Thrush won the Best Actress in a Drama prize for her role as an alcoholic mother living on the fictional Blackstone Indian reserve, and the star used her acceptance speech to remember Tootoosis, who died in July (11).
She told the audience at the ceremony in Toronto, Canada, "About 23 years ago when I began acting, there weren't a lot of brown faces on television and Gordon was one of a handful. He urged me as a teenager to get into acting."
Other winners at the annual TV awards included Tracy Dawson, who was named Best Actress in a Comedy, for Call Me Fitz, Callum Keith Rennie (Best Actor in a Drama, for Shattered) and Peter Keleghan (Best Actor in a Comedy, for 18 to Life).
Call Me Fitz was a big winner at the awards ceremony - it landed six other honours including Best Director and Best Writing. The Borgias landed the Best Drama Series prize, while the Rick Mercer Report was named Best Comedy Series.
Jay Baruchel is Hollywood’s affable geek du jour having plied his unique trade recently in the animated blockbuster How to Train Your Dragon and the considerably less successful rom-com She’s Out of My League. His gangly frame twitchy visage and nasal drone make him perfect for movies in which awkward self-effacing underdogs triumph against enormous odds to achieve great feats like saving a Viking tribe from certain destruction or getting laid by a really really hot blonde chick.
Movies like The Sorcerer’s Apprentice a live-action CGI-fest directed by Jon Turteltaub (the National Treasure films) and inspired by a famous sequence from Fantasia Walt Disney’s groundbreaking collection of animated shorts. Fantasia debuted in 1940 long before Disney subleased its animation work to Pixar and "Fantasia" became more commonly known as a popular name among exotic dancers. My how things have changed.
Baruchel plays Dave a hapless NYU physics nerd unwittingly cast into the middle of a centuries-long good-versus-evil battle between powerful sorcerers who wield an infinite array of supernatural powers. Representing the good guys is Balthazar (Nicolas Cage) a wide-eyed eccentric whose all-black goth-pimp ensemble draws nary a suspicious glance on the eclectic streets of Manhattan. Dave it turns out is no ordinary college student but the Prime Merliner which sounds like an underwater number divisible by only one and itself but in actuality is a sort of wizard messiah destined to rid the world from the likes of the sinister Horvath (Alfred Molina) and his imprisoned overlord Morgana (Alice Krige). That is if he can take time off from his bumbling courtship of a pretty co-ed (Teresa Palmer) to actually learn the tricks of the sorcerer’s trade.
“Disposable” and “formulaic” are terms commonly applied to both of Turteltaub’s National Treasure collaborations with Cage but I submit that those films are at least fun if ultimately forgettable. The Sorcerer’s Apprentice is far less fun and far more forgettable its formula followed so perfunctorily that it ultimately comes off as an elaborate exercise in corporate cynicism one unlikely to inspire the string of sequels it so transparently hopes to conjure. Which is a shame because the film shows intermittent signs of promise and Cage despite his distracting perm is oddly charming as a sort of desperate weirdo.
Based on the bestselling novel by Karen Joy Fowler Jane Austen revolves around a group of friends who decide to start a Jane Austen book club aptly named “All-Austen-All-The-Time.” In the group we have: the book club’s instigator Bernadette (Kathy Baker) a free-spirited fifty-something who has been married six times; her good friend Jocelyn (Maria Bello) a dog breeder who has steered clear of marriage so far; Jocelyn’s childhood friend Sylvia (Amy Brenneman) whose husband of 23 years (Jimmy Smits) has just left her for another woman; Sylvia’s twenty-something daughter Allegra (Maggie Grace) a proud lesbian who nevertheless falls too hard and too often for the wrong women; Prudie (Emily Blunt) an uptight high school French teacher Bernadette takes under her wing; and finally sci-fi geek Grigg (Hugh Dancy) the only male in the group brought in by Jocelyn as a potential suitor for the jilted Sylvia. He acquiesces even though he really has a thing for Jocelyn. But Jane Austen is the one who rules supreme in these monthly get-togethers and the book-club members soon find parallels between the author’s work and their own lives. The performances in Jane Austen are definitely one of the keys to the film’s allure. Maria Bello (A History of Violence) is particularly good as Jocelyn a woman who won’t open herself up to a meaningful relationship preferring to lavish affection on her canine best friends. Of course when Jocelyn finally realizes how idiotic she’s been passing up a tasty morsel like Grigg Bello turns it on like the pro she is. For his part Dancy (Evening) shares some mean chemistry with Bello and plays the Jane Austen novice with style; as his eyes are opened to Austen’s writing so are the audience’s. Blunt--the Brit who made such a stunning American film debut in The Devil Wears Prada--plays Prudie right on the edge evident in Blunt’s perpetually teary-eyed and quivering-voiced performance. She’s the snooty literary snob of the group but her personal life is in shambles--married to a kind man (Marc Blucas) who doesn’t really understand her which prompts Prudie to consider having a fling with a charismatic high school senior (Kevin Zegers). Natch. As the more veteran members of the cast Baker Brenneman and Smits are all a little more predictable in their roles but well-fitted for the story nonetheless. Jane Austen is one of those rare cases in which the movie is as good—if not maybe better—than the book. That’s a true testament to writer/director Swicord (who also wrote the Memoirs of a Geisha adaptation). While the book occasionally plods the movie mostly zings right along. Swicord cuts through Fowler’s long expository passages on the characters’ pasts and succinctly recaps each one's individual backstory without ever showing it. Instead Swicord focuses her attention on the intertwining relationships as they relate to Jane Austen’s nine novels. The only drawback could be that Jane Austen tends to be sappy—but it is its exuberance for Jane Austen and her work that gives the film its pulse. True this movie is for women by women but as far as a lesson on the late 18th century novelist Jane Austen is far more entertaining than taking an English college course on Victorian writers. Let’s just say if the movie doesn’t get you to read a Jane Austen novel nothing will.