Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
The Writers Guild of America has announced its nominations for outstanding achievement in screen in 2002.
Antwone Fisher, Bowling for Columbine, Far From Heaven, Gangs of New York and My Big Fat Greek Wedding have been nominated for the WGA's best original screenplay award.
About a Boy, About Schmidt, Adaptation, Chicago and
The Hours meanwhile will contend for best adapted screenplay.
Antwone Fisher, Written by Antwone Fisher; Fox Searchlight
Bowling for Columbine, Written by Michael Moore; United Artists/Alliance Atlantis/Salter Street Films/Dog Eat Dog Films
Far From Heaven, Written by Todd Haynes; Focus Features
Gangs of New York, Screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan, story by Jay Cocks; Miramax Films
My Big Fat Greek Wedding, Written by Nia Vardalos; Gold Circle Films/HBO/MPH Entertainment/Playtone
About a Boy, Screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby; Universal Pictures/Studio Canal/Working Title Films/Tribeca Productions
About Schmidt, Screenplay by Alexander Payne & Jim Taylor, based on the novel by Louis Begley; New Line Cinema
Adaptation, Screenplay by Charlie Kaufman and Donald Kaufman, based on the book The Orchid Thief by Susan Orlean; Columbia Pictures
Chicago, Screenplay by Bill Condon, based on the musical play, book by Bob Fosse and Fred Ebb and the play by Maurine Dallas Watkins; Miramax Films
The Hours, Screenplay by David Hare, based on the novel by Michael Cunningham; Paramount Pictures/Miramax Films
Animation--any length--one airing time (new category)
"The Bart Wants What It Wants" (The Simpsons), Written by John Frink & Don Payne; Gracie Films in association with 20th Century Fox Television; Fox
"Blame It on Lisa" (The Simpsons), Written by Bob Bendetson; Gracie Films in association with 20th Century Fox Television; Fox
"Godfellas" (Futurama), Written by Ken Keeler; 20th Century Fox Television; Fox
"Jaws Wired Shut" (The Simpsons), Written by Matt Selman; Gracie Films in association with 20th Century Fox Television; Fox
"My Own Private Rodeo" (King of the Hill), Written by Alex Gregory & Peter Huyck; 20th Century Fox Television Productions in association with Deedle-Dee Productions, Judgmental Films and 3 Arts Entertainment; Fox
Santa Baby! Written by Peter Bakalian & Suzanne Collins; Rankin/Bass; Fox
Original Long Form--over one hour--one or two parts, one or two airing times
Dor to Door, Written by William H. Macy & Steven Schachter; Turner Pages, Inc.; TNT
The Gathering Storm, Teleplay by Hugh Whitemore, Story by Larry Ramin and Hugh Whitemore; a Scott Free Production in association with HBO Films; HBO
Sins of the Father Written by John Pielmeier, based on the magazine article that appeared in Texas Monthly by Pamela Colloff; Artisan; FX
Strange Relations, Written by Tim Kazurinsky; Showtime; Granada Entertainment; Showtime
Adapted Long Form--over one hour--one or two parts, one or two airing times
"Batogne" (Band of Brothers), Written by Bruce C. McKenna, based on the book by Stephen E. Ambrose; DreamWorks/Playtone/HBO; HBO
Hysterical Blindness, Teleplay by Laura Cahill, based on the play by Laura Cahill; Hysterical Films, Inc.; HBO
Last Call, Screenplay by Henry Bromell, based on the memoir Against the Current: As I Remember F. Scott Fitzgerald by Frances Kroll Ring; Room 520/Barnstorm Films; Showtime
Mark Twain's Roughing It, Teleplay by Steven H. Berman, based on the book Roughing It by Mark Twain; Larry Levinson Productions; Hallmark Channel
Episodic Drama--any length, one airing time
"Game On" (The West Wing), Written by Aaron Sorkin & Paul Redford; John Wells Productions in association with Warner Bros. Television; NBC
"In Place of Anger" (Six Feet Under), Written by Christian Taylor; Six Feet Productions; HBO
"Nino Del Polvo" (Resurrection Boulevard), Written by Robert Eisele; Showtime; Viacom Productions, Inc.; Patagonia House; Showtime
"On the Beach" (ER), Written by John Wells; Constant C Productions; Amblin Television; Warner Bros. Television; NBC
Pilot (The Education of Max Bickford), Written by Dawn Prestwich & Nicole Yorkin; 20th Century Fox Television; CBS
"Whoever Did This" (The Sopranos), Written by Robin Green & Mitchell Burgess; Soprano Productions, Inc.; HBO
Episodic Comedy--any length, one airing time
"Change of Address" (Sex and the City), Written by Julie Rottenberg & Elisa Zuritsky; Darren Star Productions in association with HBO Original Programming; HBO
"I Heart NY" (Sex and the City), Written by Michael Patrick King; Darren Star Productions in association with HBO Original Programming; HBO
Pilot (The Bernie Mac Show), Written by Larry Wilmore; Regency Television in association with 20th Century Fox Television; FOX
"My First Day", (pilot, Scrubs), Written by Bill Lawrence; Touchstone Television Productions; NBC
"Plus One is the Loneliest Number" (Sex and the City), Written by Cindy Chupack; Darren Star Productions in association with HBO Original Programming; HBO
"Rooms With a View" (Frasier), Written by Dan O' Shannon & Lori Kirkland & Bob Daily; Grub Street Productions in association with Paramount Pictures; NBC
"The Wedding" (Ed), Written by Rob Burnett & Jon Beckerman; Viacom Productions in association with Worldwide Pants, Inc. and NBC Studios; NBC
Comedy/Variety---Music, Awards, Tributes--Specials--any length
The Kennedy Center Honors Written by Don Baer and George Stevens, Jr., Film Sequences Written by Sara Lukinson; A George Stevens Jr. Presentation - Kennedy Center Television Productions, Inc.; CBS
NBC 75th Anniversary Special, Written by Doug Abeles, James Anderson, Robert Carlock, Tina Fey, Charlie Grandy, Steve Higgins, Lorne Michaels, Paula Pell, Herb Sargent, Michael Schur, Michael Shoemaker; Broadway Video in association with NBC Studios; NBC
Comedy/Variety--(including talk) Series
Dennis Miller Live, Written by Eddie Feldmann, Jose Arroyo, Richard Dahm, David Feldman, Jim Hanna, Rob Z. Kutner, Kirsten McFarland, Dennis Miller, Jacob Sager Weinstein; Happy Family Productions; HBO
Late Night With Conan O'Brien, Written by Mike Sweeney, Chris Albers, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; Broadway Video; NBC
Mad TV, Writing Supervised by Scott King, Written by Dick Blasucci, Garry Campbell, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, Devon Shepard, Rich Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos; QDE/Girl Group; FOX
Saturday Night Live, Written by Tina Fey, Doug Abeles, Leo Allen, James Anderson, Max Brooks, James Downey, James Eagan, Hugh Fink, Charlie Grandy, Jack Handey, Steve Higgins, Erik Kenward, Dennis McNicholas, Lorne Michaels, Corwin Moore, Matt Murray, Paula Pell, Matt Piedmont, Ken Scarborough, Michael Schur, Frank Sebastiano, T. Sean Shannon, Eric Slovin, Robert Smigel, Emily Spivey, Andrew Steele, Scott Wainio, Jerry Collins, Tom David; Broadway Video in association with SNL Studios; NBC
Guiding Light, Written by Millee Taggart, Lucky Gold, Christopher Dunn, Tita Bell, Jill Lorie Hurst, Penelope Koechl, David Kreizman, Eleanor Labine, Alan Madison, Danielle Paige, A.J. Pierce, Janet Reed Ahearn, Susan Rice, David Rupel, Melissa Salmons, Eddie Sanchez, Lisa Seidman, David Smilow; Procter & Gamble; CBS
The Young and the Restless, Written by Kay Alden, Trent Jones, John F. Smith, Jerry Birn, Jim Houghton, Natalie Minardi, Janice Ferri, Eric Freiwald, Joshua McCaffrey, Michael Minnis, Rex M. Best; Columbia TriStar; CBS
Elmo's World: Happy Holidays!, Written by Christine Ferraro; Sesame Workshop; PBS
Off Season, Written by Glenn Gers; Showtime Networks, Inc.; Showtime
Our America, Teleplay by Gordon Rayfield, Based on the book "Our America: Life and Death on the South Side of Chicago" by Lealan Jones, Lloyd Newman and David Isay; Joseph Stern Productions; All Media, Inc.; Showtime
The Red Sneakers, Teleplay by Mark Saltzman, Story by Jeffrey Rubin; Lynch Entertainment, Tom Lynch Company, RS Productions, Ltd., Showtime Networks, Inc.; Showtime
Bioterror (Nova), Written by Matthew Collins; A Nova Production by the New York Times/ Granada Factuals USA and Lone Wolf Pictures, Inc., for WGBH/ Boston in association with Channel 4 Television; PBS
The Man Who Knew (Frontline), Written by Michael J. Kirk, Kirk Documentary Group; PBS
9/11, Written by Tom Forman & Greg Kandra; Goldfish Pictures, Inc.; CBS
Rollover: The Hidden Story of the SUV (Frontline), Written by Marc Shaffer & Barak Goodman; 10/20 Productions; PBS
Documentary--Other Than Current Events
America's First River, Part One, Written by Tom Spain; WNET/Educational Broadcasting Corp.; Public Affairs Television; PBS
Empire State Building Ironworker (A Day in their Lives), Written by Peter Hankoff; Termite Art Productions; History Channel; History Channel
Evolution of a Revolution (Founding Brothers), Written by Kelly McPherson and Melissa Jo Peltier & Allison MacEwan; MPH Entertainment Inc.; History Channel; History Channel
Monkey Trial (American Experience), Written by Christine Lesiak; WGBH Educational Foundation; PBS
News--Regularly Scheduled, Bulletin or Breaking Report
Attack on America Written by Jerry Cipriano, Paul Fischer, Thomas Harris, Hugh Heckman, Bruce Meyer; CBS Evening News; CBS
September 11th Controllers, Written by Jonathan W. Kaplan; CBS
Festivals wrap; "Clerks" director makes points with wife; Joey Lawrence shines (really)
PARK CITY, Utah, Jan. 30, 2000 - Done.
"Girlfight" and "You Can Count on Me" - the two films everybody talked about non-stop up here - ended up as the two films everybody talked about non-stop during Saturday's awards ceremony at the Raquet Center. The movies took two awards each - tying as the Grand Jury Prize winner for best dramatic film.
"Two Family House" - a film that as far as we were concerned nobody talked about up here - ended up as the upset winner in the Audience Award category, supposedly a popular vote. We're not sure what audience voted for it, but we're sure it wasn't the people at the Raquet Center. The films that drew the biggest applause during a rundown of the competition dramas were, of course, "Girlfight" and "You Can Count on Me," as well as "Songcatcher," "Urbania" and "Our Song." Of course, "Two Family House" wasn't included in that rundown because it wasn't a competition flick - it was an American Spectrum entry.
For a complete look at the night's winners, check out The Buzz.
In other festival action:
IT'S THE THOUGHT THAT COUNTS: "I've said this before and I'll say it again, I sort of wish there wasn't a competition at the festival because [as] nice, gratifying and thrilling as it is to win a prize, it's just so nice to be here. And I sort of wish we could all get here and be here and that would be it." - "You Can Count on Me" writer/director Kenneth Lonergan, to Hollywood.com.
LIKE WE SAID, IT'S THE THOUGHT THAT COUNTS: So, was Mr. Lonergan willing to give back his two awards he won Saturday? "No. Despite my altruistic sentiments."
THE DIFFERENCE BETWEEN THE SUNDANCE AWARDS AND THE SLAMDANCE AWARDS: The Slamdance awards are held in a bar; the Sundance awards are held at a health club. The Slamdance awards take about an hour to hand out; the Sundance awards take about two hours to hand out. The Sundance awards also feature many more speeches about the importance of film festivals, in general, and Sundance, in particular.
EXCEPT FOR THOSE OF YOU SEATED IN THE BACK ROWS BEHIND THE PRESS AND SPONORS: "This evening is really yours …" - Sundance festival co-director Nicole Guillemet, in her opening remarks to filmmakers.
FINALLY, A REAL MOMENT: "P.S.: [Expletive deleted] Slamdance." - Faux letter from Robert Redford, as read by Sundance juror/potty-mouthed filmmaker Kevin Smith ("Clerks").
PRESENTER'S ULTERIOR MOTIVE REVEALED: "I'm so getting laid tonight." - Kevin Smith (again), after thanking his wife for no particular reason before revealing the winner of the best dramatic director award.
AND NOW YOU KNOW: "Girlfight" writer/director Karyn Kusama's first name is pronounced "Car-in," not "Care-in," as she pointed out on stage moments after the aforementioned Mr. Smith botched it.
AND NOW YOU KNOW THAT, TOO: Mercedes-Benz has cared deeply about independent film for a decade - or so said the Mercedes-Benz mucky-muck allotted stage time on account of the luxury-car maker is the official sponsor of Sundance's Grand Jury Prizes.
THAT SPECIAL TOUCH: "Can you, uh, GET OUT THE WAY." - Sundance volunteer, to person standing in said Sundance volunteer's way.
SOME PRIZES COME IN CASH FORM: "Groove" and "Chuck and Buck" both got high-profile deals in the last week - but not a single Sundance award.
TASTY STUFF WE ATE AT THE AFTER-PARTY: Quiche Lorraine, lemon-grilled chicken on focaccia, vegetarian frittata and little square brown fudgy things.
SPOTTED: Kevin Smith chatting up comic Bobcat Goldthwait near the bathroom directional sign at the Raquet Center.
MOVIES WE SAW:
1. "Good Housekeeping" (Slamdance Competition Feature) -- Frank Novak's debut feature, which won the Slamdance Grand Jury Award for best feature, is like a 92-minute episode of "Cops," with all the grit, grime and white trash of that voyeuristic hit -- plus lots more laughs. Don (Bob Mills) and Donatella (Petra Westen) are two weeks away from divorce court and their domestic strife is reaching a crescendo. Then, Don erects a wall in the middle of the house to draw the battle lines. He's aided in his war with the missus by a gaggle of oddball friends including his loser brother (who sleeps in the car on the lawn), a fellow action-figure collector geek, and a divorced friend turned men's-rights activist, who gives Don a pistol and a Laaz military rocket for "self defense." This is an alarmingly realistic movie about an extremely dysfunctional family, but its sometimes-absurd humor makes it a delightful, if not always easy, movie to watch. (-- Steve Ryfle)
2. "Dolphins" (Slamdance Competition Feature) -- Think "One Flew Over The Cuckoo's Nest," sans dialogue, and with a beautiful young woman standing in for Jack Nicholson. Throw in amazing cinematography, a la the craftsmanship of "Manhattan," and you're close to describing this 40-minute debut from Iranian-born Farhad Yawari, which won (despite its brief running time) this fest's Audience Award for best feature. A female mental patient (Julia Brendler) stares into her goldfish bowl and imagines herself swimming underwater with a school of dolphins. When she refuses to live by the house rules, the girl is repeatedly subdued by a Nurse Ratched-like character until a good-hearted garbage man busts her out of the nut house. The story is only one component of this multi-layered movie -- the music, the images and the performances meld seamlessly. Sure, it's a bit pretentious and artsy-fartsy, but it's obvious that Yawari is a filmmaker of great talent. (-- S.R.)
3. "Desperate But Not Serious" (SlamDunk) -- Bill Fishman, who has directed music videos for bands ranging from Suicidal Tendencies to Hank Williams Jr., as well as the big-screen comedies "Tapeheads" and Car 54, Where Are You?," weighs in with this $650,000 would-be comedic satire of the Los Angeles night-life scene. A San Francisco chick (Christine Taylor of "The Brady Bunch Movie") flies into L.A. to rendezvous with her botanist boyfriend (John Corbett) at a wedding reception, but when she loses the invitation she spends the entire night hopping from party to party with her party-gal friend (Paget Brewster) in search of her beau. During their misadventures, the girls meet a psychopath bartender (Henry Rollins), Brewster's ex-boyfriend (Max Perlich), a pretentious grrl rocker (Claudia Schiffer) and a pampered-but-nice movie star (Joey Lawrence -- the best thing about the film, really). In the end, Taylor gets her man (duh) but it's too late - the movie's already self-destructed with its unfunny, rambling dialogue and lack of story. Rent "Party Girl" instead. (-- S.R.)
BEST TAKE ON THE SUNDANCE Y2K EXPERIENCE: "It was monkeys and clowns all around." - Two anonymous filmmakers at The Club on Main Street.
WHAT ONE NON-FILMMAKER GOT OUT OF SUNDANCE: "Varicose veins from standing in line." -- Susan Nicolls, senior public relations manager, Macromedia.
HOW SUNDANCE Y2K DIFFERED FROM PREVIOUS SUNDANCES: "It's the same pretentiousness and arrogance. Have you seen these girls walking around outside with bare midriffs? What guy would want a girl with a blue stomach?" - Quotemeister Susan Nicolls.
WHY SLAMDANCE IS BETTER THAN SUNDANCE (ONE OPINION): "They're not kicking you out of parties like at Sundance." -- Sharon Reed, aspiring filmmaker.
WHY SUNDANCE IS BETTER THAN SLAMDANCE (ONE OPINION): "It was an excuse to party. In that respect, it succeeded tremendously."-- James Dudyen, filmmaker.
BEST PARTY: The Entertainment Weekly-sponsored bash on Jan. 21 at the Silver Lake Lodge. The free food (chicken strips with peanut dipping sauce) was refined; the view was spectacular; the band (Norway's own Getaway People) was very good. But, most of all, the festival was very young and we w ren't sick of this place yet. (-- J.R.)
WORST PARTY: The one on Friday night at Harry O's where the Worst (Most-Effective) Bouncer (see: below) put our own Jim Bartoo in a headlock on account of … well, to tell you the truth, we're still not exactly sure why.
BIGGEST PARTY TREND: Raves. Maybe it was the effect of the movie "Groove" being a big hit up here this year, but it wasn't surprising to see the president of New Line letting it all out on the dance floor to DJ's Digweed and Sasha. Rave culture touched everything at Sundance from the give-aways, (knit caps, disco-ball-keychains, and flashers) to the clothes (funk-sneakers and hi-tech nylon cargo-pants anyone?). (-- Gerry Katzman)
WORST (MOST-EFFECTIVE) BOUNCER: The nightclub Harry O's, which featured nightly performances by the likes of Sugar Ray, Primus, Third Eye Blind, and the Cult, should take the scads of money it made this week and open a studio, because as Hollywood Royalty waited in line and pleaded, "Let me in! I'm cold!," the red-mohawked bouncer replied, "Shut up, or none of you are getting in!" We smell a studio head in the making. (-- G.K.)
MOST CONSECUTIVE NIGHTS STANDING IN FRONT OF HARRY O'S WITHOUT GETTING IN: Four, as accomplished by Hollywood.com's Chuck Walton.
MOST UBIQUITOUS DRINK: "I have never seen so much frickin' Red Bull in my frickin life!" one party-goer screamed to us. The mediciney-sweet energy drink was everywhere in Park City. Red Bull, which contains "taurine," some kind of amino-acidy energy potion, is illegal in France - and, hence, a perfect compliment to vodka. (-- G.K.)
BEST SUGGESTION: Hold this stupid thing in May when it's, like, not FREAKIN' COLD outside.