Silver Linings Playbook, The Sessions, Life of Pi and acclaimed independent hits Beasts of the Southern Wild and Moonrise Kingdom have also been shortlisted.
Meanwhile, Oscar favourites Jennifer Lawrence (Silver Linings Playbook), Jessica Chastain (Zero Dark Thirty), John Hawkes (The Sessions), Denzel Washington (Flight) and Daniel Day-Lewis (Lincoln) will be among those battling out for the best acting prizes at the 17th annual Satellite Awards gala later this month (16Dec12).
The best supporting actor and actress categories will be a fight between the likes of Amy Adams (The Master), Anne Hathaway (Les Miserables), Helen Hunt (The Sessions), Philip Seymour Hoffman (The Master), Robert De Niro (Silver Linings Playbook), Javier Bardem and Dame Judi Dench (both Skyfall) and Tommy Lee Jones (Lincoln).
David O. Russell (Silver Linings Playbook), Ben Affleck (Argo), Ben Lewin (The Sessions), Steven Spielberg (Lincoln) and Kathryn Bigelow (Zero Dark Thirty) are up for the Best Director prize.
European Film Awards winner Amour will be up against A Royal Affair, The Intouchables, Our Children, Kon-Tiki, Pietra, Beyond The Hills, War Witch and Caesar Must Die for Best International Film, and ParaNorman, Wreck-It-Ralph, Rise of the Guardians, Brave, Ice Age 4: Continental Drift, Madagascar 3: Europe's Most Wanted and Frankenweenie will duke it out for Best Animated Film.
Meanwhile, special awards will be given to Terence Stamp (Mary Pickford Award for Outstanding Artistic Contribution), Paul Williams (Auteur Award), Bruce Davison (Honorary Satellite Award) and acclaimed Beast of the Southern Wild star Quvenzhane Wallis (Newcomer Award).
In the Satellite Awards' TV categories, Kevin Costner's Hatfields & McCoys, Sherlock, Game Change and Wallander will compete for the Best Miniseries/Motion Picture Made for Television trophy, while Downton Abbey, The Newsroom, Breaking Bad, Game of Thrones and Homeland lead the Best Drama category and Girls, The Office, Modern Family and The Big Bang Theory lead the Best Comedy list.
The Satellite Awards are handed out annually by the International Press Academy.
WHAT IT’S ABOUT?
Set waaaaaay back in 1987 Adventureland revolves around the still virginal James Brennan a smart college grad whose dashed European vacation plans and career desperation lead him to take a summer job running games and handing out crummy stuffed animals at a Z-grade amusement park. It’s there that he falls hard for his colleague Em a pretty but emotionally confused girl who is having a secret affair with older-married-guy Mike Connell an aspiring musician and the park’s resident handyman. Over the course of the summer the employees of this pathetic Disneyland party hard smoke weed and most importantly learn about love and relationships while being forced to hear “Rock Me Amadeus” played continuously on the park’s piped-in music system.
WHO’S IN IT?
The whole cast is superb led by Jesse Eisenberg (The Squid and the Whale The Education of Charlie Banks) who is simply terrific in a breakthrough performance that proves Michael Cera is not the ONLY one who can play nerdy-but-thoughtful young guys trying to navigate their life’s path down the winding road of uncertainty. Eisenberg as James deftly manages writer/director Greg Mottola’s (Superbad) droll dialogue with effortless timing and delivery. Kristen Stewart as Em shot this role before Twilight and is sensational — her best screen work yet. As his slacker best friend Joel Martin Starr underplays it nicely creating a three-dimensional character in just a few scenes. Hot newcomer Margarita Levieva is hysterical as Lisa P the park’s resident tease and gossip while SNL stalwarts Bill Hader and Kristen Wiig do their usual flawless comedic thing as the Adventureland owners. Ryan Reynolds is the perfect jerk as the joint’s self-appointed married skirt-chaser.
Expectations might be: It's just another gross-out teen comedy. But the real surprise is the sweet nature of the script and strongly-etched characters. Working in the world’s worst job is a good starting place for Mottola’s musings on love and relationships — and it's just as pertinent now as in the time the film is set. For those who still have a jonesin' for all things '80s the nifty soundtrack full of choice items from the era is retro-cool (except for that “Rock Me Amadeus” tune).
It’s a key plot point but it’s hard to see why Stewart’s character would get so attached to such a slimy married guy like the one Reynolds plays.
A restaurant scene where James pours his heart out to Em and reveals his virginity for the first time is very funny and painfully honest.
BEST DOWNER LINE:
In giving Em a custom-made gift the morose James says: “I made you a tape. These are my favorite bummer songs — pit of despair stuff.”
What No Reservations needs is a smell-sensitive rat who can cook. Instead we get head chef Kate Armstrong (Catherine Zeta-Jones) a perfectionist who runs the kitchen of a swanky Manhattan eatery with an iron fist. Let’s just say she’s in desperate need of an attitude adjustment so in pops new sous-chef Nick (Aaron Eckhart) a free-spirited fellow who cooks by the seat of his pants. Soon he’s got the whole kitchen staff laughing and loving him way more than Kate. Nick tries to charm Kate too but she won’t have any of it. To top it off Kate unexpectedly becomes the guardian of her 9 year-old niece Zoe (Abigail Breslin) after her sister dies in a car accident. The understandably distraught Zoe is having a tough time and won’t eat any of her aunt’s highfalutin cuisine. The little girl only likes fish sticks—and as it turns out spaghetti a Nick specialty. Yes Nick finally melts Kate’s heart when he gets Zoe to eat a hearty bowl of spaghetti. You can see where this is going right? Love—and tomato sauce—conquers all. When you have two incredibly attractive people onscreen together you want the sparks to fly. Think Angelina Jolie and Brad Pitt in Mr. and Mrs. Smith. True those two were falling in love for real but still it makes for a more fulfilling and cinematically romantic experience. But alas it doesn’t always work out and in No Reservations’ case the love story between Zeta-Jones and Eckhart deflates like a fallen soufflé. On their own they each hold up well: Zeta-Jones is good at being steely but emotionally stunted when it comes to matters of the heart while Eckhart’s easy-going charm and great smile make his Nick an obvious choice for any woman. Get them together however and things sag like a wet noodle. Too bad. Breslin is her usual cute self playing it a little more somber than she did in Little Miss Sunshine but the little actress ought to be careful not to pigeon-hole herself into the “eccentric but affecting” kid role. No Reservations also has another knock against it: It’s a remake of the German film Mostly Martha a far more stellar—and original—effort. Natch. Turning a hit foreign film into a studio picture rarely works out; something always gets missed in the translation which for No Reservations is surprising since Mostly Martha writer/director Sandra Nettelbeck is listed as the co-writer. What Nettelbeck did with Mostly Martha is revolve her story around master chef Martha (played brilliantly by Martina Gedeck) and her quirks and anxieties over suddenly having to raise a child. The love story with the Italian chef is more a pleasant surprise than the driving force. But of course with No Reservations the romance is played up for that certain chick flick appeal with two people who have no chemistry. Maybe Nettelbeck was lured into Americanizing her original. For his part director Scott Hicks (Shine) is definitely capable enough to carve out what he can from this predictable set up even adding some flair to the kitchen scenes but he can’t quite push No Reservations past its banality.
The catastrophic battles of the Clone Wars are in their final stages as the crumbling Republic--supported by the ever-vigilant Jedi Knights--fight against the Separatist Alliance lead by a particularly nasty half-droid half-alien named General Grievous. Jedi überheroes Obi-Wan Kenobi (Ewan McGregor) and Anakin Skywalker (Hayden Christensen) are sent to kill General Grievous and end the war but it isn't easy. Meanwhile Yoda Mace Windu (Samuel L. Jackson) and the other Jedi Council members fear for the state of the Republic under the guidance of the nebulously sinister Chancellor Palpatine (Ian McDiarmid). I know what you're thinking "Yeah yeah just tell us how Anakin goes bad." Poor Annie. He still has some serious anger issues which now revolve around his adoring young wife Padme (Natalie Portman) and their unborn child (or children in this case). He thinks he foresees Padme's death and will do anything to keep her safe including listening to Palpatine malevolently whisper promises of immortality and the power of the Dark Side into his ear. Not the best thing for this volatile fellow. Yes Darth Vader will soon emerge and the inevitable duel between the good and the Dark Side is at hand. Get your lightsabers ready.
Happily all the main actors--save for perhaps Natalie Portman as the ineffectual Padme--get a lot more to chew on in this final installment. Christensen is thankfully done being the whining teenager from Attack of the Clones and turns into a brooding conflicted pre-Vader who can't control his anger. Of course he overdoes it a bit with the scowling and evil cold stares but that's OK. It's what the part requires. The love story between Christensen and Portman however is still kind of painful to watch. The two actors look more than a little embarrassed professing their love for one another ("I'm so much in love with you" "No I'm so much in love with YOU!"). And besides bringing back the infamous Leia "cinnamon bun" look Portman isn't given a darn thing to do but fret and pace and rub her pregnant belly praying Anakin will be all right. You'd think after wielding a gun in The Phantom Menace she'd get to do more fighting. Oh well. On the flip side McGregor Jackson and even McDiarmid all get to kick some serious butt in Revenge of the Sith each with their own action-packed fight sequences. Jackson just seems happy to be swinging a lightsaber around. McGregor with the full beard and biting commentary does a nice job setting the stage for the elderly Ben Kenobi to come. And McDiarmid a veteran British stage thesp finally gets his chance to shine as the malicious Palpatine as we see his own transformation into the ultimate evil being he becomes.
Oh George what are you going to do now that it's all over? Of course Lucas has said he is going to redo all the six Star Wars episodes in 3-D as well as produce a TV series which follows the events after Return of the Jedi. Then there's the fourth Indiana Jones movie to look forward to. But Lucas will probably hole back up at his Skywalker Ranch in northern California and dream up even better ways to generate special effects for the big screen. That's what he does best. He truly is an amazing genius at creating visuals and Revenge of the Sith is no exception. From the battle between General Grievous and Obi-Wan to Yoda's clash with Darth Sidious to Obi-Wan's climactic duel with Anakin Sith is simply riveting. The only difficulty Lucas has ever had is with the human element. I'll admit I'm one of those die-hard fans of the original trilogy who had a problem with the lack of an emotional core in the prequels. After writing and directing the first Star Wars (or Episode IV for those counting) Lucas understood then that maybe he wasn't the best choice to write the next two handing the chores off to screenwriter Lawrence Kasdan. It worked. Big time. Yet with all three prequels (that's Episodes I-III) Lucas did it all himself and his obvious shortcomings are evident. But hey does it really matter how connected you feel to the characters when you've got the Force Jedi Knights evil Darths an ass-kicking little green guy clone armies droid armies Wookiee armies (yeah that's a lot of fur) and an ultimate turn towards the Dark Side? No. But it helps.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.