As if we needed any more proof that America was mad for the CIA in 2012, Saturday night's Producers Guid Awards gave further credibility to the mania by handing out some of its highest honors to Ben Affleck's fake-CIA-movie film, Argo and Showtime's jazzy runaway hit, Homeland.
The guild's 24th annual awards for excellence in film, television, and digital media were announced during a ceremony at the Beverly Hilton. Argo's snapping up of top film honors (the Darryl F. Zanuck Award) puts it at the forefront of the Oscar race for Best Picture. The PGAs have a fairly decent track record when it comes to selecting the film that takes home Academy Award gold — 73% accuracy, to be exact, which includes the 5-year streak the Guild has been on since 2008.
Homeland secured itself yet another gold for Best Drama Series during the night as well, reminding us all (yet again) that we love a jazzy biopolar super-CIA-genius more than anything else. (Especially if it involves Mandy Patinkin!) For an agency so shrouded in secrecy and mystery, it sure is popping up in our entertainment a heck of a lot.
But there was more than just covert operations and genius secret agents winning awards: both Brothers Weinstein (Bob and Harvey) accepted the Milestone Award in a teary-eyed speech from presenters Quentin Tarantino, Robert De Niro, and Robert Rodriguez. Future Star Wars helmer J.J. Abrams also accepted an award of his own: the Norman Lear Achievement Award. Not too shabby for a man with undoubtedly much of his already-impressive career still ahead of him
Check out the full list of winners, below!
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
Argo (Warner Bros.)
Producers: Ben Affleck, George Clooney, Grant Heslov
Outstanding Producer of Animated Theatrical Motion Pictures
Wreck-It Ralph (Walt Disney Studios Motion Pictures)
Producer: Clark Spencer
Outstanding Producer of Documentary Theatrical Motion Pictures
Searching For Sugar Man (Sony Pictures Classics)
Producers: Malik Bendjelloul, Simon Chinn
Norman Felton Award for Outstanding Producer of Episodic Television, Drama
Producers: Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick, Meredith Stiehm
David L. Wolper Award for Outstanding Producer of Long-Form Television
Game Change (HBO)
Producers: Gary Goetzman, Tom Hanks, Jay Roach, Amy Sayres, Steven Shareshian, Danny Strong
Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy
Modern Family (ABC)
Producers: Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Steven Levitan, Christopher Lloyd, Jeff Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel, Danny Zuker
Outstanding Producer of Non-Fiction Television
American Masters (PBS)
Producers: Prudence Glass, Susan Lacy, Julie Sacks
Outstanding Producer of Competition Television
The Amazing Race (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
Outstanding Producer of Live Entertainment & Talk Television
The Colbert Report (Comedy Central)
Producers: Meredith Bennett, Stephen Colbert, Richard Dahm, Paul Dinello, Barry Julien, Matt Lappin, Emily Lazar, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart
Outstanding Sports Program
Real Sports with Bryant Gumbel (HBO)
Outstanding Children’s Program
Sesame Street (PBS)
Outstanding Digital Series
30 Rock: The Webisodes
[Photo Credit: Gregg DeGuire/WireImage]
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In Red Riding Hood the age-old fairytale of a little girl who learns the perils of talking to strangers has been turned into a sort of supernatural harlequin murder mystery by Catherine Hardwicke director of the 2008 teen vampire flick Twilight. Though nominally a horror film its dearth of scares and potent strain of adolescent melodrama will inspire more comparisons to Stephenie Meyer’s bestselling saga than its director would probably care to acknowledge.
In this version the titular red-cloaked heroine played by doe-eyed Amanda Seyfried is given a name – Valerie – and cast not as the disobedient naïf we remember from the original fable but a headstrong and independent-minded young lady who would never fall for the tricks of some hairy beast masquerading as her grandmother. Although betrothed by parental arrangement to Henry (Max Irons) the respectable scion of a wealthy blacksmithing family her heart really belongs to Peter (Shiloh Fernandez) the darkly handsome town badboy whose chosen occupation woodworker apparently ranks far below blacksmith in the social hierarchy.
Valerie is inclined to run off with Peter but soon such inclinations must be shelved when her sister turns up dead the apparent victim of a wolf that has terrorized the residents of Daggerhorn the rustic medieval-ish mountain village in which the film is set (the exact setting and time period are kept weirdly indeterminate) for decades. The men of Daggerhorn resolve to avenge the girl’s death and slay the murderous animal once and for all but they appear hopelessly outmatched until Father Solomon (Gary Oldman) a blustery hunter/inquisitor with dubious religious credentials arrives on the scene. Solomon informs the beleaguered Daggerhornians that the wolf they are dealing with is no mere wolf but a shape-shifting werewolf with powers far greater than any of them had anticipated.
Even worse when the moon isn’t full he (or she) walks among them unnoticed in human form. Everyone is a suspect Solomon declares and soon Red Riding Hood evolves into a hokey whodunit filled with all sorts of unconvincing feints and red herrings. At the center of the mystery is poor Valerie in whom the werewolf seems inordinately interested. “Ohmigod you can talk!” she gasps when the werewolf first speaks to her telepathically – a line that got some of the loudest laughs in a film that is far too often inadvertently comedic.
Such is the danger of a film that treats such a subject as ridiculous as Red Riding Hood’s with such unrelenting gravity – melodrama curdles into gooey processed cheese. And this film is slathered with it. Which wouldn't be so bad if the subject matters were at least a little suspenseful but Hardwicke is unable to exact much terror or fright out of David Leslie Johnson’s too-tame script. (The film’s PG-13 rating doesn’t help.) What we’re left with is a gauzy romance that might have even ardent Twi-hard types rolling their eyes.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.