The Walt Disney Studios Celebrates 12 Oscar® Nominations for Toy Story 3, Alice in Wonderland and More
Disney•Pixar animated film earns Best Picture nomination for second straight year
BURBANK, Calif.--(BUSINESS WIRE)--The Walt Disney Studios is proud to announce its 2010 films have earned 12 Oscar® nominations. Today, the Academy of Motion Picture Arts and Sciences announced five nominations for Disney•Pixar’s Toy Story 3, including for the coveted title of Best Picture; three for Alice in Wonderland, and one each for Day & Night, Tangled, The Tempest and TRON: Legacy.
“2010 was a banner year for The Walt Disney Studios, and we are thrilled that the Academy has chosen to recognize both our animated blockbusters Toy Story 3 and Tangled and our live-action hits Alice in Wonderland and TRON: Legacy for their artistry, technical achievements and storytelling,” said Rich Ross, chairman of The Walt Disney Studios.
Toy Story 3 marks only the third time in history that Academy members have honored an animated film in the Best Picture category. It also earned a nomination for Adapted Screenplay – making it the fourth consecutive screenplay nomination for a Disney•Pixar film. The Toy Story trilogy’s tally of Oscar nominations now stands at nine.
Commenting on the announcement, John Lasseter, chief creative officer for Walt Disney and Pixar Animation Studios, said, “To have Toy Story 3 represented in the Best Picture category is a great honor, and a fitting tribute to director Lee Unkrich, producer Darla Anderson, screenwriter Michael Arndt, and all of the talented people at Pixar, who worked so hard to live up to and exceed the standards and expectations of Toy Story fans and moviegoers all over the world.”
A summary of nominations for The Walt Disney Studios is as follows:
Toy Story 3
Best Motion Picture of the Year - Toy Story 3 (Walt Disney) A Pixar Production: Darla K. Anderson, Producer
Best Animated Feature Film of the Year - Toy Story 3 (Walt Disney): Lee Unkrich
Achievement in Music Written for Motion Pictures (Original Song) – “We Belong Together” from Toy Story 3 (Walt Disney): Music and Lyric by Randy Newman
Achievement in Sound Editing - Toy Story 3 (Walt Disney): Tom Myers and Michael Silvers
Adapted Screenplay - Toy Story 3 (Walt Disney): Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
Alice in Wonderland
Art Direction - Alice in Wonderland (Walt Disney): Robert Stromberg (Production Design), Karen O’Hara (Set Decoration)
Achievement in Costume Design - Alice in Wonderland (Walt Disney): Colleen Atwood
Achievement in Visual Effects - Alice in Wonderland (Walt Disney): Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Day & Night
Best Animated Short Film - Day & Night (Walt Disney) A Pixar Animation Studios Production: Teddy Newton
Tangled
Achievement in Music Written for Motion Pictures (Original Song) – “I See the Light” from Tangled (Walt Disney): Music by Alan Menken; Lyric by Glenn Slater
The Tempest
Achievement in Costume Design - The Tempest (Touchstone): Sandy Powell
TRON: Legacy
Achievement in Sound Editing - TRON: Legacy (Walt Disney): Gwendolyn Yates Whittle and Addison Teague
Saturday, January 29, 2011
2001 Oscar Nominee "The Emperor's New Groove" Plays a Looney Tune
TRASH IN MY EYE No. 24 (of 2006) by Leroy Douresseaux
The Emperor’s New Groove (2000)
Running time: 78 minutes; MPAA – G
DIRECTOR: Mark Dindal
WRITERS: David Reynolds; from a story by Chris Williams and Mark Dindal with Roger Allers and Matthew Jacobs
PRODUCER: Randy Fullmer
EDITORS: Tom Finan and Pamela Ziegenhagen-Shefland
Academy Award nominee
ANIMATION/COMEDY/ADVENTURE/FAMILY
Starring: (voices) David Spade, John Goodman, Eartha Kitt, Patrick Warburton, Wendie Malick, Kellyann Kelso, Eli Russell Linnetz, Stephen J. Anderson, Bob Bergen, Rodger Bumpass, and Tom Jones
In a once-upon-a-time, Disney storybook version of the Incan Empire, Emperor Kuzco (voice of David Spade) is a selfish and childish monarch who rules over his kingdom as if it were his personal play land. However, Yzma (Eartha Kitt), the vengeful priestess who was his advisor before he fired her, turns Kuzco into a llama, but Yzma’s co-conspirator, Kronk (Patrick Warburton), fails to properly dispose of llama Kuzco. Pacha (John Goodman), a gentle llama herder, inadvertently rescues Kuzco, who had actually planned on razing Pacha’s hillside home to build a summer palace. Pacha, while trying to teach him the value of friendship and selflessness, goes on a jungle adventure to help Kuzco regain both his humanity and his throne.
The Emperor’s New Groove certainly isn’t a Disney animated classic on the level of Bambi or Beauty and the Beast (but then what is), but it is something the company can do very well – produce delightful and funny family entertainment. Its wacky brand of comedy and self-knowingly sarcasm brings to life what is initially a painfully slow and clunky film. In spite of a shake start the film becomes a slapstick comedy about two buddies racing to reach a goal before their clownish, but relentless pursuers stop them. This is the kind of a funny animal fable Disney does well, one that emphasizes lots of life lessons for the young ‘uns (and many adults certainly could do to learn those lessons well). In a way, this is also like a feature-length version of a Warner Bros. Looney Tune cartoon.
The film features wonderful background illustrations of a fanciful version of the Andes and the Incan Empire. Lush jungle backdrops, imaginative sets and art direction, colorful costumes, and appealing character designs are a winning combination. Two things, however, really sell this film. First, the character animation and film direction maintain and lively pace and engages the viewers with an ever changing situation. This is truly a jungle adventure as the scenery changes creating sort of an edge-of-your-seat comedy caper.
Secondly, the voice acting is quite good. David Spade can be a little grating, but it’s hard to imagine anyone else playing the self-absorbed Kuzco. John Goodman is fine as usual playing the wise and gentle older fellow with his deep and rich-sounding voice. Patrick Warburton’s rumbling tones are always welcome. The big surprise here is Earth Kitt’s voice performance as Yzma, as she deftly mixes comic menace and casual asides that make Yzma a grand villainness in the great Disney tradition of wicked witches and wily women of magic.
The Emperor’s New Groove will delight the kids and appeal to their parents, as well as adults who like hand-drawn animated feature films. While this isn’t a great Disney animated film, The Emperor’s New Groove, as a second tier Disney cartoon, is a better hand-drawn animated film than cartoons produced by other American studios.
7 of 10
B+
NOTES:
2001 Academy Awards: 1 nomination: “Best Music, Original Song” (Sting-composer/lyricist and David Hartley-composer for the song "My Funny Friend and Me")
2001 Black Reel Awards: 1 nomination: “Theatrical - Best Supporting Actress” (Eartha Kitt)
2001 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Sting and David Hartley for the song "My Funny Friend and Me")
Monday, January 30, 2006
The Emperor’s New Groove (2000)
Running time: 78 minutes; MPAA – G
DIRECTOR: Mark Dindal
WRITERS: David Reynolds; from a story by Chris Williams and Mark Dindal with Roger Allers and Matthew Jacobs
PRODUCER: Randy Fullmer
EDITORS: Tom Finan and Pamela Ziegenhagen-Shefland
Academy Award nominee
ANIMATION/COMEDY/ADVENTURE/FAMILY
Starring: (voices) David Spade, John Goodman, Eartha Kitt, Patrick Warburton, Wendie Malick, Kellyann Kelso, Eli Russell Linnetz, Stephen J. Anderson, Bob Bergen, Rodger Bumpass, and Tom Jones
In a once-upon-a-time, Disney storybook version of the Incan Empire, Emperor Kuzco (voice of David Spade) is a selfish and childish monarch who rules over his kingdom as if it were his personal play land. However, Yzma (Eartha Kitt), the vengeful priestess who was his advisor before he fired her, turns Kuzco into a llama, but Yzma’s co-conspirator, Kronk (Patrick Warburton), fails to properly dispose of llama Kuzco. Pacha (John Goodman), a gentle llama herder, inadvertently rescues Kuzco, who had actually planned on razing Pacha’s hillside home to build a summer palace. Pacha, while trying to teach him the value of friendship and selflessness, goes on a jungle adventure to help Kuzco regain both his humanity and his throne.
The Emperor’s New Groove certainly isn’t a Disney animated classic on the level of Bambi or Beauty and the Beast (but then what is), but it is something the company can do very well – produce delightful and funny family entertainment. Its wacky brand of comedy and self-knowingly sarcasm brings to life what is initially a painfully slow and clunky film. In spite of a shake start the film becomes a slapstick comedy about two buddies racing to reach a goal before their clownish, but relentless pursuers stop them. This is the kind of a funny animal fable Disney does well, one that emphasizes lots of life lessons for the young ‘uns (and many adults certainly could do to learn those lessons well). In a way, this is also like a feature-length version of a Warner Bros. Looney Tune cartoon.
The film features wonderful background illustrations of a fanciful version of the Andes and the Incan Empire. Lush jungle backdrops, imaginative sets and art direction, colorful costumes, and appealing character designs are a winning combination. Two things, however, really sell this film. First, the character animation and film direction maintain and lively pace and engages the viewers with an ever changing situation. This is truly a jungle adventure as the scenery changes creating sort of an edge-of-your-seat comedy caper.
Secondly, the voice acting is quite good. David Spade can be a little grating, but it’s hard to imagine anyone else playing the self-absorbed Kuzco. John Goodman is fine as usual playing the wise and gentle older fellow with his deep and rich-sounding voice. Patrick Warburton’s rumbling tones are always welcome. The big surprise here is Earth Kitt’s voice performance as Yzma, as she deftly mixes comic menace and casual asides that make Yzma a grand villainness in the great Disney tradition of wicked witches and wily women of magic.
The Emperor’s New Groove will delight the kids and appeal to their parents, as well as adults who like hand-drawn animated feature films. While this isn’t a great Disney animated film, The Emperor’s New Groove, as a second tier Disney cartoon, is a better hand-drawn animated film than cartoons produced by other American studios.
7 of 10
B+
NOTES:
2001 Academy Awards: 1 nomination: “Best Music, Original Song” (Sting-composer/lyricist and David Hartley-composer for the song "My Funny Friend and Me")
2001 Black Reel Awards: 1 nomination: “Theatrical - Best Supporting Actress” (Eartha Kitt)
2001 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Sting and David Hartley for the song "My Funny Friend and Me")
Monday, January 30, 2006
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.
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