Paramount via Everett Collection
With so many different awards organizations announcing their nominations one after the other, it's difficult to remember how heavily to weigh each one's picks when filling out your Oscar pool sheet. Generally speaking, the BAFTAs are a fairly safe guide when it comes to the Best Picture category. Since 2008, the British Academy of Film and Television Arts has accurately predicted the Academy's top winners, with (even more impressively) only two discrepancies in Best Picture nominations throughout those five years (both in 2012, interestingly enough). Looking at this latest batch of BAFTA's chief nominees — which includes...
American Hustle,Captain Phillips,Gravity,Philomena,and 12 Years a Slave
— we're not especially surprised by any of the films included in as much as we are a bit displaced over the absence of one of this past year's biggest titles: The Wolf of Wall Street. By now, everyone with his ear close to the conversation is predicting that Steve McQueen's 12 Years a Slave is a lock for the Best Picture Oscar, but the consideration rarely comes without honorable mention of Martin Scorsese's Wolf. Still, the satirical picture is far from awards fodder. Called far too "extreme" for the Academy's liking, the 3-hour tour de force of mortifying hedonism would be a far cry from an Oscar even without the competition of 12 Years. Instead, as suggested by BAFTA's list of Best Picture nods, organizations are leaning towards the safer, sweeter, more palatable, less controversial, and effectively less good spiritual counterpart to Wolf of Wall Street: American Hustle.
Hustle is a fine movie all its own — it's fun, dynamic, well-acted, and does indeed feel "lived in." But it falls shy of the artistic reach represented by fellow con man epic Wolf, to which comparisons are inevitable (you can hear a terrific discussion on the matter on the latest episode of Fighting in the War Room). While we'd be hard pressed to deny David O. Russell's funny, campy, emotionally charged picture its due recognition of quality, the choice to nominate it for Best Picture over Wolf of Wall Street seems like a statement of fear: "We don't want to nominate that large, messy, outrageous picture that's got everybody all in a huff," mutters a nervous BAFTA. "But what about the one with the hair? That's sorta like Wolf of Wall Street, but cleaner. Jolly good!"
The choice is a scary one, if only that it suggests the possibility that BAFTA has veered away from Wolf of Wall Street due to the volatility associated with the movie rather than due to the quality therein. By this token, would a few more Armond Whites have robbed 12 Years a Slave of its nomination? How about a few more Neil deGrasse Tysons stealing the nod from Gravity?
Hopefully, the Academy will not emulate this aversion to Scorsese's movie — one that more than deserves mention, and would even take home a few trophies in a just system. Peruse the rest of BAFTA's nominations below (which also, obscenely, omit Her in the Original Screenplay category) and share your thoughts on the matter.
BEST FILM12 YEARS A SLAVE Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueenAMERICAN HUSTLE Charles Roven, Richard Suckle, Megan Ellison, Jonathan GordonCAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De LucaGRAVITY Alfonso Cuarón, David HeymanPHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward
DIRECTOR12 YEARS A SLAVE Steve McQueenAMERICAN HUSTLE David O. RussellCAPTAIN PHILLIPS Paul GreengrassGRAVITY Alfonso CuarónTHE WOLF OF WALL STREET Martin Scorsese
ORIGINAL SCREENPLAYAMERICAN HUSTLE Eric Warren Singer, David O. RussellBLUE JASMINE Woody AllenGRAVITY Alfonso Cuarón, Jonás CuarónINSIDE LLEWYN DAVIS Joel Coen, Ethan CoenNEBRASKA Bob Nelson
ADAPTED SCREENPLAY12 YEARS A SLAVE John RidleyBEHIND THE CANDELABRA Richard LaGraveneseCAPTAIN PHILLIPS Billy RayPHILOMENA Steve Coogan, Jeff PopeTHE WOLF OF WALL STREET Terence Winter
LEADING ACTORBRUCE DERN NebraskaCHIWETEL EJIOFOR 12 Years a SlaveCHRISTIAN BALE American HustleLEONARDO DICAPRIO The Wolf of Wall StreetTOM HANKS Captain Phillips
LEADING ACTRESSAMY ADAMS American HustleCATE BLANCHETT Blue JasmineEMMA THOMPSON Saving Mr. BanksJUDI DENCH PhilomenaSANDRA BULLOCK Gravity
SUPPORTING ACTORBARKHAD ABDI Captain PhillipsBRADLEY COOPER American HustleDANIEL BRÜHL RushMATT DAMON Behind the CandelabraMICHAEL FASSBENDER 12 Years a Slave
SUPPORTING ACTRESSJENNIFER LAWRENCE American HustleJULIA ROBERTS August: Osage CountyLUPITA NYONG’O 12 Years a SlaveOPRAH WINFREY The ButlerSALLY HAWKINS Blue Jasmine
OUTSTANDING BRITISH FILMGRAVITY Alfonso Cuarón, David Heyman, Jonás CuarónMANDELA: LONG WALK TO FREEDOM Justin Chadwick, Anant Singh, David M. Thompson, William NicholsonPHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward, Jeff PopeRUSH Ron Howard, Andrew Eaton, Peter MorganSAVING MR. BANKS John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue SmithTHE SELFISH GIANT: Clio Barnard, Tracy O’Riordan
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCERCOLIN CARBERRY (Writer), GLENN PATTERSON (Writer) Good VibrationsKELLY MARCEL (Writer) Saving Mr. BanksKIERAN EVANS (Director/Writer) Kelly + VictorPAUL WRIGHT (Director/Writer), POLLY STOKES (Producer) For Those in PerilSCOTT GRAHAM (Director/Writer) Shell
FILM NOT IN THE ENGLISH LANGUAGETHE ACT OF KILLING Joshua Oppenheimer, Signe Byrge SørensenBLUE IS THE WARMEST COLOUR Abdellatif Kechiche, Brahim Chioua, Vincent MaravalTHE GREAT BEAUTY Paolo Sorrentino, Nicola Giuliano, Francesca CimaMETRO MANILA Sean Ellis, Mathilde CharpentierWADJDA Haifaa Al-Mansour, Gerhard Meixner, Roman Paul
DOCUMENTARYTHE ACT OF KILLING Joshua OppenheimerTHE ARMSTRONG LIE Alex GibneyBLACKFISH Gabriela CowperthwaiteTIM’S VERMEER Teller, Penn Jillette, Farley ZieglerWE STEAL SECRETS: THE STORY OF WIKILEAKS Alex GibneyANIMATED FILMDESPICABLE ME 2 Chris Renaud, Pierre CoffinFROZEN Chris Buck, Jennifer LeeMONSTERS UNIVERSITY Dan Scanlon
ORIGINAL MUSIC12 YEARS A SLAVE Hans ZimmerTHE BOOK THIEF John WilliamsCAPTAIN PHILLIPS Henry JackmanGRAVITY Steven PriceSAVING MR. BANKS Thomas Newman
CINEMATOGRAPHY12 YEARS A SLAVE Sean BobbittCAPTAIN PHILLIPS Barry AckroydGRAVITY Emmanuel LubezkiINSIDE LLEWYN DAVIS Bruno DelbonnelNEBRASKA Phedon Papamichael
EDITING12 YEARS A SLAVE Joe WalkerCAPTAIN PHILLIPS Christopher RouseGRAVITY Alfonso Cuarón, Mark SangerRUSH Dan Hanley, Mike HillTHE WOLF OF WALL STREET Thelma Schoonmaker
PRODUCTION DESIGN12 YEARS A SLAVE Adam Stockhausen, Alice BakerAMERICAN HUSTLE Judy Becker, Heather LoefflerBEHIND THE CANDELABRA Howard CummingsGRAVITY Andy Nicholson, Rosie Goodwin, Joanne WoodlardTHE GREAT GATSBY Catherine Martin, Beverley Dunn
COSTUME DESIGNAMERICAN HUSTLE Michael WilkinsonBEHIND THE CANDELABRA Ellen MirojnickTHE GREAT GATSBY Catherine MartinTHE INVISIBLE WOMAN Michael O’ConnorSAVING MR. BANKS Daniel Orlandi
MAKE UP & HAIRAMERICAN HUSTLE Evelyne Noraz, Lori McCoy-BellBEHIND THE CANDELABRA Kate Biscoe, Marie LarkinTHE BUTLER Debra Denson, Beverly Jo Pryor, Candace NealTHE GREAT GATSBY Maurizio Silvi, Kerry WarnTHE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater
SOUNDALL IS LOST Richard Hymns, Steve Boeddeker, Brandon Proctor, Micah Bloomberg, Gillian ArthurCAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver TarneyGRAVITY Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris MunroINSIDE LLEWYN DAVIS Peter F. Kurland, Skip Lievsay, Greg OrloffRUSH Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse
SPECIAL VISUAL EFFECTSGRAVITY Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki PennyTHE HOBBIT: THE DESOLATION OF SMAUG Joe Letteri, Eric Saindon, David Clayton, Eric ReynoldsIRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan SudickPACIFIC RIM Hal Hickel, John Knoll, Lindy De Quattro, Nigel SumnerSTAR TREK INTO DARKNESS Ben Grossmann, Burt Dalton, Patrick Tubach, Roger Guyett
BRITISH SHORT ANIMATIONEVERYTHING I CAN SEE FROM HERE Bjorn-Erik Aschim, Friederike Nicolaus, Sam TaylorI AM TOM MOODY Ainslie HendersonSLEEPING WITH THE FISHES James Walker, Sarah Woolner, Yousif Al-Khalifa
BRITISH SHORT FILMISLAND QUEEN Ben Mallaby, Nat LuurtsemaKEEPING UP WITH THE JONESES Megan Rubens, Michael Pearce, Selina LimORBIT EVER AFTER Chee-Lan Chan, Jamie Stone, Len RowlesROOM 8 James W. Griffiths, Sophie VennerSEA VIEW Anna Duffield, Jane Linfoot
The opening scene of American Hustle — a loud, loquacious, upper-fueled romp through the avenues of high stakes swindling — plays somewhat like a Buster Keaton short. We watch a schlubby Christian Bale fumble (with as much delicacy as someone can, in fact, fumble) with a greasy combover and a dime store toupee, laughing at the small scale physical comedy and learning more than you'd expect about Bale's con man character Irving Rosenfeld before we even meet him or hear him speak.
But there is nary a silent moment in the two-and-half hours to follow. Its people speak in explosions. The passions are dialed all the way up between Irv, his accomplice and girlfriend Sydney Prosser (Amy Adams), and the venemous FBI agent (Bradley Cooper) who rangles the pair into the biggest heist of their career. There's no tranquility in the waters of their high-stakes operation to take down a New Jersey mayor, the Italian mob, and quite possibly a few of the dirtier suits in Congress. When things proceed like clockwork, we're talking diving pendulums and cuckoo birds darting from every crevice. Naturally, it's all the more fun when things go awry.
And, of course they do. It wouldn't be a heist movie without a few cogs springing loose. But the beauty of American Hustle is in its undoing. From start to finish, Irv and Sydney are pros at the game. They leave no stone unturned in pulling the wool over the eyes of every deadbeat, mafioso, and active senator that finds his unlucky way into their eyeline. Even the misguided improvisations of Cooper's control freak lawman don't serve to uproot the plans from their course. We don't suffer through a dropping of their guard or an overlooking of important details. Everything that goes wrong in this movie is embedded in character.
The follies, screw-ups, and mutinies are all emotionally charged, inspired by romantic rivalry, ego, flights of affection, and the ribald distate that so many of these people have for each other. Everything in this big, flashy, high-stakes movie is personal. It's a toxic, burning love/hate/envy/longing/attraction/friendship/enmity between every conceivable pairing in this dynamic cast of rich, strong, uproarious characters that fuels the movie and drags down the scheme at its center.
And just about everyone we meet is dragged into the maniacal nucleus by the arms of anxious passion. Irv's spitfire wife Rosalyn (Jennifer Lawrence) outranks the lot of her company in the screws-loose department, stirring the pot of her unfaithful husband's business dealings as soon as she crosses the threshold into his world. The psychopathically dutiful Richie (Cooper) sees anyone who tries to temper his occupational obsessions as the enemy, even his pragmatic Midwesterner boss (Louis C.K.). And at the head of the race is Carmine Polito (Jeremy Renner), unaware of his place in this tremendous game but coursing at top speeds on an engine of his democratic heart nonetheless. The characters are all operating at 11, and most of the actors are able to keep up.
As Irv, a uniquely undesirable Bale is a laugh every minute. We enter this world through him — a world of accessible lies, of rough-and-tumble New York streets, of Long Island parties, of Duke Ellington, of hairpieces, of dry cleaners, of only conning the men you can stomach the idea of laying to waste — and have a terrific time walking in his footsteps. Always just out of reach is Adams as Sydney, who cons herself just as often as she does Richie, Irv, and the poor saps who fall for her seductive act. Bale and Adams are the standouts of the cast — playing their hearts on their sleeves and tucked away tightly, respectively — so it's good fortune that most of our time is spent with one or the other.
The power players from director David O. Russell's last effort, Cooper and Lawrence, shine a bit dimmer here — Cooper plays Richie as petulant, misguided, and teetering on the edge, but he's undercooked beside the far meatier material presented by Bale and Adams. Lawrence, while not without her moments, never seems to commit altogether to the loon that is Rosalyn, alternating between too reserved and too outlandish to really make the character feel like somebody. But the biggest surprise of the lot might be Renner, who has more fun as his Jersey boy Carmine than he ever has onscreen. But in earnest, some credit goes to the hair.
It's the electricity of American Hustle that keeps its long narrative from dragging. We have fun with the characters, the performances, and the colorful world itself. The movie never insists that we feel anything beyond that, but offers a few bites of some authentic empathy for Irv and his kind nonetheless. So we can dip into the bustling character work that Bale and Adams are mastering, Cooper is handling, and Lawrence is just falling shy of delivering on, but we're free to latch onto the life preserver of this movie's output of comedy. There's so much to laugh at in American Hustle, and some wonderfully molded characters to do all your laughing with.
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Source: Heat Vision Blog
Zac Efron has been making rounds attempting to change his Disney bred golden child image, attaching himself to adaptations of Brian Michael Bendis' Fire and the long gestating Johnny Quest film. Today, THR's Heat Vision Blog reports that he'll also star in and produce and English language adaptation of Snabba Cash, the Swedish thriller that was the subject of a heavy Hollywood bidding war and has just found a home with Warner Bros. (where Efron has recently set up a production deal with manager Jason Barrett).
Snabba is based on a novel by Jens Lapidus and was a major hit in its home country. The thriller followed three interconnected storylines involving drugs and organized crime, with the main character a young financial wizard who hopes to strike it rich quickly by becoming a runner for a coke dealer.
Atlas Entertainment’s Charles Roven and Richard Suckle are producing, along with original producer Fredrik Wikstrom. Michael Hjorth will exec produce.
Source: Variety, The LA Times
Pre-existing properties are priorities for motion picture studios these days and Warner Brothers Pictures are forging ahead with film adaptations of two pop-culture staples.
First up, Variety reports that the studio and production company Atlas Entertainment are developing a feature film based on CBS' "Gilligan's Island." Charles Roven and Richard Suckle will produce for Atlas, with Brad Copeland writing the screenplay. Original show producer Sherwood Schwartz is on board to executive produce along with son Lloyd Schwartz.
The trade says that plans are for a contemporary take on the iconic show and that production is intended to start next year, but won't move forward on seeking a director or cast until Copeland's script is completed.
"The characters are so good," Roven said. "We think it's going to be a great story to transport these cultural icons to the modern day."
In addition, The Los Angeles Times reports that WB is also negotiating to acquire feature rights to classic video game "Space Invaders" from Taito, the Japanese company that originally manufactured the game. The project would be produced by Mark Gordon (The Day After Tomorrow, Saving Private Ryan), Jason Blum (Paranormal Activity) and Guymon Casady.
"Space Invaders" was designed by Tomohiro Nishikado and released in 1978. The game was later licensed for production in the United States by Midway.