JMuvies - Film News and Reviews

10 faves from a year not among film's best

2011-12-30T11:51:00.000-08:00

In a movie year mostly filled with mediocrity and a struggling domestic box office to prove it, a few films stood head and shoulders above the rest. Here they are, in one man's humble opinion and order of preference, with his annual list of personal favorites.

"The Artist" -- Silence is golden in black and white and glorious old Hollywood.

"The Descendants" -- Co-writer and director Alexander Payne and unquestionable star George Clooney (right), in perhaps the year's best performance, touch all the right emotional chords with this simply grand dramedy.

"Take Shelter" -- Just because this big little film was shot mostly in northeastern Ohio doesn't put it on this list. The disturbingly powerful study of one man's fears in our troubled times so rife with uncertainty makes it as deserving as it is.

"The Tree of Life" -- Moving, memorable and perhaps filled with images never before seen in a studio film. At its core, though, is a family story very unconventionally told, as always, by the ever-perplexing Terrence Malick.

"Drive" -- With violence to the compelling max, courtesy of Danish director Nicolas Winding Refn and an unnamed hero nicely played by Ryan Gosling, it also offers up mood, style and terrific pacing.

"Moneyball" -- Somehow they made a movie about my favorite sport (baseball) without dumbing it down (even if they didn't mention that the best starting pitching staff at the time was mostly responsible for Oakland GM Billy Beane's diamond success).

"Harry Potter and the Deathly Hallows: Part 2" -- The end of the most successful franchise in cinematic history came with a bang and one very special finale. If there's any justice, it will at least get some well-deserved notice among Mr. Oscar's Best Picture nominees.

"The Girl with the Dragon Tattoo" -- David Fincher gets back to unsettling territory with an intense and thrilling adaptation of Stieg Larsson's original best seller. Oh, yeah, Rooney Mara (left) gives a star-making performance, too.

"Midnight in Paris" -- You won't usually see either Woody Allen or Owen Wilson on any best list here, but the latter is superb as a kind of Allen clone mingling with a literate ol' crowd in a sparkling and funny tribute to the City of Lights.

"Win Win" -- Another indie-like gem from Thomas McCarthy and a smart ensemble cast that makes his small, yet complex story feel so incredibly human.

For more on the best and worst of 2011 movies, visit Sun News this weekend.

'The Artist,' 'Hugo' top CCMAs with 11 nods

2011-12-13T06:46:00.000-08:00

Here are nominees for the 17th annual Critics Choice Movie Awards. Winners will be announced during a VH1 cable telecast, beginning at 8 p.m. Jan. 12 from the famed Hollywood Palladium

BEST PICTURE

The Artist
The Descendants
Drive
Extremely Loud & Incredibly Close
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse

BEST ACTOR
George Clooney – “The Descendants”
Leonardo DiCaprio – “J. Edgar”
Jean Dujardin – “The Artist”
Michael Fassbender – “Shame”
Ryan Gosling – “Drive”
Brad Pitt – “Moneyball”

BEST ACTRESS
Viola Davis – “The Help”
Elizabeth Olsen – “Martha Marcy May Marlene”
Meryl Streep – “The Iron Lady”
Tilda Swinton – “We Need to Talk About Kevin”
Charlize Theron – “Young Adult”
Michelle Williams – “My Week With Marilyn”

BEST SUPPORTING ACTOR 
Kenneth Branagh – “My Week With Marilyn”
Albert Brooks – “Drive”
Nick Nolte – “Warrior”
Patton Oswalt – “Young Adult”
Christopher Plummer – “Beginners”
Andrew Serkis – “Rise of the Planet of the Apes”

BEST SUPPORTING ACTRESS
Berenice Bejo – “The Artist”
Jessica Chastain – “The Help”
Melissa McCarthy – “Bridesmaids”
Carey Mulligan – “Shame”
Octavia Spencer – “The Help”
Shailene Woodley – “The Descendants”

BEST YOUNG ACTOR/ACTRESS
Asa Butterfield – “Hugo”
Elle Fanning – “Super 8”
Thomas Horn – “Extremely Loud & Incredibly Close”
Ezra Miller – “We Need to Talk About Kevin”
Shailene Woodley – “The Descendants”
Saoirse Ronan – “Hanna”

BEST ACTING ENSEMBLE

The Artist
Bridesmaids
The Descendants
The Help
The Ides of March

BEST DIRECTOR
Stephen Daldry – “Extremely Loud & Incredibly Close”
Michel Hazanavicius – “The Artist”
Alexander Payne – “The Descendants”
Nicolas Winding Refn – “Drive”
Martin Scorsese – “Hugo”
Steven Spielberg – “War Horse”

BEST ORIGINAL SCREENPLAY
“The Artist” – Michel Hazanavicius
“50/50” – Will Reiser
“Midnight in Paris” – Woody Allen
“Win Win” – Screenplay by Tom McCarthy, Story by Tom McCarthy & Joe Tiboni
“Young Adult” – Diablo Cody

BEST ADAPTED SCREENPLAY
“The Descendants” – Alexander Payne and Nat Faxon & Jim Rash
“Extremely Loud & Incredibly Close” – Eric Roth
“The Help” – Tate Taylor
“Hugo” – John Logan
“Moneyball” – Steven Zaillian and Aaron Sorkin, Story by Stan Chervin

BEST CINEMATOGRAPHY
“The Artist” – Guillaume Schiffman
“Drive” – Newton Thomas Sigel
“Hugo” – Robert Richardson
“The Tree of Life” – Emmanuel Lubezki
“War Horse” – Janusz Kaminski

BEST ART DIRECTION
“The Artist” – Production Designer: Laurence Bennett, Art Director: Gregory S. Hooper
“Harry Potter and the Deathly Hallows Part 2” – Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan
“Hugo” – Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo
“The Tree of Life” – Production Designer: Jack Fisk, Art Director: David Crank
“War Horse” – Production Designer: Rick Carter, Set Decorator: Lee Sandales

BEST EDITING
“The Artist” – Michel Hazanavicius and Anne-Sophie Bion
“Drive” – Matthew Newman
“The Girl With the Dragon Tattoo” – Kirk Baxter and Angus Wal
“Hugo” – Thelma Schoonmaker
“War Horse” – Michael Kahn

BEST COSTUME DESIGN
“The Artist” – Mark Bridges
“The Help” – Sharen Davis
“Hugo” – Sandy Powell
“Jane Eyre” – Michael O’Connor
“My Week With Marilyn” – Jill Taylor

BEST MAKEUP
Albert Nobbs
Harry Potter and the Deathly Hallows Part 2
The Iron Lady
J. Edgar
My Week With Marilyn

BEST VISUAL EFFECTS

Harry Potter and the Deathly Hallows Part 2
Hugo
Rise of the Planet of the Apes
Super 8
The Tree of Life

BEST SOUND 
Harry Potter and the Deathly Hallows Part 2
Hugo
Super 8
The Tree of Life
War Horse

BEST ANIMATED FEATURE
The Adventures of Tintin
Arthur Christmas
Kung Fu Panda 2
Puss in Boots
Rango

BEST ACTION MOVIE
Drive
Fast Five
Hanna
Rise of the Planet of the Apes
Super 8

BEST COMEDY

Bridesmaids
Crazy, Stupid, Love
Horrible Bosses
Midnight in Paris
The Muppets

BEST FOREIGN LANGUAGE FILM

In Darkness
Le Havre
A Separation
The Skin I Live In
Where Do We Go Now

BEST DOCUMENTARY FEATURE
Buck
Cave of Forgotten Dreams
George Harrison: Living in the Material World
Page One: Inside the New York Times
Project Nim
Undefeated

BEST SONG
“Hello Hello” – performed by Elton John and Lady Gaga/written by Elton John and Bernie Taupin – Gnomeo & Juliet
“Life’s a Happy Song” – performed by Jason Segel, Amy Adams and Walter/written by Bret McKenzie – The Muppets
“The Living Proof” – performed by Mary J. Blige/written by Mary J. Blige, Thomas Newman and Harvey Mason, Jr. – The Help
“Man or Muppet” – performed by Jason Segel and Walter/written by Bret McKenzie – The Muppets
“Pictures in My Head” – performed by Kermit and the Muppets/written by Jeannie Lurie, Aris Archontis and Chen Neeman – The Muppets

BEST SCORE

“The Artist” – Ludovic Bource
“Drive” – Cliff Martinez
“The Girl With the Dragon Tattoo” – Trent Reznor & Atticus Ross
“Hugo” – Howard Shore
“War Horse” – John Williams

Martin Scorsese could have a very big night at the Critics’ Choice Movie Awards. In addition to the 11 nominations for his film “Hugo,” he directed the Best Documentary Feature nominee “George Harrison: Living in the Material World.” Last week it was announced that Scorsese also will be honored with the Critics’ Choice Music+Film Award at this year’s show.

The Broadcast Film Critics Association (BFCA) is the largest film critics organization in the United States and Canada, representing more than 250 television, radio and online critics. BFCA members are the primary source of information for today’s film going public. The very first opinion a moviegoer hears about new releases at the multiplex or the art house usually comes from one of its members.

TIFF Cadillac rides with Lebanese film

2011-09-18T11:14:00.001-07:00

TORONTO – The 36th Toronto International Film Festival announced its award recipients at a reception at the Four Seasons Hotel today.
The Cadillac People's Choice Award, voted on by Festival audiences, goes to Nadine Labaki’s Where Do We Go Now?
Set against the backdrop of a war-torn country, it tells the heartwarming tale of a group of women’s determination to protect their isolated, mine-encircled community from the pervasive and divisive outside forces that threaten to destroy it from within. The award offers a $15,000 cash prize and custom award, sponsored by Cadillac. First runner-up is Asghar Farhadi’s "A Separation," and second runner-up is Ken Scott’s "Starbuck."
The Cadillac People’s Choice Documentary Award goes to Jon Shenk for The Island President. In this whirlwind political documentary, Mohamed Nasheed wins the presidency after a 20-year battle for democracy in the Maldives, only to face an unfathomable challenge: to save his island nation from rising seas. "The Island President" follows Nasheed as he takes the climate fight to backroom chambers of power in New York, London, Delhi, and finally into the fierce realpolitik of the Copenhagen Climate Conference. First runner-up is Bess Kargman’s "First Position," and second runner-up is Cameron Crowe’s "Pearl Jam Twenty."
The Cadillac People’s Choice Midnight Madness Award goes to Gareth Evans for The Raid. Starring Indonesian martial arts sensation Iko Uwais, the film follows a SWAT team that is trapped in a rundown Jakarta apartment block filled with heavily armed drug dealers and killers. First runner-up is Adam Wingard’s "You’re Next," and second runner-up is Bobcat Goldthwait’s "God Bless America."
The SKYY Vodka Award for Best Canadian First Feature Film goes to Nathan Morlando for Edwin Boyd. The jury remarked: "The SKYY Vodka Award for Best First Canadian Feature goes to a film that sets a tone, stays with it, and shows you what it is to be a soldier returning from war only to find that the world has no place for you. This is a film that puts a human face on a Canadian myth." Supported by SKYY Vodka, the award carries a cash prize of $15,000.
The jury gave a special citation to Anne Émond’s Nuit #1: "Anne Emond’s Nuit #1 was simple and raw. It reminded us of the power of two actors with incredible chemistry, a courageous filmmaker, and a dingy apartment. We can’t wait for Nuit #2."
The City of Toronto Award for Best Canadian Feature Film goes to Philippe Falardeau for Monsieur Lazhar. The jury remarked: "Very rarely does a film come along that does everything perfectly. At the end of this movie, my jury members looked at each other, with tears in our eyes. We came to a unanimous decision: the City Of Toronto Award for Best Canadian Feature goes to a film that explores loss, exile, and the truths we tell our children." The award carries a cash prize of $30,000.
The award for Best Canadian Short Film goes to Ian Harnarine for Doubles With Slight Pepper. The jury remarked: "Through the humble but moving story of a family in crisis, this film expresses truths that resonate in Canada and around the world. It is the debut of an exciting new voice from whom we hope to see a great deal more." The award offers a $10,000 cash prize. Honourable mentions go to Mathieu Tremblay’s "Of Events" (D'aléas), and Ryan Flowers and Lisa Pham’s "No Words Came Down."
All three Canadian awards were selected by a jury of film professionals. The feature film jury consists of actor Liane Balaban ("One Week," "Up In Cottage Country"); director Sturla Gunnarsson ("Force of Nature"); journalist/producer Denis Séguin ("How to Start Your Own Country"); and producer Gabriella Martinelli (Capri Films). The short film jury members are Sundance programmer Jon Korn; filmmaker and artist Srinivas Krishna ("My Name is Raj"); and Hot Docs Programming Manager Karina Rotenstein.
The Prize of the International Critics (FIPRESCI Prize) for the Discovery programme is awarded to Axel Petersén for Avalon (Sweden). The jury remarked: "An assured, darkly humorous portrait of an affluent class in hedonistic self-denial, 'Avalon' marks the arrival of a promising new voice in Swedish filmmaking."
The Prize of the International Critics (FIPRESCI Prize) for Special Presentations is awarded to Gianni Amelio for The First Man (Le Premier Homme, France, Algeria, Italy). The jury remarked: "Gianni Amelio’s realization of an unfinished Albert Camus novel explores the legacy of colonialism with the tenderness of a memoir and the unflinching gaze of a war reporter."
The Festival welcomed an international FIPRESCI jury for the 20th consecutive year. The jury members consist of jury president Diego Batlle (Argentina), Carmen Gray (United Kingdom), Freddie Wong Kwok-Shiu (Hong Kong), Sam Adams (United States), Pascal Grenier (Canada) and John Semley (Canada).
TIFF is a charitable cultural organization whose mission is to transform the way people see the world through film. An international leader in film culture, TIFF projects include the annual Toronto International Film Festival in September; TIFF Bell Lightbox, which features five cinemas, major exhibitions, and learning and entertainment facilities; and innovative national distribution program Film Circuit.

You betcha, Paul Williams Is 'Still Alive'

2011-09-12T18:14:00.001-07:00

Paul Williams, the ever-talented if tiny actor/singer/composer, is most popular with fans in Paris and Winnipeg (well, at least his key role in Brian De Palma's cultish "Phantom of the Paradise" certainly is.)
The prolific writer of such memorable songs as "Out in the Country," "The Rainbow Connection" (for his Muppet buddies, at left), "Rainy Days and Mondays" and his Oscar-winning "Evergreen" (co-written with Barbra Streisand for "A Star is Born"), to name only a very select few, originally penned "We've Only Just Begun" for a bank commercial before it was made an immensely famous No. 1 tune by The Carpenters.
These lively tidbits and scores of other fascinating information can be found in the wonderfully compelling "Paul Williams Still Alive," perhaps the most purely entertaining film I viewed during the crowded opening weekend of the 36th annual Toronto International Film Festival.
I mean, where else can you see clips of a man who was a mega-celebrity just about flameout before your eyes, as he did when he guest-hosted "The Merv Grifin Show" or, more hilariously, in co-hosting "The Mike Douglas Show" during the same era?
On the latter, Williams was able to help pick his own guests. Such largesse from nice-guy Douglas, whose syndicated Philadelphia talk show was daytime's highest-rated program at the time, thus allowed Williams to bring in actor and Kennedy clan brother-in-law Peter Lawford, who was just dying to visit Philly to try some of the city's allegedly legendary cocaine. Naturally, he shared the drug with pal Paul, and director Stephen Kessler's grand documentary shows a brief clip of their buzz-eyed pairing.
Obviously, there's much more, too, including what the personable Williams is doing now. One impressive answer is that he's been sober for 21 years and extremely happy, though the little guy was appropriately teary-eyed when Kessler introduced him to a standing ovation after last night's TIFF world premiere.
"Steve went from stalker to a brother," Williams said about Kessler, whose efforts to get Williams to go along with the doc were not exactly met with open arms by its star. "Now I love and trust him with my whole heart."

For more on the Williams film and the rest of my 19th straight festival visit, check out Sun News in a few days.

Too many Toronto films keep us buzzing

2011-08-31T18:51:00.000-07:00

One of the many fun things about the annual Toronto International Film Festival is trying to match a movie's actual worth with its pre-screening buzz. Naturally, it becomes a guessing game of immense proportions, and the upcoming TIFF No. 36 certainly shows no signs of anything different.

For now, let's consider Day One (Sept 8) of this year's movie excursion and the plight of a poor visiting journalist who again will be forced to choose from among a wealth of early riches.

In the category of press and industry screenings, which can be attended only by accredited media and seriously connected movie types, viewing will begin at 9 a.m. by having to dismiss respective South African and Indian films called Beauty and Azhagarsamy's Horse for a same-time showing of Lars von Trier's Melanc holia.

Of course, the dark master of Dogma offers his usual A-list cast, including Kirsten Dunst (left), Charlotte Gainsbourg, Kiefer Sutherland, John Hurt, Charlotte Rampling and the father-son pairing of Stellan and Alexander Skarsgård.

And lest anyone think that sitting through 135 minutes of von Trier is any easy day at the beach, then they really "ain't see nothin' yet."

The noon hour calls for some much more mainstream decision-making. I mean, what would you choose to see? Perhaps Brad Pitt in the reportedly smart baseball movie, Moneyball;

Sundance darling Like Crazy (with Felicity Jones, right); maybe Wim Wenders' 3D dancing doc about a woman named Pina? Or how 'bout none of the above and instead opting to leave the controversial von Trier early for the 11:30 start of the widely discussed We Need to Talk About Kevin (starring Tilda Swinton and John C. Reilly, below left)?

If lunch is not essential -- and for these 10 days in September neither are breakfast or dinner -- many likely will walk right into another selected screening avalanche from 2-3 p.m. That's when the likes of the supposedly startling This is Not a Film; the French and Lebanese Where Do We Go Now?; Japan's Cut, and (at bottom right) Ralph Fiennes' Coriolanus (with a little help from some guy named Shakespeare) will be among a slew of choices screened.

All are followed (or in some cases interrupted) at 4 p.m. by director George Clooney's Ides of March and a few distinguished foreigners, like Austria's Breathing and China's Mr. Tree, taking their bows for the visiting hordes of press and buyers.

On and on it goes, at which theater any particular critic might stop, nobody knows.

Now, I won't even get into the topic of that night's actual festival screenings, which media can attend only by coaxing a favor from a publicist or a perhaps festival-related friend or -- gasp! -- by actually spending some Canadian money on a ticket.

Most journos can get comped for Thursday's official "opening night film," and this year it's Davis

Guggenheim's U2 rock doc, From the Sky Down. Please know, however, that movies such as Werner Herzog's Into the Abyss, Gus Van Sant's Restless, Aki Kaurismäki's Le Havre, and Tunisia's intriguingly named Always Brando will play simultaneously at other venues.

I know, I know, it really is a tough job we festival regulars have. So, hopefully, by the time I offer up my next post -- from the war zone that will be Toronto -- I'll still be in one piece to write about a few films I've actually dared to digest fully. Just please pray that all of the incessant buzz won't get me first.

Celeb guests galore at 36th TIFF gathering

2011-08-23T14:35:00.000-07:00

Toronto – The 36th Toronto International Film Festival welcomes hundreds of guests from Sept. 8-18. Filmmakers expected to present their world premieres here include: Davis Guggenheim, Francis Ford Coppola, Alexander Payne, Agnieszka Holland, Guy Maddin, Luc Besson, Bill Duke, Oren Moverman, Malgoska Szumowska, Bennett Miller, Darrell Roodt, Sarah Polley, Jessica Yu, Michael Winterbottom and Werner Herzog.

Actors expected to attend include Catherine Deneuve, Charlotte Rampling, George Clooney, Brad Pitt (in "Moneyball" right) Clive Owen, Gerard Butler (in "Machine Gun Preacher" below left), Jeon Do-Yeon, Jon Hamm, Shahid Kapoor, Michael Fassbender, Michelle Yeoh, Freida Pinto, Glenn Close, Matthew Goode, Philip Seymour Hoffman, Rachel Weisz, Ryan Gosling, Salma Hayek, Viggo Mortensen and Woody Harrelson.

Musicians include: U2, Pearl Jam and Neil Young. The Festival also welcomes thousands of

producers and other industry professionals bringing films north.

The following filmmakers are expected to attend: Adam Shaheen, Adam Wingard, Adolfo Borinaga Alix Jr., Agnieszka Holland, Akin Omotoso, Al Maysles, Alain Fournier, Alejandro Brugués, Alejandro Landes, Alex Gibney, Alexander Gorelick, Alexander Payne, Alexandre Bustillo, Alexandre Courtes, Alina Rudnitskaya, Alison Murray, Amir Naderi, Andrea Arnold, Andrew Cividino, Andrey Zvyagintsev, Angelina Nikonova, Ann Hui, Anne Emond, Anne Fontaine, Arnaud Brisebois, Asghar Farhadi, Ashley Sabin, Atia Al Daradji, Audrey Paounov, Avie Luthra, Axel Petersen, Ayten Amin, Barbara Willis-Sweete, Béla Tarr, Ben Wheatley, Benjamin Schuetze, Bennett Miller, Bertrand Bonello, Bess Kargman, Bibo Bergeron, Bill Duke, Blake Williams, Bobcat Goldthwait, Bradley Kaplan, Branwen Okpako, Brian Cassidy, Bruce Beresford.

Bruce McDonald, Bruno Dumont, Byran Wizemann, Calvin Thomas, Cameron Crowe, Carl Bessai, Carlos Sorin, Cedric Khan, Channsin Berry, Chantal Akerman, Chelsea McMullan, Chris Kennedy, Christian Petzold, Christian Sparkes, Christophe Honoré, Christophe Van Rompaey, Clarissa Campolina, Corinna Belz, Costa Botes, Craig Goodwill, Cristián Jiménez.

Dain Said, Dan Lindsay, Daniel Nettheim, Darrell Roodt, Darrin Klimek, David Cronenberg, David Hare, David Redmon, David Rokeby, Davis Guggenheim, Debbie Tucker Green, Dee Rees, Derick Martini, Diego Noguera, DJ Parmar, Dominik Graf, Dorota Kobiela, Douglas Aarniokoski, Drake Doremus, Duane Hopkins, Dusty Mancinelli, Dylan Akio Smith, Eduardo Menz, Eduardo Sanchez, Egil Denmerline, Elisabeth Perceval, Elle Flanders, Emanuele Crialese, Emmanuelle Millet, Enrico Colantoni, Erik Canuel, Evan Morgan, Eve Sussman, Fernando Meirelles, Francis Ford Coppola, Francis Leclerc, Frederic Jardin, Frederic Louf, Frederick Wiseman, Gareth Evans, Gary Hustwit, Gary McKendry, Geoff Lindsey, Geoffrey Fletcher, George Clooney, Gerardo Naranjo.

Ghassan Salhab, Gianni Amelio, Gina Haraszti, Goro Miyazaki, Greg Crewdson, Gus Van Sant, Guy Edoin, Guy Maddin, Han Jie, Haofeng Xu, Harold Cross, Helvecio Marins Jr, Hugh Dillon, Hugo Santiago, Huh Jong-ho, Ian Fitzgibbon, Ian Harnarinbe, Ian Lagarde, Igor Drljaca, Ingrid Veninger, Isaac Cravit, Ismael Ferroukhi, Ivan Grbovic, James Benning, James Franco, Jamie Linden, Jan Zabeil, Janine Fung, Jay Duplass, Jean-Baptiste Leonetti, Jean-Guillaume Bastien, Jean-Marc Vallée, Jeanne Leblanc, Jean-Pierre Dardenne, Jeff Nichols, Jennifer Westfeldt, Jens Liens, Jesse Gouchey, Jessica Yu, Jim Field Smith, Joachim Trier, João Canijo.

Joaquim Sapinha, Joe Berlinger and Bruce Sinofsky, Joel Schumacher, John Mcllduff, John Price, John Scoles, Johnnie TO, Jon Shenk, Jonathan Demme, Jonathan Levine, Jonathan Sagall, Jonathan Schwartz, Jonathan Teplitzky, Jose Henrique Fonseca, Joseph Cedar, Joseph Israel Laban, Joshua Bonnetta, Joshua Marston, Juan Carlos Fresnadillo, Juan Minujín, Julia Leigh, Julia Loktev, Julia Murat, Julian Farino, Julien Maury, Justin Kurzel, Kaat Beels, Kamila Andini, Karim Aïnouz, Karl Markovics, Katsuhito Ishii, Ken Scott, Kevin Jerome Everson, Kore-Eda Hirokazu, Kyle Sanderson, Lasse Hallstrom, Lav Diaz, Léa Pool, Leonard Farlinger, Lou Ye, Luc Besson, Luc Dardenne, Luis Recoder, Lynn Shelton, Lynne Ramsay, Madonna, Maggie Peren, Malgoska Szumowska, Marc Forster, Marco van Geffen, Marjane Satrapi, Vincent Paronnaud, Mark Cousins, Mark Duplass.

Mark Lewis, Mark Slutsky, Markus Schleinzer, Martin P. Zandvliet, Martin Šulík, Mary Harron, Mathieu Demy, Mathieu Kassovitz, Mathieu Roy, Mathieu Tremblay, Matias Meyer, Matthew Rankin, Melanie Shatzky, Mia Hanson-Love, Michael Glawogger, Michael Winterbottom, Michale Boganim, Michel Hazanavicius, Mike Clattenburg, Mike Dowse, Mike Maryniuk, Milagros Mumenthaler, Miranda de Pencier, Mohamed Al Daradji, Mohammad Asli, Mojtaba Mirtahmasb, Morgan Spurlock, Morten Tyldum, Mr. Brainwash, Nacho Vigalondo, Nadine Labaki, Nancy Savoca, Nanni Moretti, Nathan Morlando, Nathaniel Dorsky, Ngoc Dang Vu, Nicholas Klotz, Nicholas Pye, Nicholas Winding Refn, Nick

Broomfield & Joan Churchill, Nick Murphy, Nicolas Prividera, Nicolas Provost.

Ole Christian Madsen, Oliver Hermanus, Olivia Block, Oren Moverman, Ozcan Alper, Pablo Giorgelli, Pablo Trapero, Paddy Considine, Pankaj Kapur, Pawel Pawlikowski, Pedro Pires, Pen-ek Ratanaruang, Peter Lynch, Philippe Baylaucq, Philippe Falardeau, Philippe Garrel, Raha Shirazi, Ralph Fiennes, Randall Cole, Rebecca Daly, Rémi Bezancon, Renaud Hallee, Ridha Behi, Rithy Panh, Robert Lieberman, Rodigo Moreno, Rodrigo Garcia, Roland Emmerich, Rolando Colla, Román Cardenás, Ron Fricke, Rúnar Rúnarsson, Ruslan Pak, Ryan Flowers, Lisa Pham, Ryan O Nan, Sandra Gibson, Santiago Mitre, Sarah Goodman, Sarah Polley, Sean Durkin, Sebastián Brahm, Sebastián Lelio, Sheila Pye.

Sheldon Larry, Shinya Tsukamoto, Simon Davidson, Simon Ennis, Sono Sion, Sophie Goyette, Sophie Michael, Stefano Chiantini, Stephanie Dudley, Stephen Kessler, Steve McQueen, Susan Youssef, Suseendran, T. Marie, T.J. Martin, Tamira Sawatzky, Tamae Garateguy, Tamer Ezzat, Tanya Wexler, Tawfik Abu Wael, Terence Davies, Todd Solondz, Tomáš Luňák, Toshiaki Toyoda,Ute Aurand, Victor Ginzburg, Vimukthi Jayasundara, Vincent Garenq, WANG Xiaoshuai, Wei Te-Sheng, Werner Herzog, Whit Stillman, William Friedkin, Wim Wenders, Wojciech Smarzowski, Xiaolu Guo, Xstine Cook, Yan Giroux, Yoakim Belanger, Yorgos Lanthimos, Yossi Madmony, Zaida Bergroth.

The following guests are expected to attend: Alia Shawkat, Abbie Cornish, Adam Bro

dy, Adam Scott, Adepero Oduye, Agnieszka Grochowska, Albert Brooks, Alessandra Negri

ni, Alexander Skarsgard, Aline Morais, Alison Pill, Allison Janney, Alexis Bledel, Analeigh Tipton, André Wilms, Andrea Riseborough, Andrey Fomin, Angie Cepeda, Angrzej Chyra, Anton Yelchin, Antonio Banderas, Arielle Kebbel, Ashley Bell, Akshay Kumar, Ben Foster, Bennett Miller, Benno Fürmann, Bill Nighy, Blake Lively, Brad Pitt, Brian Ladoon, Bryce Dallas Howard, Caleb Ross, Carey Mulligan, Catherine Deneuve, Catherine Keener, Chace Crawford, Charlotte Rampling, Chloe Moretz, Chris Pratt, Chris Nilan, Christopher Lovick, Christopher Plummer (as "Barrymore" above right), Clive Owen, David Thewlis, Deepa Mehta, Dominic Monaghan, Do-Yeon Jeon, Durukan Ordu, Eddie Redmayne, Elena Anaya, Elias Koteas, Elizabeth Olsen, Emile Hirsch, Emily Blunt, Erin Brockovich, Ethan Hawke, Evan Rachel Wood, Evelyn Vargas, Ewan McGregor, Ezra Miller, Fabian Lojede, Fadi Ab Samra, Felicity Jones, Frances O' Connor, Freida Pinto, Gael Garcia Bernal, Gaye Gürsel, Geoffrey Rush, George Clooney, Gerard Butler, Glenn Close, Greta Gerwig, Harry Knowles, Hugh Dancy, Hugh Laurie, Husham Hlail, Iko Uwais, Isabelle Huppert, Jamel Debbouze, James Gandolfini, Jane Fonda, Jason Reitman, Jason Statham, Jay Baruchel, Jean Dujardin, Jeffrey Dean Morgan, Jeffrey Wright, Jennifer Garner, Jennifer Hudson, Jennifer Lawrence, Jeremy Schuetze, Jessica Chastain, Joe Taslim, Joely Richardson, John Lydon, Jon Hamm, Jonah Hill, Jonathan Schteinman, Jordon Gelber, Joseph Gordon-Levitt, Julia Maxwell.

Juliette Binoche, Juliette Lewis, Jung Jae-Young, Juno Temple, Katlyn Maclang, Keira Knightley, Kelly Reilly, Kevin Durand, Kirsten Dunst, Kyle MacLachlan, Lana Hay Yehya, Lauren Ambrose, Leighton Meester, Liana Liberato, Lily Cole, Louise Bourgoin, Lucia Siposova, Luke Kirby, Luong Manh Hai, Maggie Gyllenhaal, Marc-André Grondin, Maria Isabel Laban, Maria Schrader, Maria Yokohama, Mariana Padial, Marisa Tomei, Matt Ellis, Matthew Goode, Max Mi

nghella, Maya Rudolph, Megan Fox, Michael Fassbender, Michael Shannon, Michael Weston, Michelle Williams, Michelle Yeoh, Mira Sorvino, President Mohamed Nasheed, Nat Wolff, Neil Young, Nicolas Cage, Noe Hernandez, Oliver Platt, Pascale Bussières, Patrick Huard, Paul Williams, Pearl Jam, Philip Seymour Hoffman, Piet Suess, Rachel Weisz, Rebecca Frayn, Rebecca Hall, Robert Wieckiewicz, Robin Wright, Rodrigo Santoro, Rosemary DeWitt, Ryan Gosling (in "Ides of March" above left), Said Husham, Salma Hayek, Salman Rushdie, Sam Neill, Sami Bouajila, Saoirse Ronan, Sarah Bolgar, Sarah Gadon, Sarah Silverman, Scott Speedman, Seann William Scott, Selma Blair, Seth Rogen, Shahid Kapoor, Simon Ibarra, Simone-Elise Girard, Solmaz Panahi, Sonam Kapoor, Stephanie Sigman, Tahereh Saeidi Balsini, Tammy Blanchard, Terrence Howard, Tilda Swinton, Tom Hiddleston, Tran Dang Khoa, Tyler Johnston, U2, Viggo Mortensen, Vladimir Vdovichenkov, Willem Dafoe, Woody Harrelson, Yara Shahidi.

The Festival’s Official Film Schedule was released today. It is available at the Festival Box Office and by visiting tiff.net/festival. Thursday's Toronto Star will contain a 24-page section on the Festival and includes the full film schedule.

Purchase Festival ticket packages online at tiff.net/festival, by phone at 416-599-TIFF or 1-888-599-8433, and in person at the Festival Box Office at 225 King St. West. Single tickets are available beginning Sept. 3.

Read more about festival films here in the next week.

Harris is not blue at all about new role(s)

2011-07-26T09:31:00.000-07:00

Five quick questions for Neil Patrick Harris, star of TV, stage, awards shows and, starting on Friday, "The Smurfs," as a harried marketing man who helps save the day for some lovable blue creatures in New York City.

If you voiced an animated Smurf instead of playing a guy who turns out to be their live-action pal, which one would you be?
I don't know. Maybe Variety Smurf? I like to juggle and do magic, see.

What would Barney (the womanizing character he plays on CBS' hit, "How I Met Your Mother") say about The Smurfs in this film?
He'd probably ask for Smurfette's number (especially since she's voice by Katy Perry) and call it a day.

What did you know about "The Smurfs" when you got this role?

I thought the whole thing was created by Hanna-Barbera in the '80s as part of that "Captain Cavemen," "Wonder Twin" powers kind of movement. So, that's all I sort of knew of them.

In the film your wife (played by Jayma Mays, shown with Harris and Smurf buddies above) is expecting. Were you (and longtime partner David Burtka) expecting your twins (from a surrogate mom) during filming, and how did that resonate for you?
When we were filming the movie we were maybe five or six months pregnant and weren't telling anybody. So, it was my little secret and it was certainly easy to play things like looking at an ultrasound photo and feeling what emotion that brings. That was nice and a little secret moment. That day actually, in Times Square, the scene where I sat and took out that card and read it, I finally went up to (director) Raja Gosnell, who, bless his heart, because both Raja and (producer) Jordan Kerner had been constantly telling me what it feels like to be a potential dad and how you're heart will skip beats when you find out that you're expecting.

I was nodding, like, "Is that right?" So, I leaned over to Raja and I said, "I've got a secret. We're expecting twins in October." He kind of melted and was a little bit embarrassed that he had been so forthcoming in trying to explain to me what that felt like, not realizing that I all ready knew. But it was nice. When the script came my way we had just started that process, and so it seemed like good timing when I looked ahead into the future.

Do you think that (now 9-month-old twins Gideon Scott and Harper Grace) will be fans of "The Smurfs"?
I hope so. They're a little young. We haven't shown them any screeners at all yet, but maybe when the third movie comes around.

By the way, Harris says he is signed on for sequels to the 3D film and hoping for a blockbuster franchise. Until anything is officially greenlit, though, you can read more from him and co-stars Hank Azaria (the evil Gargamel) and Alan Cumming (voice of Gutsy Smurf) at Sun News and CriticsChoice. My review of their film should be up on Friday at both sites, along with my review of "Crazy, Stupid, Love" and some talk with stars Ryan Gosling and Emma Stone. (See my ratings of all current movies here.)

Can Oscar finally name a 'Harry' film?

2011-07-13T10:25:00.000-07:00

As far as Academy Awards are concerned, Harry Potter really is in the same boat as constant nemesis Lord Voldemort. Just call the movie wiz "He Who Must Not Be Named."
Seriously, over a full decade of seven immensely popular "Harry Potter" films, none has ever received an Oscar, despite nine nominations.
Can the masterful "Harry Potter and the Deathly Hallows -- Part 2," the eighth and final chapter in the blockbuster film series, break the spell? Sure, why not?
Honestly, it's easily one of the finest films of the year so far, and there is some precedent in rewarding last movies of a popular brand with Best Picture hardware (see "The Lord of the Rings: The Return of the King").
Regardless -- and at least on the record -- "Hallows 2" filmmakers do not seem so concerned, particularly Steve Kloves, who has written seven of the eight Potter films (all but "Order of the Phoenix," penned by Michael Goldenberg.)
"I don't care," Kloves answered Sunday afternoon when I asked him if this last hurrah might be the film that wins him and Harry an Oscar. "I really mean that. I really don't care about the Oscars for myself. I would like to see some of the people I've worked with recognized, and I will say one thing: I just think the kids have been underestimated.
"I think their work has been extraordinary, especially given that Emma (Watson, with Kloves at right) was 10 and Dan (Radcliffe) and Rupert (Grint) were 11 when they started. Now look what they're doing. Dan, I think, really is brilliant in this movie."
Kloves, who does own a 2004 Oscar nom for adapting "Wonder Boys" for the screen, continued:
"Also, how can (production designer) Stuart Craig be ignored after 10 years of this design? It's big-timber design we'll never see again. We'll just never see it again! It would be nice for everyone else, too, but for me, I just don't care."
OK, then, what might David Heyman think? He's of course the lucky gent who read J.K. Rowling's first book as an unpublished manuscript in 1997 -- on the advice of his secretary, by the way -- and has since produced the most successful film franchise of all time.
Sounding genuinely sincere during a similarly brief Sunday chat at New York's famous Waldorf Astoria, Heyman answered:
"You know what? These films are made for the audience and, if they win awards, that's fine. We were given an award as a series from BAFTA last year for good cinema. But the biggest gifts still come from our audience.
"When we went to Trafalgar Square (three days earlier in London)," added Heyman (at left with Ralph "Voldemort" Fiennes) with a big smile, "it was so moving to see how enthusiastic they were for us. It's this kind of love and support that mean so much to us."
"Hallows 2" director David Yates (pictured below), who deserves serious awards consideration as well, was equally gracious in discussing the possibilities.
"You know, at this point, we haven't give up on (winning)," he told me, "but I think there have been so many rewards already. I don't even like to think about it in those terms.
"Certainly it would be wonderful if people like Stuart Craig or (composer) Alexandre Desplat or Tim Burke, who did the visual effects, would be recognized.
"I am very proud of the film, but the audience, for me, as long as they enjoy it, is always the most important thing," Yates concluded.
For the record, Yates' "Harry Potter and The Deathly Hallows -- Part 1" received two nominations last year: Craig's (with Stephenie McMillan) for Best Art Direction, and Burke's (with his team of John Richardson, Christian Manz and Nicolas Aithadi) for Best Achievement in Visual Effects.
Neither won. Nor did the Potter types nominated seven times previously. "Harry Potter and the Sorcerer's Stone" still leads the young wizard's pack with three Oscar mentions. "Prisoner of Azkaban" (two),"Goblet of Fire" (one) and "Half-Blood Pri nce" (one) also received nods from the revered Academy of Motion Picture Arts and Sciences.
If predictions are in order right now, look for "The Deathly Hallows -- Part 2" to earn nominations for Best Picture, Best Director and (yes, Steve!) Best Adapted Screenplay. In acting categories, Alan Rickman certainly presents a strong argument in his hypnotic supporting role as Professor Severus Snape. Alas, however, those grand "kids" --now all at least 21 -- likely will be ignored once again.
Meanwhile, read my review of the "Potter" finale sometime on Thursday -- as well as the mature words of the lovely Hermione herself (Emma Watson) -- at both Sun News and CriticsChoice.

Huge-headed film foe remains pure Peter

2011-06-14T18:41:00.000-07:00

Does the real Peter Sarsgaard ever stand up as Hector Hammond, the creepy-genius nemesis of the titled "Green Lantern"?

Not really. But the highly regarded actor definitely does stand out. Sarsgaard, with some help from director Martin Campbell, explains:

"(The heavy makeup) definitely liberated me. I remember the first time I put it on, I think Blake (Lively) was there and I walked out of the trailer and immediately started doing some sort of stand-up thing. What was unique about that appliance was that, if you talked on the cell phone, it was kind of amazing looking; if you drank a cup of coffee, it was incredible.
"I didn't have to do much and so I felt after my transformation (from scientist to infected monster) that I could do anything in a scene, partly because I think Hector feels that it's his right and his time.
"He's like, just (screw) anyone that gets in his way, and he's going to have a good time, and I felt that, too."
To play the increasingly evil and big-brained Hector, Sarsgaard often was required to wear prosthetics -- which weighed up to 12 pounds -- for as many as 13 hours a day, all in the heat and humidity of a New Orleans summer set.
"In terms of the application process," he explained, "it took about four hours. Even without it, though, I thought I looked pretty alien because I had lost a lot of weight and shaved my head bald. Every morning, I would shave clean like that -- at about 3 a.m. -- and then we put alcohol on it, which is a GREAT way to wake up in the morning. Then they would apply the glue and apply (the prosthetic) piece by piece. They made it in several pieces so it would move with my face.

"People have asked, 'why didn't they just put (CGI) dots on your face?' But, there's a thing about just wearing this all that has a real weight to it, that makes you feel a certain way and everyone treat you a certain way. I mean, Martin Campbell still doesn't even know me."
"Truly," Campbell says, "the amazing thing was that I never knew Peter Sarsgaard. What I knew was Hector, because I would arrive after he put the prosthetic on and would have left at night by the time he took it off, so I never really knew him."
"Neither did I," Sarsgaard concludes with a laugh. "There was very little turn-around time, so I would go home and get to bed right away and soon started realizing that I hadn't seen my face for a really long time, which is a really wild feeling for an actor."

Read more on the film and "Gossip Girl" Blake Lively now at Sun News and Critics Choice. Then look for my review Friday on both sites.

'Mr. Chow' enjoys a little 'Hangover' fame

2011-05-25T13:16:00.000-07:00

Nobody ever really should be surprised by anything associated with actor/comedian Ken Jeong. After all, the little man inspiring those giant "gangsta" laughs in the "Hangover" films, not to mention as the nutty professor of Spanish on NBC-TV's "Community," was a practicing M.D. just five short years ago.
Then again, there's Jeong's explicit re-introduction as the wild Mr. Chow (shown here harassing Zach Galifianakis' goofy Alan) in "The Hangover Part II" during what could be the most-talked-about scene from what might become the summer's most popular film. In fact, Chow's early full-frontal assault on the movie-going public is one of those "did I really see what I think I saw?" moments. Or not?
Well, apparently we do get a peek at a little something, we found out, after one brave reporter neatly danced around the point in addressing Jeong at a recent press conference.

"Uh, in that moment when you, uh, 'uncover' up," The questioner cautiously began, "is that really you?"
"Hey, that's a personal question," Jeong answered almost too happily to believe, "but the answer is yes. Sorry."
Later the still-smiling Jeong said: "I run everything past my wife before I do anything, so I had full permission to do all the nudity in the film. I'm very blessed to have such a supportive wife (herself a practicing physician), who is very willing to be secure in letting me embarrass myself."

Then, apparently tossing more good-natured fuel on the, uh, tiny fire, Jeong added: "My wife always says these movies are good for men because, after watching me, they always go home feeling very good about themselves. And I wish I was lying."
Regardless, if size still matters, returning "Hangover" director Todd Phillips praised Jeong for his big contributions to the sequel, especially when discussing the ever-hilarious "candid" photos at the end of both the original and "Part II."
"It's very random what we shoot, and we literally shoot them all with my little camera so it has that cinema verite or homemade feel, like something you and your friends might post on Facebook with your own little point-and-shoot camera," Phillips explained. "We do it very much by the seat of our pants and not a lot of forethought is put into it outside of the basic idea.
"Then we go out and everyone gets a little crazy, and it's always good when Mr. Chow is in the photos because Chow doesn't realize we're not rolling sound and is always acting out and taking it to the full limit.
"It's always one of the most amazing things to watch," Phillips concluded, "when 'full-on Chow' walks into the middle of a photo shoot and treats everyone like crap, very much like Mr. Chow actually would. It's just the best."
Might there even be a "full-on" Chow spin-off someday? "If we were to do a third ("Hangover"), it would very definitely be a finale and very much a new idea.
"As far as anything else, I haven't talked to Ken about it, but we could definitely do a Mr. Chow movie. Chow is certainly a man of mystery, much like Austin Powers, and has a web that's woven deep in crime and women."

Well, maybe not that deep.

For more on the gang from the "Hangover" films, as well as my review of "Part II," visit Sun News and CriticsChoice.com later in the week.

Krasinski misses something at "The Office"

2011-04-26T08:51:00.001-07:00

Steve Carell and his iconic Michael Scott leave "The Office" Thursday night, and John Krasinski is still getting over it.

"We just finished our last episode of the year, but (shooting) Steve’s final show came about three weeks ago and it was brutal in no uncertain sense of the word," the lanky actor who plays Jim Halpert reported during a promotional spin for "Something Borrowed," Krasinski's latest movie.

"It wasn’t so clear when it was happening (because) my logical brain simply told me that this is what happens when people move on and they have contracts that expire.
"Then, of course, you realize a huge part of your show, a huge part of your everyday life, and a huge part of the energy around you is gone, so it’s sad to lose a friend like that.

"It really was tough," Krasinksi said. "I wasn’t expecting it and I definitely did cry on the last day. The last scene of the day was the good-bye for our characters. They hadn't said good-bye; (Steve and I) hadn’t said good-bye, and it became an incredibly existential black hole."
Regardless, "The Office" will survive on NBC-TV for this year and beyond.
"Yes, it’s all fantastic and our energy level on set is tremendous," Krasinski concluded. "We're all very excited about what’s to come. Everyone always talked about a spin-off a few years ago, so this is our spin-off. Steve's character leaves with three episodes still left this season (including a May 20 finale with a roster of guests featuring Jim Carrey, Ricky Gervais, Ray Romano and James Spader, among others)."

As for "Something Borrowed," which opens May 6 and has Krasinski cavorting as a lifelong pal to competitive best friends played by Kate Hudson and Ginnifer Goodwin (with him at right), the big guy said he will continue to accept movie roles even while "The Office" plays out its TV welcome.
"There really is no comparison to what is more fun to do," Krasinski said, "and for now, it's definitely 'The Office.' I mean, you're given such rare opportunities to flesh out these characters and this decision and this relationship as slowly as we do and did.
"It’s like saying you can have a choice between the color red or 18 shades of red, where in movies you just have to get something on screen, so it's a totally different challenge. In this film, my character basically had to blurt everything out in one scene and no one could even see it coming when he does."
For more from me on "Something Borrowed," including an interview with Kate Hudson, check out Sun News and CriticsChoice.com in the coming week.

New "Arthur" features its own Brand

2011-04-05T09:26:00.000-07:00

Busy Russell Brand, already the voice of the lead bunny character in "HOP," the No. 1 movie in the land, steps in front of the camera Friday as the remake title player in "Arthur."

"Yes, I'm such a thorough actor that I did two decades of research just to make sure it was 100 percent right," the recovering Brand joked during a recent press conference before turning serious to discuss the addiction he shares with the character originally played by Dudley Moore

"The difference, of course, is that Arthur is a fictional alcoholic and has much more latitude for clowning and fun. And often his adventures don't lead to broken glass and howling women. Although, he is, of course, arrested at the beginning of the film.

"It was really important," Brand went on, "that we established a context where the alcoholism was humorous and good fun but was not irresponsibly portrayed.

"This is 2011 and it's important to see a resolution to the problem of Arthur's alcoholism. And that's one of the aspects, as a recovering alcoholic myself, I was particularly happy with how that was rendered."

Of course it didn't take long to get back to comic relief, especially when someone mentioned that a love interest played by Liza Minnelli in the 1981 original was left to take care of Moore's drooling drunk at the end of that film.

"Unfortunately," Brand said, "circumstances wouldn't allow Liza Minnelli to become a nurse. If you went to visit a home for sick relatives and were greeted by Liza Minnelli, you might request a refund. I know life is a cabaret, but frigging hell!"

The British comic obviously preferred to discuss the film's sunnier side.

"Really, the best thing you can do is fall in love," Brand concludes, borrowing a phrase from the Oscar-winning tune that can be heard in an updated version during the closing credits. "This is why this film resonated so strongly with me and why I'm so happy with it. My life has been changed by falling in love (with wife/singer Katy Perry), so I know that while that is a romantic idea, and in this case fictional, it's something that's happened to me.

"That's why I'm so enamored of this story. I love the original movie. Dudley Moore is a great hero of mine. And to be able to re-create that film with such a talented ensemble of people was an incredible gift.

"To work with this Oscar-winning, wonderful actress in Helen Mirren; a brilliant director like Jason Winer; (actress) Greta Gerwig, who wonderfully brought to life a different aspect of the character's trajectory that spoke to the child in Arthur, and screenwriter Peter Baynham, who as an Englishman, is as much a comedic hero to me as Dudley Moore. He's one of the great comedy writers of the last 30 years."

For more on this week's film openings, including interviews with Helen Mirren and Saiorse Ronan, check out my stories at Sun News and CriticsChoice. On Friday, you also can find my reviews of "Arthur" and "Hanna" at both sites.

Quick picks to click at Sunday's Oscars

2011-02-22T13:26:00.000-08:00

It will be hip and stylish versus prim and proper when the 83rd annual Academy Awards are unveiled Sunday night on ABC-TV.

That's because young stars James Franco and Anne Hathaway host the proceedings in an attempt to woo even younger viewers, and "that terrific Facebook movie," better known as "The Social Network," really will have a legitimate face-off with "The King's Speech," an equally fine film about the stuttering woes of Queen Elizabeth's dad, King George VI.

Expect the latter, buoyed by insurmountable awards momentum from the Producers Guild, Directors Guild and even the Screen Actors Guild in recent weeks, to rule the night. Thus, by George, it is decreed and predicted here that the Oscars go to:

Best Picture: “The King's Speech," followed by an equally royal acceptance speech.

Best Director: David Fincher, "The Social Network," spoils the British tea party with his many friends voting him past talented Tom Hooper (“The King's Speech").

Best Actor: Colin Firth, "The King's Speech," the one for-sure victory of the evening, that is, unless host Franco ("127 Hours") pulls a fast one. (Just kidding!)

Best Actress: Natalie Portman, “Black Swan.” However, don't be stunned if Annette Bening ("The Kids Are Right") tiptoes away with a win.

Best Supporting Actor: Christian Bale, "The Fighter," with Geoffrey Rush ("The King's Speech") breathing down his neck.

Best Supporting Actress: Melissa Leo, ”The Fighter," but there's this nagging feeling that young Hailee Steinfeld ("True Grit") could produce the night's biggest surprise.

Best Original Screenplay: David Seidler, “The King's Speech,” in another breeze.

Best Adapted Screenplay: Aaron Sorkin, "The Social Network," the only definite win for my personal choice as 2010's best film.

Best Documentary Feature: “Inside Job” in a second straight only so-so year for the genre.

Best Animated Feature: “Toy Story 3" and another easy victory for Pixar Animation.

Best Original Score: Akron's Trent Reznor and Atticus Ross, "The Social Network," to edge Alexandre Desplat, "The King's Speech, in perhaps the closest call on the board.

Best Original Song: ”If I Rise," "127 Hours," in a category that few really care about anymore.

Best Foreign Language Film: “Incendies," a stunning French-Canadian film that deserves anything that comes its way, upsets Denmark's "In a Better World."

Bonus Picks to complete Oscar-pool sheets everywhere: "Inception" in various craft categories: art direction, sound editing, sound mixing, visual effects, and only solid Roger Deakins from "True Grit" likely standing in its way for best cinematography.

(On Friday, be sure to look for my review of "Hall Pass," as well as a Q&A with star Owen Wilson at Sun News and Criticshoice.com.)

A mostly positive look at 2010 in film

2010-12-27T09:04:00.000-08:00

A baker's dozen of the top films of 2010 (from one to 12 with a little extra powder at the end):

"The Social Network" -- A gifted young cast put the Face(book) on one extraordinary movie, but director David Fincher and screenwriter Aaron Sorkin gave it the heft to define the decade it does.

"The King's Speech" -- A very close runner-up with lots of British w-w-w-wit, worth, warmth and wonder.

"The Ghost Writer" -- It came and went quickly in February, but political intrigue rarely gets any better than this.

"127 Hours" -- Co-writer and director Danny Boyle turned a horrific true incident into a celebration of life with the help of a bravura performance from James Franco.

"Let Me In" -- Remakes never are as a good as the original, but Matt Reeves perhaps made one better, not to mention scary and sumptuous at the same time. Too bad so few actually saw this stylish vampire film.

"Toy Story 3" -- Perhaps the greatest second sequel ever made easily became the year's best animated film (although I have not seen Sylvain Chomet's acclaimed "The Illusionist").

"Please Give" -- Originality abounds in this fourth film from writer/director Nicole Holofcenter, who once again has the wonderful Catherine Keener and a mostly female ensemble at the center of it all.

"The Fighter" -- Speaking of ensembles, expect at least three supporting nominations to come out of star/producer Mark Wahlberg's pet boxing project-turned terrific movie.

"Winter's Bone" -- Ya gotta "show me" in Missouri, so young Jennifer Lawrence did -- by sparkling amidst the despair of Debra Granik's very small film with a big, courageous spirit.

"Hereafter" -- Director Clint Eastwood got superbly supernatural -- and even a bit spiritual -- with us and added a knockout opening segment to boot.

"Secretariat" -- No win, place or show in cinema for perhaps history's greatest racehorse. Just the year's most stirring live-action family film.

"Incendies"/"Of Gods and Men" -- Foreign filmmaking from Quebec and France, respectively, at its finest. Just see them both whenever it is they do get to your town in 2011

And the other stuff -- Worst films: "Repo Men," "The Back-up Plan" and the truly dreadful "Cats & Dogs 2: The Revenge of Kitty Galore."

Guilty pleasures: "Faster," "Salt," "The Other Guys."

Overrated: "The Town" (not bad, but nothing we haven't seen before), "The Kids Are All Right" (nicely acted but awfully slow, and Annette Bening shines even more in the underseen "Mother and Child").

Finally, a few other under-appreciated performances: The "kids" (Chloe Moretz and Kodi Smit-McPhee) in "Let Me In," Olivia Williams ("The Ghost Writer ), Joseph Gordon-Levitt (in the craft-driven "Inception"), Diane Lane ("Secretariat), Matt Damon ("Hereafter" and "True Grit").

"Black Swan" leads Critics' Choice noms

2010-12-13T08:57:00.000-08:00

The Broadcast Film Critics Association (BFCA) has announced the nominees for the Critics’ Choice Movie Awards. The winners will be announced at the Critics’ Choice Movie Awards ceremony at 9 p.m. Friday, Jan.14. This year’s event will again take place at the Hollywood Palladium. This is the fourth year in a row that VH1 will broadcast the gala live on the network and the first year the show will also be broadcast internationally.

“Black Swan” received an unprecedented 12 nominations for the 16th annual awards, followed closely behind by "The King's Speech" and "True Grit" with 11 nods each. "Inception” received 10 noms and “The Social Network” garnered nine.

16th ANNUAL CRITICS’ CHOICE MOVIE AWARDS NOMINEES

BEST PICTURE

127 Hours

Black Swan

The Fighter

Inception

The King’s Speech

The Social Network

The Town

Toy Story 3

True Grit

Winter’s Bone

BEST ACTOR

Jeff Bridges – “True Grit”

Robert Duvall – “Get Low”

Jesse Eisenberg – “The Social Network”

Colin Firth – “The King’s Speech”

James Franco – “127 Hours”

Ryan Gosling – “Blue Valentine”

BEST ACTRESS

Annette Bening – “The Kids Are All Right”

Nicole Kidman – “Rabbit Hole”

Jennifer Lawrence – “Winter’s Bone”

Natalie Portman – “Black Swan”

Noomi Rapace – “The Girl With the Dragon Tattoo”

Michelle Williams – “Blue Valentine”

BEST SUPPORTING ACTOR

Christian Bale – “The Fighter”

Andrew Garfield – “The Social Network”

Jeremy Renner – “The Town”

Sam Rockwell – “Conviction”

Mark Ruffalo – “The Kids Are All Right”

Geoffrey Rush – “The King’s Speech”

BEST SUPPORTING ACTRESS

Amy Adams – “The Fighter”

Helena Bonham Carter – “The King’s Speech”

Mila Kunis – “Black Swan”

Melissa Leo – “The Fighter”

Hailee Steinfeld – “True Grit”

Jacki Weaver – “Animal Kingdom”

BEST YOUNG ACTOR/ACTRESS

Elle Fanning – “Somewhere”

Jennifer Lawrence – “Winter’s Bone”

Chloe Grace Moretz – “Let Me In”

Chloe Grace Moretz – “Kick-Ass”

Kodi Smit-McPhee – “Let Me In”

Hailee Steinfeld – “True Grit”

BEST ACTING ENSEMBLE

The Fighter

The Kids Are All Right

The King’s Speech

The Social Network

The Town

BEST DIRECTOR

Darren Aronofsky – “Black Swan”

Danny Boyle – “127 Hours”

Joel Coen & Ethan Coen – “True Grit”

David Fincher – “The Social Network”

Tom Hooper – “The King’s Speech”

Christopher Nolan – “Inception”

BEST ORIGINAL SCREENPLAY

“Another Year” – Mike Leigh

“Black Swan” – Mark Heyman and Andres Heinz and John McLaughlin

“The Fighter” – Scott Silver and Paul Tamasy & Eric Johnson (Story by Keith Dorrington & Paul Tamasy & Eric Johnson)

“Inception” – Christopher Nolan

“The Kids Are All Right” – Lisa Cholodenko and Stuart Blumberg

“The King’s Speech” – David Seidler

BEST ADAPTED SCREENPLAY

“127 Hours” – Simon Beaufoy and Danny Boyle

“The Social Network” – Aaron Sorkin

“The Town” – Ben Affleck, Peter Craig and Sheldon Turner

“Toy Story 3” – Michael Arndt (Story by John Lasseter, Andrew Stanton and Lee Unkrich)

“True Grit” – Joel Coen & Ethan Coen

“Winter’s Bone” – Debra Granik and Anne Rosellini

BEST CINEMATOGRAPHY

“127 Hours” – Anthony Dod Mantle

“Black Swan” – Matthew Libatique

“Inception” – Wally Pfister

“The King’s Speech” – Danny Cohen

“True Grit” – Roger Deakins

BEST ART DIRECTION

“Alice in Wonderland” – Stefan Dechant

“Black Swan” – Therese DePrez and Tora Peterson

“Inception” – Guy Hendrix Dyas

“The King’s Speech” – Netty Chapman

“True Grit” – Jess Gonchor and Nancy Haigh

BEST EDITING

“127 Hours” – Jon Harris

“Black Swan” – Andrew Weisblum

“Inception” – Lee Smith

“The Social Network” – Angus Wall and Kirk Baxter

BEST COSTUME DESIGN

“Alice in Wonderland” – Colleen Atwood

“Black Swan” – Amy Westcott

“The King’s Speech” – Jenny Beavan

“True Grit” – Mary Zophres

BEST MAKEUP

Alice in Wonderland

Black Swan

Harry Potter and the Deathly Hallows Part 1

True Grit

BEST VISUAL EFFECTS

Alice in Wonderland

Harry Potter and the Deathly Hallows Part 1

Inception

Tron: Legacy

BEST SOUND

127 Hours

Black Swan

Inception

The Social Network

Toy Story 3

BEST ANIMATED FEATURE

Despicable Me

How to Train Your Dragon

The Illusionist

Tangled

Toy Story 3

BEST ACTION MOVIE

Inception

Kick-Ass

Red

The Town

Unstoppable

BEST COMEDY

Cyrus

Date Night

Easy A

Get Him to the Greek

I Love You Phillip Morris

The Other Guys

BEST PICTURE MADE FOR TELEVISION

The Pacific

Temple Grandin

You Don’t Know Jack

BEST FOREIGN LANGUAGE FILM

Biutiful

I Am Love

The Girl with the Dragon Tattoo

BEST DOCUMENTARY FEATURE

Exit Through the Gift Shop

Inside Job

Restrepo

Joan Rivers: A Piece of Work

The Tillman Story

Waiting for Superman

BEST SONG

“I See the Light” – performed by Mandy Moore & Zachary Levi/written by Alan Menken & Glenn Slater – Tangled

“If I Rise” – performed by Dido and A.R. Rahman/music by A.R. Rahman/lyrics by Dido Armstrong and Rollo Armstrong – 127 Hours

“Shine” – performed and written by John Legend – Waiting for Superman

“We Belong Together” – performed and written by Randy Newman – Toy Story 3

“You Haven’t Seen the Last of Me Yet” – performed by Cher/written by Diane Warren – Burlesque

BEST SCORE

“Black Swan” – Clint Mansell

“Inception” – Hans Zimmer

“The King’s Speech” – Alexandre Desplat

“The Social Network” – Trent Reznor and Atticus Ross

“True Grit” – Carter Burwell

The 250 members of the BFCA, the largest film critics’ organization in the United States and Canada, representing television, radio and online critics, selected nominees in each of 25 categories. The awards are bestowed annually to honor the finest in cinematic achievement. Eligible films were released in 2010. The accounting firm of Gregory A. Mogab tallied the written ballots.

Historically, the Critics’ Choice Movie Awards are the most accurate predictor of the Academy Award nominations. All four major acting category winners at the Academy Awards in 2010 were first Critics’ Choice Movie Awards winners in the same categories and were present at the January 15, 2010 ceremony to graciously give their first acceptance speeches of the awards season. The BFCA also recognized “The Hurt Locker” for Best Picture and Kathryn Bigelow as Best Director, making her the first female to win the award. “The Hurt Locker” and Bigelow also went on to win the Academy Award for Best Picture and Best Director, but were both overlooked at the Golden Globes.

Zach not dumb -- just mum -- on "Date" set

2010-11-03T18:18:00.000-07:00

Zach Galifianakis is no dummy. I mean, he didn't get to where he is in his incredibly fast-rising movie career by raising a ruckus.
Take his current role as wild and weird Ethan Tremblay opposite Robert Downey Jr. as hardworking architect Peter Highman in Due Date, for instance. Zach explains:
"After the success of 'The Hangover,' Todd Phillips asked me to be in this new movie because I have a lot of confidence in Todd but not a lot in myself," Galifianakis says. "It’s new to me, especially if you have a big part such as this."
In the funny formula road movie, the ever-focused Downey plays an expectant first-time dad rushing to L.A. with Zach's clueless and aspiring actor in tow. Ah, but we digress.
"Anyway," the affable Mr. G continues, "Todd said, 'I’m thinking of Robert Downey, and Robert is an intense guy, and a very smart guy.'
"Maybe that was Todd's way of telling me to keep my mouth shut, but next thing I know, there was a lot of on-set discussions about every scene. Todd and Robert are alpha males. I’m certainly not, so I’d sit back and watch it -- and love it."

Zach guessstimates that the director and star "chatted" each morning of shooting for at least 90 minutes, including heavy arguments and shouting matches. Otherwise, Downey and Phillips got along famously, and the two continue to sing each other's praises on the eve of the film's Friday opening.

"The shouting is just (part of) their process," Zach says adding, "but why in my trailer? That’s my fucking question. You don’t say anything, you just sit there. Figure it out on the set, I don’t know what to tell you.

"I would read the minutes from the last meeting. 'Todd yells. Robert yells back. Let’s get on with the new meeting.'
"I'll tell you, though, it really helped it. It really did."

For more from Zach, Downey and Phillips, check out Sun News and CriticsChoiceMovies. You'll find my review of Due Date at both sites, too,
as well as my feature about "Megamind."

There’s no stopping Ernest Borgnine

2010-10-15T15:29:00.000-07:00

Everybody’s seeing “Red” over the teaming of “veteran” stars such as Bruce Willis, Morgan Freeman, John Malkovich and Helen Mirren. Yet, not a one of them has a resume to compare with Ernest Borgnine, who describes himself as “93 years old — and still going strong.”

That strength is no joke, either, according to JMUvies.com correspondent Stan Urankar. A handshake offer is accepted with an iron grip and accompanied by a wide smile. “It’s not Mr. Borgnine,” the star responds. “Call me Ernie.”

His role in “Red” as Henry, records keeper at a massive vault in the bowels of CIA headquarters, isn’t a big one, but “it gave me the chance to work with Bruce Willis,” Borgnine says. “The minute I saw him on that television show (“Moonlighting”) with that woman (Cybill Shepherd), I said, ‘Man, this guy is gonna go someplace.’ ”

Borgnine never misses a chance to poke fun. “Every now and then during filming, Bruce would put his arm around me and give me a little squeeze,” he adds of Willis. “A couple of times he did that, I thought he wanted to go steady!”

A 30-minute press conference doesn’t do Borgnine justice. He could have regaled a room of journalists with stories for 30 hours on everything from his Oscar-winning performance in “Marty” to his TV comedy run leading “McHale’s Navy.” Among the memorable mentions:

His break in Hollywood: Harry Cohn, the legendary Columbia Pictures executive, offered a contract for $150 per week in 1951 that Borgnine declined because the first of his five wives didn’t want to leave New York City. A casting director called a year later about a “From Here to Eternity” role. “I’d read the book,” Borgnine remembers, “and thought I’d be perfect for the part of Fatso Judson. The casting director said, ‘That’s who we want you to play.’ ”

His friendship with Frank Sinatra: That began during “Eternity” filming. “I was shaking in my boots, here in my first scene with Sinatra and Burt Lancaster and Deborah Kerr and all these stars around. Frank’s Angelo Maggio says, ‘C’mon, Fatso, give us a break. We’re trying to dance out here.’ I stand up real slow and just stare at him. Well, Frank breaks character and says, ‘Holy blank! This guy’s 10 feet tall!’ It broke everyone up and made me feel so at ease. We exchanged Christmas letters for years after that. Frank always signed his as ‘Angelo Maggio,’ and I’d sign mine ‘Fatso Judson.’

His role as “Marty”: “The studio wanted to pull the plug and take a tax loss even before it was done, but they were told it had to be finished and play in at least one theater before they could do that.” Borgnine credits Walter Seltzer, a studio publicist who later became a successful producer, with urging for preview screenings among “working people, like bootblacks and barbers and manicurists. Next thing you know, they were talking about it at Toots Shor’s and some of the Yankees went to see it. I remember Joe DiMaggio coming up to me and saying, ‘Hey, Ernie, you made a great picture!’ ”

His years with “McHale’s Navy”: “I told everyone — cast, crew, guests, everybody — that the most important thing was to have fun. Well, people behind the camera would fight for the chance just to work on our show.” The Navy initially didn’t embrace the World War II-set antics of PT 73, commandeered by Borgnine’s Lt. Cmdr. Quinton McHale, with hilarious assistance from Tim Conway’s Ensign Parker. Early in the third season, Borgnine admits he was a bit queasy about accepting an invitation to lunch at the Pentagon. “They told me, ‘You’re the best damn recruiter we’ve ever had. Men have enlisted or gone on through officer training simply because they said they wanted to be part of “McHale’s Navy.” ’ ”

His regimen: “I’m the laziest man in the world,” Borgnine says. “I don’t move if I don’t have to.” Then again, he stopped eating meat 40 years ago. “Now, it’s fish, chicken — pasta, of course,” he adds. “I was carrying a lot of weight, but I came down from about 265 to the 232 that I’m at right now, and I feel pretty good.”

His career longevity is not unnoticed. The Screen Actors Guild plans to honor him with its Lifetime Achievement Award in January. A generation not weaned on “Marty” nor “McHale’s Navy” recognizes Borgnine as the voice of superhero Mermaid Man, an occasional visitor to “SpongeBob SquarePants.”

“Today, I’m known by everyone from little kids to old, old people,” he says, that smile beaming even wider. “It’s a joy to be able to say to each and every one of them, ‘Hi, I’m Ernie Borgnine. How are you?’ ”

(Read Stan's review of "Red" right now at Sun News. You can also find my review of "Nowhere Boy" there and at CriticsChoiceMovies.)

Zach and 'Spider-Man' entertain at TIFF

2010-10-04T09:14:00.000-07:00

Besides the movies, another one of the grand things about attending film festivals is the time you get to spend talking to stars away from the rush of Hollywood and, perhaps, even from a few pushy publicists.
During roundtable interviews for "It's Kind of a Funny Story," in fact, at the 35th Toronto International Film Festival, a very relaxed Zach Galifianakis took time to say a lot of smart things. One kind of funny tale was about boning up for the film, which opens Friday.
"I went to a couple of mental facilities to do research for this," Galifianakis said. "One of the common things I kept hearing is that the difference between the patients and the people who work there isn’t much, and I found that to be true.
"I went and talked to one (woman) I thought was a patient. I was very convinced. Then she said, 'Come to my office.' I thought she was calling her room the office, but she really tuned out to be a hospital administrator."
(Read more from Zach and co-stars Emma Roberts and Keir Gilchrist right now at Sun News and CriticsChoiceMovies.")
-- : --
Also talking freely and very easily at TIFF -- and even munching on a fruit breakfast at the same time -- was Andrew Garfield, currently starring in "The Social Network" and "Never Let Me Go. " Of course, he's also the young Brit recently tapped by Sony Pictures to star as the new "Spider-Man."
"Yeah, how incredible is that?" Garfield said in answering the inevitable question with one of his own. "You know what? I've been very lucky, very lucky and, if I analyze it too much, it freaks me out.
"I'm an actor and I love being an actor and it's very difficult to be a working actor, whether it's work that you're proud of or not. Just to work is difficult because you're constantly at the mercy of other people. Sometimes foolish people."
Garfield said that sometimes he has to pinch himself to believe that directors Mark Romanek ("Never Let Me Go') and David Fincher ("The Social Network") hired him and then he got a potentially iconic and franchise role as a superhero to boot.
"(Producer) Scott Rudin introduced me to David, and I auditioned for him a couple of times," Garfield explained. "Then 'Spider-Man' came about in the same kind of way. I just auditioned. I went through the process and I worked hard and had no hope of it ever occurring.
"It's something that you dream about when you're four years old, and how often does reality match up with a dream? Never."
Well the match was made -- and just as suddenly, apparently, as an appearance by the webbed wonder in Times Square -- Garfield quickly found out about it.
"I was in Cancun for 'Social Network' and after my junket date they called me up to one of the rooms upstairs, saying, 'Follow us. It's good to see you.' Then they sprung the news (about "Spider-Man") on me about a half-hour before announcing it at a press conference.
"Then I couldn't leave the room," Garfield explained, "because no one else knew outside of those walls. So we walked down and told people about it.
"I felt happiness, joy, fun and playing the role of 'Spider-Man' is all that, but I'll approach it in the same way that I approached (playing) Tommy (in "Never Let Me Go" (at left with co-stars Keira Knightley and Carey Mulligan).
"I'm just going to serve the story as best I can," the 26-year-old concluded. "An actor isn't an auteur. They're for someone else's words, a human vessel to be used as efficiently and as well and as passionately and as exposingly and as expressly as possible. That's how I see it."

(See my review of "Never Let Me Go" right now at Sun News and CriticsChoiceMovies, as well as a Q&A with Garfield's co-star, Carey Mulligan. By the end of the week, my reviews of "Secretariat," "Buried" and "A Woman, A Gun and a Noodle Shop" should be posted, too. )

See a few, miss a lot, hope for best at TIFF

2010-09-22T08:00:00.000-07:00

The great thing about covering the Toronto International Film Festival is getting to see so many good movies; the awful thing about covering the Toronto International Film Festival is missing out on seeing so many offerings that might be even better.
Not unexpectedly, "The King's Speech," my favorite movie at this year's very special 35th gathering, emerged with TIFF's "People's Choice Award," joining such Oscar-winning Best Pictures as "American Beauty" and "Slumdog Millionaire" from previous years.
Regardless, in a field of treasures that included almost 280 feature films -- and most times running simultaneously in too many venues to count -- I somehow missed seeing "The First Grader," the "People's" runner-up; "Stake Land," which captured the Midnight Madness Award; "Force of Nature: The David Suzuki Movie," which walked away as the "People's" favorite documentary, and both Fipresci Prize winners (from a panel of international critics), "Beautiful Boy" and "L'Amour Fou."
I did catch the Best Canadian Feature Film winner, Denis Villeneuve's stunning "Incendies" (right), the gut-wrenching story that was just behind the aforementioned "Speech" on my personal list of this year's best festival films.
Way up there for me also was "Of Gods and Men " (left), already France's Best Foreign Film Oscar entry and a beautifully inspiring movie about extremely devout French monks living among poor Muslims in the often treacherous Algerian mountains.
By the way, "Barney’s Version," "Casino Jack," "Cave of Forgotten Dreams," "The Conspirator," "Dirty Girl," "The First Grader," "Incendies," "I Saw The Devil," "Outside the Law," "Potiche," "Rabbit Hole," "Sarah’s Key," "Super" and "Submarine" were among independent features leaving TIFF with American distributors in this obviously fabulous year.
And, before we bring down the curtain on another terrific week (I stayed for seven of the festival's 10 days), ya just gotta get up north to the marvelous Bell Lightbox facility (top of page), mostly built -- at a cost of zillions -- as the new centerpiece for the fest's joyful madness.

From a smashing open house for the entire Toronto community to its five state-of-the-art auditoriums, the five-story complex debuted splendidly and will pay off handsomely for years and years and years to come. (If only Americans had such loyalty and dedication to the art of cinema).
Almost wistfully now it's back to more mainstream movie business as usual and talk of new films such as "Legend of the Guardians" and "You Again." Both open Friday and are featured at Sun News and ReelRave. (My review of "You Again" will go up at both sites by the end of the week.)

Big directors take early Toronto bows

2010-09-13T18:34:00.000-07:00

In my small preview glimpse at the list of movies slated for the 35th annual Toronto International Film Festival, "Hereafter," "Black Swan," and "127 Hours" were among those named pics likely to click. Well, guess what? They all really are good enough for movie-going audiences to devour in the weeks and months ahead.

After a long and crowded four-day weekend, when it's just impossible to see everything -- and extending from Thursday night's festival opener through Monday afternoon -- here, in order of preference, are the five mostly mainstream films that easily kept me wide awake:

The King's Speech: Tom Hooper helmed "The Damned United," possibly the most underrated film at last year's Toronto fest, coming off HBO's astonishing "John Adams," perhaps the most grand miniseries in television history. Now, he's ready to collect a load of Oscar noms for himself and cast members such as Colin Firth, Geoffrey Rush, Helena Bonham Carter and Guy Pearce, all playing historical figures connected to the stuttering woes of King George VI. (That would be the good dad of Queen Elizabeth for those who likely won't know until taking in this terrific story from the sharp pen of David Seidler, himself up to now mostly a successful TV writer.) Damn fine and clever stuff!

Hereafter: Brit Peter Morgan ("The Queen") turns out another boffo screenplay for Clint Eastwood, who deserves another directing nod for this quiet little thriller that settles in splendidly after the most dazzling first 20 minutes of Eastwood's much-honored career behind the camera. Matt Damon acquits himself nicely as a quiet psychic, but the real scene-stealers are gorgeous French actress Cecile De France and smart schoolboy Frankie McClaren.

127 Hours: James Franco for Best Actor? You bet -- in a Danny Boyle film based on a famous and true tale about one man courageously giving up part of himself to live. No spoilers allowed, but except for a squeamish 7-8 minutes or so, it's easier to watch than it sounds, too.

Let Me In (photo at top): In a film much better, more stylish and moody than his "Cloverfield," director and co-writer Matt Reeves re-imagines the similarly named Swedish vampire film with aplomb, blood (naturally!) and androgynous touches galore. As sumptuous as it is scary.

Black Sw an: Natalie Portman for Best Actress? You bet -- again -- as Darren Aronofsky does for ballet at this 35th festival what he did with Mickey Rourke and wrestling at the 33rd. Seriously, as one woman told me while waiting in line for another movie: "It makes no sense at all, but I loved every minute of it." Bravissimo!

Look for more about the high-profile festival here in about week (or a few days after its Saturday awards luncheon). Meanwhile, check out my reviews of two other TIFF films, "Easy A" and "The Town," on or before Sept. 17. You can also read about what some of their stars say at both Sun News and Reel Rave, too

"Going the (dirty) Distance" of love

2010-08-25T11:40:00.000-07:00

One of the ree-ly real things about the R-rated "Going the Distance," now opeing Sept. 3 and starring Drew Barrymore and Justin Long as lovers trying to keep their bi-coastal relationship intact, is the adult language their characters use.
They do it in person, too. Take, for instance. this recent press conference-based discussion between Long and Barrymore about their on-film phone-sex discussion in which the latter mentioned something about getting off on Mark Wahlberg. It started with an innocent enough question about whether the scene was scripted. (Or not.)

Drew: I think the 'Marky Mark' (mention) was written for sure and I was so excited to hit that. I really wanted to hit that hard.
Justin: I think you told him that, do you remember that?
Drew: Oh, my God, I did tell him that. I ran into him at an awards show and I said, 'I just talked about hot you are and your underwear and (effing) sexy ...'

Justin: And I think it didn't go over great.
Drew It didn't, no.

Justin: In his defense, it is a strange thing to come up and say. I don't think that he was prepared for it, but I think he was flattered.
Drew: Who would not be excited about that? And he's a very nice guy. I've had other conversations with him that went much better than that. Nothing against him, for sure. That was a great scene written, and I was really excited to go out there and try it because I just thought that this was one of those scenes that's going to fail miserably and be a really gross and upsetting moment or that it could be fun and exciting. It was just one of those scenes that you have to kind of go for it, not knowing whether it's going to work or not, but don't compromise along the way.

The acting and, uh, compatible twosome added that the scene in question took place with each of them actually tradinglines on the phone -- only from separate sound stages.
"And we were comparing who had the more awkward experience, like, me as a guy in a room full of men simulating masturbation or Drew," Long explained. "I said, 'Well, you know, all the crew guys in my room were trying to make jokes to keep it light.'
"They were making sex jokes and I said, 'So it made it kind of more awkward, like I had to kind of laugh and then get into this weird sexual mode,' but I think that Drew had it even more awkward because she said that everyone in the room was being stone cold silent and respectful and it made it just that much weirder for her. Like, they were turning around and whispering.
"But then," Long concluded. "(Director) Nanette Burstein kept coming over to me and describing cinematically how to masturbate, you know, how it would look better.

"She was like, 'Try a little bit more up like this.' I was like, 'Nanette, I think I know how to masturbate. I've had a lot of experience.'"

Read more of Barrymore and Long's he-said, she-said gabfest right now at Sun News and ReelRave, then look for my review of "Going the Distance" on Sept. 2. My first glimpse at September's 35h annual Toronto International Film Festival will be ready to peruse by then, too.

Julia just loves her co-stars in 'Eat Pray"

2010-08-04T15:07:00.000-07:00

So if you haven't heard, Julia Roberts has a new movie coming out. "Eat Pray Love," opening Aug. 13 and based on the memoirs of Elizabeth Gilbert, finds the actress globetrotting around the world as a writer trying to re-discover herself.

Along the way. she meets various co-stars, a few of whom Roberts talks about here.

Viola Davis: "I wish she was here (at the film's Napa Valley-based press conference). For me, this was four movies and the person who tethered me to the world. Viola has the great lines in all our scenes and is just amazing actress and so nice to get to know her and watch her perform. She’s very friendly and her talent is so ferocious I was glad ot sit and eat cupcakes with her. She’s missed here."
Billy Crudup: "Billy is one of my favorite actors. I’ve seen him on stage and in movies and so, one of my concerns with him playing the husband (was that) I didn’t want anybody that early in the movie to disconnect from what I was going to do. I want them to stay with me. Billy had the greatest challenge to create a marriage you believe in, and he did all these little quirky things that helped inform their relationship so you understood why they were together and it was like a magic trick. I don’t know how he did it."
Richard Jenkins: "When I went to India with Richard we had such a great time in rehearsal, but I was the most nervous. He’s so tall and talks really loud and we had the greatest time. He’s so kind in all these scenes; he presents them. It’s like surgery; it’s so precise. I just had to not get lost in that. The line (in the film) about James Taylor is where I’m not supposed to be listening and see his big eyes. It was great until the very last day, and we sat and had dinner together and became friends for life."
Javier Bardem: "Then I went off to Bali and Javier showed up and it was like deciding to get a puppy. You had everything in your house worked out and then the puppy comes and I’m way too tired for this puppy. He had all this enthusiasm and gusto and wants to do all these scenes and you go (shakes her head no), but his excitement was so contagious and each time we went to a country we got revved up for a whole new experience. I was a little terrified from 'No Country for Old Men,' and he even brought a picture from 'No Country for Old Men,' but he comes across as really comfortable. I said to him at the end, 'I thought you would be so intense and brooding and weird and you’re so sweet and funny.' He said. 'I’m not normally. I just wanted to try it once to see how it works.' I’m so glad he did."

For more from and on Julia, look for my Aug. 13 report at Sun News and Reel Rave. My review of "Eat Pray Love" also will be found on both sites, along with my review of Alain Resnais' "Wild Grass."

Noyce: Jolie always is worth her "Salt"

2010-07-21T08:32:00.000-07:00

It's been more than a decade since director Phillip Noyce put Angelina Jolie through her paces in a film, but the veteran Australian helmer claims the actress really hasn't changed so much.

"She remains as fearless as ever," says Noyce, who cast Jolie in 1999's "The Bone Collector" and now has her running all over the screen as an alleged renegade spy in "Salt."

"She was already an accomplished actress and was about to go onto 'Girl, Interrupted," which was her next film and for which she won the Academy Award for Best Supporting Actress," Noyce recalls about the first meeting with his now-established star. "Angelina had already done 'Gia' (for HBO), arguably one of her greatest portrayals, but she was still relatively inexperienced and also a complete unknown -- a wallflower at my Sunday barbecue when she came to visit and nobody was talking to her as she sat alone in the corner.

"Ten years later," Noyce says with a big smile, "everyone wants to talk to her. Every time she appears in public, she's photographed. Every day there's speculation about her real character which, interestingly, seemed to mirror up the part she was playing (in "Salt").

"Now, she's done so many movies since ("Bone Collector") while I've only done three. So, she comes back enormously experienced and. if at the beginning I was teaching her, now I realized that I had something to learn from her, particularly in the area of executing stunts and action sequences, which she had done so much of in the 10 years in between.

"As I say,' Noyce concludes, "what hasn't changed is that, when she was young, she didn't know any better and so she was absolutely fearless. She'd try anything. When she came back (for "Salt"), she was at the top of her notoriety -- and arguably an iconic figure in the world -- and right at the top of her popularity.

"But, she still had no fear. She still wanted to try anything, whether it was physical or psychological, and she only wanted to be excited by ideas and inspired (by them). That was the same person that I met 1o years before. And, of course, none of the microscopic invasion of her private life ever intruded onto the set."

On her end, the actress shares similarly professional thoughts about Noyce.

"Having worked with Phillip 10 years ago, I knew that he was one of those rare directors that really does love drama and dramatic films, but also really loves a good action sequence," Jolie says.

"He's very meticulous when it comes to details of research on all these things. So, I knew that it wouldn't be a silly movie. I knew that it would be more complex than the average action movie."

For more on Jolie, as well as my review of "Salt," check out Sun News and ReelRave.

Stewart talks about being Bell(a) the ball

2010-06-30T10:06:00.000-07:00

So what's a girl to do when she's starring in one of the all-time hottest film franchises ever and her character has to choose between a pair of teen idols to boot?

Apparently, just soak it all in and keep your head on straight, which is what young Kristen Stewart is doing while playing high-schooler Bella Swan for a third time in "The Twilight Saga: Eclipse."

"This is a really unique situation," Stewart understated during a recent press gathering. "I get to play her for a really long time, and that's also a serious indulgence and something that's really lucky.
"Usually I feel really sad when I lose a character at the end of a short shoot, which is typically six weeks on a small movie and what I'm used to," Stewart went on. "Still, even if it's obviously the one role that's put me in this sort of epic position, it's just another movie and I think it doesn't matter if you're doing a studio movie or an independent movie. When you get to set and you're doing a scene it's always going to be the same job. I really don't think about my career in terms of planning it out and what this does for me. This was a part that I just really wanted to play and, luckily, I got to do it for a really long time."
And what about choosing between that romantic vampire kid (Robert Pattinson with Stewart above) and the muscular werewolf guy (Taylor Lautner with her below)?
"Yeah, there's definitely the conflict in that (Bella's) pushed to the point where the decision needs to made in this one," Stewart said. "She does that in each movie and what's cool is that things change and as certain as she is sometimes -- and as absolutely gung-ho and young and courageous and brave as she is -- she's also willing to take a step back and go, 'OK, I'm going to reconsider my options and reconsider how I'm treating everybody.'

"She acknowledges that she's being a little bit selfish." Stewart concluded.

Finally, was she really sleeping during that "Eclipse" tent scene when Bella was caught between protectors Edward and Jacob.
"It was so hot in that sleeping bag, literally, and then the takes were so long," Stewart recalled with a forced smile. "That scene is eternal and I have nothing really to do in it, especially when we shot it. We got close-ups on two guys and we do mine, and it's completely separate and they run the lines a little bit, but I was playing halfway between being asleep and hearing bits.

"I couldn't get my head around hearing that conversation because she's really not supposed to. David (Slade, the director) was like, 'Let it slip in. Hear a little bit and then fall back asleep.' As soon as I'd hear any of that I'd be like, 'Bing! What?'

"So that was difficult, but I just remember it being hot and in terms of being between those two guys, I'm always between those two guys," Stewart said with a laugh. "I do think it's really funny that Taylor always has to take his shirt off. "

Read my review and about the rivalry between the "Twilight" guys right now at Sun News and ReelRave. My review of "Micmacs" is on both sites, too.

Who's the funny man in "Grown Ups"?

2010-06-24T08:03:00.000-07:00

Who makes the reunion comics playing "Grown Ups" laugh most when they're offscreen?

That's what I asked Adam Sandler, David Spade, Chris Rock and Kevn James durig a recent press conference for the film, which opens Friday.

Here's how they answered:

Sandler: "Everyone has their own thing. I'll tell you that Spade is incredibly funny. He drops the most destruction bombs on you. He's quick as hell.

"Everybody has their moments. KJ is incredibly funny and has different ways of being funny in conversation. How's this, when KJ texts me I laugh like a baboon for like five minutes alone and I don't write that LOL, because I'm a comedian and I think that other comedians will go, 'Are you (friggin') kidding me? You wrote LOL?' So I just write back, 'Good one!'

"Rock is one of the funniest guys I've ever seen in my life with just summing up something and just having a different slant on it where you're just like, 'That is amazingly accurate and I can't believe that I've never said that out loud or never even thought that,' but he makes you think. For the record, (Rob) Schneider (who was unavailable to talk to the press) is one of the funniest guys you'll ever meet. He's ridiculously fast and funny and we miss him here right now."

Rock: "Sandler in "Chuck and Larry" is about the hardest I’ve ever laughed in person."

James: "Some of the hardest laughs I’ve ever had in my enter life came from the Sandman. Honestly, I mean, just crying. As a comedian you get used to it, but when he makes you laugh out loud . . . I mean, it's something else."
Spade: "If you think even two of the five of us are funny, you'll be fine with this movie. And Schneider is a great cook."

Read more about Sandler and Salma Hayek in "Grown-Ups," as well as my review, at Sun News, where you'll also find my review of "Joan Rivers: A Piece of Work." Look for more about many other new films at ReelRave, too.

LAFF away June gloom for at least 10 days

2010-06-02T18:01:00.000-07:00

A conversation with Christopher Nolan, the world premiere of "The Twilight Saga: Eclipse" and an opening night bash featuring "The Kids Are All Right" (at right) headline the events of this year's Los Angeles Film Festival.
During the 10-day event, Nolan will introduce a screening of Alan Parker’s "Pink Floyd the Wall," followed by a discussion with Elvis Mitchell about Nolan’s filmmaking. In addition, director Edgar Wright will be joined by special guest J.J. Abrams for a lively conversation about Wright’s career, with a sneak peak at scenes from his upcoming film, "Scott Pilgrim vs. the World."
Additional talent at the Festival include directors Richard Kelly, Eli Roth and Adam Shankman for a Poolside Chat on “The Power of the Tweet”; cartoonist Lalo Alcarez, filmmaker Charles Burnett, and writers Luke Davies and Jerry Stahl for a Poolside Chat on “Capturing L.A.”

Measnwhile, directors Jay Duplass, Mark Duplass and Gary Ross; actors Shohreh Aghdashloo, James Cromwell and William Mapother; and composers BT, Moby and Gustavo Santaolalla will be discussing their craft in the ever-popular festival Coffee Talks.
Visit http://www.lafilmfest.com/ for dates and times, and to purchase tickets and passes.
Of course, more than 200 features, shorts, and music videos from over 40 countries make up the main body of the festival, which is presented by the Los Angeles Times and is supported by L.A. LIVE and Premier Sponsor ZonePerfect® Nutrition Bars and other principal sponsors.

Focus Features’ "The Kids Are All Right" will kick off the festival June 17 at the Premiere Theater at Regal Cinemas L.A. LIVE Stadium 14. The film is directed by Lisa Cholodenko from an original screenplay by Cholodenko and Stuart Blumberg and stars Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, and Josh Hutcherson.
Universal Pictures’ world premiere of the 3-D CGI feature "Despicable Me" will close the LAFF on June 27 at Nokia Theatre L.A. Live. The film is directed by Chris Renaud and Pierre Coffin with an all-star vocal cast, including Steve Carell, Jason Segel, Russell Brand, Kristen Wiig, Will Arnett, Danny McBride, Jemaine Clement, Miranda Cosgrove, Jack McBrayer, and Julie Andrews.
The Festival will host the invitation-only world premiere of Summit Entertainment’s "The Twilight Saga: Eclipse" on June 24 at Nokia Theatre L.A. Live. Details for the screening can be found at LAFilmFest.com.

This year’s Festival will feature a number of high-profile gala screenings, which include: Sony Pictures Classics’ "Animal Kingdom," directed by David Michod; Fox Searchlight’s "Cyrus" (left) directed by Jay & Mark Duplass; the world premiere of "Mahler on the Couch," directed by Percy and Felix Adlon; the North American premiere of "Revolución," a series of short films directed by Mariana Chenillo, Fernando Eimbcke, Amat Escalante, Gael García Bernal, Rodrigo García, Diego Luna, Gerardo Naranjo, Rodrigo Piá, Carlos Reygadas, and Patricia Riggen; and Paramount Vantage’s "Waiting for Superman," directed by Davis Guggenheim.
Contact the Festival Ticketing Center for passes, tickets and event information by calling 866.FILM.FEST (866.345-6337) or visit LAFilmFest.com. Festival Passes and tickets can also be purchased in person beginning June 14 at the Festival Ticketing Center, located at L.A. LIVE (800 W. Olympic Blvd., Los Angeles, CA 90015).

While waiting for the festival to begin, read my latest reviews, including "Please Give," "Jonah Hex," "The A-Team," "The City of Your Final Destination," "Splice" and Mother and Child," at Sun News and ReelRave. There's also a Q&A session with Megan Fox.

New "Shrek" serves up Hamm and Craig

2010-05-20T12:06:00.000-07:00

Mike Myers, Cameron Diaz, Eddie Murphy and Antonio Banderas have been talking about "Shrek" adventures for a decade. (In fact, you can read about some of the things they say -- literally and figuratively -- right now at Sun News.)

However, when it comes to a few new guys on the block, at least where it concerns "Shrek Forever After," John Hamm (still best known for cable TV's "Mad Men") and Craig Robinson (NBC's "The Office," "Last Comic Standing" and the recent "Hot Tub Time Machine") are taking backseats to no one.

Hamm plays the title character's rival for Fiona's affections, and Robinson steals some 3D animation scenes as a female chef named Cookie in what's being billed as the fourth and "Final Chapter" of the ever-successful franchise.

"I don't know why the character I play on TV would lend itself to be in an animated movie," Hamm explained during a recent full cast press conference, "but when they were still trying to decide what it would be, I just said, 'I don't care. I just want to be part of this.'
"I watched the first three versions of ("Shrek") as if I was a 13-year-old, so the pure fan in me was like, "I'll just play somebody who talks backwards, stands on his head, I don't even care.
"It was just so much fun to do," Hamm concluded, "Now I honestly can't believe I'm sitting up here."

Robinson, meanwhile, claimed to be thrilled to show off his feminine side. "We kept working on the voice until one day I just came out with, "OKayyyy" (duplicating the funky female twang he uses in the film.)

Later on, Robinson really showed off his smart humorous side, too. When just about everyone in the cast felt compelled to respond a bit too long-windedly to a question about their own special day, the big funnyman -- uh, kind of the last man standing -- brought down the house with a simple and deadpan, "It was last Thursday."

My review of "Shrek Forever After" is online now at Sun News and ReelRave.

Cast has lots of fun pumping "Iron 2"

2010-05-06T13:23:00.000-07:00

Ahhh, all is well on the debut eve of "Iron Man 2," already summer's most anticipated sequel.

Title star Robert Downey Jr. (a.k.a Tony Stark), returnee Gwyneth Paltrow (Pepper Potts) , new Stark Enterprises assistant/spy Scarlett Johansson (Natalie/Natasha) and latest Marvel master villain Mickey Rourke (Ivan Venko/Whiplash) all even seemed at ease enough to wax humorous(ly) during a recent press conference. To wit:

How do you feel about doing the sequel to "Iron Man" after the first one was such a big hit? Is there more pressure with this one?
Downey: "Do you mean feel as in past tense? I didn't sleep last night. I didn't sleep last night at all. I mean, Scarlett Johansson was in 'Home Alone 3' and Don Cheadle (who replaces Terrence Howard as Jim Rhodes/War Machine) did '(Ocean's) Eleven,' 'Twelve,' and 'Thirteen.' "

Gwyneth and Scarlett, your characters work together quite well in this movie. Can you talk about two women saving the world?
Paltrow: "Well, if Scarlett and I were doing it, the body count would be different and less bloody."
Johansson: "More organized. We'd just stack them. I think with the brains and the muscles and the beauty and the blonde, I feel like maybe we have a greater chance, but you guys can fight for yourselves. "
Paltrow: "We're unstoppable."
Johansson: "We are, it's true. Unstoppable. I feel like if I could wield the guns and the karate chop movements and you can ...
Paltrow: "Outthink people?"
Johansson: "Be the brains behind the operation, sure. That's your one superpower."

Mickey, can you talk about the fun and challenges of playing this character?
Rourke: It was real easy to work and have some fun. It was nice because I'd just come off working on a film ("The Wrestler") that had no budget, and I didn't have a chair to sit in. I remember the first day on this, I said, 'Can I have a cappuccino?' And they said, 'Which kind would you like?' "

Robert, did you dress up as a superhero as a kid for Halloween?
"Growing up, no, but in my mid-30s in Palm Springs right before an arrest, yes. Underwear Man. It was a premonition."

This is a little off topic, Robert, but are you going to be the Vampire Lestat?
"Yeah. I mean anything that's going on, just imagine that it's been offered to me. I also like that you're imagining that we've been on topic so far."

For more interviews and reviews of "Iron Man 2," check out ReelRave. Meanwhile, my review of "The Human Centipede" is up for perusal at both Sun News and Reel Rave.

Stray becomes a winner with "The Losers"

2010-04-21T14:28:00.000-07:00

Columbus Short is "Pooch" as one of the "The Losers" (in honor of the doggy head bobbing up and down on the dashboards of all the vehicles his character drives), but it apppears that Jeffrey Dean Morgan might be the real pet lover in the wild and wooly bunch.

Morgan, who plays leader-of-the-pack Clay in the action-packed film, is the "loser" who actually brought home a dog the cast and crew found running a little too fancy-free.

"I adopted a little pup that came wandering out of the jungle one night on set in Puerto Rico and promptly got hit by a car," Morgan explains. "We all kind of took care of him for awhile, but he is with me, so I do have a little piece of 'The Losers' and Puerto Rico with me at all times now.

"He's a really cute and awesome stray mutt named Bandito, which has been shortened to Bandit since I have to scream at him all the time."

"It's the cutest thing," claims Zoe Saldana (Aisha). "He has this one blue and one brown eye, and he was really shy at first. He had the little broken leg when he came back from the hospital. And, he would just come and limp into the trailer and everybody -- the crew, just everybody -- would just come and go see Bandito in Jeffrey's trailer.

"By the end of the summer," Saldana concludes, "man, Bandito was like this wolf, going like, 'Rrr, rrr, rrr.' And, running all over the set like, 'I'm rich, bitch!' So, Bandito knows that he won the lottery. Trust me."

For more from Saldana, as well as my review of "The Losers," visit Sun News, where you'll also find my review of Jennifer Lopez's "The Back-Up Plan." You can see more celebrity interviews from both films on ReelRave, too.

Morgan even makes us laugh at "Death"

2010-04-15T14:23:00.000-07:00

It's hard to upstage a roster that includes Martin Lawrence, Chris Rock and Zoe Saldana, but funnyman Tracy Morgan managed just that during a Sunday press conference to promote this Friday's opening of "Death at a Funeral."

In interrupting co-star James Marsden, who was calmly and shyly discussing his nudity in the film (from an accidental dose of hallucinogens), Morgan started with, "But you're built like an Adonis up there, man!

"Not this good, though," the "30 Rock" comic continued, then standing to pull up his shirt and patting on his round beer belly. "This is a mating call right here. I start slapping on this and they all come running."

After the gales of laughter subsided, Morgan turned as serious as it might get for someone who plays a character forced to deal with a diarrhea-stricken old man (Danny Glover) and a gay little person (Peter Dinklage).

"For me, this whole panel is like a dream team," Morgan said. "These are my champions right here. When I'm with Martin and Chris, it's like I got my shirt. I'm on the team. I'm with Barkely and Jordan.

"I mean, I might not start; I might not never play. But I got my shirt. Part of my inspiration from the gate was Chris and Martin, so actually getting here and sharing space with these guys in a movie is for real now."

Naturally, while he was on a basketball-like riff, Morgan couldn't resist going off on grumpy co-star Uncle Russell (Glover, who was not at the press confab).

"In the movie, they made Danny Glover (left) look like an old power forward," Morgan said. "From Milwaukee or somethin'. That had just fouled out, with his knees wrapped up. With the old short shorts on. And, when he goes up for a rebound, half his ass cheek is exploding out and his scrotum is stickin' out the bottom.'

I won't even attempt to describe Morgan's description of Russell/Glover's diarrhea moments. Just use your imagination.

More on "Death at a Funeral," including some funny words from producer/star Chris Rock, as well as my review, should be up right now at Sun News. That's where you also can find my review of "The Joneses."

‘Hubble’ astronaut knows how to stay grounded, too

2010-03-25T14:35:00.000-07:00

WASHINGTON, D.C. — It’s doubtful that many at the National Space and Air Museum here, with its massive five-story screen inside the Lockheed Martin IMAX Theater, were not impressed by “Hubble 3D.” Narrated by Leonardo DiCaprio, this seventh film from the award-winning IMAX Space Team, “captained” on Earth by director/producer Toni Myers, provides insight on the Hubble space telescope that, Myers declares, “has changed the way we see the universe.”
Yet, this visually overwhelming chronicling of the NASA Space Shuttle Atlantis’s journey to repair and update the massive viewing device didn’t have the same impact in all corners. Consider the impression made upon the teen children of Dr. Michael Massimino, one of the astronauts aboard for the STS-125 mission.
It landed, if you will, when the outgoing Massimino — born and raised in Franklin Square, N.Y., with an accent reflective of the Queens end of Long Island — took the kids to a recent IMAX 3D screening of “Avatar.” By chance, Massimino recalls during interviews at the Mandarin Oriental Hotel, that the theater’s selection of previews included a teaser for dear old Dad’s “Hubble 3D” adventure.
“The first thing I hear,” Massimino tells JMuvies.com correspondent Stan Urankar, “is, ‘OK, Dad, real nice. You paid them to show that, right?’ I swear to them, up and down, that it’s pure coincidence, but they’re looking at me, kind of like they still weren’t buying it.
“Well, the preview goes and on, and I can see they’re getting more and more interested. I’m telling you, the way that 3D looks is just amazing, so I can understand it. Then, here comes the announcer saying that the movie is narrated by Leonardo DiCaprio.”
Massimino turned and found himself under his daughter’s wide-eyed gaze. “She looks at me and says, ‘Wow, Dad! That’s amazing. You mean, Leonardo DiCaprio is going to say our name?’ ”

For video interviews with Massimino and four of his fellow astronauts from "Hubble 3D," scroll through the "new movie interviews" section at ReelRave.com .

Meanwhile you can read my most recent reviews, including "The Yellow Handkerchief," "A Prophet," "Greenberg," "Repo Men" and "Saint John of Las Vegas," right now at Sun News and or ReelRave.

Awards drama finally ends Sunday night

2010-03-03T13:34:00.000-08:00

HOLLYWOOD -- Look for “Avatar” to clean up in the technical categories, but does the highest grossing film of all time still have enough flight left in it to win Best Picture at Sunday night’s 82nd annual Academy Awards ceremony?
Consensus out here is split, since “The Hurt Locker” – critically acclaimed but barely seen – has been collecting recent “best” hardware from bellwether voters in the Producers, Writers and Directors guilds, to name just a few. (Of course, there’s also the e-mail adventure that resulted in one of its producers getting banned from the Big Show.)
A little extra suspense is added this year anyway with 10 movies nominated in the top category. Better -- or maybe worse yet -- a complex new ballot procedure may confuse voters, who were asked to rank nominees from 1 to 10 for the first time, too.
Some argue that the intricacies of the officially called “single transferable vote” -- which we won’t get into here – easily could make it possible for “Inglorious Basterds” and even a darkhorse such as “An Education” to move into the competitive mix. It has been reported that the traditional voting was changed so the victorious film would be assured to win with more than a conceivable 11 percent (of the final total) in a 10-film field.
Regardless, even with Best Picture still a bit of a guessing game, the four acting Oscars likely will follow the leaders in every glitzy competition since the Broadcast Film Critics Association officially started this awards season by handing out their Critics Choice trophies way back on Jan. 15. And, it says here, the Oscars will go to:
Best Picture – “The Hurt Locker” (and justifiably so); Best Director – Kathryn Bigelow, “The Hurt Locker” (“Avatar” helmer James Cameron will smile politely at his ex-wife’s win from the appreciative audience).
Best Actor – Jeff Bridges (shown above), “Crazy Heart” (take it to the bank); Best Actress – Sandra Bullock (at right), “The Blind Side” (only Meryl Streep might stop her, but Streep’s “Julie & Julia” is not a Best Picture nominee and Bullock’s movie is).
Best Supporting Actor -- Christoph Waltz, “Inglorious Basterds” (with a performance running the gamut from frightening to comical); Supporting Actress – Mo’Nique, “Precious” (followed by another very emotional acceptance speech).
Best Original Screenplay -- Mark Boal, “The Hurt Locker” (though I’d love to see the Coen Brothers sneak in with “A Serious Man”); Adapted Screenplay – Jason Reitman, Sheldon Turner, “Up in the Air” (the lone likely win for a film that peaked much too soon).
Best Animated Feature – “Up” (and away from the rest of the field); Best Documentary Feature – “The Cove” (in a very weak year for docs).
Best Score – Michael Giacchino, “Up” (though Hans Zimmer certainly deserves something for the zing he brought to “Sherlock Holmes”); Best Original Song – “The Weary Kind,” Ryan Bingham, “Crazy Heart” (and what’s going on with this mostly tone-deaf category the last few years?)
Best Foreign Language Film – “A Prophet” (please just remember I never claimed to be one, particularly in this anything-goes group).
(Check out Awards Daily for a complete ballot.)

Movies get "Easier" for "Hurt Locker" star

2010-02-24T14:00:00.000-08:00

While "The Hurt Locker" continues to grab hardware on its march toward Academy Awards night, one of its main players finally has another film to show for his efforts.

Brian Geraghty, a supporting actor in movies such as "Bobby" and "We Are Marshall," actually carries "Easier With Practice" as a short-story writer obsessed with talking sex on his cell to the silky-voiced Nicole. Hey, maybe she'll even actually be the love of his life someday.

Seriously, it's not as bizarre as it sounds, and the twist ending becomes a moving little episode in human relationships, too.

"As soon as I met Brian (above front with co-star Kel O'Neill) I knew he’d be right," writer-director Kyle Patrick Alvarex said in an Alt Film Guide interview. "It was just a gut instinct. I’d really liked his performance in 'Jarhead,' and he just has this great knack for playing sincere and likable characters. I could’ve never known how committed and amazing he would be to work with. I can’t imagine this film without him."

Alvarez later mentioned how Geraghty was able to bare it all -- "figuratively speaking" -- to throw off his character's mostly shy shell to really, uh, get into the provocative phone talk.
"I think, since it was always there in the script, any actor would’ve had to be prepared for it," Alvarez concluded. "Funny enough, (the first telephone call) was the scene Brian and I talked the least about, probably just out of general uncomfortability. We never rehearsed it. He told me he was OK and set with it, so I trusted him. We shot it in our third week, so I think we were all pretty comfortable with each other, which helped, but there’s no way around it: it can be really uncomfortable."
The little indie film opens Friday in Los Angeles and New York and likely will expand as and if business dictates.

Meanwhile, "The White Ribbon" Oscar-nominated for Best Foreign Language Film, opens in Cleveland this week. Read my review now at Sun News.

Just ask Julia for help on "Valentine's Day"

2010-02-09T13:08:00.000-08:00

Julia Roberts plays a soldier in "Valentine's Day" but may have established a career as a real-life Cupid during a recent press conference to promote the Garry Marshall film.

One foreign-born print journo started the ball rolling by asking: "Julia, I'm the same age as you and Valentine's Day is coming up. . ."
"Yeah 35; make it look good," Roberts interrupted with an age joke (she's really 42) before the question continued:
"My boyfriend keeps saying I'm a bad planner. Could you give me a tip? How can I make him make me happy on Valentine's Day?"
"Wow! This is, uh, yeah, can we at least dim the lights?" the surprised Roberts began. "OK, wait a minute. Are you asking me how to cook something, or, uh. . .

"Well, let's start with this. How long have you been together? Really, let's break it down. How long have you been with your boyfriend?"

"Two years."

"And," Roberts continued, "you have sex with him?"
"Off the record?" the seemingly unflustered questioner responded.
"Well, let's just talk to your (fellow writer) friends about that," Roberts said. "I can't help you now. You're the one that brought it up. You opened Pandora's Box, Pandora. Now, you want him to make you happy? Where's the problem? Because we can fix this."
The woman repeated: "He keeps saying that I'm a bad planner."
"Oh yeah, you're a bad planner. OK then. He's a little different," Roberts said. "Well, you know what? Make a nice dinner reservation. Now. Because that's the biggest night out of the year.

"And that comes from someone who's the former hostess at Fryman's Seafood Bar and Grill. Seriously, make a nice dinner reservation and have a nice glass of wine and then go home and, you know, take your top off.

"I think it's a recipe for success," Roberts concluded. "Wouldn't you agree, Bradley Cooper?"
"Absolutely," quickly added Cooper, one of many other co-stars watching and listening to Roberts' advice to the lovelorn. "And then your bottom."

Later on, Roberts suggested that love truly might be addictive:

"It is a drug, isn't it? Love and that feeling, what it does to make us all tingly inside and crazy. Right? It's a drug. So yeah, find that pusher that makes it work."

While you're looking, see what the huge cast of "Valentine's Day" has to say about life and love in Thursday's Sun News. Look for my review, too, along with my other new review of "The Private Lives of Pippa Lee."

Dear John: Don't wait for Amanda to write

2010-02-02T13:07:00.000-08:00

Despite the story in the Nicolas Sparks-based "Dear John," young starlet Amanda Seyfried admits that she does not write many letters to her own faraway love these days.

"No, we don't write each other much, but we Skyped about 20 minutes ago," Seyfried said during a recent Sunday morning sitdown at the L.A. Four Seasons. "Really, it's funny. I think this movie might prompt a comeback in letter-writing. And it is a very romantic effort."

Of course, the skyped face on Amanda's computer belongs to Brit Dominic Cooper, her co-star in "Mamma Mia!"

"It's OK (to talk about it)," she says with a broad and pretty smile. "We started an overseas relationship about a year ago. I am in London a lot, but it's also why (living in) New York is so much easier (than Los Angeles).

"It's nice to be closer, even though it's still a long flight. Eleven hours is so much different than seven."

Meanwhile, Seyfried's "Dear John" buddy, Channing Tatum, is -- since last July 11 --enjoying married life with Jenna Dewan, the dancer/actress he met on "Step Up."

"There was definitely (something there)," Tatum recalls. "We knew something.

"I just had gotten out of a three-year relationship and I was not in any way, shape or form ready to get into another one. Now, here we are. Four and a half/five years later, we're married."

For more about "Dear John," including my review, check out Thursday's Sun News, where you'll also find my review of "The Maid."

'The Hurt Locker" is latest Critics Choice winner

2010-01-16T09:55:00.000-08:00

The 15th Annual Critics' Choice Awards were handed out last night (Friday) to honor the finest achievements in 2009 filmmaking.

BEST PICTURE
Winner: The Hurt Locker
Nominees:• Avatar• An Education• The Hurt Locker • Inglourious Basterds• Invictus• Nine• Precious• A Serious Man • Up• Up In The Air
BEST ACTOR
Winner: Jeff Bridges - Crazy Heart
Nominees:• Jeff Bridges - Crazy Heart • George Clooney - Up In The Air • Colin Firth - A Single Man• Morgan Freeman - Invictus • Viggo Mortensen - The Road • Jeremy Renner - The Hurt Locker
BEST ACTRESS
Winner: TIE: Meryl Streep - Julie & Julia, and Sandra Bullock - The Blind Side
Nominees:• Emily Blunt - The Young Victoria • Sandra Bullock - The Blind Side • Carey Mulligan - An Education • Saoirse Ronan - The Lovely Bones • Gabourey Sidibe - Precious • Meryl Streep - Julie & Julia
BEST SUPPORTING ACTOR
Winner: Cristoph Waltz - Inglorious Basterds
Nominees:• Matt Damon - Invictus • Woody Harrelson - The Messenger • Christian McKay - Me And Orson Welles • Alfred Molina - An Education • Stanley Tucci - The Lovely Bones • Christoph Waltz - Inglourious Basterds
BEST SUPPORTING ACTRESS
Winner: Mo'Nique - Precious
Nominees:• Marion Cotillard - Nine • Vera Farmiga - Up In The Air • Anna Kendrick - Up In The Air • Mo’Nique - Precious • Julianne Moore - A Single Man • Samantha Morton - The Messenger
BEST YOUNG ACTOR/ACTRESS
Winner: Saoirse Ronan - The Lovely Bones
Nominees:• Jae Head - The Blind Side • Bailee Madison - Brothers• Max Records - Where The Wild Things Are • Saoirse Ronan - The Lovely Bones • Kodi Smit-McPhee - The Road
BEST ACTING ENSEMBLE
Winner: Inglorious Basterds
Nominees:• Inglourious Basterds • Nine • Precious • Star Trek • Up In The Air
BEST DIRECTING
Winner: Kathryn Bigelow - The Hurt Locker
Nominees:• Kathryn Bigelow - The Hurt Locker• James Cameron - Avatar • Lee Daniels - Precious • Clint Eastwood - Invictus • Jason Reitman - Up In The Air• Quentin Tarantino - Inglourious Basterds
BEST ORIGINAL SCREENPLAY
Winner: Quentin Tarantino - Inglourious Basterds
Nominees:• Mark Boal - The Hurt Locker • Joel Coen & Ethan Coen - A Serious Man • Scott Neustadter & Michael H. Weber - (500) Days Of Summer • Bob Peterson, Peter Docter - Up • Quentin Tarantino - Inglourious Basterds
BEST ADAPTED SCREENPLAY
Winner: Jason Reitman, Sheldon Turner - Up In The Air
Nominees:• Wes Anderson, Noah Baumbach - Fantastic Mr. Fox • Neill Blomkamp, Terri Tatchell - District 9 • Geoffrey Fletcher - Precious • Tom Ford, David Scearce - A Single Man • Nick Hornby - An Education • Jason Reitman, Sheldon Turner - Up In The Air
BEST CINEMATOGRAPHY
Winner: Avatar
Nominees:• The Hurt Locker• Nine • Avatar • The Lovely Bones• Inglourious Basterds
BEST ART DIRECTION
Winner: Avatar
Nominees:• A Single Man • Avatar • Nine • The Lovely Bones• Inglourious Basterds
BEST EDITING
Winner: Avatar
Nominees:• Up In The Air • Inglourious Basterds • The Hurt Locker • Avatar • Nine
BEST COSTUME DESIGN
Winner: The Young Victoria
Nominees:• Nine • Bright Star • The Young Victoria • Inglourious Basterds • Where The Wild Things Are
BEST MAKEUP
Winner: District 9
Nominees:• Avatar • District 9 • Nine • The Road • Star Trek
BEST VISUAL EFFECTS
Winner: Avatar
Nominees:• Avatar • District 9 • The Lovely Bones • Star Trek • 2012
BEST SOUND
Winner: Avatar
Nominees:• Avatar • District 9 • The Hurt Locker • Nine • Star Trek
BEST ANIMATED FEATURE
Winner: Up
Nominees:• Cloudy With A Chance Of Meatballs • Coraline • Fantastic Mr. Fox • Princess And The Frog • Up
BEST ACTION MOVIE
Winner: Avatar
Nominees:• Avatar • District 9 • The Hurt Locker • Inglourious Basterds • Star Trek
BEST COMEDY
Winner: The Hangover
Nominees:• (500) Days Of Summer • The Hangover • It’s Complicated • The Proposal • Zombieland
BEST PICTURE MADE FOR TELEVISION
Winner: Greg Gardems
Nominees:• Gifted Hands • Grey Gardens • Into The Storm • Taking Chance
BEST FOREIGN LANGUAGE FILM
Winner: Broken Embraces
Nominees:• Broken Embraces• Coco Before Chanel • Red Cliff• Sin Nombre • The White Ribbon
BEST DOCUMENTARY FEATURE
Winner: The Cove
Nominees:• Anvil • Capitalism: A Love Story • The Cove • Food, Inc.• Michael Jackson’s This Is It
BEST SONG
Winner: "The Weary Kind" - Ryan Bingham and T Bone Burnett - Crazy Heart
Nominees:• "All Is Love" - Karen O, Nick Zinner - Where The Wild Things Are• "Almost There" - Randy Newman - The Princess And The Frog • "Cinema Italiano" - Maury Yeston - Nine • "(I Want To) Come Home" - Paul McCartney - Everybody’s Fine • "The Weary Kind" - Ryan Bingham and T Bone Burnett - Crazy Heart
BEST SCORE
Winner: Michael Giacchino - Up
Nominees:• Michael Giacchino - Up • Marvin Hamlisch - The Informant! • Randy Newman - The Princess and the Frog • Karen O, Carter Burwell - Where The Wild Things Are • Hans Zimmer - Sherlock Holmes

"Basterds," "Nine" early Critics darlings

2009-12-15T11:11:00.001-08:00

The Broadcast Film Critics Association (BFCA) has announced the nominees for the 15th Annual Critics' Choice Movie Awards. The winners will be announced at the Critics' Choice Movie Awards live at 9 p.m. Friday, Jan.15. This year's event will take place at the Hollywood Palladium and will be hosted by Kristin Chenoweth. For the third year in a row, VH1 will broadcast the gala live on the network.
"Inglourious Basterds" and "Nine" each received an unprecedented 10 nominations. "Basterds" (above) garnered nods for Best Picture, Best Supporting Actor, Best Ensemble, Best Director, Best Original Screenplay, Best Cinematography, Best Art Direction, Best Editing, Best Costume Design and Best Action Movie. "Nine" received nominations for Best Picture, Best Supporting Actress, Best Ensemble, Best Cinematography, Best Art Direction, Best Editing, Best Costume Design, Best Makeup, Best Sound and Best Song.
Following close behind with nine nominations is James Cameron's "Avatar," along with "Up in the Air" and "The Hurt Locker" each receiving eight nods. Fifteen-year-old Saoirse Ronan earned noms in both the Best Actress and Best Young Actor/Actress categories, among the six nominations for "The Lovely Bones." "Up" received nominations for Best Picture and Best Animated Feature and, this year, three of the Best Action Movie nominees are also up for Best Picture -- "Avatar," "Inglourious Basterds" and "The Hurt Locker."
The 15th Annual Critics' Choice Movie Awards also marks the addition of seven new award categories: Best Cinematography, Best Art Direction, Best Editing, Best Costume Design, Best Visual Effects, Best Make up, and Best Sound. Additionally, the BFCA has returned to separating the screenwriting category into Original Screenplay and Adapted Screenplay.

"The expansion of categories from 17 to 25 has given the members of the BFCA the opportunity to fully express our critical acumen," noted BFCA President Joey Berlin. "Most members watch hundreds of movies each year and report back to millions of moviegoers each week. We are proud of our role in helping audiences find the best movies - culminating in the Critics' Choice Movie Awards in January."
The 235 members of the BFCA, the largest film critics' organization in the United States and Canada, representing television, radio and online critics, selected nominees in each of 25 categories. The very first opinion a moviegoer hears about new releases at the multiplex or the art house usually comes from one of its members. The awards are bestowed annually to honor the finest in cinematic achievement. Eligible films were released in 2009. The accounting firm of Gregory A. Mogab tallied the written ballots. Historically, the Critics' Choice Movie Awards are the most accurate predictor of the Academy Award nominations.

15TH ANNUAL CRITICS' CHOICE MOVIE AWARDS NOMINEES
BEST PICTURE: Avatar, An Education, The Hurt Locker, Inglourious Basterds, Invictus, Nine, Precious, A Serious Man, Up, Up In The Air
BEST ACTOR: Jeff Bridges - "Crazy Heart, "George Clooney - "Up In The Air," Colin Firth - "A Single Man," Morgan Freeman - "Invictus," Viggo Mortensen - "The Road," Jeremy Renner - "The Hurt Locker"
BEST ACTRESS: Emily Blunt - "The Young Victoria, "Sandra Bullock - "The Blind Side." Carey Mulligan - "An Education, "Saoirse Ronan - "The Lovely Bones," Gabourey Sidibe - "Precious," Meryl Streep - "Julie & Julia"
BEST SUPPORTING ACTOR: Matt Damon - "Invictus," Woody Harrelson - "The Messenger," Christian McKay - "Me And Orson Welles," Alfred Molina - "An Education," Stanley Tucci - "The Lovely Bones," Christoph Waltz - "Inglourious Basterds"
BEST SUPPORTING ACTRESS: Marion Cotillard - "Nine," Vera Farmiga - "Up In The Air," Anna Kendrick - "Up In The Air," Mo'Nique - "Precious," Julianne Moore (left) - "A Single Man," Samantha Morton - "The Messenger"
BEST YOUNG ACTOR/ACTRESS: Jae Head - "The Blind Side," Bailee Madison - "Brothers," Max Records - "Where The Wild Things Are," Saoirse Ronan - "The Lovely Bones," Kodi Smit-McPhee (right) - "The Road"
BEST ACTING ENSEMBLE: Inglourious Basterds, Nine, Precious, Star Trek, Up In The Air
BEST DIRECTING: Kathryn Bigelow - "The Hurt Locker," James Cameron - "Avatar," Lee Daniels - "Precious," Clint Eastwood - "Invictus," Jason Reitman - "Up In The Air," Quentin Tarantino - "Inglourious Basterds"
BEST ORIGINAL SCREENPLAY: Mark Boal - "The Hurt Locker," Joel Coen & Ethan Coen - "A Serious Man," Scott Neustadter & Michael H. Weber - "(500) Days Of Summer," Bob Peterson, Peter Docter - "Up," Quentin Tarantino - "Inglourious Basterds"
BEST ADAPTED SCREENPLAY: Wes Anderson, Noah Baumbach - "Fantastic Mr. Fox," Neill Blomkamp, Terri Tatchell - "District 9," Geoffrey Fletcher - "Precious," Tom Ford, David Scearce - "A Single Man," Nick Hornby - "An Education," Jason Reitman, Sheldon Turner - "Up In The Air"
BEST CINEMATOGRAPHY: Barry Ackroyd - "The Hurt Locker," Dion Beebe - "Nine," Mauro Fiore - "Avatar," Andrew Lesnie - "The Lovely Bones," Robert Richardson - "Inglourious Basterds"
BEST ART DIRECTION: Dan Bishop - "A Single Man," Rick Carter, Robert Stromberg - "Avatar," John Myhre, Gordon Sim - "Nine," Naomi Shohan, George De Titta, Jr. - "The Lovely Bones," David Wasco, Sandy Reynolds Wasco - "Inglourious Basterds"
BEST EDITING: Dana E. Glauberman - "Up In The Air," Sally Menke - "Inglourious Basterds," Bob Murawski, Chris Innis - "The Hurt Locker," Stephen Rivkin, John Refoua, James Cameron - "Avatar," Claire Simpson, Wyatt Smith - "Nine"
BEST COSTUME DESIGN: Colleen Atwood - "Nine," Janet Patterson - "Bright Star," Sandy Powell - "The Young Victoria," Anna Sheppard - "Inglourious Basterds," Casey Storm - "Where The Wild Things Are"
BEST MAKEUP : Avatar (left), District 9, Nine, The Road, Star Trek
BEST VISUAL EFFECTS: Avatar, District 9, The Lovely Bones, Star Trek, 2012
BEST SOUND: Avatar, District 9, The Hurt Locker, Nine, Star Trek
BEST ANIMATED FEATURE: Cloudy With A Chance Of Meatballs, Coraline, Fantastic Mr. Fox, Princess And The Frog, Up
BEST ACTION MOVIE: Avatar, District 9, The Hurt Locker, Inglourious Basterds, Star Trek
BEST COMEDY: (500) Days Of Summer, The Hangover, It's Complicated, The Proposal, Zombieland
BEST PICTURE MADE FOR TV: Gifted Hands, Grey Gardens, Into The Storm, Taking Chance
BEST FOREIGN LANGUAGE FILM: Broken Embraces, Coco Before Chane, lRed Cliff, Sin Nombre, The White Ribbon
BEST DOCUMENTARY FEATURE: Anvil, Capitalism: A Love Story, The Cove, Food, Inc., Michael Jackson's This Is It
BEST SONG: "All Is Love" - Karen O, Nick Zinner - "Where The Wild Things Are"; "Almost There" - Randy Newman , "The Princess And The Frog"; "Cinema Italiano" - Maury Yeston - "Nine"; "(I Want To) Come Home" - Paul McCartney - "Everybody's Fine"; "The Weary Kind" - T Bone Burnett, Ryan Bingham - "Crazy Heart"
BEST SCORE: Michael Giacchino - "Up"; Marvin Hamlisch - "The Informant!"; Randy Newman - "The Princess and the Frog"; Karen O, Carter Burwell - "Where The Wild Things Are"; Hans Zimmer - "Sherlock Holmes"

"Invictus" spurs Eastwood to ninth decade

2009-12-09T13:12:00.000-08:00

Even approaching age 80 (on May 31) Clint Eastwood continues to grow as a filmmaker and, apparently, as a person, too.

Although the twice Oscar-winning director did not talk to many members of the print press about "Invictus," his stirring tribute to a pivotal moment in the presidency of South African freedom fighter Nelson Mandela, producing partner Rob Lorenz did tell me why the former "Man with No Name" in those famous spaghetti westerns showed such a keen interest in making the film.

"Morgan Freeman (who plays Mandela) called (Clint) up and told him he had this great script; we both read it; and it was just so different than everything else that we had been getting," Lorenz explained. "It's just so powerful that both of us said, 'How can we not make this movie?'

"It's just a good, thoughtful, inspiring movie that we both wanted to make. With all the projects Clint chooses from these days, he's looking for things that he can learn something from or, better yet, that he can grow from."

Even though "Invictus" details how a grand leader such as Mandela can inspire real leadership in so-called regular people, it's easy to believe that Eastwood has learned his own lessons about assembling a team simply by letting them lead the way to bigger and better things.

Certainly, the folks on his moviemaking sets have picked up a few pointers from their boss over the years, as "Invictus" co-star Matt Damon discovered.
"Clint simply has this top-flight crew," begins Damon, who plays rugby star Francois Pienaar in Eastwood's spirited film. "And that includes every key and every person working under that key for every department.

"If you need something, it's given to you. If a key of a department says, 'I need that,' or 'I'd like a jib arm for this or a techno-crane,' it shows up," Damon adds. "It's just a very easy thing. Under Clint's real leadership,we've been entrusted to do our jobs."

Already, of course, "Invictus" is picking up some very early steam for awards season. The National Board of Review has named Eastwood the year's best director and Freeman, who tied for the honor with George Clooney ("Up in the Air"), its best actor.
Naturally, that inspired a quip from Damon about his old pal Clooney: "Obviously, I just think it's scandalous that Morgan has to share that NBR thing with George."
Look for more from Damon and Morgan Freeman right now at Sun News, where you'll also find my reviews of "Invictus" and "The Damned United," which keys on another game, the sport of soccer -- the English way.

Remakes spark December holiday start

2009-12-02T12:59:00.001-08:00

Tobey Maguire says he lost "around 20 pounds" to play the tortured returning POW in "Brothers."

"I lost five pounds," adds Director Jim Sheridan, whose Irish whimsy belies the serious nature of his films.

"Brothers," adapted by Davi d Benioff from the 2004 Danish original from Susanne Bier, is one of two remakes of foreign films opening just about everywhere Friday to get a jump on the upcoming crowded holiday field. The other, also a relatively small feature with a notable cast, is "Everybody's Fine," directed by Kirk Jones, whose whimsically Irish "Waking Ned Devine" jumpstarted his career
Jones based his own current screenplay on Giuseppe Tornatiore's 1990 “Stanno Tutti Bene,” and landed Robert De Niro for the lead role of the wandering widowed father originally played by Marcello Mastroianni.

"Kirk and I (together above), we had a meeting and he told me the story and he told me what it was based on," De Niro explains during a recent press conference. "And, he had photos of the whole project, the traveling across the country, and I was impressed with how passionate he was. I could see that he just was special and he doesn't do movies often. This will have been his third.

"And. so, that informed for me that he cares so much obviously. So then I saw the original and then I saw his other two movies and then I read the script. And then we just decided when to do it."

De Niro's "kids" on film include Drew Barrymore, Kate Beckinsale and Sam Rockwell, all looking for ways to please their proud, if mostly uncommunicative dad -- in life and in their chosen professions.

"My own father was pretty easy on me about what I wanted to do, be an actor and stuff like that," De Niro says. "My grandfather (was) more strict and more old-school, old-time Italian. My impression of my father certainly was he came from that to New York City to get away from certain things and raised me kind of easily.

"I have five children and two grandchildren and I try not to be too strict with them because certain things they have to do. But, at the same time, I don't want them to get away with anything. I think, in general, it works pretty good"

In "Brothers," Maguire shares top billing with Natalie Portman, as his sturdy wife, and Jake Gylenhaal (with Maguire below), as the family black sheep who kind of steps up when his brother is presumed dead in Afghanistan.
"I felt really fortunate that I had the opportunity to do this with these folks," Maguire says during another press confab." I was definitely excited at the challenge. Mostly, I was attracted to the subject matter and to do something that could shine a light on something and hopefully start a conversation about something that's probably not talked about as much as we should talk about it.
"To lose the 20 pounds was challenging," Maguire concludes, "but I went from about 156 pounds to 136 in five weeks. I've had to do it before, actually, and it's not the most fun thing to do."
Meanwhile, the biggest challenge for good guy Sheridan (below, right) likely came in trying to figure out a funny thing to say about remaking Bier's well-received original.

"I was really in this position like a doctor," he says, "where you don't want to do anymore damage than you can.

"And, I did have a joke about the (original) movie. I said it made about $200K or $300K at the American box office and, if the critics would've ever paid in, it would've made about $500 million. Like, every critic saw it."
My reviews of both "Brothers" and "Everybody's Fine" will be online Friday at Sun News.

"New Moon" brings rise to Lautner

2009-11-18T10:09:00.000-08:00

When -- not if -- "The Twilight Saga: New Moon" takes the expected huge bite out of box office receipts this weekend, then a new wolf in town likely can be credited with part of its success.

That would be Jacob Black -- as played by Taylor Lautner -- whose plenty of time on screen comes at the expense of Edward Cullen (Robert Pattinson), mostly separated from love Bella Swan (Kristen Stewart) for most of the sequel.

Buff, popular and leaving behind all that months-ago talk about not returning to his now firmly established Native American role, Lautner certainly deserves to be all smiles.

"I start laughing so hard every time I see that (sure-to-become fan friendly) scene (between Jacob and Bella): 'Oh, you're bleeding? OK, let me fix it.'

"It's so embarrassing. Yeah, I mean, here's the thing: There's a reason that (Jacob's) not wearing clothes all the time. One, when he transforms, all his clothes get shredded; he can't help it. And, when he goes into the woods to get something to put on so he's not naked, it's just a ripped pair of jean shorts.

"Of course, he's also hot -- he's 108 degrees. So, that's another reason.

"The thing is," Lautner concluded during a recent press conference, "I love this character, I love this story and putting on the weight, and not wearing much clothing was simply required by the role. A year from now, if I love a story and I love a character that requires me to lose 40 pounds, I'm ready to do that, too."

Not very likely, my boy, especially with the third and fourth chapters of the "Saga" ready and eager to unspool on screens for fan hordes of the Stephanie Meyers books during the next few years. Even co-star Stewart seems impressed.
"I think that controversy has probably been like made bigger than it was," she said. "We needed to be sure that whoever played Jacob was going to be Jacob in 'New Moon.' He's such a different person. He becomes a man. There's an entire (thing). It's not just a physical transformation. He really becomes an adult.
"I mean, I always knew that Taylor could do that, but we just needed to make sure because it was so important. So, once he actually proved himself -- which wasn't hard to do -- even seeing him walk around on set was like a different experience. He's literally become a different person.
"He's just grown up," Stewart added. "Taylor is so confident and the nicest guy that I've ever met. I know that I'm using this grammatically incorrect, but he's the funnest guy I've ever hung

out with. So, he's great. I'm so proud of him."

For more on what "New Moon" players have to say, look for my piece now at Sun News, where you also can read my review of the film. While browsing there, be sure to check out my review of "The Blind Side," as well as a chat with star Sandra Bullock.

The end is nigh; see it all at the movies

2009-11-11T08:56:00.000-08:00

Quite fittingly, "2012" begins on Friday, the 13th. What a lovely day to end the world.

Seriously, folks, the disaster movie about what could be in store for us all in a couple of years does debut this week, but a few of the film's princicpal messengers don't seem very concerned about the message.

"I can’t remember how to say the last word, ‘Return of Quetzalcoatl,’ but that book, I think, is probably more in line with what I think (about the Mayan prophecy for 2012)," explained headliner John Cusack. "I’ve actually read that book -- not all the way I have to admit -- thought it seemed more like I thought was going to happen, rather than the actual End of Days.

"I just think it taps into the paranoia all over the world about how out of control the world feels. It’s definitely all designed that way. Everybody sort of knows what all the problems are, with global warming and all of those things in the zeitgeist. This smartly doesn’t get into the politics of it. It just gets into the fact of what’s important to you, what matters, and that feeling you have (that) if something bad happens you try to cut through all the BS."

"It’s just something more to worry about," Chiwetel Ejifor piped in. "I will spend the year all kind of quietly I think, with family and friends, and hope for the best.

"No, I don’t have a real opinion about 2012," he added with a chuckle. "Like John says, maybe (there will be) a shift in consciousness or something like that; it feels like things are converging and something has to change. Maybe it will start around that time."

Even Amanda Peet, the self-proclaimed "hypochondriac" in the group, mostly brushed aside all possibilities.

"I worry a lot about a lot of things," she said, "but I’m going to try not to worry about it too much. That’s sort of my philosophy and that was my philosophy for the new millennium and everything else."

Of course, if the Apocalypse isn't big enough to handle, "Twlight" crazies are already dying to find out if werewolves can beat up vampires. Be sure to check out what some key members of the "New Moon" cast said about the second part of their screen "Saga" at Sun News. That's where you also can read my review of "Pirate Radio," as well as Stan Urankar's review of "2012."

It's a press jest fest for men in "Goats"

2009-11-04T10:42:00.000-08:00

Journalists covering the 34th annual Toronto International Film Festival stared and giggled -- a lot -- when George Clooney, Jeff Bridges and Ewan McGregor led a large contingent of cast and crew members talking about "The Men Who Stare at Goats."

The funny film, directed by Clooney pal Grant Heslov, finally goes into wide release this week, but laughs also flew freely during the TIFF press conference a few months back.

The banter began when someone asked Clooney about his bandaged hand (from a fling with a car door). "Well, I didn't really want to tell you the true story because Ewan and I got into a fight and I hurt my hand punching him in the face."

OK, then why, by George, did you make another military satire?

"I have done a couple of war satire films," Clooney answered, " 'Batman and Robin' obviously being the first. That was just wearing a rubber suit with nipples on it. That was a battle. It was a choice. I made that choice. I've done a couple of them over the years. I think that satire is a pretty fun world to work in and you get a chance to work with really smart people when you do it. Unfortunately, this is not the group of smart people.
"We thought this would be a slam-dunk, right up there with 'Transformers II' because it's big things with goats," the legitimate movie star continued. "Anytime you've got the word goat in it, you just think money.

"Honestly, there's a huge market for that. Obviously if you look at our careers in the last few years, we haven't focused too much on the economics of it. We try to make sure that one way or another (movies) make their money back so that we can keep making those same kinds of films. They loved it when we said we wanted to do 'Good Night, and Good Luck' in black and white. So, the next film is silent."
Bridges, meanwhile, in discussing a role very reminiscent of "The Dude" he played in "The Big Lebowski," kept the chuckles coming when someone asked if he believed in any of the paranormal elements that "Goats" chews on.
"What does paranormal mean again?" Bridges joked, right before Clooney chimed in with, "I knew he was going to say that."

McGregor got into the act, too, following some Bridges remarks about dolphin research.
"You were involved in the dolphin communication? How?" McGregor asked.
"Well, I actually am a dolphin," Brides responded, also throwing out a dolphin squeal that sounded pretty much like the real thing.
Added McGrevor: "Well, I went in an isolation tank once and I got a drip from the condensation in my eye and it burned like fuck. I panicked and I couldn't find the door. I got out the door and I slipped and really hurt my back. That was my only tranquil experience in an isolation tank."
"He made the same sound as a dolphin," butted in Clooney, naturally getting in the last word.

Who knows if "Goats" will squeal or whimper at the box office, but you can check out my review of the film right now at Sun News.

It took two to keep "Amelia" airborne

2009-10-28T13:35:00.000-07:00

You expect a biography of Amelia Earhart to take flight, for sure, but there’s more of a grounding by design in the story to “Amelia” being told on screens nationwide.

“It’s a challenge for all of us to keep our relationships as strong as they can be while at the same time indulging the passion to achieve what you want from life,” director Mira Nair (“Monsoon Wedding,” “Salaam Bombay!”) tells JMuvies.com correspondent Stan Urankar. “As much as this is a real adventure, a real journey of someone who wants to step into the cockpit and fly around the world, it’s also about Amelia negotiating her life and her love.”
That would specifically be with George P. Putnam, the publicist and soon-to-be book publisher who met Earhart in 1928, when recruiting her to fly across the Atlantic Ocean. When they wed three years later, it was with the understanding, in Earhart’s words, that they enter into a “partnership – one clearly with dual control.”
“George Putnam marketed Amelia better than anyone could have,” acknowledges two-time Oscar winner Hilary Swank, who plays Earhart to Richard Gere’s Putnam. “She was one of the first celebrities seriously to become involved with endorsing products and giving lectures.
“But, that was an integral part of her union with George,” Swank adds. “He would handle the promotional end, the business end, while Amelia would do what was necessary with the personal appearances. Ultimately, they found love through all of those things working to ensure she could continue to fly for the rest of her life.”

Find more on "Amelia," including Stan's review, at Sun News, where you also can read my reviews of "Michael Jackson's This Is It" and "Coco Before Chanel."

Coens look for "True Grit," seriously

2009-10-21T10:39:00.001-07:00

With "A Serious Man" gathering some equally serious critical momentum during an ongoing platform release, filmmaking brothers Joel (far left) and Ethan Coen admit to setting their sights on a surprising remake sometime down their extremely busy career roads.
JMuvies.com correspondent Ed Symkus reports that the unpredictable siblings will take on "True Grit," the film that earned (very) Big John Wayne his first and only Best Actor Oscar.
And, how will they make anyone forget "the Duke" in his rootin'-tootin' 1969 western? "Well, we managed to forget it," Ethan Coen answered with a rare twinkle during a recent press confab at the 34th annual Toronto International Film Festival.
Added Joel Coen: "It’s really not a very good movie. The Charles Portis novel is great, fantastic. I think (the original) is a pretty mediocre movie from a great book. So we’re gonna go and, who knows, fuck it up again, maybe."
Certainly that seems a highly unlikely proposition, especially since the Coens have a way of mastering almost everything they touch.
In fact, even their totally Yiddish prologue to "A Serious Man" brilliantly sets the stage for what, uh . . . well, brilliantly follows.
"We were reading a lot of (Isaac Bashevis) Singer, and he is from Poland," Joel Coen explained. "So, it’s probably more influenced by that Polish-Yiddish literary tradition. But, just getting the translation in that segment was a nightmare, in terms of all the different opinions and all the different Yiddishes.
"We don’t speak it ourselves," Ethan piped in, "and every single person we talked to said, 'This (translation) is bullshit. You got it wrong. This is horrible.' ”
"So," Joel continued, "we’d show it to someone else and say, 'Well, you do a translation.' Then we’d show it to the next guy, and he’d say, 'This is bullshit.'
"It was like that every time we asked someone to do a translation of the script. And finally, the one we used was translated by the younger actor (Allen Lewis Ricman) in the segment. We figured, “You’ve got to say it, so you translate it.” He’s a fluent Yiddish speaker, and that’s the translation we ended up going with.' "
"The actress in that scene (Elena Shmulenson) is actually his wife," Ethan Coen concluded. "and Fyvush Finkel – the Dybbuk – is his friend, and they all agreed, 'OK, this is fine, we’ll do this.' "
By the way, my review of "A Serious Man" is up now at Sun News, where you also can find my review of Chris Rock' s "Good Hair."

Going to the Max where the "Wild Things" are

2009-10-14T23:00:00.000-07:00

It’s no understatement to suggest that Max Records dove into his portrayal of Max, the feisty little boy who goes “Where the Wild Things Are.” The leading role for the 12-year-old newcomer in Spike Jonze’s adaptation of Maurice Sendak’s timeless book entailed getting inside the character — literally.
A climactic moment necessitates Max hiding within one of the Wild Things, the rational KW, life-animated by Alice Parkinson and voiced by Lauren Ambrose, late of cable HBO’s “Six Feet Under.” That’s right, within — as in Max scurrying into KW’s mouth and taking temporary refuge in her gooey insides.
Once safe, Max is pulled free by KW, covered head to toe in some less-than-desirable type of slop. “It was disgusting,” Records tells JMuvies.com correspondent Stan Urankar. “I had this awful gel spread all over me. It felt like . . . well, you don’t want to know.”
Then, once was enough, right? Not quite. “We did film it once,” Jonze says, barely holding in a chuckle, “but something was not right in the shot. I told him, ‘We’re going to have to go again.’
“At first, Max wouldn’t do it, simply said, ‘No,’ and that was that. It was only after I promised that he could spread the goop all over me afterward that he relented.”
True to his word, the almost-40 but eternally childlike Jonze made for Records’s room to pay up. “He was so happy and I was so miserable,” Jonze says, no longer suppressing laughter. “It was good retribution.”

Read more from Stan about "Wild Things, including his review, right now at Sun News, where also you can also read my review of "Law Abiding Citizen."

Drew gamely tries to "Whip It" into a hit

2009-10-07T09:46:00.001-07:00

Drew Barrymore hosts "Saturday Night Live" this week, looking to lure fans of the 35-year-old show into theaters still showing "Whip It," her directorial debut.

The former childhood star must have thought it would be easier than all this, since her well-reviewed film (a 79 rating from the Broadcast Film Critics Assn. and 82 from Rotten Tomatoes) looked like a cinch to be a huge hit after its buzz-inducing showings last month at the 34th annual Toronto International Film Festival.

Canadian press easily boasted photos and talk of festival exploits from happy-go-lucky Barrymore and a cast that includes Ellen Page, Eve, Juliette Lewis, "SNL" player Kristen Wiig and Oscar-winner Marcia Gay Harden. Then their roller derby movie opened last weekend to less than $5 million on a little more than 1,700 screens.

"I think that life is about love and laughter and your friends and, hopefully, trying to gain acceptance and support from your family along the way," Barrymore said during a TIFF press conference. "This (movie) was the perfect blueprint for me to put all of that into. It was just a magical sort of aligning of the stars, that these were all the things important to me and here's this story that I can put it on and have roller derby, which is such an interesting and unique backdrop, and so perfectly metaphorical to all those scenes.

Added Page, the film's legitimate star as a young lady-turned derby queen: "This script came along and just with the idea of it, before I got it, I was excited about the prospect of doing a film about a girl who's not being viciously forced into beauty pageants by any means but is doing something because it's very much her mother's interest. She wants to please her mother and have this connection with her.

"Then she finds this new world of roller derby that she falls in love with. Then I got the screenplay and it was incredibly sincere, and the relationships were real and wholehearted, and it didn't treat the teenager like a teenager in a patronizing way. She was a (real) person.

"Every time someone answers a question about the film," Page concluded, "I can't stop smiling because I just love everybody. I'm crazy about everybody."

But will "everybody" start showing up at theaters this weekend? Barrymore might still think so.

"I just tried to make a film that was really for so many people," the director/star said. "It's a mother/daughter love story and it's about family. I feel like my goal was to make this film from my heart, my personal experiences but (also) make it for everybody because, like derby, it's a very sort of welcoming environment whatever your ethnicity or economic background or age or personal experience."

Just roll, baby, roll!

No lie, Ricky's ready to go home for film

2009-09-30T13:08:00.000-07:00

Ricky Gervais talked mostly about "The Invention of Lying" when press assembled recently at the 34th Toronto International Film Festival. Still, he did mention something about dissing Thomas Wolfe and actually going home again.

No, he didn't. But, he and partner in comic capers Stephen Merchant (who enjoys a funny cameo in "Lying") are re-visiting smalltown England in their next film, "Cemetery Junction," which the Emmy-winning Gervais explained is now being edited.
"I suppose it's about sort of class. It's a romantic drama, I suppose, but it's funny," Gervais said. "I suppose it's a return to what we do best, me and Steve. It's about the minutia of human behavior and it's set in the early '70s with a group of twentysomethings and a small town mentality.

"One of the lines that inspired us is from (Bruce Springsteen's) 'Thunder Road': 'It's a town full of losers and they're looking to win.' So it's like our 'Saturday Night Fever' really."
The Emmy-winning creator/star of BBC's "The Office" and HBO's seriously funny "Extras" will co-star with fellow Brits Ralph Fiennes, Emily Watson, Matthew Goode and Felicity Jones. He again co-directs and co-writes with Merchant, who appears briefly.

"Everything you do is autobiographical," Gervais said, "I grew up in a town called Redding and I had older brothers and sisters and so it's all my memories of growing up. It's not a depressing, sort of gritty British movie about blue-collar, working class. It's quite a celebration of that. I have great memories of growing up in a working-class estate, and I remember it being sunny all the time. So we're putting that false vision, I'm sure, onscreen.

"We had to cast wide and new," Gervais concluded, "so it was four complete unknowns -- the kids, the twenty somethings -- because the terrible thing in England is that, if you interview 1,000 people, 500 of them will be talking like they're going into a soap or going into a Guy Ritchie movie. The other 500 will be Mr. Darcy one day.

"That's why we had we had to find cool, working-class kids with no profile who could be John Travolta and James Dean, things like that. It's a much smaller production."

"Cemetery Junction" will be released -- at least abroad -- in mid-2010. Meanwhile, "The Invention of Lying" opens Friday. Read my review right now at Sun News, where you also can learn what Gervais and co-stars Jennfier Garner and Rob Lowe have to say about their new romantic comedy.

Toronto closes with "Precious" Oscar forecast

2009-09-20T06:19:00.000-07:00

The 10 days of the 34th annual Toronto International Film Festival started in summer and ended in autumn (well, almost) by blessing "Precious, Based on the Nove l 'Push' by Sapphir e" with very strong Oscar buzz.
That is, the folks who pay to watch some 350 movies at the always terrific celebration, graced the film with its coveted People's Choice Award, won a year ago by "Slumdog Millionaire," which then, of course, swept the Academy Awards.
The latest recognition probably means that director Lee Daniels, newcomer and lead actress Gabourey Sidibi (above left, with Paula Patton) and supporting players Mo'nique and Mariah Carey have emerged as leading nominee contenders. But, they aren't alone.
In fact, as bleakly great and close to the top as it was, "Precious" was not not my favorite festival movie. In fact, if you want austere, "Blessed," a totally unbuzzed little Australian film about street kids and their moms, was right up there for me, too.
So were "Bad Lieutenant: Port of Call New Orleans" (with Nic Cage and Eva Mendes, right) and the immensely entertaining "A Serious Man." from writing/directing brothers Joel and Ethan Coen (with Michael Stuhlbarg, below).
The latter, an odd piece of movie shtick with a lot of kick, also seems capable of garnering some well-earned awards, though it's not exactly what anyone could call mainstream.
That said, as always, there were many good small festival films, too, such as the L.A. girl-gang drama, "Down for Life,” based on a very true story, and always-controversial Todd Solondz's "Life During Wartime," both a bright and sad experience.
Naturally, there were some disappointments. The biggest on the movie side came from usually splendid Ricky Gervais, who starred at TIFF last year in the very funny "Ghost Town."
This year, however, the first-time feature co-director (with co-writer Matthew Robinson) brought in only a so-so comedy, "The Invention of Lying."
Certainly we expected many more, longer laughs from the man who gave us "The Office" (TV's British original) and HBO's splendid "Extras."
Otherwise, the still-dormant economy took some energy out of the festival, which experienced more empty seats, smaller parties, only one really big film buy (Weinstein’s purchase of "A Single Man") and less general reverie, even during Toronto's record streak without rain.
Here's hoping it's all ancient history before next year's 35th get-together when TIFF moves into its splendid new digs, already known as the Bell Lightbox.
(Look for more on this year's festival Thursday at Sun News, where you also can find my review of Jane Campion's "Bright Star," another film coming out of Toronto.)

Oh, Canada, does U.S. know you make fine films?

2009-09-16T16:04:00.000-07:00

Sony Pictures just picked up worldwide rights to "Defendor," the Woody Harrelson/Kat Dennings superhero flick that premiered this week at the 34th Toronto International Film Festival. Regardless, it would not surprise anyone if the Canada-based spoof never hits big screens in the good 'ol USA.

Why? Because very few Canadian movies I've watched in 16 years of covering what locals readily call "TIFF," have translated into success in the States. Perhaps it's a matter of conflicting sensibilities, or maybe just too much studio control here. Whatever, only two of many very good ones produced up north readily come to mind as far as making enough noise here.

Certainly Denys Arcand's spellbinding "The Barbarian Invasions" (Les invasions barbares), the Best Foreign Film of 2003, is one. The other belongs to first-time director Sarah Polley for her 2007 screenplay-nominated "Away From Her." Of course, Julie Christie earned a well-deserved Best Actress nod for the film, too, but Canada legend Gordon Pinset was robbed of a nomination despite being the glue that held this memorable movie together.

All that said, this year's Toronto fest offers more than a few decent homeland films, with Atom Egoyan's kinky"Chloe" likely to cause some excitement everywhere. The extremely, uh, watchable film stars Amanda Seyfried (also festing with "Jennifer's Body") and the great Julianne Moore (who has two others at TIFF this year: "A Single Man" and "The Private Lives of Pippa Lee") in an intricate sexual experience that also involves Liam Neeson.

There's also a very clever comedy called "The Trotsky," starring a picture perfect Jay Baruchel ("Tropic Thunder") as a high-schooler who thinks he's the re-incarnation of the old Russian revolutionary with the title name.

The Montreal-based laugher probably would be my festival choice for Best Canadian Feature Film. However, unless some courageous studio actually decides to put its money behind a smart teen movie for a change, it won't find easy distribution here anytime soon.
A couple of Canadian documentaries might have better chances to find wider audiences. The 76-minute "Reel Injun" discusses treatment of Native actors with comments from the Hollywood likes of Clint Eastwood. And, speaking of different sensibilites, "Hugh Hefner: Playboy, Activist and Rebel" is chock full of insights on the active life of the infamous publisher at a lengthy 135 minutes.
We'll be back with a festival wrap, including naming our favorite films, this weekend.

In the meantime, check out Sun News and my reviews of "The Informant!" and "Cold Souls."

By George, Toronto certainly loves Clooney

2009-09-14T08:55:00.000-07:00

George Clooney may be one of "The Men Who Stare at Goats," but one helluva slew of Canadians stared back at him over the weekend. Smartly, with "Up in the Air" also premiering at the 34th Toronto International Film Festival, Clooney even brought the right words to different audiences.

Before his offbeat "Goats" enjoyed its premiere screening the other night, Clooney simply waltzed on stage with co-star Jeff Bridges, acting more like a comedy team than major movie stars. After an introduction by pal and director Grant Heslov, whose movie is a bizarre tale indeed, Clooney simply said, "There will be free drugs at the end of the evening -- and a barf bag."

Naturally, the corporate crowd attending the gala event at spacious Roy Thomson Hall just howled. I mean, festival-goers love everything the guy says.

The next night at raucous Ryerson (University) Hall -- where "Up" director Jason Reitman said "the real film fans reside" -- the Canadian filmmaker actually had to quiet the Clooney crazies so that a festival programmer could introduce his very entertaining film.

"Look, we gotta get this movie started," Reitman shouted sternly. "You guys sit down, OK?"

They did, the film rolled -- to wild cheers -- and then everyone stood up again afterwards to watch Reitman introduce his cast, saving Clooney for last with the words: "He's a generous, brilliant actor who thinks like a director. We all should hope to be as good as George Clooney."
In no time, the actor walked on stage with a microphone and mimicked a priest -- if not the Pope -- pretending to bless his now-frantic admirers with invisible Holy Water.

"Thank you all for coming to my intervention," Clooney said to ear-splitting noise.

Then came a brief question-answer session with one smart guy asking what just everyone had to be wondering: "Mr. Clooney, how do you relate to this character (a very successful businessman who constantly shies away from commitment and marriage)?"

The seemingly shocked actor responded: "That's it? That's the first question of the night? OK, same heart, same hair, thanks for asking."

Obviously extremely thrilled to have seen The Man, the masses soon filed out peacefully, only to face unusually heavy traffic -- whether walking or driving -- since local authorities closed streets and footpaths to avoid more public affection for Clooney.

Ryerson's fondness for Drew Barrymore, who showed off her directorial debut of "W hip It" in world premiere fashion Sunday night, also bordered on gushing.

The sweet, happy-go-lucky Barrymore soaked it all up, staying on stage for what seemed like forever. That said, most of her time came introducing her large cast, including "fierce"Marcia Gay Harden, "national treasure" Kristen Wiig, "important actress" Juliette Lewis and "heart and soul" Ellen Page.

By the way, counting the diminutive Barrymore, who plays a roller derby queen in her film alongside the tiny Page, skinny Wiig, and super-slender Lewis, the skating quartet certainly seemed incapable of throwing around what little weight they have in such a rough-and-tumble sport. Then the film unreeled and the crowd seemed to love it all, uh, lightweight though it may be.

Festival Pick of the Day: "A Single Man," from fashion designer-turned director/producer/co-writer Tom Ford, is played by a very sad and brilliant Colin Firth, grieving over the death of his longtime companion (Matthew Goode).

Firth already won Best Acting honors at last week's Venice Film Festival, and Julianne Moore seems destined for many supporting actress plaudits, too, in this elegantly shot, eloquently written film.

Fake "Informant" goes after gold -- sort of

2009-09-11T09:22:00.000-07:00

“I’m gonna just come right out and say it: The only reason I did this movie was for an Oscar nomination.” Sure Matt Damon was only kidding when he made that proclamation earlier today to open a Toronto Film Festival-based press conference for “The Informant!”
Still, mark it down, the kid from Boston will be on the final ballot when Academy Award nods are announced for Best Actor in February.
He’s certainly that good as a “doughy,” toupee-wearin’ con man with (Ravenna) Ohio roots. “I based my entire performance on watching Julia (Roberts) in ‘Erin Brockovich,’” Damon added with a broad smile in referring to what brought Best Actress hardware to Roberts in a similar, if infinitely more serious film from director Steven Soderbergh.
Just as in person, Damon is very funny in his latest role, obviously standing out in a cast of comics hired by the director to give the “true”story of corporate price fixing a much lighter tone.
Even the legendary Smothers Brothers make cameos.
“When I came up with this idea of using comedians, I just thought, ‘I gotta get the Smothers Brothers’,” Soderbergh told me at the end of the press confab. “Also, Tommy bore a resemblance, in the pictures I’ve seen, to Dwayne Andreas (one of the principals in the federal case on which the movie is based).
“Literally, when we called him, he said, ‘Do you guys have a part for Dick because I’m not sure I can do this without him?’
“So then I said, ‘Actually, we do. There’s this judge that he would be great for.’ I’m so proud that they’re in it, because I love them,” Soderbergh added.
Read more about “The Informant” (opening Sept. 18) and Damon -- who addresses gaining 30 pounds for the role, Internet rumors about his death, and what’s happening with the “Bourne” movies – in Thursday’s Sun News.
On the other hand, Soderbergh himself all but put the kibosh on any possibility of an “Ocean’s 14.”
“It was always three and out of the (franchise) mix for me anyway,” the director said, “but any possibility of another one certainly died when (“Ocean’s 11, 12, 13” standout) Bernie Mac did.”

Festival sleeper film of the day: “The Damned United,” another darn good true story, even if you’re not a huge fan of soccer, er, English “football.” As usual, Michael Sheen and, in particular, Timo thy Spall, turn in fine performances as coaches and friends.
Director Tom Hooper (of the magnificent “John Adams” miniseries) and screenwriter Peter Morgan (“The Queen”) get close to the top of their game once again, too.
More from Toronto – and perhaps from a few weekend parties – in a few days.

Meanwhile, read about Sheen’s ex-mate, Kate Becksinsale, right now at Sun News. There’s also my reviews of “My One and Only,” “Flame & Citron” and Beckinsale’s “Whiteout.”

That buzz "In the Air" emanates from Toronto

2009-09-08T18:11:00.000-07:00

With the 34th annual Toronto International Film Festival just two nights away, early reports from Canadian sources say "Up in the Air," the George Clooney starrer about the ultimate frequent flyer, is already generating big time discussion. "It's easily the most likely film to attract standing-room-only crowds at both its (opening weekend) public and press screenings," one wag told me.

That certainly makes sense, especially with the first two films ("Thank You for Smoking" and "Juno") from director Jason Reitman (yes, from that Canadian clan of Reitmans) becoming TIFF smashes in recent years.

Clooney, also showing off a military satire called "The Men Who Stare at Goats," will join upwards of 500 celebrities up north, including Chris Rock ("Good Hair"), Michael Caine ("Harry Brown"), Nicolas Cage ("Bad Lieutenant: Port of Call New Orleans"), Penelope Cruz (Pedro Almodovar's "Broken Embraces"), Ellen Page ("Whip It"), Megan Fox ("Jennifer's Body"), Matt Damon ("The Informant!"), Julianne Moore (Atom Egoyan's "Chloe") and husband/wife Paul Bettany and Jennifer Connelly (opening night's "Creation").

Producer Oprah Winfrey, whose "Precious, Based on the Nove l 'Push' by Sapphir e" comes just as devastatingly and powerfully advertised by way of its Sundance awards, is an expected guest. So are many of the film's stars, most notably Mariah Carey, barely recognizable as a social worker who helps the title character (played remarkably by newcomer Garbourey Sidibe, with "nurse" Lenny Kravitz at right) escape the nasty clutches of her big and abusive mom. Interestingly, Mo'Nique, a surefire Oscar nominee for her hateful performance in the latter role, will not attend.
Check back here for more in a few days, but if you might be reading this from Toronto -- or are on your way -- please seek out another bleak but terrifically moving little Australian film called "Blessed," featuring Frances O'Connor, Miranda Otto and Deborra-Lee Furness (aka Mrs. Hugh Jackman). You can thank me later with a Canadian brew, eh?

Taking pleasure is the motto for this "Woodstock"

2009-08-28T08:02:00.000-07:00

Elliot Tiber, author of the source material for “Taking Woodstock,” was a first-hand witness to those unforgettable “3 Days of Peace & Music” that were celebrated 40 years ago in Bethel, N.Y. Michael Lang, then a 25-year-old wunderkind on the concert scene, was there, too, along with an audience some 500,000 strong.
What about James Schamus, the Oscar-nominated screenwriter who has adapted Tiber’s book into the joyful film now on screens nationally? Well, the Detroit-born and L.A.-reared film historian (and chairman of Focus Features, the “art-house” arm of Universal Pictures that is the “Taking Woodstock” distributor) was too young – he turns 50 on Sept. 7 – but there were other issues.
“I was on ‘lockdown’ at that time,” Schamus laughingly tells JMUvies.com correspondent Stan Urankar. “It wasn’t because of anything I did, but our neighborhood around Mulholland Drive was being terrorized by what we came to find out was Charles Manson and his ‘family.’ My parents were convinced we were next, as were everybody else’s parents.”
Schamus (shown above with star Demetri Martin) used Tiber’s book as the grounding point, then worked with others such as Lang and Joel Rosenman – both depicted on film and still partners in the Michael Lang Organization, involved in event promotion and artist management – to fill in the gaps. “Amazingly,” Schamus says, “the only thing they all couldn’t fully agree on was who got to Max Yasgur first.” Yasgur has gained renown for granting rental of the alfalfa field on his 60-acre dairy farm for the concert site.
Schamus’s resolution: “On screen, I put them all there,” he says. “In a way, they all were.”
“Taking Woodstock” marks the eighth straight collaboration between a Schamus screenplay and director Ang Lee. (For the record: “The Wedding Banquet,” “Eat Drink Man Woman,” “The Ice Storm,” “Ride with the Devil,” “Crouching Tiger, Hidden Dragon,” “Hulk” and “Lust, Caution.”) “Believe me, that many with Ang is difficult work,” Schamus admits in a tone that flashes pride but can’t mask fatigue. “Plus, ‘Lust, Caution’ was really, really hard. Though it was a modest success here, it is considered a tremendous cultural milestone in Asia. Frankly, I think it’s his masterpiece.
“That said, it was time to change horses. I wanted a movie that expressed hope and reflected simple happiness. Think about it: You have action, you have comedy, you have adventure in film, but being happy? That’s not something that cinema really deals with very well.”
Schamus is high on the next two Focus releases. The apocalyptic computer-animated “9,” directed by Shane Acker and produced by Tim Burton, is set to open on “09-09-09, of course,” Schamus notes. October then brings the latest from brothers Joel and Ethan Coen, “A Serious Man,” a dark comedy set in the late 1960s. “I don’t even try to describe that film,” Schamus insists. “All I’ll say is I’m ridiculously excited about it.”
He also is one of many to have submitted an adaptation of the Ben Sherwood novel, “The Death and Life of Charlie St. Cloud.” The other-worldly drama, projected for next year, reunites “17 Again” star Zac Efron and director Burr Steers.
In the meantime, Schamus will run Focus while maintaining a faculty position at Columbia University, then sharing what time is left with his wife, author Nancy Kricorian, and their two daughters.

Read more from Stan about "Taking Woodstock" in the Sun News, where my reviews of "Shrink" and "Humpday" are also online.

“Post Grad” mom Jane Lynch now filled with “Glee”

2009-08-20T12:22:00.001-07:00

Jane Lynch certainly can relate to her daughter (Alexis Bledel) in the comic “Post Grad." In fact, just as Bledel’s Ryden Malby has to return to a rather eccentric family when her after-college plans go awry, Lynch left her East Coast acting search to go back home a few decades ago.
"After graduate school, I went to New York and remember always having this knot in my stomach, sometimes even doubling over in pain,” recalls Lynch, still perhaps best known for memorable roles in Christopher Guest’s very funny “Best in Show” and “A Mighty Wind.”
“Then, as soon as I made the decision to leave, the pain went away. At 24, I actually went back to my childhood bedroom in Chicago to a big banner that read, “Welcome Home, Janie,” complete with balloons, and I was so thrilled.”
Lynch, who was working steadily even before Guest featured her in his mockumentaries, explains a few reasons for enjoying her “Post Grad” gig.
“Carmella is a big softie – not to mention a harried mom -- trying to keep all the balls up in the air, and about four or five steps behind everyone at any given time,” Lynch says with a laugh. “I drew my inspiration from my sister, who’s actually always ahead of everyone else, but she’s constantly busy in her head and putting out fires all the time.
“It really worked out well with (movie husband) Michael Keaton, who played this guy with an agitated need to make something out of nothing and this constant optimism.
“Meanwhile,” Lynch continues, “Carmella was worried about everything and had to sort of walk on eggshells around his mother Maureen, Carol Burnett’s character. Of course, that was a dream, too.
“I grew up on television and always wanted to be on ‘The Carol Burnett Show,’ and I’m not kidding. And, whom did I get to work with in this movie? That was just mind-blowing. I thought I must have done something damn good in a past life to get this role.
“It’s like genuinely achieving your dream," Lynch says. “I rally wanted to be (Burnett TV regular) Vicki Lawrence and even sent her a fan letter. Vicki sent me a note back with a picture that said something like, ‘Just work hard, Jane, and be persistent.’ I remember the word persistent because I had to look it up.
“This whole ‘Post Grad’ experience was like closing a circle, and Carol was exactly like I thought she would be: open and genuine and she loved telling stories.”
Speaking of television, persistence could pay off again for Lynch this fall with her starring role on “Glee.” She’ll play a nasty cheerleader coach and nemesis to kids on the featured high school glee club.
“She’s kind of the inner mean girl of our writers, and they give me many delicious things to say,” said Lynch, who also remains on the summer big screen in “Julie & Julia” and as a voice in “Ice Age: Dawn of the Dinosaurs.” “It’s really nice to get to hang my hat somewhere," she concludes. “I think ("Glee") is going to inspire a rabid following (on Fox-TV, starting Sept. 9)."
For my Q&A with Alexis Bledel, as well as my reviews of “Post Grad” and “Adoration” check out this week's Sun News.

A writer’s journey turns into “Traveler’s” tale

2009-08-12T17:09:00.000-07:00

BruceJoel Rubin is sympathetic to the plight of the writer. Not just the screenwriter, but any writer. Consider the stance he takes on his movie adaptation of Audrey Niffenegger’s 2003 best seller, “The Time Traveler’s Wife,” opening Friday nationwide.
“I don’t know that Audrey has seen the film, and I don’t know that she would want to,” Rubin tells JMuvies.com correspondent Stan Urankar. “It cannot be easy for authors to see their work turned into a movie unless you put every line and every scene directly onto the screen.” In the case of Niffenegger’s debut novel, that would’ve entailed translating 546 pages. “Then,” Rubin adds, “it’d have to be a miniseries.”
Neither was Rubin’s path to penning the Eric Bana-Rachel McAdams romantic drama routine. “I actually got a copy of Audrey’s manuscript after I saw an item in Variety about the book being optioned (by the Brad Pitt-Jennifer Aniston Plan B Entertainment company, affiliated with New Line Pictures),” he remembers, “I read it and said to myself, ‘I have to write this movie.’ ”
Niffenegger’s book journeys along the unique relationship between Henry (Bana), a time traveler who drops in and out of moments in his life, and Clare (McAdams), the young woman he most frequently encounters. “I met with all the producers and begged to do the movie,” Rubin says. “I started working on it, imagining how it all would play out, and it was so exciting — and then another writer (Jeffrey Leven), who also was doing a big movie (“The Notebook”) at New Line at the time, got the job. It was totally devastating to me.”
Time-travel four years forward, when Rubin and wife Blanche are spending the Christmas holidays in Costa Rica. “My agent calls and says that ‘The Time Traveler’s Wife’ has a new director (Rober t Schwentke, “Flightplan”), and that he wants me to write it. Well, I’ve never had that experience in my life.” Rubin says he and Schwentke both envisioned a love story within a mild sci-fi arc. Four weeks later, Rubin’s script was delivered. “I just sat down and got into the writing, scene to scene, knowing exactly what it had to be. That does not happen very often.”
Don’t forget the final product, which Rubin acknowledges bears Schwentke’s imprint. “I had the privilege of adapting a wonderful book into a script I thought was worthy,” Rubin says, “and it got made into a movie that is still worthy. Though it is in some ways different, it retains the integrity of what I wrote, which is the most important thing to me.”
Rubin tried his hand at writing and directing once: “My Life,” a highly emotional journal of a husband/father’s final year before dying from cancer, starring Michael Keaton and Nicole Kidman. “I looked at it for the first time in what’s called an ‘assembly,’ where every scene is put in together,” Rubin (pictured below) remembers, “and I wanted to kill myself. I kept thinking, ‘How could you write something so horrible?’ Then, the director of photography, Peter James, turned to me and said, ‘OK, Bruce, now you make your movie,’ and he was right. It’s the images and the performances on the screen that become the movie, and you go from there.”
Rubin, 66, has stuck to writing since. “ ‘My Life’ was an OK movie that made me realize I was a mediocre director. It certainly alerted me to the fact that I was able to destroy my work as well as anybody else.” His focus now is toward the stage with a musical adaptation of “Ghost,” the 1990 Patrick Swayze-Demi Moore blockbuster that won Rubin an Academy Award for Best Original Screenplay (as well as Whoopi Goldberg for Best Supporting Actress). “I wrote 20 songs and about three remain,” Rubin says, deferring to the tuneful teaming of former Eurythmics front-man Dave Stewart and writer/producer Glen Ballard. “What I love about this is working in a medium where everyone has to come up and say, ‘Can I change a line?’ ”
By the way, Bruce, where do you keep the Oscar? “On the nightstand next to my bed,” he says, smiling. “I put it there when I came home and it’s been there ever since.”

Read more from Stan about “The Time Traveler’s Wife,” including his review, in Thursday’s Sun News. My reviews of “Ponyo,” “Paper Heart” and “In the Loop” should be there, too.

Is one "Summer" hit enough for good Joe?

2009-07-30T20:16:00.000-07:00

With one genuine hit in the warm-weather bag, perhaps Joseph Gordon-Levitt doesn’t want to jinx himself by talking about another.
Universally praised by critics and just about anyone who sees it, “(500) Days of Summer” likely will make the former “kid” on NBC’s “3rd Rock from the Sun” a legitimate romantic-comedy star.
Don’t ask the intensely private and professional Gordon-Levitt, though, whether “G.I. Joe: The Rise of Cobra” opening Aug. 7, will make him into an action hero, too. At least not just yet.
“Ah. well, that movie has nothing to do with reality,” he says, looking as uncomfortable as he sounds. “It's really just about being an archetype.”
Well, do you play a killer or a soldier, Joseph? “Ah, he’s just a future ruler of the world. It was fun, like playing with toys. It's like being a kid and playing.”
Obviously, the 28-year-old acting “veteran” is more naturally inclined to talk about the very smart “Summer,” still expanding on screens worldwide and featuring his terrific pairing with the funny Zooey Deschanel
"We've been friends for 10 years,” the outgoing Deschanel says, nodding toward her more reserved co-star. “We've even played music together -- a lot actually. Joe is a really great musician, both on drums and guitar.
“He also can do flips that you don't see in the film, but I know he can and it's insane. I mean, this man is insanely talented. It's true. Now, he's turning bright red.”
Gordon-Levitt simply smiled, as any strong, silent, heroic and romantic type might do.

For more on Joseph and Zooey, check out Sun News, where you currently can find my review of “Funny People.”

Emma Watson’s wish: that old college try

2009-07-23T15:51:00.000-07:00

Giving cinematic life to the “Harry Potter” book series has consumed most of the last 10 years for the young British actors who’ve grown up at the Hogwarts School of Witchcraft & Wizardry. As they near adulthood, most have their sights set on continuing in film . . . save for Emma Watson.
The 19-year-old beauty, who’s matured from spunky sprite to blossoming babe as Hermione Granger, has declared she’s taking time off to attend college – and right here in the good old U.S. of A. But where?

Watson’s still not confirming, or at least not to a room of inquisitive journalists that includes JMuvies.com correspondent Stan Urankar. (Internet rumors suggest Watson’s settled upon an Ivy League choice, with Brown, Yale and Columbia mentioned as leading candidates.)
The prospect of living with a complete stranger admittedly has Watson uneasy. “I am a little bit nervous at the idea,” she says, “but I figure if I’m going to do this experience, then I want to be treated like everyone else.”
Even if she’s sharing quarters with a “Potter”-phile of the highest order?

Watson winces slightly while managing a smile, but it’s Harry himself, Daniel Radcliffe, who breaks the ice. “I really hope you end up with the most massive Harry Potter fans,” Radcliffe declares, drawing a roar of laughter. “I hope that when you walk in, the first thing you see is your face on a doorway!”

FILM FINALE KEEPS CREATORS COMING BACK FOR MORE
Of course, Radcliffe, Watson, et al, are making time for the series finale, “Harry Potter and the Deathly Hallows,” now in production. For the few not in the know, they’re fashioning two films from J.K. Rowling’s seventh book.
“That wasn’t our original intention,” producer David Heyman admits, “but keep in mind that the direction that (screenwriter) Steve Kloves has taken really is to tell the story from Harry’s point of view, rather than simply translating the books. The seventh book is long in itself, but, more importantly, almost everything in it involves Harry.”

Heyman says it was at the suggestion of Kloves and, with agreement from director David Yates and Warner Bros., that the adventure wrap in two installments.
No word from Heyman, Yates nor Kloves on where the dividing point will be. “We have an idea,” Heyman acknowledges, “but I really don’t want to say what and then have it be something different.”

He does share that Kloves called back not long after the decision to do two films.

“Steve said, ‘You know, I’ve been looking at this again, and I really think we could do three.’ ” Heyman smiles, then adds, “And he was only half-joking.”

Even with young Mr. Potter still conjuring up satchels filled with box office receipts, there are some other magical films newly noted this week. Two of the season's best are "(500) Days of Summer" and "The Hurt Locker." Find my reviews and more at Sun News.

No magic needed for Gambon to cast his spell

2009-07-17T01:36:00.001-07:00

Sure, it’s those youngsters who command the attention of “Harry Potter” fans on screen, but it’s the crafty Michael Gambon, a.k.a. the revered Professor Albus Dumbledore, who works best before a crowded room of journalists.
Though fielding far fewer questions in a group setting at the Waldorf Astoria Hotel than the off-screen names attached to “Harry Potter and the Half-Blood Prince” – specifically director David Yates, screenwriter Steve Kloves, and producers David Barron and David Heryman – the 68-year-old Gambon was quick with his wit when called upon.
For example, off-camera camaraderie solidified this film’s increased bonding between mentor Dumbledore and student Harry (Daniel Radcliffe), Gambon tells the contingent that included JMUvies.com correspondent Stan Urankar. “We’d do a scene, then go outside and have a laugh,” Gambon says. “Then we’d do another, then go back out and laugh some more. It may sound a bit churlish, but we had to do that develop our relationship in order to achieve the harmony, the contact that was needed.”
More than one on the panel hints that Gambon and Radcliffe quickly found a common niche as grand storytellers. “They mean lies,” Gambon corrects, to the audience’s delight. “We both tell lies . . . well, at least, I know I do.”
How about the Buckingham Palace-like security that keeps Potter-phernalia from the Internet auction block? “My word, you can’t take anything off that set,” Gambon confesses. “Lord knows we’ve all tried. Everyone wants a wand, but you can’t get a wand out. You can’t get anything. Those prop men are like the border guard.”
If he could land a souvenir? Bet it’d be the long and flowing gown that Dumbledore wears. “I watched Richard Harris (his predecessor as Dumbledore) in the first two movies, and I could see that his costume was so heavy,” Gambon says, feigning a small gasp. “Mine is made of silk – very light, very easy to wear, on and off in a second. I’ll miss that.
“Oh, and I went to the wardrobe department in the early going and asked, ‘Do you think you could sew a bit of a pocket inside?’ ” Gambon’s eyes twinkle at the recollection. “Nice little hiding place for my cigarettes. Very clever – and very convenient.”
Stan’s review of “Potter VI,” as well as comments from all its fast-growing kids, are up now on the Sun News site, where you can read my review of “The Stoning of Soraya M.”

“Whatever Works”: ‘Blood,’ Broadway next for Wood

2009-07-09T08:03:00.000-07:00

Evan Rachel Wood, currently knocking ‘em dead as Southern ingénue to the Woody Allen/Larry David dirty ol’ man of the film, “Whatever Works,” has two more mediums to conquer.
The radiant 21-year-old appears imminently on the small screen in HBO’s effectively lurid “True Blood,” and then on stage in the potentially huge Broadway adaptation of “Spider-Man,” of all things.
“I'm doing a few episodes of ‘True Blood,’ playing a vampire queen, and I do love me some vampires,” Wood said during a round of interviews for her new Woody movie. ”Everything comes and goes in waves. But vampires, there's always a craze somehow. I've been waiting to play a vampire since I was 5. It's romantic.

“Then I'm playing Mary Jane (Watson) in ‘Spider-Man’ on Broadway (opposite a still unnamed webbed hero.) “That should be up and running in February.” said Wood, who wouldn’t or couldn’t expound. (The musical, co-written and directed by Tony winner Julie Taymor and featuring songs from U2’s Bono and The Edge, will co-star Alan Cumming as the Green Goblin/Norman Osborn.)

As for working with both her aging, four-eyed director and his similarly inclined alter ego on the big screen, Wood was less elusive.
“Larry David is just such an unlikable person,” she said with a chuckle “We simply got together and rehearsed. We made each other laugh and it was fun.
“'It’s innocent and sweet. I didn't think it was quite Lolita-esque, but I always compare it to ‘Harold and Maude’ more than anything. And, even that was more romantic. When else would I have a chance to be married to Larry David? So, it was cool. I enjoyed it.”

And the iconic Mr. Allen?
“It's unpredictable,” Wood concluded. “If he gets it in one take, it's done. If it's not, (the scene in the museum) was three takes. We were so sick (of it). My Southern accent's coming back just talking about it.

“My favorite comment from Woody was, ‘That was actually a lot funnier than I thought it was going to be.’ "

A current review of “Whatever Works” is up now at Sun News where you can look for my reviews of “Moon” and “Food, Inc,” too.

From French wigs to more "Hairspray" is her wish

2009-07-01T09:31:00.000-07:00

In "Cheri," Michelle Pfeiffer teams up again on screens this week with the folks that brought us "Dangerous Liaisons." Now she sets her sights on another reunion -- with the cast of "Hairspray."

"They keep talking about a 'Hairspray 2,' " she said recently. "I had heard the rumor and talked to (director) Adam Shankman, who said they were discussing it but that we'll wait and see what the script looks like when it comes in.

"I don't know if they're actually writing it now. I don't really know what's happening," Pfeiffer added about the possibility of reprising her meaty role as the catty Velma Von Tussle.

Of course, the blonde beauty is not really sure what's up with anything in Hollywood these days, including her own career.

"I hope to do a drama that nobody wants to make," Pfeiffer said with a laugh. "I don't want to say what it is (because) I don't want to jinx it. I don't know if it'll ever come together and it's not an older woman/younger man relationship."
Pfeiffer, a very electric 51, plays an aging courtesan (that's a fancy name for a classy hooker), carrying on with the much younger title character (played by Rupert Friend) in "Cheri."

"I think there's less work for everyone across the board (in film right now), less work for crew and less work for actors in general.

"I don't know what the statistics are," Pfeiffer concluded, "but it's something like, if you look at 10 or 15 years ago, a third of the movies are being made. It's some really shocking number and everyone is feeling it. It's like the rest of the world now, everyone is feeling the squeeze. It's tough."

My review of "Cheri" is available right now at Sun News, where you can also read why the team that made "Away We Go" thinks their romantic road comedy is so special.

Quirky will play big at 15th L.A. Film Festival

2009-06-16T16:29:00.000-07:00

If a few movies already screened for press types are any indication, the Los Angeles Film Festival -- which begins its 15th year Thursday night with Ryan Reynolds, Emma Stone and Jeff Daniels heading an all-star cast in “Paper Man” -- promises another memorable celebration of worldwide cinema.
By the time the animated “Ponyo” (from the legendary Hayao Miyazaki) wraps it all up the night of June 28 in Westwood Village, some 170 selections will have been shown as features, shorts or music videos. Earlier that day, winners in both narrative and documentary competitions, among many others, will be announced at an awards brunch. Special premiere screenings of potential summer blockbusters, “Transformers: Revenge of the Fallen” (Monday night), "Public Enemies" (June 23), and the smaller but cleverly irresistible “500 Days of Summer” (June 26), likely also will generate some excitement.
Numerous festival films already enjoy very early buzz, including the documentary “Branson” (two separate screenings both followed by concerts from singer/star Jackson Cash); the similarly named but otherwise poles apart story of the cold-blooded “Bronson”; “Cold Souls” (Paul Giamatti); “Paper Heart” (Michael Cera); and “Weather Girl” (Mark Harmon), to name just a few.

Of the handful of new fest releases we’ve already seen, “Dear Lemon Lima” brings a uniquely colorful and sweet tale of adolescence to Alaska, of all places. Think a more poignant “Napoleon Dynamite,” distinctly from the distaff side, and newcomer Savanah Wiltfong (at top) making quite the impression as one smart and moving little Eskimo.
The very funny “In the Loop” satirizes the politics of war both here and in England with unusual turns from James Gandolfini (as a liberal general, no less) and Tom Hollander (the bad guy in the last two “Pirates of the Caribbean” films) playing an inept Brit bureaucrat. Peter Capaldi (remember the name) is hilarious, too, as a foul-mouthed spin doctor.
“Harmony & Me” features a schleppy lead performance (somewhat reminiscent of Dustin Hoffman in “The Graduate”) from Justin Rice (above), apparently the singer in an equally quirky band called Bishop Allen. Fittingly, the lovable loser barely goes on with his life by constantly putting music where his broken heart used to reside.

Speaking of harmony, some vintage footage and photos of young Jimmy Page (Led Zeppelin) and The Edge (U2) certainly make “It Might Get Loud” special enough. However, there’s also the exceptionally funky presence of Jack White (White Stripes) in a doc that finds this talented trio of twangin' rockers deftly talking and playing some very mean electric guitar
Film Independent, the same group behind the annual Spirit Awards, once again produces all the festival fun, conversation and hoopla.

As for some of what’s coming up next week (June 26) at the movies, look for Cameron Diaz’s thoughts about “My Sister’s Keeper” in Thursday’s Sun News.

‘Imagine That’: Murphy is an avid Church lover

2009-06-10T09:52:00.000-07:00

Thomas Haden Church is only nine months older than Eddie Murphy, but there’s no question the former Oscar-nominated supporting actor clearly is in awe of the latter.
“Imagine That,” opening Friday, finds Murphy’s conservative financial advisor, Evan Danielson, at odds with Church’s showboating Johnny Whitefeather, seemingly drawing on Native American spirits for his insights. Church, who turns 50 on Wednesday, tells JMUvies.com correspondent Stan Urankar that the shoot never ceased to amaze him.
“I couldn’t believe Eddie even knew who I was, for openers, so just getting hired was something,” Church says. “Then, we’re on the set one day when Eddie comes up and says, ‘Hey, man, is it cool if a couple of my daughters come up and take their picture with you and get your autograph?’ ”
The ever-affable Church feigns a look of disbelief before the table of laughing print journalists. “I say to myself: ‘Are you kidding me? Did I just wake up and find out I won some kind of weird contest in hell? How is that my hero’s daughters want to get my autograph?’
“But, the girls said they remembered me from ‘George of the Jungle,’ and then Eddie’s youngest son came to meet me because he loved ‘Spider-Man 3.’ Man, that’s really special.”
Though perhaps indelibly etched in America’s memory as droll airplane mechanic Lowell Mather from the long-running “Wings” sitcom – part of an ensemble that also included Tim Daly, Steven Weber and a bit of an eccentric named Tony Shalhoub – Church had all but quit acting by 2004, returning to one of the four cattle ranches he owns outside his native El Paso.
That’s about the time that writer/director Alexander Payne called. “He said, ‘Hey, Thomas! I have a script I want you to read! It'll be great: You get to sleep with my wife!’ ” The script was “Sideways,” the “sleeping” was with Sandra Oh, and Church’s much-lauded performance reopened the door to his career.
Next up: “All About Steve,” a comedy scheduled for Labor Day weekend release, co-starring Sandra Bullock and Bradley Cooper. “I’m a CNN reporter and Bradley’s my cameraman,” Church says, “and she’s sort of stalking us to get closer to him. It’s a very funny movie.”
He’s also high on “Don McKay,” playing the title role in writer/director Jake Goldberger’s debut feature. The film, which drew raves at the recent TriBeCa Festival, is a bittersweet outlook at rekindling an old romance.
Read more from Stan on “Imagine That” and a mostly riveting “Taking of Pelham 1 2 3,” and my review of the superb and aptly named “Anvil! The Story of Anvil,” all in Thursday's Sun News.

Cooper helps drive "Hangover" madness

2009-06-03T09:42:00.000-07:00

So Bradley Cooper – who only seems to have been in every film comedy ever made since his nice-guy role on TV’s “Alias” – has a new gig.
After playing the cad in “He’s Just Not That Into You” and Jim Carrey’s best friend in”Yes Man,” the 34–year-old actor is the closest thing to a lead in “The Hangover,” easily the funniest movie of his recent three.

“I play Phil, who's an English school teacher for boys, and he's also a father,” Cooper explained during an interview in Las Vegas (which serves as the perfect backdrop for one wild and c-cr-crazy bachelor party). “He's kind of the guy who's bark is a lot bigger than his bite.
“He talks a big game, going to Vegas and saying that he's going to get nuts. He loves sort of reliving whatever it is that he doesn't have in his home life. It's like a lot of fathers who talk a big game, but who really love their family and are actually good guys.
“He's sort of the problem-solver," added Cooper (pictured above between party mates Zach Galifianakis and Ed Helms). "There's nothing that he can't solve, so he tries to hold it all together, even when there's nothing to hold together.”
Cooper/Phil certainly has a lot of solving to do to determine what caused the disappearance of his buddy/groom (Justin Bartha).

Of course, the cool Cooper also played a bit off the set, but seemed legitimately embarrassed when discussing the antics of Cirque du Soleil members who called him up on stage only to disrobe him during one of their Las Vegas “Zumanity” exhibitions.
“That was a thing that (director) Todd Phillips and (co-star) Heather Graham and I did," Cooper said. "It was a day we had off and, on our way there, I actually told them, 'I hate going to places where they call people up from the audience.'

I even said to Heather: 'This isn't the show where they do that, right?' "
She said, 'No, no. It's fine.' Of course, they called me up at the end of the show.”

Apparently, Heather lied, and so the shirt-stripping and -- even some groping -- began.
To learn more about Graham's part in the film and to read my review of “The Hangover,” check out Thursday’s Sun News, where you can also find my take on “Summer Hours.”

Keeping "Up" with the times

2009-05-29T11:20:00.000-07:00

Was there ever any doubt that “Up” would become Pixar’s first 3D film? Actually, yes, according to writer/director Pete Docter (“Monsters, Inc.”) and producer Jonas Rivera.
“It was only about a year and half ago that it was decided,” Docter tells JMUvies.com correspondent Stan Urankar on their quick “Up”-and-out promotional stop in Cleveland.

Influence from the theatrical market, where 3D animation is taking hold?
“Not really,” Rivera emphasizes. “It just seemed to be a natural for the story Pete and Bob (Peterson, co-screenwriter) were telling.” It signaled entry for Pixar’s “Stereoscopic” team, Rivera added, “a crew of about 30 or so who are as passionate about their craft as anyone.”

Then, is Pixar committed to 3D for all its future theatrical efforts?
Docter and Rivera deny almost in unison. “The creative vision starts with the story,” Docter re-emphasizes. “That will never change at Pixar.”
So, what’s the prospectus for next summer’s eagerly awaited “Toy Story 3”?
“Oh, it’ll be in 3D,” Rivera says, “and, believe me, it’s going to look great.” In fact, the process is working so well, they agree, that the first two “Toy Story” sagas are being adapted into 3D for theatrical re-release.

How about “3”-some insight, guys?
They acknowledge a full cast return, starting with Tom Hanks’s Woody and Tim Allen’s Buzz Lightyear, but it’s typically Pixar privacy beyond that.
“I don’t know, something about toys come to life when no one’s around,” Rivera kids. “Yeah, like that’ll work.”

Read more on "Up," including Stan's review, right now in the Sun News, where you’ll also find my reviews of “Lemon Tree” and “The Brothers Bloom.”

“Terminator” is back; “Museum” doors swing open again, too

2009-05-21T18:17:00.000-07:00

A rare early summer treat finds two big sequels opening on the same weekend, with “Terminator Salvation” and “Night at the Museum: Battle of the Smithsonian” going head to head for box office dollars.
Leading the former is Christian Bale, making his first appearance as "T" regular John Connor and likely hoping to invigorate the franchise the same way he helped energize the latest pair of "Batman" movies as Bruce Wayne.
"The first time I saw the first ("Terminator") movie, which would've been a number of years after it got released, was fun," Bale recently recalled. "It was not something that had strong impact, but when I was 17 and I'd just come out to the States I went to see 'T2' and that was very memorable.
"It was opening weekend. I couldn't hear a damn thing that was said on the movie because everyone was screaming so much throughout it. So, it was an introduction to American audiences, but also to a movie that just seemed to make everybody crazy in that way and I really enjoyed that.
"The idea of doing another one didn't seem to be smart to me," Bale said. "But, in the same way that --and there are no other similarities between the other movies, I don't really mean to compare. I don't like to compare -- it seemed that way with the initial idea of reviving the 'Batman' movies. Even though they're of very different sensibilities I came to believe that there were some potentially good stories here and that I enjoyed it enough that I'd like to see it revived."
Stiller, who of course enjoyed enormous success as the beleagured dad and watchman in "Night at the Museum" a few years ago, had some similar doubts about doing another.
"I really thought that it was important to have a way into the second movie that was different from the first one," Stiller explained at a Washington, D.C., press conference. "We'd already done the idea of everything coming to life and Larry being amazed by it and the guy who hadn't really done anything with his life and the night guard becoming the thing he's happy doing.
"So, to start the second movie, I felt like we needed to have a new idea. The idea of him being successful and then in some way that not making him happy -- the idea of what he thought would make him happy not making him happy -- just felt like a new idea to start with."
Certainly it helps to have the talented Amy Adams on hand as legendary pilot Amelia Earhart, too.
"We wanted the spirit of adventure and Amelia definitely had that," Adams said. "She's somebody who could hold her own in a man's world. So I did take that, but they wrote such a fun and spunky character and such a foil to Ben, so I definitely followed the script and followed history and put them together into what Amelia Earhart is in the movie."

While those really big movies take center stage, fans of nifty little horror films need to find the rare and funny "Pontypool," which starts nationwide "On-Demand" May 27 before a limited theatrical release. On the really small side from Canadian vet Bruce McDonald, it was one of the legitimate joys I discovered at last year's Toronto International Film Festival. In truth, movie perks such as the Valentine's Day-directed jolts and laughs found in an unknown gem like "Pontypool" are what keeps me going back to Toronto after every Labor Day weekend (now for about 17 straight years). Check it out if and when you can. By the way, the 34th annual TIFF begins this year on Sept. 10.

Next book of Brown could hook Hanks, Howard -- again

2009-05-14T10:51:00.000-07:00

Somehow it makes sense that “Angels & Demons” is not even in movie theaters yet and already people are asking if Tom Hanks and director Ron Howard will collaborate on a third film version of a Dan Brown book that it is not even written yet.
“ ‘Angels’ is literally a ticking bomb story with a clash between cutting-edge science and religion; (symbologist) Robert Langdon is really in much more personal and direct jeopardy in this story, and I really love what Tom Hanks is doing with the movie version of Langdon here and (in) 'The Da Vinci Code',” Howard recently told press in Rome. “These things are really enticing to me. That’s why, with the rest of the world. I’m dying to read (Dan Brown’s) next book.

“Dan is a great guy and we’ve become very good friends but, man, does he play his cards close to his vest,” Howard went on. “I honestly don’t know anything more about (his next book) than anyone who’s been on the Internet knows. All that said, I’ve had two really interesting life experiences and fascinating creative challenges making 'Angels and Demons' and 'The Da Vinci Code,' so although I can’t confirm a thing, I’m certainly open to anything.”
Hanks had a much funnier answer when asked, during a press conference, if he would be interested in playing Langdon again. “Yeah, sure, you bet, absolutely,” he said, “but there have been no talks about it whatsoever.

"I do know, however, that the words 'the,' 'cat' and 'boogeyman' do appear in the next Dan Brown book. I give you that as a little bit of contraband that has leaked. But please, please, please, can it take place in the Bahamas, please?
“Can the first scene be Robert Langdon relaxes on a hammock underneath a swaying palm tree?" concluded Hanks. "Can that please be the first scene of the third Robert Langdon book? I'm hoping it's called 'The Red Stripe Beer Conspiracy' “
Read Stan Urankar’s review of “Angels & Demons” Friday in the Sun News, where you can find my Q and A with “Star Trek” villain Eric Bana right now.

Old Spock logically pleased to beam aboard new "Star Trek"

2009-05-06T07:31:00.000-07:00

TV's iconic Mr. Spock in the original and classic "Star Trek" TV series couldn’t be more pleased about being a pivotal character in director/producer J.J. Abrams's new big screen adventure of the same name.
That’s right, 78-year-old Leonard Nimoy, who starred in six earlier “Star Trek” films and actually directed III (“The Search for Spock”) and IV (“The Voyage Home”), loves being part of the movie prequel that features a slew of young talent.
“I'll tell you, “ Nimoy explained recently. “I was bemused by it when I read the script. Then I was amazed when I saw it onscreen. I thought it was incredible.”
Though we won’t give away what his old character has to do with any of it here, Nimoy said he enjoyed the way cast members such as “Heroes” star Zachary Quinto, who plays the young Spock, treated him on the set.
“I think it's appropriate that, when the old-timer walks on set, everyone be intimidated, “ Nimoy said with a broad grin. “They were, too. It's classic. Just classic. I used to be the kid on the set and I was intimidated. Why shouldn't they be intimidated?”
The veteran actor, whose brilliant portrayal of the emotionless Vulcan never really earned him much of a film career beyond Spock retreads, said he was surprised to be included in Abrams’s re-tooled version.
“I simply figured that, for me, 'Star Trek' was finished. I had done what I could and was asked to do and it was over for me. When the first ‘Generations’ film came along, I was left out of it, and (Capt. James T.) Kirk was killed, I think that somebody was sending us a message: 'It's over for you guys. It's somebody else's game now.' And that's the way that it was for a long time.
“I would like to say this,” Nimoy continued. “Over the years, one of the questions that I've often been asked is what contributed to the longevity of 'Star Trek' and the interest in 'Star Trek' and what makes it so successful?
“I think that one of the things that's easily overlooked is the fact that all of the
Enterprise crew -- all the people involved in the various characters in 'Star Trek' -- are highly educated, highly professional people. They're for the most part scientists and they really know how to do their jobs. I think people admire that. I think that people might not be consciously aware of it, but somehow you sense that each makes his or her own contribution to the solution of a problem.
“At the same time, I have to point out that there's great authenticity in this movie. I think that you believe these characters,” Nimoy concluded. “You believe that these people are professionals. There's a brilliant cast that's been put together here, and I'm an admirer of them all and the great job they’ve done.”
For his part Abrams, who was thrilled to have Nimoy as part of that cast, added that there was also room in the new movie for William Shatner, the original and beloved Capt. Kirk.
“We had a scene with (Shatner) in it,” Abrams said. “It was sort of a flashback thing, but he didn't want to do just a cameo.”
To read what the new members of the old crew have to say about their “Star Trek” experience, check out the Sun News, where you can also read my review of what easily could become the summer’s biggest film.

Here's a quote to haunt the present of "Girlfriends Past" actor

2009-04-29T11:25:00.001-07:00

Matthew McConaughey claims he's nothing like the romantic cad he plays in "Ghosts of Girlfriends Past." Still, the movie's slimy Connor Mead does not believe in marriage, and the actor who portrays him also does not seem ready to make the leap -- at least not anytime real soon.

"Am I getting married in the future?" McConaughey started to answer a recent question. "Not today. I don’t have any plans for it. It’s not an institution I’m against at all. I’m actually for it, believe in it, and have seen it actually be very, very healthy for many relationships.

"Some people go through it in great ways. It’s just not something I plan on doing right now. It’s not what I feel like I need to do right now. But I’m not against it at all."
Wonder how model Camila Alves, the mother of McConaughey's son (Levi Alves, 10 months), feels about that.

Meanwhile, co-star Jennifer Garner, who just welcomed her second daughter (Seraphina Rose Elizabeth on Jan. 6) with Ben Affleck, preferred to chat more about being a mom than her actor husband.

"The rule with marriage is the less you talk about it the better," Garner said, "at least as far as I can tell.

"Everything is going really well, thank you very much. Everyone is happy and healthy. It's only one more (daughter), but it feels like three more. The experience is easier with the second child, but the overall thing is just happy chaos.

"Now that it has continued to evolve," Garner added, "I can love my job. Just looking at it as a working Mom, there are a lot of great things about what I do as a Mom. I work really intensely for a while, in a way and place where people are very respectful of my girls and me. If I need to take a break and feed a baby, they let me. That isn’t always the case for women in the corporate world. I have help -- I have the support that I need -- with a great partner in raising kids. He is just super involved."

Ironically -- or maybe not -- Affleck was supposed to star for Disney when screenwriters Jon Lucas and Scott Moore originally penned their "Ghosts" script nearly seven years ago. Now, his wife stars opposite McConaughey for Warner Bros. when their romantic comedy opens Friday. Read my review, as well as some "He said, She said," dialogue between Garner and McConaughey, right now in the Sun News. My review of "Hunger" also has been posted.