The machines took over Saturday night in St. Louis. Car machines, that is.
To get fans ready for the upcoming release of the Terminator Genisys, Clean Cut Creations Vintage Auto Works hosted a watch party of the original 1984 film, The Terminator, with a drive-in movie night.
Saturday evening’s event was open to everyone and St. Louis area vintage car owners arrived in style to watch James Cameron’s sci-fi classic.
In 1984, a cyborg arrived from the future. He was called the Terminator.
Jump 30 plus years into the future to 2015 and a brand chapter of the Terminator franchise. Opening on July 1st with new cyborgs and bigger action sequences is Terminator Genisys.
Check out Clean Cut Creations Vintage Auto Works on Facebook:
https://www.facebook.com/Cccstl
https://www.facebook.com/STLSnowCone
When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to...
To get fans ready for the upcoming release of the Terminator Genisys, Clean Cut Creations Vintage Auto Works hosted a watch party of the original 1984 film, The Terminator, with a drive-in movie night.
Saturday evening’s event was open to everyone and St. Louis area vintage car owners arrived in style to watch James Cameron’s sci-fi classic.
In 1984, a cyborg arrived from the future. He was called the Terminator.
Jump 30 plus years into the future to 2015 and a brand chapter of the Terminator franchise. Opening on July 1st with new cyborgs and bigger action sequences is Terminator Genisys.
Check out Clean Cut Creations Vintage Auto Works on Facebook:
https://www.facebook.com/Cccstl
https://www.facebook.com/STLSnowCone
When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to...
- 6/8/2015
- by Michelle McCue
- WeAreMovieGeeks.com
An exhilarating campaign to save mankind unfolds on the high seas, in the skies and on land when Battleship . the entertaining, action-adventure made with unprecedented support of the Us Navy . comes to Blu-ray. Combo Pack, DVD and On Demand August 28th, 2012, from Universal Studios Home Entertainment. Also available through Digital Download. Against all odds, a daring young naval officer and his heroic crew launch an all-out military showdown against a superior alien force in this enthralling, thrill-ride that will have viewers holding their breath through the final gripping face-off. Blu-ray.s high-definition picture and perfect hi-def 5.1 surround sound provide the ultimate showcase to experience the film.s awe-inspiring special effects, non-stop action and ingenious weaponry. Almost two hours of exclusive bonus features including all-new featurettes, behind-the-scenes footage, filmmaker commentary and an exciting pre-visualization of an alternate ending make this a must-own disc for every movie fan.
The Blu-rayTM Combo Pack...
The Blu-rayTM Combo Pack...
- 7/12/2012
- by Michelle McCue
- WeAreMovieGeeks.com
The Art Directors Guild (Adg) has announced the winners of its 16th Annual Excellence in Production Design Awards for 2011. "Hugo" won in the Period Film category, "Harry Potter and the Deathly Hallows Part 2" received the Fantasy Film award, and "The Girl with the Dragon Tattoo" took home the Contemporary Film trophy. Oh yeah, and the 83rd Oscars won in the Awards, Music, or Game Shows category, and Activision: Call of Duty won the Commercial or Music Videos category.
Winners of the 16th Annual Adg Awards were announced at a black-tie event at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills.
Here is the full list of winners (highlighted) and nominees (to see winners/nominees of other award-giving bodies, visit our Awards Avenue coverage right here)
Winners For Excellence In Production Design For A Feature Film In 2011
Period Film
The Artist -- Laurence Bennett
Tinker Tailor Soldier Spy...
Winners of the 16th Annual Adg Awards were announced at a black-tie event at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills.
Here is the full list of winners (highlighted) and nominees (to see winners/nominees of other award-giving bodies, visit our Awards Avenue coverage right here)
Winners For Excellence In Production Design For A Feature Film In 2011
Period Film
The Artist -- Laurence Bennett
Tinker Tailor Soldier Spy...
- 2/5/2012
- by Manny
- Manny the Movie Guy
HollywoodNews.com:The Art Directors Guild (Adg announced winners of its 16th Annual Excellence in Production Design Awards in nine categories of film, television, commercials and music videos during black-tie ceremonies at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills. The awards took place before an audience of more than 700, including guild members, industry executives, studio heads and press. Adg President Thomas A. Walsh presided over the awards ceremony with Paula Poundstone serving as host for the third consecutive year. Ben Vereen performed as a special musical guest. Production Designer Tony Walton was the recipient of the Lifetime Achievement Award. Hall of Fame inductees were Robert Boyle, William Darling, and Alfred Junge. The team from the Harry Potter films, including Executive Producer David Heyman, Producer David Barron; directors Christopher Columbus, Alfonso Cuaron, Mike Newell, and David Yates; creator and author J.K. Rowling; screenwriters Steve Kloves and Michael Goldenberg...
- 2/5/2012
- by Josh Abraham
- Hollywoodnews.com
HollywoodNews.com: The Art Directors Guild (Adg) today announced nominations in nine categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the Adg’s 16th Annual Excellence in Production Design Awards for 2011. The nominations were announced by Adg Council President Thomas A. Walsh and Awards co-producers Tom Wilkins and Greg Grande. Deadline for final voting, which is done online, is February 2. The black-tie ceremony announcing winners will take place Saturday, February 4, 2012 at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with Paula Poundstone serving as host for the third consecutive year.
A Lifetime Achievement Award will go to Emmy Award® winning Production Designer Tony Walton. In addition, the Adg will induct the following legendary Production Designers from the past into its Hall of Fame: Robert Boyle, William Darling and Alfred Junge. This year’s Art Directors Guild Cinematic Imagery Award will...
A Lifetime Achievement Award will go to Emmy Award® winning Production Designer Tony Walton. In addition, the Adg will induct the following legendary Production Designers from the past into its Hall of Fame: Robert Boyle, William Darling and Alfred Junge. This year’s Art Directors Guild Cinematic Imagery Award will...
- 1/4/2012
- by Josh Abraham
- Hollywoodnews.com
As anyone who watched James Franco's take on Oscar hosting can tell you, Hollywood award shows can be weird, weird things. Whether it's Adrien Brody planting a kiss on Halle Berry or just Ricky Gervais insulting everyone in the audience, things can get strange very fast.
But for certain awards, they don't need all the fanfare (or malice) to entice audiences; sometimes the nominees alone are enough. The Art Directors Guild awards fall squarely into this category, with their wide-ranging nominees for excellence in production design, announced last night. Where else would "Extremely Loud and Incredibly Close," "Captain America," and "Anonymous" all be nominated for something?
The announcement of the winners will be made at the annual awards ceremony on Feb. 4.
Check out the list of nominees:
Period Film
The Artist, Production Designer: Laurence Bennett Hugo, Production Designer: Dante Ferretti The Help, Production Designer: Mark Ricker Anonymous, Production Designer:...
But for certain awards, they don't need all the fanfare (or malice) to entice audiences; sometimes the nominees alone are enough. The Art Directors Guild awards fall squarely into this category, with their wide-ranging nominees for excellence in production design, announced last night. Where else would "Extremely Loud and Incredibly Close," "Captain America," and "Anonymous" all be nominated for something?
The announcement of the winners will be made at the annual awards ceremony on Feb. 4.
Check out the list of nominees:
Period Film
The Artist, Production Designer: Laurence Bennett Hugo, Production Designer: Dante Ferretti The Help, Production Designer: Mark Ricker Anonymous, Production Designer:...
- 1/4/2012
- by Sarah Crow
- NextMovie
The Art Directors Guild has announced the nominees for its 16th annual Excellence in Production Design Awards, to be handed out Feb. 4 at the Beverly Hilton Hotel. Art Direction may not be at the top of your priority list for movies or TV, but I think it should be higher than many people hold it. Without art direction the tone of what you watch would be greatly impacted. I love being transported into a unique universe, and art direction helps make my movie and TV viewing experiences more enjoyable.
Here are the nominees:
Nominees For Excellence In Production Design For A Feature Film In 2011:
Period Film:
The Artist Production Designer: Laurence Bennett
Hugo Production Designer: Dante Ferretti
The Help Production Designer: Mark Ricker
Anonymous Production Designer: Sebastian Krawinkel
Tinker Tailor Soldier Spy Production Designer: Maria Djurkovic
Fantasy Film:
Harry Potter And The Deathly
Hallows Part 2 Production Designer: Stuart Craig...
Here are the nominees:
Nominees For Excellence In Production Design For A Feature Film In 2011:
Period Film:
The Artist Production Designer: Laurence Bennett
Hugo Production Designer: Dante Ferretti
The Help Production Designer: Mark Ricker
Anonymous Production Designer: Sebastian Krawinkel
Tinker Tailor Soldier Spy Production Designer: Maria Djurkovic
Fantasy Film:
Harry Potter And The Deathly
Hallows Part 2 Production Designer: Stuart Craig...
- 1/4/2012
- by Tiberius
- GeekTyrant
Left dangling for the past three years, arachnophiles everywhere finally have cause to celebrate.
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, Spider-Man 3 has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, Spider-Man 3 has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, Spider-Man 3 is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, Spider-Man 3 introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate Spider-Man 2.
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a Reefer Madness fiend or, say, Robert Downey Jr. in Less Than Zero.
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on Spider-Man 2, as did production designer Neil Spisak, who this time also is joined by J. Michael Riva (The Pursuit of Happyness), and Spider-Man 2 composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, Spider-Man 3 has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, Spider-Man 3 has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, Spider-Man 3 is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, Spider-Man 3 introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate Spider-Man 2.
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a Reefer Madness fiend or, say, Robert Downey Jr. in Less Than Zero.
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on Spider-Man 2, as did production designer Neil Spisak, who this time also is joined by J. Michael Riva (The Pursuit of Happyness), and Spider-Man 2 composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
- 4/23/2007
- The Hollywood Reporter - Movie News
Having undergone more revisions and conceptualizations than the original series went through Darrins (two), Gladys Kravitzes (two) and Louise Tates (two) combined, the long-awaited screen version of Bewitched finally arrives in theaters courtesy of a potential fix by Nora and Delia Ephron designed to pay affectionate tribute to the show, while giving it a contemporary makeover.
For a little while, anyway, it looks like the conceit -- in which a new Bewitched series has been cast with an unknown Samantha who proves to be the Real McCoy -- could actually pay off some decent comic dividends.
But rather than settling into an agreeably amusing groove, the picture spends most of its 98 minutes flitting around trying various romantic comedy guises on for size at the expense of pacing, which on more than one occasion grinds to a virtual halt.
Despite the labors of leads Nicole Kidman and Will Ferrell, there's no screen magic being made here. Audiences enticed by the easy charm of the original Elizabeth Montgomery series might be drawn to theaters in the early going, but most will likely leave Bewitched somewhat bothered and bewildered.
The resulting less-than-enthusiastic word-of-mouth will ultimately prevent the Stephens' from getting anywhere near the Fockers at the boxoffice.
Playing the role which at one time was earmarked for Jim Carrey, Ferrell is Darrin-in-waiting Jack Wyatt, a self-important actor whose big-screen career has hit the skids. He's given a chance at salvation with an update of Bewitched, though, being well aware of the expendability of actors playing the part of Darrin, he's determined not to be upstaged by any Samantha.
Enter Isabel Bigelow (Kidman), a card-carrying witch who is tiring of the charmed life and is eager to lead a normal existence with a husband and a picket fence. Taken by her uncanny Montgomery-like nose and sweet demeanor, Wyatt is convinced he's found the no-name actress who won't steal focus away from his big comeback.
Naturally things don't go as either of them had planned, leading to all manner of wacky shenanigans.
Director and co-screenwriter Nora Ephron, who created the going romantic comedy template with Sleepless in Seattle, toys with various approaches here, but while the picture has been top-loaded with some workable bits, later on there are gaping, barren stretches, as if someone had cast a spell and made all the laughs disappear.
It's clear that Ferrell has been counted upon to do a lot of the heavy comedic lifting, but even with the actor's gifts for improv, the task of carrying an entire picture simply cannot be achieved by a mere mortal.
Going gamely along with Ferrell, Kidman brings a breathy kewpie doll delivery to the part that doesn't always segue smoothly into her angrier moods, though she does have that nose-twitching down cold.
In supporting roles, Shirley MacLaine is a natural as Endora and Michael Caine is effectively debonair as Kidman's warlock papa.
Not given enough to do are Jason Schwartzman as Ferrell's sycophant manager and Kristin Chenoweth (who played the part of Glinda the Good Witch in Broadway's Wicked) as Kidman's man-hungry next-door neighbor.
Comic opportunities are further missed under-utilizing the talents of Steve Carell as Paul Lynde's Uncle Arthur and Carole Shelley as Marion Lorne's dippy Aunt Clara, with both appearing in segments that fall awkwardly flat.
Production values are certainly enchanting enough, with the usual flair provided by cinematographer John Lindley and production designer Neil Spisak, while composer George Fenton manages to find the right contempo romantic comedy/'60s sitcom balance.
Ironically, some of the film's cleverest bits of humor can be found in a song list that includes the Eagles' Witchy Woman and the Police's "Every Little Thing She Does Is Magic," in addition to Frank Sinatra crooning Witchcraft and Ella Fitzgerald swinging her way through "Ding-Dong the Witch Is Dead!"
Too bad the rest of movie couldn't have been as inventive.
BEWITCHED
Columbia Pictures
Columbia Pictures presents a Lucy Fisher and Douglas Wick/Penny Marshall production
Credits:
Director: Nora Ephron
Screenwriters: Nora Ephron, Delia Ephron
Based on the TV series created by: Sol Saks
Producers: Douglas Wick, Lucy Fisher, Penny Marshall, Nora Ephron
Executive producers: James W. Skotchdopole, Steven H. Berman, Bobby Cohen
Director of photography: John Lindley
Production designer: Neil Spisak
Editor: Tia Nolan
Costume designer: Mary Zophres
Music: George Fenton
Music supervisor: Nick Meyers
Cast:
Isabel Bigelow: Nicole Kidman
Jack Wyatt: Will Ferrell
Iris Smythson: Shirley MacLaine
Nigel Bigelow: Michael Caine
Richie: Jason Schwartzman
Maria Kelly: Kristin Chenoweth
Nina: Heather Burns
Running time -- 98 minutes
MPAA rating: PG-13...
For a little while, anyway, it looks like the conceit -- in which a new Bewitched series has been cast with an unknown Samantha who proves to be the Real McCoy -- could actually pay off some decent comic dividends.
But rather than settling into an agreeably amusing groove, the picture spends most of its 98 minutes flitting around trying various romantic comedy guises on for size at the expense of pacing, which on more than one occasion grinds to a virtual halt.
Despite the labors of leads Nicole Kidman and Will Ferrell, there's no screen magic being made here. Audiences enticed by the easy charm of the original Elizabeth Montgomery series might be drawn to theaters in the early going, but most will likely leave Bewitched somewhat bothered and bewildered.
The resulting less-than-enthusiastic word-of-mouth will ultimately prevent the Stephens' from getting anywhere near the Fockers at the boxoffice.
Playing the role which at one time was earmarked for Jim Carrey, Ferrell is Darrin-in-waiting Jack Wyatt, a self-important actor whose big-screen career has hit the skids. He's given a chance at salvation with an update of Bewitched, though, being well aware of the expendability of actors playing the part of Darrin, he's determined not to be upstaged by any Samantha.
Enter Isabel Bigelow (Kidman), a card-carrying witch who is tiring of the charmed life and is eager to lead a normal existence with a husband and a picket fence. Taken by her uncanny Montgomery-like nose and sweet demeanor, Wyatt is convinced he's found the no-name actress who won't steal focus away from his big comeback.
Naturally things don't go as either of them had planned, leading to all manner of wacky shenanigans.
Director and co-screenwriter Nora Ephron, who created the going romantic comedy template with Sleepless in Seattle, toys with various approaches here, but while the picture has been top-loaded with some workable bits, later on there are gaping, barren stretches, as if someone had cast a spell and made all the laughs disappear.
It's clear that Ferrell has been counted upon to do a lot of the heavy comedic lifting, but even with the actor's gifts for improv, the task of carrying an entire picture simply cannot be achieved by a mere mortal.
Going gamely along with Ferrell, Kidman brings a breathy kewpie doll delivery to the part that doesn't always segue smoothly into her angrier moods, though she does have that nose-twitching down cold.
In supporting roles, Shirley MacLaine is a natural as Endora and Michael Caine is effectively debonair as Kidman's warlock papa.
Not given enough to do are Jason Schwartzman as Ferrell's sycophant manager and Kristin Chenoweth (who played the part of Glinda the Good Witch in Broadway's Wicked) as Kidman's man-hungry next-door neighbor.
Comic opportunities are further missed under-utilizing the talents of Steve Carell as Paul Lynde's Uncle Arthur and Carole Shelley as Marion Lorne's dippy Aunt Clara, with both appearing in segments that fall awkwardly flat.
Production values are certainly enchanting enough, with the usual flair provided by cinematographer John Lindley and production designer Neil Spisak, while composer George Fenton manages to find the right contempo romantic comedy/'60s sitcom balance.
Ironically, some of the film's cleverest bits of humor can be found in a song list that includes the Eagles' Witchy Woman and the Police's "Every Little Thing She Does Is Magic," in addition to Frank Sinatra crooning Witchcraft and Ella Fitzgerald swinging her way through "Ding-Dong the Witch Is Dead!"
Too bad the rest of movie couldn't have been as inventive.
BEWITCHED
Columbia Pictures
Columbia Pictures presents a Lucy Fisher and Douglas Wick/Penny Marshall production
Credits:
Director: Nora Ephron
Screenwriters: Nora Ephron, Delia Ephron
Based on the TV series created by: Sol Saks
Producers: Douglas Wick, Lucy Fisher, Penny Marshall, Nora Ephron
Executive producers: James W. Skotchdopole, Steven H. Berman, Bobby Cohen
Director of photography: John Lindley
Production designer: Neil Spisak
Editor: Tia Nolan
Costume designer: Mary Zophres
Music: George Fenton
Music supervisor: Nick Meyers
Cast:
Isabel Bigelow: Nicole Kidman
Jack Wyatt: Will Ferrell
Iris Smythson: Shirley MacLaine
Nigel Bigelow: Michael Caine
Richie: Jason Schwartzman
Maria Kelly: Kristin Chenoweth
Nina: Heather Burns
Running time -- 98 minutes
MPAA rating: PG-13...
Any film genre -- even the Southern gothic melodrama with its wayward belles, mental misfits and backwoods misbehavior -- can stand only so much hokum. But the makers of "The Gift" lay on the rustic nonsense awfully thick, peopling the tiny town of Brixton, Ga., with more "colorful" characters than any town -- or movie -- can tolerate.
A fine cast headed by Australian star Cate Blanchett struggles futilely to give life to these characters. Meant as a psychological thriller but more likely to be received by audiences as a burlesque of Southern stereotypes, "Gift"'s only chance theatrically is to be mistaken for high camp. The film opens this month for Academy consideration in Los Angeles before its Jan. 19 national rollout.
The script is by Billy Bob Thornton and Tom Epperson, who know their way around this neck of the woods. Together, they wrote that fine Southern crime drama "Once False Move", and Thornton, of course, won an Oscar for his astonishing screenplay "Sling Blade".
But "Gift", whose central character possesses supernatural clairvoyance, emerges as a kind of "Sling Blade" meets "What Lies Beneath", and this proves to be a meeting that should never take place. Along with terrifying visions of a murdered girl's body, the movie traffics in nastiness ranging from adultery, child molestation and abuse of women to homicide, suicide and patricide by immolation.
Director Sam Raimi hues close to horror-film conventions, the kinds where a threatened woman enters a dark house alone or accompanies a potential killer into the woods without thinking these might be unwise moves.
Blanchett tiptoes through a minefield of unmotivated actions and implausible predicaments to deliver a credible performance as a widow with the "gift" of psychic vision. Among her clients are an emotionally unstable auto mechanic (Giovanni Ribisi) and the abused wife (Hilary Swank) of a redneck hothead (Keanu Reeves).
When a pretty, promiscuous young woman (Katie Holmes) goes missing, her fiance (Greg Kinnear) and father (Chelcie Ross) come by to see what Blanchett's visions tell her about the disappearance.
Reeves' character also drops by frequently to deliver threats against Blanchett and her three children in retaliation for her suggesting to his battered wife that she leave him. So when her psychic visions lead police to the body of the missing woman on Reeves' property, everything points to him as the murderer. Only Blanchett has second thoughts about her second sight.
There is little logic or plausible human behavior in most of the plot's erratic twists and turns. Courtroom scenes make little sense, and a climax between Blanchett and a potential killer might satisfy horror-thriller conventions but is not like to satisfy audiences.
Technical credits are pro, though Jamie Anderson's camera setups and Neil Spisak's production design tend to aid and abet Raimi's penchant for the predictable.
THE GIFT
Paramount Classics
Lakeshore Entertainment/Alphaville
Producers: James Jacks, Tom Rosenberg
Director: Sam Raimi
Screenwriters: Billy Bob Thornton, Tom Epperson
Executive producers: Gary Lucchesi, Gregory Goodman, Sean Daniel, Ted Tannebaum
Director of photography: Jamie Anderson
Production designer: Neil Spisak
Music: Christopher Young
Costume designer: Julie Weiss
Editors: Bob Murawski, Arthur Coburn
Color/stereo
Cast:
Annie Wilson: Cate Blanchett
Valerie Barksdale: Hilary Swank
Donnie Barksdale: Keanu Reeves
Buddy Cole: Giovanni Ribisi
Wayne Collins: Greg Kinnear
Jessica King: Katie Holmes
Gerald Weems: Michael Jeter
Linda: Kim Dickens
Running time -- 105 minutes
MPAA rating: R...
A fine cast headed by Australian star Cate Blanchett struggles futilely to give life to these characters. Meant as a psychological thriller but more likely to be received by audiences as a burlesque of Southern stereotypes, "Gift"'s only chance theatrically is to be mistaken for high camp. The film opens this month for Academy consideration in Los Angeles before its Jan. 19 national rollout.
The script is by Billy Bob Thornton and Tom Epperson, who know their way around this neck of the woods. Together, they wrote that fine Southern crime drama "Once False Move", and Thornton, of course, won an Oscar for his astonishing screenplay "Sling Blade".
But "Gift", whose central character possesses supernatural clairvoyance, emerges as a kind of "Sling Blade" meets "What Lies Beneath", and this proves to be a meeting that should never take place. Along with terrifying visions of a murdered girl's body, the movie traffics in nastiness ranging from adultery, child molestation and abuse of women to homicide, suicide and patricide by immolation.
Director Sam Raimi hues close to horror-film conventions, the kinds where a threatened woman enters a dark house alone or accompanies a potential killer into the woods without thinking these might be unwise moves.
Blanchett tiptoes through a minefield of unmotivated actions and implausible predicaments to deliver a credible performance as a widow with the "gift" of psychic vision. Among her clients are an emotionally unstable auto mechanic (Giovanni Ribisi) and the abused wife (Hilary Swank) of a redneck hothead (Keanu Reeves).
When a pretty, promiscuous young woman (Katie Holmes) goes missing, her fiance (Greg Kinnear) and father (Chelcie Ross) come by to see what Blanchett's visions tell her about the disappearance.
Reeves' character also drops by frequently to deliver threats against Blanchett and her three children in retaliation for her suggesting to his battered wife that she leave him. So when her psychic visions lead police to the body of the missing woman on Reeves' property, everything points to him as the murderer. Only Blanchett has second thoughts about her second sight.
There is little logic or plausible human behavior in most of the plot's erratic twists and turns. Courtroom scenes make little sense, and a climax between Blanchett and a potential killer might satisfy horror-thriller conventions but is not like to satisfy audiences.
Technical credits are pro, though Jamie Anderson's camera setups and Neil Spisak's production design tend to aid and abet Raimi's penchant for the predictable.
THE GIFT
Paramount Classics
Lakeshore Entertainment/Alphaville
Producers: James Jacks, Tom Rosenberg
Director: Sam Raimi
Screenwriters: Billy Bob Thornton, Tom Epperson
Executive producers: Gary Lucchesi, Gregory Goodman, Sean Daniel, Ted Tannebaum
Director of photography: Jamie Anderson
Production designer: Neil Spisak
Music: Christopher Young
Costume designer: Julie Weiss
Editors: Bob Murawski, Arthur Coburn
Color/stereo
Cast:
Annie Wilson: Cate Blanchett
Valerie Barksdale: Hilary Swank
Donnie Barksdale: Keanu Reeves
Buddy Cole: Giovanni Ribisi
Wayne Collins: Greg Kinnear
Jessica King: Katie Holmes
Gerald Weems: Michael Jeter
Linda: Kim Dickens
Running time -- 105 minutes
MPAA rating: R...
Any film genre -- even the Southern gothic melodrama with its wayward belles, mental misfits and backwoods misbehavior -- can stand only so much hokum. But the makers of "The Gift" lay on the rustic nonsense awfully thick, peopling the tiny town of Brixton, Ga., with more "colorful" characters than any town -- or movie -- can tolerate.
A fine cast headed by Australian star Cate Blanchett struggles futilely to give life to these characters. Meant as a psychological thriller but more likely to be received by audiences as a burlesque of Southern stereotypes, "Gift"'s only chance theatrically is to be mistaken for high camp. The film opens this month for Academy consideration in Los Angeles before its Jan. 19 national rollout.
The script is by Billy Bob Thornton and Tom Epperson, who know their way around this neck of the woods. Together, they wrote that fine Southern crime drama "Once False Move", and Thornton, of course, won an Oscar for his astonishing screenplay "Sling Blade".
But "Gift", whose central character possesses supernatural clairvoyance, emerges as a kind of "Sling Blade" meets "What Lies Beneath", and this proves to be a meeting that should never take place. Along with terrifying visions of a murdered girl's body, the movie traffics in nastiness ranging from adultery, child molestation and abuse of women to homicide, suicide and patricide by immolation.
Director Sam Raimi hues close to horror-film conventions, the kinds where a threatened woman enters a dark house alone or accompanies a potential killer into the woods without thinking these might be unwise moves.
Blanchett tiptoes through a minefield of unmotivated actions and implausible predicaments to deliver a credible performance as a widow with the "gift" of psychic vision. Among her clients are an emotionally unstable auto mechanic (Giovanni Ribisi) and the abused wife (Hilary Swank) of a redneck hothead (Keanu Reeves).
When a pretty, promiscuous young woman (Katie Holmes) goes missing, her fiance (Greg Kinnear) and father (Chelcie Ross) come by to see what Blanchett's visions tell her about the disappearance.
Reeves' character also drops by frequently to deliver threats against Blanchett and her three children in retaliation for her suggesting to his battered wife that she leave him. So when her psychic visions lead police to the body of the missing woman on Reeves' property, everything points to him as the murderer. Only Blanchett has second thoughts about her second sight.
There is little logic or plausible human behavior in most of the plot's erratic twists and turns. Courtroom scenes make little sense, and a climax between Blanchett and a potential killer might satisfy horror-thriller conventions but is not like to satisfy audiences.
Technical credits are pro, though Jamie Anderson's camera setups and Neil Spisak's production design tend to aid and abet Raimi's penchant for the predictable.
THE GIFT
Paramount Classics
Lakeshore Entertainment/Alphaville
Producers: James Jacks, Tom Rosenberg
Director: Sam Raimi
Screenwriters: Billy Bob Thornton, Tom Epperson
Executive producers: Gary Lucchesi, Gregory Goodman, Sean Daniel, Ted Tannebaum
Director of photography: Jamie Anderson
Production designer: Neil Spisak
Music: Christopher Young
Costume designer: Julie Weiss
Editors: Bob Murawski, Arthur Coburn
Color/stereo
Cast:
Annie Wilson: Cate Blanchett
Valerie Barksdale: Hilary Swank
Donnie Barksdale: Keanu Reeves
Buddy Cole: Giovanni Ribisi
Wayne Collins: Greg Kinnear
Jessica King: Katie Holmes
Gerald Weems: Michael Jeter
Linda: Kim Dickens
Running time -- 105 minutes
MPAA rating: R...
A fine cast headed by Australian star Cate Blanchett struggles futilely to give life to these characters. Meant as a psychological thriller but more likely to be received by audiences as a burlesque of Southern stereotypes, "Gift"'s only chance theatrically is to be mistaken for high camp. The film opens this month for Academy consideration in Los Angeles before its Jan. 19 national rollout.
The script is by Billy Bob Thornton and Tom Epperson, who know their way around this neck of the woods. Together, they wrote that fine Southern crime drama "Once False Move", and Thornton, of course, won an Oscar for his astonishing screenplay "Sling Blade".
But "Gift", whose central character possesses supernatural clairvoyance, emerges as a kind of "Sling Blade" meets "What Lies Beneath", and this proves to be a meeting that should never take place. Along with terrifying visions of a murdered girl's body, the movie traffics in nastiness ranging from adultery, child molestation and abuse of women to homicide, suicide and patricide by immolation.
Director Sam Raimi hues close to horror-film conventions, the kinds where a threatened woman enters a dark house alone or accompanies a potential killer into the woods without thinking these might be unwise moves.
Blanchett tiptoes through a minefield of unmotivated actions and implausible predicaments to deliver a credible performance as a widow with the "gift" of psychic vision. Among her clients are an emotionally unstable auto mechanic (Giovanni Ribisi) and the abused wife (Hilary Swank) of a redneck hothead (Keanu Reeves).
When a pretty, promiscuous young woman (Katie Holmes) goes missing, her fiance (Greg Kinnear) and father (Chelcie Ross) come by to see what Blanchett's visions tell her about the disappearance.
Reeves' character also drops by frequently to deliver threats against Blanchett and her three children in retaliation for her suggesting to his battered wife that she leave him. So when her psychic visions lead police to the body of the missing woman on Reeves' property, everything points to him as the murderer. Only Blanchett has second thoughts about her second sight.
There is little logic or plausible human behavior in most of the plot's erratic twists and turns. Courtroom scenes make little sense, and a climax between Blanchett and a potential killer might satisfy horror-thriller conventions but is not like to satisfy audiences.
Technical credits are pro, though Jamie Anderson's camera setups and Neil Spisak's production design tend to aid and abet Raimi's penchant for the predictable.
THE GIFT
Paramount Classics
Lakeshore Entertainment/Alphaville
Producers: James Jacks, Tom Rosenberg
Director: Sam Raimi
Screenwriters: Billy Bob Thornton, Tom Epperson
Executive producers: Gary Lucchesi, Gregory Goodman, Sean Daniel, Ted Tannebaum
Director of photography: Jamie Anderson
Production designer: Neil Spisak
Music: Christopher Young
Costume designer: Julie Weiss
Editors: Bob Murawski, Arthur Coburn
Color/stereo
Cast:
Annie Wilson: Cate Blanchett
Valerie Barksdale: Hilary Swank
Donnie Barksdale: Keanu Reeves
Buddy Cole: Giovanni Ribisi
Wayne Collins: Greg Kinnear
Jessica King: Katie Holmes
Gerald Weems: Michael Jeter
Linda: Kim Dickens
Running time -- 105 minutes
MPAA rating: R...
- 12/13/2000
- The Hollywood Reporter - Movie News
A rousing sports fantasy and an oldfangled star vehicle for Kevin Costner, "For Love of the Game" is big and long, loud and monumentally dramatic. The Universal release -- not quite going into extra innings, but a two-hour-plus struggle that cinematic umps could have speeded up in stretches -- has the stuff to post a clear but not overwhelming win at the boxoffice.
Director Sam Raimi's affection for the material is evident, and Costner delivers a perfect game by Hollywood standards, though it's too risky a bet to say the movie will be a hit in the same league as "Bull Durham" and "Field of Dreams". It just might, but as the characters say in the film, Major League Baseball has changed. It has been wrecked by greed. Where does that leave fans of baseball movies?
Based on a posthumous novel by Michael Shaara (Pulitzer Prize-winning author of "The Killer Angels"), "For Love of the Game" is straightforward storytelling with literary-style rearranging of the chronology of events, spurred by the memories of lead character Billy Chapel (Costner), aging ace of the Detroit Tigers, on the most important day of his life.
From many huge close-ups of the crotch of Chapel's loyal catcher Gus (John C. Reilly) to the reassuring and classy presence of Dodger announcer Vin Scully (who broadcast Yankee Don Larsen's perfect game in the 1956 World Series), "For Love of the Game" is one of the most attentive and respectful movies ever about the sport.
Although liberal use is made of convincing TV footage of the career-milestone game of fictional Chapel -- shot at Yankee Stadium -- the movie also gives one a new appreciation of the rigors of the game and competitive spirit of the players through adroitly, imaginatively filmed on-field sequences. Alas, when the action shifts to Chapel's mental replay of his career and failed relationship with single-mother/fun-loving-journalist Jane (Kelly Preston), the overall pitching becomes more erratic.
Pop songs like Bob Seger's melancholy "Against the Wind" and composer Basil Poledouris' anthems-away score come to bat during the many epiphanous moments in store for Chapel as he mows down the Yanks inning after inning on his way, everyone hopes, to a perfect game. As if possibly joining the legends of the sport isn't enough of a strain, Hall of Fame-bound Chapel has learned that Tigers owner (Brian Cox) has sold the team.
That's not all. The new owners want to trade Chapel. He has the chance to retire honorably like those of the "old school" and suddenly realizes he may be pitching his final game. But what really gets to him is five-year-fling Jane giving him the heave-ho and heading for the airport, where she's subsequently delayed and catches his game on the tube in a bar full of Yankee fans.
Even nonfans of baseball will have a hard time resisting this set-up that includes Jane's USC-attending daughter (Jena Malone) watching Chapel in his moment of glory. Surprisingly, that moment is fleeting and the story seems willing to risk ending on a note of stinging defeat, but that's before the fat lady has sung.
From cinematographer John Bailey to production designer Neil Spisak to costume designer Judianna Makovsky, Raimi and Costner field an all-star lineup that comes through in the clutch reel after reel.
FOR LOVE OF THE GAME
Universal Pictures
A Beacon Pictures/TIG Prods./ Mirage Enterprises production
Director Sam Raimi
Screenwriter Dana Stevens
Based on the novel by Michael Shaara
Producers Armyan Bernstein, Amy Robinson
Executive producers Ron Bozman,
Marc Abraham
Director of photography John Bailey
Production designer Neil Spisak
Editors Eric L. Beason, Arthur Coburn
Costume designer Judianna Makovsky
Music Basil Poledouris
Casting Lynn Kressel
Color/stereo
Cast:
Billy Chapel Kevin Costner
Jane Aubrey Kelly Preston
Gus Sinski John C. Reilly
Heather Jena Malone
Gary Wheeler Brian Cox
Frank Perry J.K. Simmons
Running time -- 137 minutes
MPAA rating: PG-13...
Director Sam Raimi's affection for the material is evident, and Costner delivers a perfect game by Hollywood standards, though it's too risky a bet to say the movie will be a hit in the same league as "Bull Durham" and "Field of Dreams". It just might, but as the characters say in the film, Major League Baseball has changed. It has been wrecked by greed. Where does that leave fans of baseball movies?
Based on a posthumous novel by Michael Shaara (Pulitzer Prize-winning author of "The Killer Angels"), "For Love of the Game" is straightforward storytelling with literary-style rearranging of the chronology of events, spurred by the memories of lead character Billy Chapel (Costner), aging ace of the Detroit Tigers, on the most important day of his life.
From many huge close-ups of the crotch of Chapel's loyal catcher Gus (John C. Reilly) to the reassuring and classy presence of Dodger announcer Vin Scully (who broadcast Yankee Don Larsen's perfect game in the 1956 World Series), "For Love of the Game" is one of the most attentive and respectful movies ever about the sport.
Although liberal use is made of convincing TV footage of the career-milestone game of fictional Chapel -- shot at Yankee Stadium -- the movie also gives one a new appreciation of the rigors of the game and competitive spirit of the players through adroitly, imaginatively filmed on-field sequences. Alas, when the action shifts to Chapel's mental replay of his career and failed relationship with single-mother/fun-loving-journalist Jane (Kelly Preston), the overall pitching becomes more erratic.
Pop songs like Bob Seger's melancholy "Against the Wind" and composer Basil Poledouris' anthems-away score come to bat during the many epiphanous moments in store for Chapel as he mows down the Yanks inning after inning on his way, everyone hopes, to a perfect game. As if possibly joining the legends of the sport isn't enough of a strain, Hall of Fame-bound Chapel has learned that Tigers owner (Brian Cox) has sold the team.
That's not all. The new owners want to trade Chapel. He has the chance to retire honorably like those of the "old school" and suddenly realizes he may be pitching his final game. But what really gets to him is five-year-fling Jane giving him the heave-ho and heading for the airport, where she's subsequently delayed and catches his game on the tube in a bar full of Yankee fans.
Even nonfans of baseball will have a hard time resisting this set-up that includes Jane's USC-attending daughter (Jena Malone) watching Chapel in his moment of glory. Surprisingly, that moment is fleeting and the story seems willing to risk ending on a note of stinging defeat, but that's before the fat lady has sung.
From cinematographer John Bailey to production designer Neil Spisak to costume designer Judianna Makovsky, Raimi and Costner field an all-star lineup that comes through in the clutch reel after reel.
FOR LOVE OF THE GAME
Universal Pictures
A Beacon Pictures/TIG Prods./ Mirage Enterprises production
Director Sam Raimi
Screenwriter Dana Stevens
Based on the novel by Michael Shaara
Producers Armyan Bernstein, Amy Robinson
Executive producers Ron Bozman,
Marc Abraham
Director of photography John Bailey
Production designer Neil Spisak
Editors Eric L. Beason, Arthur Coburn
Costume designer Judianna Makovsky
Music Basil Poledouris
Casting Lynn Kressel
Color/stereo
Cast:
Billy Chapel Kevin Costner
Jane Aubrey Kelly Preston
Gus Sinski John C. Reilly
Heather Jena Malone
Gary Wheeler Brian Cox
Frank Perry J.K. Simmons
Running time -- 137 minutes
MPAA rating: PG-13...
- 9/10/1999
- The Hollywood Reporter - Movie News
DISCLOSURE
Warner Bros.
From the man-bites-dog section of the sexual-sociology bin comes "Disclosure", based on Michael Crichton's best-selling novel about the sexual harassment of a male employee by his female superior. Starring Michael Douglas and Demi Moore as the aforesaid harassed and harassee, this superbly crafted, glossy piece of filmmaking will deliver huge holiday numbers. Once again, Douglas stars as a decent family man with a wonder-wife (Caroline Goodall) and adorable kids whose personal and professional life is threatened by the sexual desires of a predatory female.
Brilliantly conveying not only the horrors of the situation but unveiling the ominous nature of the corporate arena itself, director Barry Levinson juices the story with his teeming visualizations while tightening the suspense screws with just the right rhythmic twists.
Heaps of credit to his technical crew, namely cinematographer Anthony Pierce-Roberts for the ominous hues and to production designer Neil Spisak for the eerily modern look (HR 12/5).-- Duane Byrge
NELL
20th Century Fox
Jodie Foster speaks no known language in "Nell", the compassionate story about a young woman raised so far back in the North Carolina woods that she's never come in contact with other human beings, other than her deceased twin sister and her now-dead mother.
Although she speaks in a seemingly indecipherable, staccato slur as a result of learning to speak from her stroke-disabled mother, you come to understand everything she says. Accordingly, this should translate into strong holiday boxoffice for 20th Century Fox.
Foster's stunning performance, spilling over with poetically primal movements and outbursts, should win her an Oscar nomination, and director Michael Apted could also win a nod for his stirring direction despite the story's soft predictability.
"Nell" is overall a radiant, wise film, realized not only through the cast's exceptional portrayals but also realized through the technicians' artistry, including Dante Spinotti's breathtaking cinematography and Mark Isham's murky music (HR 12/5).-- Duane Byrge
TOM & VIV
Miramax
"Poetry is not an expression of emotion but an escape from emotion": That was T.S. Eliot's explanation of his work, and in this meticulously crafted depiction of Eliot's turbulent married life, one somewhat comes to understand the emotional and intellectual outlet his poetry afforded him. Unfortunately, Miramax's "Tom & Viv" lurches precariously near to the wasteland of disease-of-the-week drama.
While assiduously chronicling the rise of Eliot's career, and layering it with the fastidious contradictions of his personality and art (his desire to lead a commonplace life as a banker; his embrace of Catholicism), screenwriters Michael Hastings and Adrian Hodges attempt to capture the essence of, arguably, the greatest poet of the 20th century and to show the artistic symbiosis of Eliot's relationship with his troubled wife.
As T.S. Eliot, Willem Dafoe is well-cast. His metallic monotone and careful ways give rich clues to his inner pains and inspirations, while Miranda Richardson has a field day with her character's delirium. It is Rosemary Harris as Viv's steadfast mother who delivers the film's richest and most emotionally mixed performance (HR 11/30).-- Duane Byrge
Other reviews
Also reviewed last week was the film "Trapped in Paradise" (HR 12/2-4).
(c) The Hollywood Reporter...
Warner Bros.
From the man-bites-dog section of the sexual-sociology bin comes "Disclosure", based on Michael Crichton's best-selling novel about the sexual harassment of a male employee by his female superior. Starring Michael Douglas and Demi Moore as the aforesaid harassed and harassee, this superbly crafted, glossy piece of filmmaking will deliver huge holiday numbers. Once again, Douglas stars as a decent family man with a wonder-wife (Caroline Goodall) and adorable kids whose personal and professional life is threatened by the sexual desires of a predatory female.
Brilliantly conveying not only the horrors of the situation but unveiling the ominous nature of the corporate arena itself, director Barry Levinson juices the story with his teeming visualizations while tightening the suspense screws with just the right rhythmic twists.
Heaps of credit to his technical crew, namely cinematographer Anthony Pierce-Roberts for the ominous hues and to production designer Neil Spisak for the eerily modern look (HR 12/5).-- Duane Byrge
NELL
20th Century Fox
Jodie Foster speaks no known language in "Nell", the compassionate story about a young woman raised so far back in the North Carolina woods that she's never come in contact with other human beings, other than her deceased twin sister and her now-dead mother.
Although she speaks in a seemingly indecipherable, staccato slur as a result of learning to speak from her stroke-disabled mother, you come to understand everything she says. Accordingly, this should translate into strong holiday boxoffice for 20th Century Fox.
Foster's stunning performance, spilling over with poetically primal movements and outbursts, should win her an Oscar nomination, and director Michael Apted could also win a nod for his stirring direction despite the story's soft predictability.
"Nell" is overall a radiant, wise film, realized not only through the cast's exceptional portrayals but also realized through the technicians' artistry, including Dante Spinotti's breathtaking cinematography and Mark Isham's murky music (HR 12/5).-- Duane Byrge
TOM & VIV
Miramax
"Poetry is not an expression of emotion but an escape from emotion": That was T.S. Eliot's explanation of his work, and in this meticulously crafted depiction of Eliot's turbulent married life, one somewhat comes to understand the emotional and intellectual outlet his poetry afforded him. Unfortunately, Miramax's "Tom & Viv" lurches precariously near to the wasteland of disease-of-the-week drama.
While assiduously chronicling the rise of Eliot's career, and layering it with the fastidious contradictions of his personality and art (his desire to lead a commonplace life as a banker; his embrace of Catholicism), screenwriters Michael Hastings and Adrian Hodges attempt to capture the essence of, arguably, the greatest poet of the 20th century and to show the artistic symbiosis of Eliot's relationship with his troubled wife.
As T.S. Eliot, Willem Dafoe is well-cast. His metallic monotone and careful ways give rich clues to his inner pains and inspirations, while Miranda Richardson has a field day with her character's delirium. It is Rosemary Harris as Viv's steadfast mother who delivers the film's richest and most emotionally mixed performance (HR 11/30).-- Duane Byrge
Other reviews
Also reviewed last week was the film "Trapped in Paradise" (HR 12/2-4).
(c) The Hollywood Reporter...
- 12/6/1994
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.