The two films, which have already picked up early awards, will compete for the Best Picture at the 17th annual Critics' Choice Awards, as selected by the Broadcast Film Critics Association in America.
They will be up against Midnight in Paris, Drive, The Help, Moneyball, Extremely Loud and Incredibly Close, The Tree of Life and War Horse.
George Clooney (The Descendants), Jean Dujardin (The Artist), Ryan Gosling (Drive), Brad Pitt (Moneyball), Michael Fassbender (Shame) and Leonardo DiCaprio (J. Edgar) will compete for the Best Actor prize.
Meryl Streep (The Iron Lady), Viola Davis (The Help), Michelle Williams (My Week With Marilyn), Tilda Swinton (We Need to Talk About Kevin), Charlize Theron (Young Adult) and Elizabeth Olsen (Martha Marcy May Marlene) make up the Best Actress category.
Christopher Plummer, Albert Brooks, Kenneth Branagh, Nick Nolte, Patton Oswalt, Andy Serkis, Octavia Spencer, Shailene Woodley, Berenice Bejo, Melissa McCarthy, Jessica Chastain and Carey Mulligan will compete for the supporting actor and actress prizes.
Meanwhile, Alexander Payne (The Descendants), Michel Hazanavicius (The Artist), Nicholas Winding Refn (Drive), Steven Spielberg (War Horse), Martin Scorsese (Hugo) and Stephen Daldry (Extremely Loud and Incredibly Close) will fight it out for Best Director.
The Critics' Choice Awards take place on 12 January (12).
With the unveiling of the official competition and Un Certain Regard lineups for the Cannes Film Festival Thursday morning in Paris came the news that Mel Gibson will be striding up the red carpet next month.
The actor will be out to support Jodie Foster’s The Beaver which has an out-of-competition berth. That news, which was imparted by the festival’s general delegate Thierry Fremaux ahead of announcing the films in official competition, was just one bit of info which appeared to get the assembled journalists all a-Twitter.
The rest of the announcements, while somewhat anticipated, make for a Cannes festival that will be heavy on art house bigwigs and newcomers alike.
The roster of returning talent includes such powerhouse auteurs as Lars von Trier with Melancholia, Pedro Almodovar with The Skin I Live In, Jean-Pierre and Luc Dardenne with Le Gamin au Velo, Aki Kaurismaki with Le Havre, Radu Milhaileanu with La Source des Femmes, Nanni Moretti with We Have a Pope, Paolo Sorrentino with This Must Be the Place and, of course, Terrence Malick with Tree of Life. That film had actually been expected to be in competition last year but was not ready in time. Malick won the directing prize for Days of Heaven when he was last in competition in 1979.
Sean Penn stars in the English-language Sorrentino film and in Tree of Life which also has Brad Pitt – a near-certain bet to make an appearance in Cannes – and Jessica Chastain. Other stars potentially gracing the red carpet in support of their films include Kirsten Dunst and Kiefer Sutherland who star in Melancholia while Pitt’s partner Angelina Jolie is a likely attendee for the Kung Fu Panda sequel, although that film is not among the official selections.
The cast of Woody Allen’s opening night film, Midnight in Paris includes Owen Wilson, Rachel McAdams and model/singer-turned-first-lady Carla Bruni Sarkozy while Rob Marshall’s Pirates of the Caribbean: On Stranger Tides is screening out of competition which can only mean that Johnny Depp and French partner Vanessa Paradis will be on hand on the Riviera.
But, while a major element of Cannes is the glitz and glamour, the most important component is the films.
Along with the big name auteurs this year will be new talent like Australian Julia Leigh whose first film Sleeping Beauty has scored a competition berth. There are 19 films in competition and 19 in the complementary Un Certain Regard sidebar. All told, there are six female directors with films across the two sections which marks a first for the festival.
Austrian Markus Schleinzer is no stranger to Cannes having acted as casting director for many of the films of Palme d’Or winner Michael Haneke, but this time he’ll be on the Croisette with his directorial debut, Michael.
Making his first trip to Cannes is cult favorite Nicolas Winding Refn. The Pusher director will be on hand with competition entry Drive which stars Ryan Gosling and Carey Mulligan.
Other English-language titles include Sean Durkin’s feature debut, Martha Marcy May Marlene which originally premiered in Sundance and stars Elizabeth Olsen. That film will run in Un Certain Regard. Lynne Ramsay’s We Need to Talk About Kevin with Tilda Swinton and John C. Reilly is in competition.
In introducing the selection, which has some notable absences (Dominik Moll’s The Monk and David Cronenberg’s A Dangerous Method among them), Fremaux remarked that although he and his committees chose 49 films for the official selection, “there were a lot more than 49 films that we liked.”
Cannes runs from May 11-22 with Robert De Niro overseeing the main jury as president. Keep an eye out for Hollywood.com’s Cannes blog which will run down the daily festivities direct from the Riviera and the red carpet.
Full list of official selection films:
Midnight in Paris - Woody Allen
The Skin I Live In - Pedro Almodovar
House of Tolerance - Bertrand Bonello
Pater - Alain Cavalier
Footnote - Joseph Cedar
Once Upon a Time in Anatolia - Nuri Bilge Ceylan
Le Gamin au Velo - Jean-Pierre and Luc Dardenne
Le Havre - Aki Kaurismaki
Hanezu No Tsuki - Naomi Kawase
Sleeping Beauty - Julia Leigh
Poliss - Maiwenn
The Tree of Life - Terrence Malick
La Source des Femmes - Radu Mihaileanu
Hara-kiri: Death of a Samurai - Takashi Miike
We Have a Pope - Nanni Moretti
We Need to Talk About Kevin - Lynne Ramsay
Michael - Markus Schleinzer
This Must Be the Place - Paolo Sorrentino
Melancholia - Lars Von Trier
Drive - Nicolas Winding Refn
Out of Competition
The Conquest - Xavier Durringer
The Beaver - Jodie Foster
The Artist - Michel Hazanavicius
Pirates of the Caribbean: On Stranger Tides - Rob Marshall
Un Certain Regard
Restless - Gus Van Sant (opening film)
The Hunter “ Bakur Bakuradeze
Halt auf freier Strecke - Andreas Dresen
Hors Satan - Bruno Dumont
Martha Marcy May Marlene - Sean Durkin
The Snows of Kilamanjaro - Robert Guedeguian
Skoonheid - Oliver Hermanus
The Day He Arrives - Hong Sang-soo
Bonsai - Cristian Jimenez
Tatsumi - Eric Koo
Arirang - Kim Ki-duk
Where Do We Go Now? - Nadine Labaki
Loverboy - Catalin Mitulescu
Yellow Sea - Na Hong-jin
Miss Bala – Gerardo Naranjo
Trabalhar Cansa - Juliana Rojas and Marco Dutra
L’Exercice de l’Etat - Pierre Schoeller
Toomelah - Ivan Sen
Oslo, August 31 - Joachim Trier
Wu Xia - Chan Peter Ho-Sun
Dias de Gracia - dir. Tekla Taidelli
Labrador - Frederikke Aspock
Le Maitre des Forges de l’Enfer - Rithy Panh
Michel Petrucciani - Michael Radford
Tous Au Larzac - Christian Rouaud
September 07, 2004 12:11pm EST
In Paparazzi celebrity photographers are an affliction that torment tens if not dozens of residents of Brentwood the Hollywood Hills and Malibu. Bo Laramie (Cole Hauser) is one such denizen. As Hollywood's brightest new action star Laramie along with his wife Abby (Robin Tunney) is set to enjoy the sweet ride of success until paparazzo Rex Harper (Tom Sizemore) and his marauding band of slimy shutterbugs turn his life into a living hell. Or at least a fairly large inconvenience. With a blatant nod to Princess Di the pesky paparazzi cause a high-speed car wreck which sends Bo's son Zach (Blake Bryan) into a coma of convenient duration and results in the loss of Abby's spleen. Which is fitting as the movie has no discernible spleen of its own. And so our hero who has obviously not received the standard studio briefing on the joys of contract killers takes matters (and a baseball bat) into his own hands. The model for Paparazzi is the vigilante movie: Death Wish Billy Jack Walking Tall and the like. But whereas Bronson's Paul Kersey devolved from architect to cold-blooded killer only when faced with impossibly high stakes (the murder of his wife and rape of his daughter) Laramie by contrast turns into a serial killer and a sloppy one at that over a little retinal glare. And doing it all by himself? One imagines the Anthony Pellicanos of the world dispatching guys like Harper during a Pilates break.
It's problematic asking non-movie stars to play huge movie stars for obvious reasons. Bo Laramie is supposed to be the biggest thing since Ah-nuld held his day job but as Hauser plays him he comes off more like Michael Dudikoff. Even as he's beating paparazzi to death with his own hands there is no sense of a human being or even a movie star being pushed to his limits. Tunney who was terrific in Niagara Niagara has nothing to do and neither does Dennis Farina as the cop conflicted by the A-list avenger. Sizemore of course steals every scene he's in effortlessly and ruthlessly. In spite of his recent legal troubles (or perhaps because of them) he brings just the right dosage of dangerous persona and edgy charisma to his growing roster of manic miscreants. Ultimately though even his involvement is disappointing: When he's on screen he fools you into thinking a real movie is about to start.
First-time director Paul Abascal is but a pawn in Mel Gibson's dogmatic production slate. Screenwriter Forrest Smith had a small role with Gibson in We Were Soldiers and reportedly leveraged the moment to pitch Paparazzi to the actor/producer/Catholic poster boy. Gibson has had issues with his privacy before and has already proved himself shameless in using the movies to promote an agenda. So as with The Passion of the Christ a movie that wouldn't have gotten so much as a sniff at any other studio found itself with a green light. And Bo Laramie became family man/action hero Gibson's violent alter ego. Or maybe just ego. (Gibson also has a brief cameo and the one sheet for Laramie's "movie" Adrenaline Force 2 is a dead ringer for the poster art for Lethal Weapon 2). With Gibson's personal profits alone surpassing the $400 million mark with this week's Passion DVD sales and Paparazzi's budget listed at $20 million Gibson could make 20 sequels to Paparazzi. Or he could use the producer's pulpit to speak out against other vexations in his life. Somewhere at Icon world headquarters Leaf Blower: The Movie just went into pre-production.