting Actor for Christian Bale and Editing.
The hit movie from DreamWorks Animation HOW TO TRAIN YOUR DRAGON received 2 nominations, including for Best Animated Film of the Year and Original Score for composer John Powell.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
“True Grit” received a total 10 nominations, while “The Fighter” received 7
HOLLYWOOD, CA (January 25, 2011) - Paramount Pictures received a total of 20 Academy Award nominations this morning, following the Academy of Motion Pictures Arts and Sciences announcement of the best films of 2010.
“On behalf of everyone at Paramount, we are incredibly proud of the recognition our films received today from the Academy. The tremendous and continued success that each film has achieved is deeply gratifying and is a testament to the extraordinary work of all of the artists involved,” said Brad Grey, Paramount Pictures Chairman and CEO.
TRUE GRIT received a total of 10 Academy Award nominations, including for Picture, Directing for Joel Coen and Ethan Coen, Adapted Screenplay, Actor for Jeff Bridges, Best Supporting Actress for Hailee Steinfeld, Sound Mixing, Sound Editing, Costume Design, Cinematography and Art Direction.
The Fighter received a total of 7 Academy Award nominations, including for Picture, Directing for David O. Russell, Original Screenplay, Supporting Actress for Amy Adams and Melissa Leo, Supporting Actor for Christian Bale and Editing.
The hit movie from DreamWorks Animation HOW TO TRAIN YOUR DRAGON received 2 nominations, including for Best Animated Film of the Year and Original Score for composer John Powell.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
2001 Oscar Nominee "The Contender" Contends Until the End
TRASH IN MY EYE No. 5 (of 2003) by Leroy Douresseaux
The Contender (2000)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for strong sexual content and language
WRITER/DIRECTOR: Rod Lurie
PRODUCERS: Willi Baer, Marc Frydman, James Spies, and Douglas Urbanski
CINEMATOGRAPHER: Denis Maloney
EDITOR: Michael Jablow
Academy Award nominee
DRAMA
Starring: Joan Allen, Gary Oldman, Jeff Bridges, Christian Slater, Sam Elliot, William L. Petersen, Saul Rubinek, Philip Baker Hall, Mike Binder, Robin Thomas, Kathryn Morris, and Mariel Hemingway
After the Vice President of the United States dies, President Jackson Evans (Jeff Bridges) selects Senator Laine Hanson (Joan Allen, Pleasantville), a Democrat who switched parties, as his nominee to replace the deceased VP. During the confirmation hearings before Congress, a combative rival, Rep. Sheldon “Shelly” Runyon (Gary Oldman) begins leaking lurid stories about Sen. Hanson’s wild past as a sexually promiscuous college student.
Runyon prefers a popular governor, Jack Hathaway (William L. Peterson, TV’s “C. S. I.: Crime Scene Investigation”), as the new VP instead of Sen. Hanson. With an eager young congressman, Rep. Reginald Webster (Christian Slater), at his beck and call, Runyon turns the hearings into his bully pulpit. As Sen. Hanson struggles with the decision to defend herself and answer the horrid charges, investigations into her past by rival interests unearth a mound of increasingly sensational stories.
The Contender could have been a boring Capitol Hill whodunit, but it saves the boring for the end. For most of its length, the film is actually a bracing thriller that gives a fly on the wall view of how nasty and petty our nation’s leaders can be. Writer/director Rod Lurie creates a fascinating, edge of your seat thriller that burns slowly and then explodes with each new shocking revelation. You can hardly take your eyes from the screen, but the film loses its bite, as it gets closer to the end.
It is as if all the air just blows out of the film. Luckily, the cast is game, and they save the film’s ending. When The Contender gets too preachy, it’s blessed to have good actors who can make even talking heads interesting. Joan Allen is what she always is – good. Her strange, subtle beauty gives her a look that makes you sympathetic to her; of course, she has much experience playing the put upon woman in such films as Nixon and The Crucible. Bridges is well liked and respected amongst his peers because he’s a craftsman and an artist. He pulls a trick on the viewer. For most of this film, you can think of President Jackson as a phony, but he sneaks in a broader view of the character that can have you shaking your head. Clearly, President Jackson is not what he seems to be and more than what he seems to be. Gary Oldman is good, even in this unsexy role for an actor who transformed many of the characters he played into sexy, charming rogues. He’s nothing but convincing as the low rent, thuggish nerd, Rep. Runyon.
If for nothing else, a political thriller with a cast of very good actors is worth watching, and The Contender is occasionally quite exciting, even if it limps to the ending.
5 of 10
B-
NOTES:
2001 Academy Awards: 2 nominations: “Best Actor in a Supporting Role” (Jeff Bridges) and “Best Actress in a Leading Role” (Joan Allen)
2001 Golden Globes: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Jeff Bridges) and “Best Performance by an Actress in a Motion Picture – Drama” (Joan Allen)
The Contender (2000)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for strong sexual content and language
WRITER/DIRECTOR: Rod Lurie
PRODUCERS: Willi Baer, Marc Frydman, James Spies, and Douglas Urbanski
CINEMATOGRAPHER: Denis Maloney
EDITOR: Michael Jablow
Academy Award nominee
DRAMA
Starring: Joan Allen, Gary Oldman, Jeff Bridges, Christian Slater, Sam Elliot, William L. Petersen, Saul Rubinek, Philip Baker Hall, Mike Binder, Robin Thomas, Kathryn Morris, and Mariel Hemingway
After the Vice President of the United States dies, President Jackson Evans (Jeff Bridges) selects Senator Laine Hanson (Joan Allen, Pleasantville), a Democrat who switched parties, as his nominee to replace the deceased VP. During the confirmation hearings before Congress, a combative rival, Rep. Sheldon “Shelly” Runyon (Gary Oldman) begins leaking lurid stories about Sen. Hanson’s wild past as a sexually promiscuous college student.
Runyon prefers a popular governor, Jack Hathaway (William L. Peterson, TV’s “C. S. I.: Crime Scene Investigation”), as the new VP instead of Sen. Hanson. With an eager young congressman, Rep. Reginald Webster (Christian Slater), at his beck and call, Runyon turns the hearings into his bully pulpit. As Sen. Hanson struggles with the decision to defend herself and answer the horrid charges, investigations into her past by rival interests unearth a mound of increasingly sensational stories.
The Contender could have been a boring Capitol Hill whodunit, but it saves the boring for the end. For most of its length, the film is actually a bracing thriller that gives a fly on the wall view of how nasty and petty our nation’s leaders can be. Writer/director Rod Lurie creates a fascinating, edge of your seat thriller that burns slowly and then explodes with each new shocking revelation. You can hardly take your eyes from the screen, but the film loses its bite, as it gets closer to the end.
It is as if all the air just blows out of the film. Luckily, the cast is game, and they save the film’s ending. When The Contender gets too preachy, it’s blessed to have good actors who can make even talking heads interesting. Joan Allen is what she always is – good. Her strange, subtle beauty gives her a look that makes you sympathetic to her; of course, she has much experience playing the put upon woman in such films as Nixon and The Crucible. Bridges is well liked and respected amongst his peers because he’s a craftsman and an artist. He pulls a trick on the viewer. For most of this film, you can think of President Jackson as a phony, but he sneaks in a broader view of the character that can have you shaking your head. Clearly, President Jackson is not what he seems to be and more than what he seems to be. Gary Oldman is good, even in this unsexy role for an actor who transformed many of the characters he played into sexy, charming rogues. He’s nothing but convincing as the low rent, thuggish nerd, Rep. Runyon.
If for nothing else, a political thriller with a cast of very good actors is worth watching, and The Contender is occasionally quite exciting, even if it limps to the ending.
5 of 10
B-
NOTES:
2001 Academy Awards: 2 nominations: “Best Actor in a Supporting Role” (Jeff Bridges) and “Best Actress in a Leading Role” (Joan Allen)
2001 Golden Globes: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Jeff Bridges) and “Best Performance by an Actress in a Motion Picture – Drama” (Joan Allen)
Wednesday, January 26, 2011
Paramount Pictures Announces Sundance Film Purchase
PARAMOUNT PICTURES AND INDIAN PAINTBRUSH ACQUIRE WORLDWIDE RIGHTS OUT OF SUNDANCE FOR “LIKE CRAZY”
HOLLYWOOD, CA (January 23, 2011) - Paramount Pictures and Indian Paintbrush announced today the worldwide acquisition of LIKE CRAZY for Paramount Pictures to release in 2011. The Super Crispy Entertainment production from co-writer and director Drake Doremus (“Douchebag”), producers Jonathan Schwartz (“The Way Back,” “Douchebag,” “Funny Games”) and Andrea Sperling (“Kaboom,” “Sympathy For Delicious”) of Super Crispy Entertainment, and executive producers Audrey and Zygi Wilf had its world premiere at the Sundance Film Festival on Saturday.
Starring Anton Yelchin (“Star Trek,” and “Terminator Salvation”), Felicity Jones (“The Tempest”) and Jennifer Lawrence (“Winters Bone”), LIKE CRAZY was written by Doremus and Ben York Jones (“Douchebag”). The story follows a British college student who falls for an American student, only to be separated from him when she's banned from the U.S. after overstaying her visa. Entertainment Weekly’s Lisa Schwarzbaum said of the movie “Young love has rarely been so palpable or looked so real,” while Kenneth Turan of the Los Angeles Times said “Like Crazy" brings a compelling intimacy and heart-stopping delicacy to showing the push and pull of love, longing and regret.”
Adam Goodman, President of Paramount’s Film Group and Matt Brodlie, Senior VP of Productions and Acquisitions for Paramount, along with Indian Paintbrush’s President of Production Mark Roybal negotiated for the rights with the film’s reps Rich Klubeck and David Flynn from UTA, along with Schwartz and Doremus' attorney Lawrence Kopeikin from Morris Yorn.
Said Goodman, “Along with our partners at Indian Paintbrush, we are extremely pleased to be a part of such a great movie, and look forward to working with Drake, Jonathan, Andrea and a tremendous cast of actors.”
A spokesperson for Indian Paintbrush added, "Drake is a brilliant filmmaker, who has crafted a fresh, iconic film. With Paramount's unrivaled production and marketing teams, Drake, Jonathan, Andrea and their amazing cast are in great hands to share this jewel of a film with the world."
"Paramount and Indian Paintbrush’s passion and commitment towards the film is incredibly exciting," said Super Crispy Entertainment President and producer Jonathan Schwartz.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
HOLLYWOOD, CA (January 23, 2011) - Paramount Pictures and Indian Paintbrush announced today the worldwide acquisition of LIKE CRAZY for Paramount Pictures to release in 2011. The Super Crispy Entertainment production from co-writer and director Drake Doremus (“Douchebag”), producers Jonathan Schwartz (“The Way Back,” “Douchebag,” “Funny Games”) and Andrea Sperling (“Kaboom,” “Sympathy For Delicious”) of Super Crispy Entertainment, and executive producers Audrey and Zygi Wilf had its world premiere at the Sundance Film Festival on Saturday.
Starring Anton Yelchin (“Star Trek,” and “Terminator Salvation”), Felicity Jones (“The Tempest”) and Jennifer Lawrence (“Winters Bone”), LIKE CRAZY was written by Doremus and Ben York Jones (“Douchebag”). The story follows a British college student who falls for an American student, only to be separated from him when she's banned from the U.S. after overstaying her visa. Entertainment Weekly’s Lisa Schwarzbaum said of the movie “Young love has rarely been so palpable or looked so real,” while Kenneth Turan of the Los Angeles Times said “Like Crazy" brings a compelling intimacy and heart-stopping delicacy to showing the push and pull of love, longing and regret.”
Adam Goodman, President of Paramount’s Film Group and Matt Brodlie, Senior VP of Productions and Acquisitions for Paramount, along with Indian Paintbrush’s President of Production Mark Roybal negotiated for the rights with the film’s reps Rich Klubeck and David Flynn from UTA, along with Schwartz and Doremus' attorney Lawrence Kopeikin from Morris Yorn.
Said Goodman, “Along with our partners at Indian Paintbrush, we are extremely pleased to be a part of such a great movie, and look forward to working with Drake, Jonathan, Andrea and a tremendous cast of actors.”
A spokesperson for Indian Paintbrush added, "Drake is a brilliant filmmaker, who has crafted a fresh, iconic film. With Paramount's unrivaled production and marketing teams, Drake, Jonathan, Andrea and their amazing cast are in great hands to share this jewel of a film with the world."
"Paramount and Indian Paintbrush’s passion and commitment towards the film is incredibly exciting," said Super Crispy Entertainment President and producer Jonathan Schwartz.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
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