For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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After a massively successful Super Bowl episode, Brooklyn Nine-Nine is ready to party. Unfortunately, that party is for Captain Holt's birthday, and none of these people know how to behave in a rational, appropriate manner in any situation. Therefore, it falls to Terry to keep the rest of the precinct from embarrassing Holt by showing up late, spending the whole evening on their phones, wearing shorts, or forgetting to bring a bottle of wine. But since this is Brooklyn Nine-Nine, they interpret those instructions as "embarrass yourself trying to impress Holt's husband, take photos of the inside of their cabinets, steal things, and massively violate their privacy."
But in an episode filled with great one-liners and weird, childish behavior, which one of the weirdos at the 99th precinct managed to be the life of "The Party?"
Terry Jeffords This week's episode belongs almost entirely to Terry, who has the thankless task of attempting to get the cops to behave like functional, respectable adults for one evening. With all of the focus that the show has placed on Terry's fears, it is a nice change of pace to see him be the mature, responsible one for a change (though still highly anxious).- After telling Boyle to only talk about food: "That's great stuff. So boring. Don't waste it."- Helping the group play to their strengths: "Amy, you studied art history. That's... interesting. Scully, opera. Hitchcock, nothing. Talk about nothing."- He leads the group in a hands-in cheer of "Be appropriate!" Quietly, of course. And then tells them, "Break it up, we look weird." - Key party advice from Terry Jeffords: "Don't move as a group! You're not gazelles!" "STOP EATING CRAB WRONG!" and, when in doubt, "Keep a low profile, chuckle at anecdotes, and try not to start any conversations."- Terry breaks his cell phone with his bare hands while threatening Peralta: "It's okay. I'm due for an upgrade, and my babies are on the cloud." - There was a great callback to Breathless being Terry's favorite cop film, and he argues with two of Kevin's colleagues about whether or not films are a "writer's medium." Terry is a big fan of the French New Wave. - To Santiago and Peralta: "I cannot believe you would both violate the 'Please stay downstairs' rule, which was prominently posted!" - Terry holding Cheddar in his arms was almost as wonderful as Holt carting around those two small dogs a few weeks ago.
Gina When it comes to being inappropriate, nobody is better than Gina, which means that she gets her own personal babysitter for the evening in the form of Diaz. Luckily, the writers come up with a great way to keep Gina incredibly weird without making everyone at the party uncomfortable: plop her down in the middle of a group of psychologists, and just let her talk. - After Terry instructs the group not to war shorts: "What about fancy shorts, like the kind Jen Aniston would wear?" - Terry: "Diaz, you stick with Gina and make sure she doesn't say anything insane or steal something." Gina: "Too late. What? It's mostly scarves and hats." - Diaz: "Gina, what are you thinking about right now?" Gina: "I was thinking about how I would make the perfect American president, due to my skill set, dance ability, and bloodlust." - She introduces herself to one of Kevin's colleagues with "Ashanti." - The montage where Gina dazzles a group of psychologists is the best visual gag of the night, with the crowd around her getting bigger and bigger every time she opens her mouth. Highlights include: "All men are at least 30 percent attracted to me," "My mother cried the day I was born, because she knew she would never be better than me," "At any given moment, I'm thinking about one thing: Richard Dreyfuss, hunkered over, eating dog food," and "I feel like I'm the Paris of people." - Gina's contribution to Holt's birthday dinner is bringing back all of the silverware she stole from their house. And a crystal clock that doesn't belong to them.
Boyle and Vivian Lutley Boyle meets someone who might be the woman of his dreams at Holt's party, food writer Vivian Lutley (Marilu Henner!). They bond over their love of fine dining and make out in the closet like teenagers. It's great to see Boyle put aside his crush on Diaz for a while, as it was starting to move from "awkward and funny" to "awkward and creepy." Hopefully, Henner stays around for a while longer, because we'd love to see what Boyle's like in a real relationship. - Terry: "What happened to your shirt?" Boyle: "I spilled a wonderful winter salsa." - After Boyle describes Vivian's book as having the best recipes for making moss salads, Vivian replies: "The trick is to lean into the dirt taste." - Boyle, winking: "There is nobody in my life. That's sort of a sad thing to wink about, I realize."- The "umami" make out scene in the closet is both wonderfully gross and hysterically funny. These two should stay together for a long time. - Boyle: "Frenching in a closet? I feel like a teenager again!" Vivian: "I feel like I'm 40 again!"
Kevin Cozner He might not be the star of Danzes with Wolvez, but having Holt's husband be even drier and more buttoned-up than the captain is a surprising choice, and one that works really well for the show. - To Peralta: "Ah, you've brought s some wine... drink. This is legally called Wine Drink." - "Could I get you some Wine Drink? Perhaps, all of it?"- Holt: "You've been needling poor Peralta so badly all night that you might as well have made him a new suit." Kevin: "Needling him a new suit? Even when we're fighting you're hilarious. Stop it. Stop it."- After Kevin asks Peralta to call him "Kev": "Well, you are always playing pranks on me, Raymond. Just once, let me be the funny one."
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
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.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
You won't be hearing the name Steven Soderbergh at this year's Independent Spirit Awards.
Instead, try Miguel Arteta, Darren Aronofsky and Kenneth Lonergan -- whose "Chuck & Buck," "Requiem for a Dream," and "You Can Count On Me," respectively, have nabbed a field-best five nominations each at the 16th Annual Independent Spirit Awards.
"Chuck & Buck" -- the second full-length feature from Arteta -- was nominated for best feature under $500,000, screenplay, director, supporting female (Lupe Ontiveros) and debut performance (Mike White).
Among "Requiem's" nominations are best director (Darren Aronofsky) and best feature. The drug-addiction flick will go up against "Before Night Falls," "George Washington," "Ghost Dog: The Way of the Samurai" and "Crouching Tiger, Hidden Dragon" in the best film column.
"You Can Count On Me" will run in the categories for best first feature, screenplay, male lead (Mark Ruffalo), female lead (Laura Linney) and debut performance (Rory Culkin).
"George Washington" and "Before Night Falls" garnered four noms apiece.
The nominations were announced at the El Rey Theater in Los Angeles on Wednesday night. The winners will be announced March 24, a day before the Academy Awards, at a ceremony held at a large tent by the Santa Monica beach.
Here's a list of all the nominees.
"Before Night Falls"
"Crouching Tiger, Hidden Dragon"
"Ghost Dog: The Way of the Samurai"
"Requiem for a Dream" BEST DIRECTOR
Ang Lee ("Crouching Tiger, Hidden Dragon")
Christopher Guest ("Best in Show")
Darren Aronofsky ("Requiem for A Dream")
Julian Schnabel ("Before Night Falls")
Miguel Arteta (Chuck & Buck BEST SCREENPLAY
Valerie Breiman ("Love & Sex")
Raymond De Felitta ("Two Family House")
Robert Dillon ("Waking the Dead") Kenneth Lonergan ("You Can Count on Me") Mike White ("Chuck & Buck") BEST FIRST FEATURE
"Love & Basketball"
"You Can Count On Me" BEST FIRST SCREENPLAY
David Gordon Green ("George Washington") Ross Klavan and Michael McGruther ("Tigerland") Gina Prince-Bythewood ("Love & Basketball") Jordan Walker-Pearlman ("The Visit") Ben Younger ("Boiler Room") BEST FEATURE - UNDER $500,000
"Chuck & Buck"
"Everything Put Together"
BEST DEBUT PERFORMANCE
Rory Culkin ("You Can Count on Me")
Michelle Rodriguez ("Girlfight") Emmy Rossum ("Songcatcher") Mike White, ("Chuck & Buck") Ensemble -- Candace Evanofski, Curtis Cotton III, Damian Jewan Lee, Donald Holden, Rachael Handy ("George Washington") BEST SUPPORTING FEMALE
Pat Carroll ("Songcatcher")
Jennifer Connelly ("Requiem for a Dream")
Marcia Gay Harden ("Pollock")
Lupe Ontiveros ("Chuck & Buck")
Zhang Ziyi ("Crouching Tiger, Hidden Dragon") BEST SUPPORTING MALE
Willem Dafoe ("Shadow of the Vampire")
Cole Hauser ("Tigerland")
Gary Oldman ("The Contender")
Giovanni Ribisi ("The Gift")
Billy Dee Williams ("The Visit") BEST FEMALE LEAD
Joan Allen ("The Contender")
Ellen Burstyn ("Requiem for a Dream")
Sanaa Lathan ("Love & Basketball")
Laura Linney ("You Can Count on Me")
Kelly MacDonald ("Two Family House") BEST MALE LEAD
Javier Bardem ("Before Night Falls")
Adrien Brody ("Restaurant")
Billy Crudup ("Jesus' Son")
Hill Harper ("The Visit")
Mark Ruffalo ("You Can Count on Me") BEST CINEMATOGRAPHER
Lou Bogue ("Shadow of the Vampire")
John De Borman ("Hamlet")
Matthew Libatique ("Requiem for a Dream")
Tim Orr ("George Washington")
Xavier Perez Grobet and Guillermo Rosas ("Before Night Falls") BEST FOREIGN FILM
"Dancer in the Dark"
"In the Mood for Love"
"A Time for Drunken Horses"
"The War Zone" BEST DOCUMENTARY
"The Eyes of Tammy Faye"
"Long Night's Journey Into Day"
Sound and Fury"