2012 Cesar Awards Name "The Artist" Best Film

First given out in 1975, the César Award is the national film award of France. Some even think of the César Award as the French equivalent of the American Academy Awards (Oscars). The nominations are selected by the members of the Académie des Arts et Techniques du Cinéma, and the award ceremony is held in Paris each February.  The name of the award comes from the late sculptor César Baldaccini, and the trophies are actual sculptures of the artist

The 37th Cesar Awards were presented on Friday, February 24, 2012.  The French film, The Artist, which is poised to win big at the 84th Academy Awards tonight, won 6 of the 10 categories in which it was nominated, including "Best Film."  Also of note, Roman Polanski shares a screenwriting award.

The 37th César Award winners:

FILM
"The Artist," Michel Hazanavicius

DIRECTOR
Michel Hazanavicius, "The Artist"

ACTOR
Omar Sy, "Intouchables"

ACTRESS
Berenice Bejo, "The Artist"

SUPPORTING ACTOR
Michel Blanc, "The Minister"

SUPPORTING ACTRESS
Carmen Maura, "Service Entrance"

NEWCOMER, ACTOR
Gregory Gadebois, "Angele et Tony"

NEWCOMER, ACTRESS
Naidra Ayadi, "Poliss"
Clotilde Hesme, "Angele et Tony"

FIRST FILM
Sylvain Estibal, "When Pigs Have Wings"

ORIGINAL SCREENPLAY
Pierre Schoeller, "The Minister"

ADAPTED SCREENPLAY
Yasmina Reza, Roman Polanski, "Carnage"

FOREIGN FILM
"A Separation," Asghar Farhadi

CINEMATOGRAPHY
Guillaume Schiffman, "The Artist"

ANIMATED FILM
"The Rabbi's Cat," Joann Sfar, Antoine Delesvaux

DOCUMENTARY FEATURE
"Tous au Larzac," Christian Rouaud

MUSIC
Ludovic Bource, "The Artist"

BEST SOUND
Olivier Hespel, Julie Brenta and Jean-Pierre Laforce, “The Minister” (L'Exercice de l'État)

BEST PRODUCTION DESIGN
Laurence Bennett, “The Artist”

BEST COSTUME DESIGN
Anaïs Romand, “House of Tolerance” (L'Apollonide: Souvenirs de la maison close)

BEST SHORT FILM
L'Accordeur

BEST EDITING
Laure Gardette and Yann Dedet, “Poliss”

Review: Characters Save Creaky "Barbershop"

TRASH IN MY EYE No. 14 (of 2004) by Leroy Douresseaux

Barbershop (2002)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – PG-13 for language, sexual content and brief drug references
DIRECTOR: Tim Story
WRITERS: Mark Brown, Don D. Scott, and Marshall Todd, from a story by Mark Brown
PRODUCERS: Mark Brown, Robert Teitel, and George Tillman Jr.
CINEMATOGRAPHER: Tom Priestley (D.o.P.)
EDITOR: John Carter
COMPOSER: Terence Blanchard

COMEDY/DRAMA

Starring: Ice Cube, Anthony Anderson, Cedric the Entertainer, Sean Patrick Thomas, Eve, Troy Garity, Michael Ealy, Leonard Earl Howze, Lahmard Tate, Jazsmin Lewis, Tom Wright, Jason Winston, DeRay Davis, and Keith David

Barbershop, a recent co-production by Ice Cube’s film production company Cube Vision and State Street Pictures, is another in a recent spurt of so-called urban audience movies, i.e. movies for black people. However, the light-on-plot film was a huge hit that drew in a broad cross section of viewers, so even white folks can be entertained by film’s with little or no story as long as the characters are funny and engaging, as they definitely are in Barbershop.

Calvin Palmer (Ice Cube) is a barber like his father and grandfather before him, but Calvin has bigger dreams. He inherited his late father’s shop, but Calvin has also saddled himself with debt from a number of failed business ventures. Looking for cash to help him with his latest start up, he sells his barbershop to a loan shark, Lester Wallace (the wonderful, but seldom seen Keith David). After he takes that big step, he comes to regret his decision when he realizes that Wallace is going to turn the shop into a ho house. That really hurts because his father’s business always meant a lot to the local community.

I can forgive the weakness of the film’s plots (and subplots) because it is rich in funny and endearing characters. To be of quality, a film doesn’t have to have great characters, a great setting, and a great story; the finest and most artful films do. A good film can be strong and entertaining with just one of those elements. Barbershop holds our attention because the characters are so damned funny. The acting isn’t always tight, but the cast really gets into their characters and give a good show. In an odd way you can forgive Barbershop a lot of faults because you know that you’re always going to get another hilarious scene with these great characters.

Out of all the actors, Anthony Anderson captured my attention just as he has in Romeo Must Die, Big Momma’s House, and Life among others. He’s funny, hilarious in fact, in the tradition of portly funny men. Ice Cube is nowhere near being a good actor, but he has an excellent sense in choosing film projects that will appeal to a broad audience, whether it’s popular trash like Anaconda, a sleeper hit like Friday, or a daring filmmaking choice like Three Kings. He’s a movie star.

Barbershop is a good comedy with many funny characters. It’s warm and homespun like Soul Food, with a good down home message about family and having sense of community, at its heart. Besides who could miss a film when Cedric the Entertainer is really on his game as a funny man and an actor, especially since you get to hear him say “F*ck Jesse Jackson.”

5 of 10
B-

NOTES:
2003 Black Reel Awards: 6 nominations: “Best Film” (Robert Teitel, George Tillman Jr.), “Best Film Soundtrack, “Theatrical - Best Actor” (Ice Cube), “Theatrical - Best Director” (Tim Story), “Theatrical - Best Screenplay-Original or Adapted” (Mark Brown and Don D. Scott), “Theatrical - Best Supporting Actor” (Cedric the Entertainer)

2003 Image Awards: 5 nominations: “Outstanding Actor in a Motion Picture” (Ice Cube), “Outstanding Motion Picture,” “Outstanding Supporting Actor in a Motion Picture” (Anthony Anderson), “Outstanding Supporting Actor in a Motion Picture” (Cedric the Entertainer), and “Outstanding Supporting Actress in a Motion Picture” (Eve)

"Barbershop 2: Back in Business" is a Better Business

TRASH IN MY EYE No. 15 (of 2004) by Leroy Douresseaux


Barbershop 2: Back in Business (2004)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for language, sexual material and brief drug references
DIRECTOR: Kevin Rodney Sullivan
WRITER: Don D. Scott (based upon characters created by Mark Brown)
PRODUCERS: Robert Teitel and George Tillman Jr.
CINEMATOGRAPHER: Tom Priestley (D.o.P)
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Richard Gibbs

COMEDY with elements of drama

Starring: Ice Cube, Cedric the Entertainer, Sean Patrick Thomas, Eve, Troy Garity, Michael Ealy, Leonard Earl Howze, Queen Latifah, Harry Lennix, Robert Wisdom, Jazsmin Lewis, Kenan Thompson, Javon Jackson, DeRay Davis, Tom Wright, and Garcelle Beauvais-Nilon

Barbershop 2: Back in Business is a hilarious character based comedy that easily surpasses its admittedly funny 2002 predecessor, Barbershop. Like the first one, Barbershop 2 relies on funny characters to carry the movie and a homey setting in Chicago’s Southside to establish the atmosphere.

Shop owner Calvin Palmer (Ice Cube) has settled into being a small business owner, and his shop is thriving. The barbers who rent from Calvin are gregarious people who are fun to be around, so many locals gravitate to Calvin’s shop for a haircut, bawdy jokes, and the generally funny atmosphere.

As in the first film, Calvin is still struggling to save his shop – this time from greedy urban developers who want to buy him and his neighbors out. They want to replace “mom & pop” business with name brand chains – including a rival barbershop called Nappy Cutz. If that wasn’t enough, some of his employees/renters are starting to get on each other’s nerves, so can Calvin save his shop and neighborhood, while dealing with complex and messy interpersonal relationships? However he chooses to deal with problems will certainly involve laugher.

Anyone who liked Barbershop should like the sequel, and I can imagine many people who didn’t like the first will enjoy Barbershop 2, since it is almost twice as funny as the original. Barbershop 2’s script simply has more zest, and the comedy flows naturally. The first time around the laughs became old shtick, and the movie lost steam. The story and plot here is relatively light, and the little guy business versus the corporate devils is a familiar tale. However, the execution of the plot and routines of the characters have a better rhythm and the timing’s impeccable. Every thing seems to happen just when the films needs a boost or needs to move onto the next joke or funny scene. As far as character pieces go, Barbershop is a work of art.

In the end, the filmmakers wrap up Back in Business with a bit too much ease. Even this lightweight story ended up having the potential to say a lot about tradition and community over greed and progress, but maybe they believed that dealing with such weighty subject matters would turn a character comedy into ensemble drama. And we did come for the laughs. What Barbershop 2 misses in dealing with real world issues, it more than makes up for in being a good time, feel good comedy that just may keep audiences laughing for years.

Oh. Barbershop 2 isn’t a BLACK movie. It’s a funny, broad comedy featuring a primarily African-American cast, but it’s laughs and lightweight pass at values should appeal to peoples.

8 of 10
A

NOTES:
2005 Black Reel Awards: 4 nominations: “Best Actor, Musical or Comedy” (Ice Cube), “Best Film, Musical or Comedy” (Robert Teitel and George Tillman Jr.), “Best Screenplay, Original or Adapted” (Don Scott), and “Best Supporting Actor” (Cedric the Entertainer)

Madonna's "W.E." Among Costume Designers Guild Award Winners

The Costume Designers Guild is an international group that represents motion picture, television, and commercial costume designers, assistant costume designers and costume illustrators. The Costume Designers Guild Awards began in 1999 to annually honor costume designers in Motion Pictures, Television, and Commercials.

The winners were for the 14th Annual Costume Designers Guild Awards were announced at an awards gala Tuesday, February 21, 2012.

NOMINEES and WINNERS OF THE 14TH ANNUAL COSTUME DESIGNERS GUILD AWARDS:

Excellence in Contemporary Film:
WINNER * "The Girl with the Dragon Tattoo" – Trish Summerville

"Bridesmaids" – Leesa Evans and Christine Wada
"The Descendants" – Wendy Chuck
"Drive" – Erin Benach
"Melancholia" – Manon Rasmussen

Excellence in Period Film:
WINNER * "W.E." – Arianne Phillips

"The Artist" – Mark Bridges
"Jane Eyre " – Michael O'Connor
"The Help" – Sharen Davis
"Hugo" – Sandy Powell

Excellence in Fantasy Film:
WINNER * "Harry Potter and the Deathly Hallows Pt. 2" – Jany Temime

"Pirates of the Caribbean: On Stranger Tides" – Penny Rose
"Red Riding Hood" – Cindy Evans
"Thor" – Alexandra Byrne
"X-Men: First Class" – Sammy Sheldon

Outstanding Made for Television Movie or Miniseries:
WINNER * "Downton Abbey" – Susannah Buxton

"The Kennedys" – Christopher Hargadon
"Mildred Pierce" – Ann Roth

Outstanding Contemporary Television Series:
WINNER * "Glee" – Lou Eyrich and Jennifer Eve

"Modern Family" – Alix Friedberg
"Revenge" – Jill Ohanneson
"Saturday Night Live" – Tom Broecker and Eric Justian
"Sons of Anarchy" – Kelli Jones

Outstanding Period/Fantasy Television Series:
WINNER * "Boardwalk Empire" – John A. Dunn and Lisa Padovani

"The Borgias" – Gabriella Pescucci
"Game of Thrones" – Michele Clapton
"Once Upon Time" – Eduardo Castro
"Pan Am (Series)" – Ane Crabtree

Excellence in Commercial Costume Design:
WINNER * Swiffer: "Country Dirt Cowgirl" – Roseanne Fiedler

Carl's Jr.: "Miss Turkey" – Francine Lecoultre
Dos Equis: "The Most Interesting Man in the World" – Julie Vogel

Happy Birthday, Laura

This day almost got by me (Thanks, Microsoft Works calendar).  I wish you a Happy Birthday and many, many more.

Review: "Contagion" is Uncomfortably Real

TRASH IN MY EYE No. 15 (of 2012) by Leroy Douresseaux

Contagion (2011)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for disturbing content and some language
CINEMATOGRAPHER/DIRECTOR: Steven Soderbergh
WRITER: Scott Z. Burns
PRODUCERS: Gregory Jacobs, Michael Shamberg, and Stacey Sher
EDITOR: Stephen Mirrione
COMPOSER: Cliff Martinez

DRAMA/THRILLER

Starring: Laurence Fishburne, Marion Cotillard, Matt Damon, Jude Law, Gwyneth Paltrow, Kate Winslet, Bryan Cranston, Jennifer Ehle, Sanaa Lathan, Elliot Gould, Chin Han, John Hawkes, Anna Jacoby-Heron, and Enrico Colantoni

Contagion is a 2011 film from director Steven Soderbergh. Essentially an ensemble drama and thriller, Contagion documents the spread of a virus that turns into a global pandemic, causing worldwide social chaos. Meanwhile, government officials try to contain it and medical officials try to identify the virus in order to create a vaccine for it. Contagion is a smart, scary disaster movie that will simultaneously give you the creeps while making you wonder if you are prepared for a pandemic.

The film begins by focusing on Beth Emhoff (Gwyneth Paltrow), a businesswoman in Hong Kong. Unbeknownst to her, Beth returns to the United States bringing with her a pestilence that will leave half her immediate family dead. From there, the story focuses on countless players dealing with the aftermath of the virus that is eventually named, MEV-1. Beth’s husband, Mitch Emhoff (Matt Damon), balances his need to protect his daughter, Jory (Anna Jacoby-Heron), who is frustrated with the quarantine, with her need to be a teenager. Alan Krumwiede (Jude Law), an Internet blogger who is obsessed with conspiracy theories, schemes to make money off the chaos created by the spread of the virus.

At the Centers for Disease Control and Prevention (CDC) in Atlanta, Dr. Ellis Cheever (Laurence Fishburne) leads a team trying to identify the virus, contain it, and create a vaccine for it. A World Health Organization (WHO) epidemiologist, Dr. Leonora Orantes (Marion Cotillard), travels to Hong Kong to trace the origin of the virus. CDC scientist, Dr. Ally Hextall (Jennifer Ehle), feels the pressure to find a cure, so she makes a decision that is either selfish or selfless. Meanwhile, fear and mass hysteria spread faster than the contagion.

Contagion has no single protagonist and no outright human antagonist. However, because it is an ensemble drama, Contagion can explore multiple themes, such as mass panic, loss of social order, the limitations of government during a disaster, cronyism, and greed, etc., from the view point of multiple characters.

Director Steven Soderbergh has this film jumping from one character and plot to the next. Because the characters are so well-defined and the plots so riveting, he always leaves the viewer wanting more, which can directly engage the viewer with the story, almost as if it were a real event. Contagion’s ultra-realism makes the movie feel more human and less post-human like so many modern, computer effects enhanced film thrillers. Of course, Soderbergh has an excellent multi-layered script by Scott Z. Burns from which to work. This reach and scope of this screenplay practically demands that Burns or someone else turn it into a novel.

Contagion is by no means perfect. It burns so hot, which is why it is so intense as a thriller, but Soderbergh needed to dial that back a few notches in certain parts of the story. Sometimes, the film is too aloof when it needs to stop and focus longer on certain characters in certain scenes.

7 of 10
A-

NOTES:
2012 Black Reel Awards: 1 nomination: “Outstanding Supporting Actor” (Laurence Fishburne)

2012 Image Awards: 1 nomination: “Outstanding Actor in a Motion Picture” (Laurence Fishburne)

Wednesday, February 22, 2012

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Review: "Full Frontal" is a Frontal Assault on Hollywood Sameness

TRASH IN MY EYE No. 134 (of 2003) by Leroy Douresseaux

Full Frontal (2002)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for language and some sexual content
DIRECTOR: Steven Soderbergh
WRITER: Coleman Hough
PRODUCERS: Gregory Jacobs and Scott Kramer
CINEMATOGRAPHER: Peter Andrews (Steven Soderbergh)
EDITOR: Sarah Flack
COMPOSER: Jacques Davidovici

COMEDY/DRAMA/ROMANCE

Starring: Julia Roberts, Blair Underwood, David Duchovny, Nicky Katt, Catherine Keener, David Hyde Pierce, Tracey Vilar, Mary McCormack, Jeff Garlin, Erika Alexander, Enrico Colantoni with Terrence Stamp, David Fincher, and Brad Pitt

Steven Soderbergh laid down the law to his large cast of stars for his low budget ($2 million) film, Full Frontal, denying them the amenities that movie stars have come to expect on the sets of films in which they appear (star). Apparently, he really wanted the focus to be on actually making a film and less on the celebrity politics of Hollywood filmmaking. Full Frontal is one of those “meta” films like Spike Jonze’s two films, Being John Malkovich and Adaptation, in which there is a film within a film within a film, a story within a story, and a play within a play. All the elements: filmmakers, actors, characters, settings, story and script blend together to create some kind of hyper fictional/documentary movie hybrid.

Full Frontal follows a day in the life of a group of men and women in Hollywood as they approach an evening birthday party for their friend Gus/Bill (David Duchovny). If you’re wondering why Duchovny’s character has two names it’s because this is a movie within a movie, and some of the film’s characters have dual identities: one is a “real person” and the other is a fictional character. If this is confusing, it is because Full Frontal can be very hard to follow, unlike the aforementioned Spike Jonze films which were both written by Charlie Kaufman and which were both very easy to follow.

Julia Roberts and Blair Underwood (an under appreciated and underutilized actor likely because he is Africa-American) play dual parts and it’s a doozy to separate the lives of four characters that are so alike both professionally and personally. The script by Coleman Hough has that thing we all look for in a story that’s supposed to engage us – pathos. It is a fine dramatic presentation of several slices of several lives ably put to words, and Soderbergh expertly captures the sometimes-farcical nature of life and the sometimes quiet, sometimes manic nature of the beast that is romance.

Full Frontal is a movie within a movie and a film about filmmaking for people who really like movies. Yes, it’s sometimes confusing and following it is occasionally arduous, but numerous excellent performances, sharp film editing, and some neat star cameos make it worth the effort. Steven Soderbergh is a gifted, imaginative and inventive director who really loves to play around with the process of making movies, so anything he makes is not just interesting; it’s damn interesting. Plus, Full Frontal is such an absolute pleasure to watch, even if it bends the mind one too many times.

8 of 10
A

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