(Belated) Happy Birthday, Laura

I was so focused on calling you yesterday that I forgot to post this greeting.  Better late than never... I hope.

Oscars, "Black Swan" Buzz Yahoo! Search Engine

83rd Annual Academy Awards Projections from Yahoo!: According to Yahoo! Search, Black Swan Reigns Supreme and the Web is Buzzing About Co-Host Anne Hathaway

--(BUSINESS WIRE)--The 83rd Annual Academy Awards are set to air on Sunday February 27th. As the world prepares for Hollywood’s biggest night, Yahoo! looked at which films and actors are getting the most buzz online.

According to Yahoo! the web is excited about Hollywood’s big show:

Searches for “when are the Oscars” are spiking on Yahoo!

Searches on Yahoo! for “Oscars 2011” are up 1403%

Oscar ballots are spiking on Yahoo! up 38%

Searches for the award show are split between males and females

States searching for “Oscars” the most: California, Illinois, Texas, Washington and New Jersey

Older viewers: those under 24 only make up 16% of searches for “Oscars”

Black Swan Reigns Supreme: According to Yahoo! the top searched nominated films are:

1. Black Swan
2. True Grit
3. 127 hours
4. The Kids Are Alright
5. Inception
6. The Fighter
7. Toy Story 3

According to Yahoo! the top searched nominated actresses are:

1. Natalie Portman
2. Nicole Kidman
3. Jennifer Lawrence
4. Annette Bening

According to Yahoo! the top searched nominated actors are:

1. Javier Bardem
2. James Franco
3. Colin Firth
4. Jeff Bridges

According to Yahoo! the top searched Oscar hosts are:

1. Anne Hathaway
2. Ellen DeGeneres
3. James Franco
4. Alec Baldwin
5. Hugh Jackman
6. Whoopi Goldberg
7. Jon Stewart
8. Chris Rock
9. Steve Martin

Hostess with the Most:
Yahoo! users searched for Oscar co-host Anne Hathaway more than all of the “Best Actress” nominees.

Can’t get enough of the Oscars? Check out Yahoo! Movies’ exclusive coverage complete with predictions, nominees, polls, photos and more: http://oscars.movies.yahoo.com/

Review: "The Social Network" All-American and All-World

TRASH IN MY EYE No. 17 (of 2011) by Leroy Douresseaux

The Social Network (2010)
Running time: 120 minutes (2 hours)
MPAA – PG-13 for sexual content, drug and alcohol use and language
DIRECTOR: David Fincher
WRITERS: Aaron Sorkin (based on the book The Accidental Billionaires by Ben Mezrich)
PRODUCERS: Dana Brunetti, Ceán Chaffin, Michael De Luca, and Scott Rudin
CINEMATOGRAPHER: Jeff Cronenweth
EDITORS: Kirk Baxter and Angus Wall
COMPOSER: Trent Reznor and Atticus Ross

DRAMA

Starring: Jesse Eisenberg, Andrew Garfield, Armie Hammer, Justin Timberlake, Max Minghella, Rashida Jones, Joseph Mazzello, Brenda Song, Josh Pence, and Rooney Mara

The Social Network is perhaps the most critically acclaimed film of 2010, having won close to 20 best picture honors from critics groups and organizations. Directed by David Fincher and written by Aaron Sorkin, The Social Network is a fictional account and dramatization of the founding of Facebook, the hugely popular social-networking website.

The film begins on a fall night in 2003, when Boston University student, Erica Albright (Rooney Mara), breaks up with Harvard undergrad, Mark Zuckerberg (Jesse Eisenberg). A computer programming genius, Zuckerberg sits down at his computer and lashes out in a flurry of blogging and programming that launches “FaceMash.” Zuckerberg’s new website not only captures the attention of the entire Harvard campus, but also gets the attention of a trio of budding entrepreneurs. That night, in his dorm room after the breakup, leads to what will become “The Facebook” which will eventually become the global social network, Facebook. This revolution in communication, however, brings Zuckerberg both success and a horde of broken friendships, partnerships, and lawsuits.

The Social Network is about several things. It is about Mark Zuckerberg, about the founding of Facebook, about a clash of privileged and ambitious personalities, and about perception and point of view. Most of all, The Social Network seems to be about the beginnings of a map to the future. The triumph of Aaron Sorkin’s screenplay is how he compressed all of this and dramatized in two hours what was probably dull and tedious in real life – including Zuckerberg’s legal wrangling. Sorkin makes nerds come across as sexy masters of the universe. Slimy bastards (like Justin Timberlake’s Sean Parker) seem like rock stars. Parties are shinier, and Harvard’s campus is like a hub, the nexus where all exciting places meet.

And the performances meet and match Sorkin’s exceptional screenplay. Jesse Eisenberg has made a career of playing likeable, amiable dweebs, but as Mark Zuckerberg, he turns that on its head with this outstanding, sublime performance. Eisenberg’s Zuckerberg is like a god, a genius whose indomitable spirit smolders behind a mask of petulance, detachment, and a pout. Zuckerberg should be so Garbo-cool.

I’ve thought for a long time that Justin Timberlake had the dramatic chops to pull off good roles; now, I have proof. Timberlake makes Sean Parker (founder of Napster) cool and attractive, the guy you’d want in your corner, and you’d still forgive his cocaine habit and general sliminess. Andrew Garfield almost steals the film as Eduardo Saverin, a character who is the only adult in the room (which makes him a tragic fall guy). Armie Hammer makes the most of his every moment as the twins, Cameron and Tyler Winklevoss (with actor Josh Pence doing body double duties) by giving each brother a separate, distinct personality.

The one who pulls it all together and makes The Social Network arguable the best film of 2010 is director David Fincher. The phrase, “visionary director,” gets thrown around a lot about talented hack directors (like Zack Snyder), but since Fincher’s mid-90s film, Se7en, it has been obvious that he is a true visionary. Fincher makes The Social Network operate like a suspense thriller; that’s why Sorkin’s tale of conniving nerds is never boring and always gripping. Here, computers, programming codes, and the Internet are like shiny guns, weapons that make these nerds seem like crazy, sexy, cool gangstas.

The Social Network is compelling drama – mesmerizing, hypnotic, and engaging. Everything about it works, and everyone involved should get credit for their great efforts, especially David Fincher.

10 of 10

Wednesday, February 23, 2011

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Justin Bieber: Never Say Never "Fan Cut" Gets Limited Release

CHU ANNOUNCES EXCLUSIVE ONE-WEEK LIMITED RELEASE OF “JUSTIN BIEBER: NEVER SAY NEVER” DIRECTOR’S FAN CUT

40-Minutes of New Bieber Footage on RealD® and 3D Digital Screens In Theaters Beginning Friday, February 25th

Tickets For The Director’s Fan Cut Go On-Sale Tuesday, February 22nd at 5pm PST

HOLLYWOOD, CA (February 21, 2011) – Paramount’s Insurge Pictures today announced plans to release “JUSTIN BIEBER: NEVER SAY NEVER” DIRECTOR’S FAN CUT for an exclusive one-week run beginning Friday, February 25th in 3D theaters across the U.S. and Canada. In an unprecedented move, Paramount will release a revamped version of the star’s movie three-weekends following its initial release. Tickets for the limited engagement go on-sale Tuesday, February 22nd at 5pm PST/8pm EST.

As he began the editing process several months ago, and upon realizing the significant amount of great footage he had obtained, director Jon M. Chu began to develop with the studio an idea for a second, and more fan centric, edition of the movie. While promoting the film’s initial release, he spent dozens of hours on Twitter and Facebook engaging with fans to learn more about what they were most anxious to see. Some scenes contained in the new cut include: more of Justin’s friends and hometown life, new songs and performances, and special footage shot at fan premiere’s across the country.

“I realized I had an embarrassment of riches when I was I in the cutting room,” said Chu. “This cut allows me to retain some of the best scenes from the original movie, while incorporating previously unseen footage and new material I shot during our extensive promotional tour on behalf of the movie. Justin’s dedication to his fan base is unwavering and I was inspired as a filmmaker to attempt to provide them a unique experience that showed even more of his world.”

“JUSTIN BIEBER: NEVER SAY NEVER,” which opened nationwide on February 11th to critical acclaim, earned $30 million in its initial weekend and earned an A+ Cinemascore from women (an A overall). The new fan cut will have a running time of 115 minutes and will be available in RealD® and digital 3D in theaters across the U.S. and Canada for one-week starting Friday.

“It is a testament to the professionalism and tenacity of Jon and the production team for turning around this new version of “JUSTIN BIEBER: NEVER SAY NEVER” DIRECTOR’S FAN CUT in only a few months, giving fans an even deeper look into Justin’s life,” said Adam Goodman, President Paramount Film Group.

“JUSTIN BIEBER: NEVER SAY NEVER” DIRECTOR’S FAN CUT is the inspiring true story and rare inside look at the rise of Justin from street performer in the small town of Stratford, Ontario to internet phenomenon to global super star culminating with a dream sold out show at the famed Madison Square Garden in 3D. It is directed by Jon M. Chu and produced by Scooter Braun, Justin Bieber, Antonio “L.A.” Reid, Usher Raymond IV, Dan Cutforth and Jane Lipsitz.

For more information go to: http://www.justinbieberneversaynever.com/

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 Paramount Television & Digital Distribution.

Kansas City Film Critics Choose "The Social Network" and Christopher Nolan

As we move closer to the Academy Awards (Sun., Feb. 27th), I'm catching up on my critics awards.  Today, it's the Kansas City Film Critics Circle, which announced its movie awards in January.
Founded in 1967, The Kansas City Film Critics Circle (KCFCC) says that it is the "second oldest professional film critics" association in the United States" (behind the New York Film Critics Circle). The organization is composed of media film critics in the Kansas City metropolitan area. The KCFCC’s awards are named for the group’s founder, James Loutzenhiser, who died in November 2001.

2010 Loutzenhiser Awards (Announced January 2, 2011):

Best Film: The Social Network

Robert Altman Award for Best Director: Christopher Nolan - Inception

Best Actress: Natalie Portman - Black Swan

Best Actor: Colin Firth - The King's Speech

Best Supporting Actress: Hailee Steinfeld - True Grit

Best Supporting Actor: Christian Bale - The Fighter

Best Original Screenplay: Christopher Nolan - Inception

Best Adapted Screenplay: Aaron Sorkin - The Social Network

Best Animated Film: Toy Story 3

Best Foreign Language Film: Mother (South Korea)

Best Documentary: Exit Through the Gift Shop

Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: Inception

http://www.kcfcc.org/

Paramount Pictures Issues Casting Call for "Fun Size"

About once a year, I get an email from Paramount Pictures announcing a casting call for a new movie.  Back in 2009, I got one when Paramount was looking to cast the "Mattie Ross" character in the Coen Bros.' True Grit remake, a role that eventually went to now-Oscar-nominated Hailee Steinfeld.  At the time, the True Grit casting call said that people interested in auditioning for Mattie, "must be able to portray Caucasian."  I still laugh at that line.

Anyway, here is the casting call for the upcoming film, "Fun Size" (Must be able to portay Asiatic - HeeHee):

SEEKING LEADS FOR A MAJOR MOTION PICTURE

Seeking to cast the following for leading roles in the new Paramount Feature Film “FUN SIZE”.

No previous acting experience is necessary, but must have great energy and a wonderful sense of humor.

ALBERT: 8 years old, with chubby cheeks. Albert is undeniably a strange but intriguing little boy, combining childlike ways (like love of anything sugar) with unnerving adult habits (he’s unbeatable on the videogame “Aggravated Assault,” precocious, and is unflappable – even ingenious – in a crisis). He does not speak until the end of the movie. (LEAD)

STUART: 16 years old. Born and raised in the United States. Stuart is of Asian, East Indian or Middle Eastern descent. Slight in build, Stuart is a kid who talks twice his size. Obsessed with sci-fi and comic books, he is the co-captain of the debate team with his best friend, Roosevelt. (LEAD)

To audition for a role please visit: www.paramount.com/casting/funsize

Review: Robert Altman Signs off with Sweet "A Prairie Home Companion" (Happy B'day, Robert Altman)

TRASH IN MY EYE No. 157 (of 2006) by Leroy Douresseaux

A Prairie Home Companion (2006)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG-13 for some risqué humor
DIRECTOR: Robert Altman
WRITERS: Garrison Keillor, from a story by Ken LaZebnik and Garrison Keillor (based upon the radio program “A Prairie Home Companion” created by Garrison Keillor)
PRODUCERS: Robert Altman, Wren Arthur, Joshua Astrachan, Tony Judge, and David Levy
CINEMATOGRAPHER: Edward Lachman
EDITOR: Jacob Craycroft

COMEDY/DRAMA/MUSIC

Starring: Woody Harrelson, Tommy Lee Jones, Garrison Keillor, Kevin Kline, Lindsay Lohan, Virginia Madsen, John C. Reilly, Maya Rudolph, Meryl Streep, Lily Tomlin, Marylouise Burke, L.Q. Jones, Sue Scott, Tim Russell, and Jearlyn Steele.

Director Robert Altman’s new film, A Prairie Home Companion, is a fictionalized version of Garrison Keillor’s long running, public-radio variety show, also titled "A Prairie Home Companion." In this film, A Prairie Home Companion isn’t the fabled national phenomenon that it has been for decades (since its first broadcast on July 6, 1974), but is rather an obscure local program performed at a small local venue, the Fitzgerald Theatre (where the real Prairie Home Companion is performed), and broadcast onto a single Minnesota radio station, WLT. The film opens on what is to be the show’s final performance after the better part of four decades, as the Fitzgerald has been bought by a Texas conglomerate that is going to demolish the theatre to build a parking lot.

There is much backstage drama – the death of a long time Prairie Home performer; a mysterious woman (Virginia Madsen) who seems to bring death with her stalks the halls and stage; and the theatre security, Guy Noir (Kevin Kline), is rather self-absorbed. However, the focus is on the stage and the performers. There is the whimsical, sad sack maestro, GK (Garrison Keillor), who seems to be an undertaker as much as he is the master of ceremonies and host. His stars include the country-singing Johnson sisters, Yolanda (Meryl Streep) and Rhonda (Lily Tomlin), and the cowboy duo, the Old Trailhands, Dusty (Woody Harrelson) and Lefty (John C. Reilly), and more. Still, the Prairie Home performers and crew await the arrival of the Axeman (Tommy Lee Jones), who will signal the end of both the show and the showplace.

Although Altman works from Garrison Keillor’s script and this concept is Keillor’s, Altman makes the film his own by employing the techniques that have made him a filmmaking legend: the improvisational chatter and babble, the characters overlapping dialogue, and the wandering, zooming cameral – sometimes orbital, sometimes a stationary eye, but always capturing the story that Altman is weaving.

The performances, although good, are mostly small, but the actors make the most of their moments. Each character is quirky, and each actor gives that part an idiosyncratic turn that makes this entire film seem special. In fact, the cast is in perfect harmony, and one can watch the actors building up to this synchronization as the characters continually interact with one another. In the end, the make Prairie Home’s final moments as a variety show an example of simple, heartwarming, old-fashioned harmony. Clearly the actors believe in their baggy and shelf-worn characters. It’s a testament to their faith in Altman and perhaps to a lesser extent Keillor’s creation.

Ultimately, A Prairie Home Companion is an unusual film, simple and sometimes profound. It’s a fantasy about a kind of public performance that has nothing to do with big event corporate entertainment or prepackaged amusements put together by media conglomerates, which have all the soul one would expect from plastic. A Prairie Home Companion begs you to watch such stellar talent create an idealized version of something from another time – variety radio programs – and watch them do it with such conviction that you don’t want to leave your strange new friends. You’re worried that someone might hurt them and stop what they do – you care.

7 of 10
B+

Saturday, July 22, 2006

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