Showing posts with label Movie Reviews. Show all posts
Showing posts with label Movie Reviews. Show all posts

Awards Watch: Grammy Nominations 2009

Posted By Doncrack On 8:00 PM 0 comments
As far as movie music goes, the Grammys seem to like vampires, slumdogs and Michael Giacchino. The composer was nominated four times for his work on Star Trek and Up, including competing against himself for Best Score Soundtrack Album.

Below is the complete list of Grammy nominations in the categories covering film, television and stage recordings, with links to purchase the albums at Amazon.com:

Best Musical Show Album:
- Ain't Misbehavin'(30th Anniversary Cast Recording)
- Hair(New Broadway Cast)
- 9 to 5: The Musical(Original Broadway Cast)
- Shrek: The Musical(Original Broadway Cast)
- West Side Story(New Broadway Cast)

Best Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media:
- Cadillac Records
- Inglourious Basterds
- Slumdog Millionaire
- True Blood
- Twilight

Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media:
- The Curious Case of Benjamin Button
- Harry Potter and the Half-Blood Prince
- Milk
- Star Trek
- Up

Best Song Written for Motion Picture, Television or Other Visual Media:
- "The Climb" from Hannah Montana: The Movie
- "Decode" from Twilight
- "Jai Ho" from Slumdog Millionaire
- "Once in a Lifetime" from Cadillac Records
- "The Wrestler" from The Wrestler

From Paris with Love

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To be released on:
February 5, 2010 

Previously Announced Release Dates:
February 19, 2010

Production Companies:
Europa Corp.
Distributors:
Lionsgate

Status: Awaiting Release

Cast:
John Travolta, Jonathan Rhys Meyers

Director: Pierre Morel

Screenwriter: Luc Besson, Adi Hasak

Genre:     Action, Thriller
About the film:
A young embassy worker and an American secret agent cross paths while working on a high-risk mission in Paris.
Rated R for strong bloody violence throughout, drug content, pervasive language and brief sexuality.

    Project Timeline:
Jan. 28, 2008:    Project announced. Director: Pierre Morel
Sep. 24, 2008:    Writers: Luc Besson, Adi Hasak, Cast: John Travolta and Jonathan Rhys Meyers
Sep. 3, 2009:    Release Date: February 5, 2010


Monthly Wallpaper - December 2009: Princesses

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In recognition of The Princess and the Frog, the latest Disney fairy tale to hit the big screen, December's calendar wallpaper is a celebration of our most beloved movie Princesses!

Joining Tiana are her fellow toon royals Snow White, Aurora, Jasmine and Ariel, as well as in the flesh favorites from The Princess Diaries, Roman Holiday and The Princess Bride. And speaking of flesh, we have a certain Crown Princess of Alderaan in her most infamous ensemble.

All you have to do is click on the picture above to enlarge it, then simply right click your mouse and select "Set as Background". (You can also save it to your computer and set it up from there if you prefer.) The size is 1024 x 768, but you can modify it if needed in your own photo-editing program.

Awards Watch: National Board of Review 2009

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The National Board of Review was all about Up in the Air with its annual awards, announced today. Jason Reitman's follow up to Juno landed four trophies, including Best Film of 2009. Stars George Clooney and Anna Kendrick were also honored for the dramedy.

Clooney tied for Best Actor with Morgan Freeman, recognized for his portrayal of Nelson Mandela in Invictus. Clint Eastwood was named Best Director for the biographical drama, which also received two other mentions. Carey Mulligan (An Education), Woody Harrelson (The Messenger), Jeremy Renner (The Hurt Locker), Gabourey Sidibe (Precious) and the cast of It’s Complicated rounded out the other acting categories.

For a quick look at all the winners (which will be handed out on January 12 in New York), see the comments section below.

Reel Thoughts Interview: The Prairie Moves

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After musical versions of Happy Days and Gilligan’s Island, you would be forgiven for thinking that Little House on the Prairie, starring Half-Pint herself, Melissa Gilbert, might be just another nostalgic trip to a beloved TV show.

A closer look, however, reveals a pedigree few other shows can match. Launched at Minneapolis’ prestigious Guthrie Theatre, Little House on the Prairie (now on tour) is a faithful adaptation of Laura Ingalls Wilder’s classic books, with a gorgeous score by Oscar winning composer Rachel Portman. The show is directed by Francesca Zambello (The Little Mermaid), a renowned opera director.

Dance captain Tony Vierling started the tour after a long association with the Guthrie, including the original production of Prairie last year. He admitted that working with Portman and Zambello can be intimidating at first, but it’s rewarding.

“I love the score – it’s really beautiful. It’s been compared to Aaron Copland. Watching (Portman) work, seeing her at a piano writing away was really thrilling,” Vierling said. He said Zambello is “a strong person and she has very distinct ideas and you think, ‘Oh my gosh, Francesca. Don’t look at me!’ You just don’t know what’s going to happen when you first meet her. And then you start to see how she works and how she works with the actors and it’s amazing.”

Vierling is a self-proclaimed song-and-dance man who has starred in big tap dance musicals like Crazy for You, 42nd Street and Anything Goes. “That’s sort of my genre – I really enjoy that.” Being a “swing” like Vierling requires flexibility and a lot of dedication. “I understudy 10 men’s tracks (roles),” Vierling said. As the dance captain, he’s responsible for teaching choreography to the entire cast and their understudies.


The Salina, Kansas, native went to Iowa State University and moved to Minneapolis after graduation. After a stint in Los Angeles, he returned to Minneapolis for its theatrical environment and because he could buy a house more affordably. He’ll have little time to enjoy his home now that he is part of a new tour. “It’s a little bit of a built-in vacation,” he said, noting that he has family all over the country.

The performer, who resembles a young Anthony Perkins, loves being part of a show that families are enjoying together. “The mothers and grandmothers are coming to see Melissa (Gilbert), but their girls want to see the stories from the books,” he said. “We have a lot of little girls who come dressed as Laura Ingalls Wilder.”


His favorite scene is set in the schoolhouse where Laura first meets Nellie Oleson. “It gets a little crazy. Laura wreaks a little havoc in the schoolhouse. The kids are hilarious and sweet and they love what they’re doing so much. And then there’s some stuff in the second act between Laura and Almanzo. The ballads that they sing are just beautiful and I never, never, never get tired of hearing them. The show is sweet and friendly and warm, and it captures the feel of the books so well.”

Little House on the Prairie performs at Gammage Auditorium in Tempe from December 8 to 13. For more information about the tour and future dates and locations, visit the show's official website.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

The Latest on TV: All I Want for Christmas

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Two of our favorite things — Kristin Chenoweth and half-naked men — will be in one place tomorrow night: the new Lifetime Original Movie 12 Men of Christmas!

Described as "The Full Monty meets Calendar Girls", Chenoweth plays a publicist who loses both her high-powered Manhattan job and her lawyer-fiancé at her office Christmas party. So, naturally, she ends up taking a job in Montana where, to help the local search-and-rescue station raise desperately needed funds, she tries to convince the male rescue workers to pose for a beefcake calendar. Of course, along the way she discovers what really matters to her (and, no doubt, the "true meaning of Christmas") ... plus wins the heart of one of the pin-ups.

Cougar Town's Josh Hopkins, Paradise Falls' Stephen Huszar and DietTribe's Jessie Pavelka are amongst the dozen hunks appearing in the movie ... and the calendar. Speaking of which, you can get a sneak peek at all 12 Men of Christmas in their calendar poses right here, or watch the trailer here.

Reviews: The Best Gay Film of the Year is Here

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It has been four years since Brokeback Mountain touched the hearts of gay viewers, and many of us have been pining ever since for another movie to reflect and evoke our experiences in an authentic way. Well, I’m happy to report the wait is over! A Single Man opens in limited release this Friday and will expand across the US on Christmas Day.

Colin Firth stars as George Falconer, a college literature professor grieving the loss of his lover, Jim (Matthew Goode, who played the sexually ambiguous Ozymandias in the recent Watchmen). Jim died eight months earlier in an automobile accident. The men met at the end of World War II and were happily together 16 years (the film is set in 1962).


Increasingly lonely and unable to function effectively without Jim, George resolves to end his life. The film follows George during the course of what is intended to be his last day. As he goes about getting his affairs in order and making other preparations for his suicide, we gain glimpses into George’s past and George himself sees unexpected signs of hope for his future should he choose not to kill himself.

We meet Charley, a life-long friend of George’s played by the always-great Julianne Moore. Charley has a particular affection for Tanqueray gin (“I like the color of the bottle,” she tells George. “You like what’s inside it,” he replies in one of their comically honest exchanges) as well as for George. Viewers are also introduced to one of George’s students, Kenny (young cutie Nicholas Hoult), whose own unique feelings for George develop during the course of the movie.

Based on a 1964 novel of the same title by gay writer Christopher Isherwood, A Single Man marks the screenwriting and directorial debuts of fashion designer Tom Ford. Ford’s fine eye for detail is evident throughout the film, from the fluctuating photographic color scheme to the amazing period props, cars and set pieces to, of course, the costumes (the exquisite fashions in the film weren’t designed by Ford but by Arianne Phillips). Indeed, A Single Man is the most slavishly-devoted-to-period-detail film since 2002’s Far from Heaven, which also starred Moore and was written and directed by out filmmaker Todd Haynes.

I can’t say enough about how good A Single Man is in terms of both its overall artistry and depiction of homosexual life. Not only is it the best gay-themed film of 2009 (and I’m not forgetting this year’s earlier Little Ashes, an excellent exploration of the love affair between artist Salvador Dali and poet Federico García Lorca), but I dare say it is one of the best ever. While the gay characters are necessarily closeted for 1962, they are far from the self-loathing homosexuals of many movies of the past with queer characters. This includes Brokeback Mountain.

George and Jim are fully accepting of themselves and are unapologetically gay. They remain so despite Jim’s parents’ condemnation of their relationship, as well as the straight family man next door’s assertion that the neighbors are “light in their loafers.” George delivers a powerful, impromptu lecture to his students — intended to be his last — on how social minorities are the victims of the majority’s fear. Though George doesn’t mention homosexuals specifically among the minorities he lists, his point is so strong and truthful that he doesn’t have to for listeners to get the point.

A Single Man is also undeniably erotic. Firth and Goode have romantic and sexual chemistry to spare between them, and Hoult does a striptease for George (after they have both gone skinny-dipping) during the film’s surprising climax. All three actors show plenty of skin in the film but Ford presents the nudity artfully, which makes it all the sexier in my opinion. I would be remiss if I didn’t note the über-sexy Jon Kortajarena as well, as a James Dean-ish hustler who tries to pick George up.


The film may traffic in dark themes and issues of mortality, loss, loneliness, oppression and suicide, but it certainly isn’t humorless. Ford, co-writer David Scearce and, no doubt, original author Isherwood infuse George’s plight with unexpected wit without it being in bad taste. I predict gay men will be quoting the script’s funnier lines in the future.

Finally, Firth (who also played gay in last year’s Mamma Mia!) is emerging as a likely Oscar contender for his performance as George. He has already won the Best Actor award at this year’s Venice Film Festival, and it would be the British actor’s first, somewhat overdue nomination for an Academy Award. Firth is simply wonderful in A Single Man.

Anyone — gay, lesbian, straight or other — who has lost a loved one will identify with George’s experience. As much as I expect gay men to fawn over this film, it tells an ultimately universal story that I hope will touch mainstream moviegoers as well.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade.

Embraceable Cruz

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Penélope Cruz reunites with director Pedro Almodóvar for his neo-noir Broken Embraces, opening in Los Angeles this Friday.

Click here to watch the trailer.

Film Art: Pop Princess

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Like this comic strip take on Cinderella by Vince Musacchia, all the classic toon royals get artistic makeovers in the new book The Art of the Disney Princess.

 see more artwork from the book, including Snow White, Belle and the newest Disney princess, Tiana, star of The Princess and the Frog, opening nationwide this Friday.

Reverend’s Interview: Chad Allen, Je T’aime

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Discovered at the tender age of four while performing at a state fair, out actor Chad Allen has in the 32 years since then channeled his talents into a successful career on stage, television and film. His most recent movie, the acclaimed Hollywood, Je T’aime, makes its DVD debuton Wolfe Video today. The Los Angeles-based Allen generously took time out from his increasingly busy schedule to chat with Reverend exclusively for Movie Dearest.

“My parents weren’t show business people but always encouraged us,” Allen said, referring to his twin sister Charity in addition to himself. “Soon after being discovered, I did commercials and then TV, including St. Elsewhere.”

Allen played the recurring role of Tommy Westphall on the hit 1980’s drama. Westphall was an autistic boy who, it was revealed in the show’s final episode, envisioned the entire series in his mind. Allen made his biggest splash on television as Matthew Cooper on Dr. Quinn, Medicine Woman.


“I was cast in the pilot (of Dr. Quinn) but didn’t expect the show to last,” Allen recalls. “It ran for six years (1993-1998) and paid for my college education.”

Almost as soon as Dr. Quinn went off the air, Allen declared his homosexuality publicly. Allen had been rumored to be gay for several years and decided to acknowledge it rather than cover it up. At the time, Allen said of the decision to come out: “I don’t know if it’s as damaging on a public level, but I’m certain it’s damaging on a personal level. I’m absolutely certain that forcing any young person or not-so-young person into dealing with the issue when they aren’t ready to or simply don’t want to is damaging to the soul. It’s just not right.”

The actor, who has been partnered for the last 4 ½ years, utilized much of his experience as a previously closeted man in the 2007 film Save Me. In it, Allen and Robert Gant, another out actor, play gay men trying to overcome their homosexual desires at a Christian “conversion” camp. Instead, the two fall in love.


In reflecting on how the motion picture industry has changed in its treatment of GLBT subjects during the course of his career, Allen says, “For actors, it has changed tremendously. It is today a much more hospitable place for gay — even openly gay — actors. Much of the change has been over the last ten years.”

He continued, “The downside is that as gay characters and stories have become more mainstream, GLBT independent films have been on the decline. I hope we get to the point where we can have both (mainstream and independent films with gay characters/stories).”

Allen cites the Oscar-winning Brokeback Mountain (2005) as a watershed moment in Hollywood. “Until Brokeback, there was a huge fear or belief that you couldn’t tell a story with a gay hero and have it make money. A well-made movie with a good story trumps everything. It’s not just a victory for gay rights; it’s a victory for humanity.”


Partly due to the success of Hollywood Je T’aime to that end, Allen is proud of his work in his most recent film. He plays Ross, a drug-dealing, HIV+ denizen of West Hollywood who develops a relationship with a French man visiting California over the Christmas holiday.

“It’s a very simple story,” Allen said of what attracted him to the project. “I really love European movies for the simplicity of the story. It really respects the viewer’s intelligence. Also, I had never played an HIV+ character. I have so many friends with HIV, so I wanted to honor them in some way.”

Allen has also gained something of a cult following with his ongoing role as gay private eye Donald Strachey. Thus far, the series of direct-to-DVD movies consists of Third Man Out, Shock to the System, On the Other Hand, Death and Ice Blues. “There are two more Strachey books to be made into films,” Allen reveals. “I love the character and the relationship between him and his partner. I love that Strachey is a mess and can’t really keep his life together, but he always gets things done one way or another.”


I had the privilege of seeing Allen perform last year in the Pasadena Playhouse production of Looped, opposite Valerie Harper as the legendary Tallulah Bankhead. I asked Allen whether a New York production of the play was a possibility. He replied, “It’s on hold for now due to political issues I don’t begin to understand.” Since I spoke with him, however, a New York run with Harper reprising her role has been announced. Allen’s involvement is apparently yet to be determined.

At the time of our conversation, Allen was working hard on his new film, Spork, named after the spoon-fork combo. The film “follows a 14-year old intersex child,” according to Allen, who is producing the film as well as starring in it. “It’s an over-the-top comedy but also very poignant. If all goes well, it will be out in 2010.”

When he isn’t acting or producing, Allen serves as a member of the Honorary Board of Directors of the Matthew Shepard Foundation and supports a number of other GLBT projects. He is passionately committed to marriage and full equal rights for GLBT people.

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade.

Reverend’s Reviews: On a Scale of 1-10, Nine Disappoints

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In 2002, director-choreographer Rob Marshall helped to revitalize movie musicals with the fantastic, Oscar-winning Chicago. Hoping to strike gold again, Marshall and most of his earlier film’s production team have reunited for an adaptation of the stage musical Nine, opening nationwide on Christmas Day. Unfortunately, the filmmakers fall short this time around.

The original Broadway production of Nine debuted in 1982 and won that year’s Tony Award for Best Musical. It had a successful revival in 2003, starring Antonio Banderas in the lead as Guido Contini, an Italian movie director patterned on Federico Fellini. Nine is actually an adaptation of Fellini’s semi-autobiographical 1963 film 8 ½.

For the new film, Daniel Day-Lewis was cast as Contini and surrounded with a bevy of international, female superstars (most GLBT faves) as the various significant women in his life. Nicole Kidman plays Contini’s favorite leading lady; Penélope Cruz assays the role of Contini’s mistress; Marion Cotillard, a previously-unknown French actress who won the Best Actress Academy Award for her turn as Edith Piaf in the 2007 film, La Vie en Rose, plays Contini’s wife, Luisa; Judi Dench serves as his devoted costume designer; Kate Hudson has a great turn as a fashion journalist out to undress the filmmaker; and pop singer Fergie of the Black Eyed Peas makes a strong impression as Contini’s first, boyhood prostitute.


Completing the roster is the perfectly cast Sophia Loren, beautiful as ever, as Contini’s mother. Loren even gets to sing, as all the women do. Few of them are trained singers or dancers, but Marshall generally works the same magic with them that he did with Renee Zellweger and Catherine Zeta-Jones — neither known much for their musical ability — in Chicago.

Dench, who actually started out her illustrious career in musicals and was the original Sally Bowles in the London production of Cabaret, fares best. She is in great voice during her number, which recounts her character’s early years with the Folies Bergeres. It is a glamorous evocation of the famed Parisian show.

Cruz sizzles during her sexy song, deceptively titled “A Call from the Vatican.” Most impressive — even to a gay man like myself — is her toned body and frequent, spread-eagle dance moves. Cotillard, who could barely speak English two years ago when she accepted her Oscar, reveals perfect diction and a lovely singing voice during the well-staged “My Husband Makes Movies”, even if she appears a little young for the role.


The aforementioned Hudson tears up the screen with a new song written especially for the movie, “Cinema Italiano” (the songs for both the stage and screen versions of Nine were written by Maury Yeston). While the lyrics are silly and the choreography Hullabaloo-esque, the film truly comes alive during the number.

Day-Lewis also makes a fine impression in his musical debut. The two-time Oscar winner (for My Left Foot and There Will Be Blood) conveys well Contini’s anxiety over his new film, which is due to begin filming in 10 days but lacks a script. Day-Lewis even leaps and bounds exuberantly up and over soundstage scaffolding during the first of his two songs.

Indeed, all the movie’s elements, with the exception of the irritatingly hyperactive editing during the musical numbers, are top-notch. So why isn’t Nine more satisfying in the end? Primary blame must be laid upon the episodic, predictable adapted screenplay, which is credited to Michael Tolkin and the late screenwriter-director Anthony Minghella. The film is less a cohesive character study than a collection of clichéd vignettes about an unfaithful, womanizing husband, enlivened by the occasional song and dance. If viewers become bored by the narcissistic Contini’s antics, just wait ten minutes and a lovely, more-often-than-not scantily clad woman will sing something.


Yeston’s score isn’t one for the ages either. Apart from “Be Italian,” which Fergie performs in the movie accompanied by a gang of sand-tossing harlots, none of the songs in either the stage or screen versions of Nine is particularly memorable. Actually, the tune viewers will likely find themselves humming on their way out of the movie is “Cinema Italiano,” partly due to the fact that it is reprised over the end credits.

While Nine probably won’t kill the renewed genre of movie musicals adapted from Broadway shows (Spring Awakening and a remake of Damn Yankees are reportedly up next), it is also unlikely to become either the box office hit or laurel-laden film that Chicago was. Chicago benefited from truly interesting characters and catchy songs. Nine is a melancholy tribute to a by-gone era in filmmaking and male-female relations … perhaps one better left without tribute paid to it.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade.

Hollywood Wild Things

Posted By Doncrack On 10:00 AM 2 comments
It’s somehow fitting that I finally saw Spike Jonze’s big screen version of Where the Wild Things Are right after viewing Jason Bushman’s romantic film Hollywood, Je T’aime (now on DVDfrom Wolfe Video). While they seem from different worlds, they’re essentially the same story, with a few important differences:

In Where the Wild Things Are, a lonely boy named Max (Max Records) leaves his home after a devastating fight with his mother (Catherine Keener), crosses a rough ocean by boat and lands on a strange island filled with weird but lovable creatures ... who threaten to eat him. In Hollywood, Je T’aime, a lonely French man named Jerome (Eric Debets) leaves Paris after a devastating break-up with his boyfriend, crosses the Atlantic Ocean by plane and comes to a strange place filled with weird but lovable characters ... who want to sleep with him.


Max becomes the creatures’ king, due to his wit and imagination, and he brings together a wildly dysfunctional “family” of, well, wild things (voiced by the likes of James Gandolfini, Catherine O'Hara, Paul Dano, Forest Whitaker and Chris Cooper). He realizes that he can’t fix everything when the creatures’ self-destructive natures drive a wedge between them. He decides there’s no place like home. Meanwhile, Jerome becomes a working actor (a “king” in Hollywood), due to his wit and French charm, and brings together a dysfunctional family of social outcasts (a.k.a. "wild things") — Kaleesha, a homeless trans prostitute (Diarra Kilpatrick), Norma Desire, a jaded, aging drag queen (Michael Airington), and Ross (Chad Allen), an HIV-positive pot dealer, and his dog, Foxy Brown. Ross’ internalized homophobia drives a wedge between Jerome’s new friends. Jerome decides “Il n'y a pas de petit chez soi” (there’s no place like home).

Now of course, Max never visits a bathhouse, gets stoned with his new friends or discovers the mind-numbing horrors of riding mass transit in Los Angeles, or Jonze’s Wild Things would be even more controversial than it is. Jonze’s film is a visually stunning reimagining of Maurice Sendak’s beloved book that weighs down the book’s spare prose with too many unrelated plot elements, making it a hard film for kids to appreciate.


Bushman’s Hollywood, Je T’aime succeeds in showing us people who don’t get much exposure in gay cinema, through the eyes of an understated lead whose foreignness gives him carte blanche to do whatever he wants. That he can’t forget his wispy and annoying lover back home shows that he’s a flawed dreamer like the rest of his newfound family. Debets’ main charms are his resemblance to Adrien Brody and his warm French accent. Allen gives the best performance, as a medical pot permit-carrying stoner, while the rest of the cast does a fine job fleshing out their unusual roles, especially Airington, as the life-weary den mother.

Hollywood, Je T’aime (i.e., Hollywood, I Love You) is an odd name for a film that doesn’t particularly love the city, but it is a well-made character study and a bittersweet addition to the “making it in Hollywood” canon.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.
 
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