In his effort to recall and contrast the enthusiastic optimism that surrounded the presidential campaign of RFK with the heartbreaking illusion-shattering reality of his assassination Estevez wisely bypasses conventional biopic storytelling or even conspiracy-minded cinematic razzle-dazzle of JFK. Instead he tells the tale from the ground level focusing on a large disparate cast of characters of differing social status – some interconnected some not – who’ve assembled at Los Angeles’ swank Ambassador Hotel on the fateful day in 1968 and as a group they’re both as troubled as that turbulent year and still each clinging to hope in their own individual ways. There’s the Dodger-loving busboy (Freddy Rodriguez) contending with a brooding racist kitchen boss (Christian Slater) and bolstered by an eloquent chef (Laurence Fishburne); the head of staff (William H. Macy) who’s sleeping with a comely switchboard girl (Heather Graham) while seemingly happily married to the hotel’s compassionate beauty salon operator (Sharon Stone); she in turn counsels both a young teen bride-to-be (Lindsay Lohan) marrying a friend (Elijah Wood) to protect him from service in Vietnam and the faded boozy lounge singer (Demi Moore) whose self-destructive cruelty alienates her subservient husband (Emilio Estevez); a veteran hotel manager (Anthony Hopkins) and his retiring crony (Harry Belafonte) reflect on their lifetime of experience while an idealistic Kennedy campaigner (Joshua Jackson) dispatches two volunteers (Shia LaBeoufand Brian Geraghty) to recruit last-minute voters but they head off on an acid trip with a high-minded hippie (Ashton Kutcher); the disconnected May-December couple (Martin Sheen and Helen Hunt) the black campaign volunteer (Nick Cannon) who’s already lost too many leaders; the crusading Czechoslovakian journalist (Lenka Janacek) scrambling for an interview with the candidate; and Kennedy himself appearing in news and archival footage the most eerily effective presence in the film. While such an A-list ensemble of actors initially seems like a director’s dream team they are also responsible for the biggest hurdle the film faces. While most films have a handful of stars and the luxury of time to help audiences forget their celebrity status and embrace them as the characters they’re playing Bobby keeps shoehorning more and more famous faces into short scenes which makes it somewhat more difficult to shake the initial distraction of “Hey there’s so-and-so!” Some of skilled cast—particularly Hopkins Belafonte Macy Sheen Hunt Rodriguez and Fishburne—make the transition easier but with others who are known more as “stars” than actors (Moore Stone Lohan and Kutcher) it takes longer to adjust. And that’s not to say those performances are bad: Moore is terrific reminding us more of her innate watchability on screen than her well-preserved looks and much-younger husband; Stone is in top form despite her overly dowdy get-up; and Kutcher shows his skill with a slightly subtler form of comedy than he usually delivers. Lohan is only passable however trying too self-consciously to appear vulnerable. Still other performances are revelations: Cannon shows as-yet-unseen depth and fire Jackson displays a Clooney-esque self-assured poise and Estevez smartly underplays his role. Understatement definitely seems to be Estevez’s watchword. He typically eschews an overly flashy cinematic approach and simply allows his actors to bring the scenes to emotional life even as he takes great pains to get the period details just right. When he does bring his technical filmmaking savvy more obviously to the forefront primarily in the scenes that integrate real scenes of Kennedy into the story it’s especially potent. Indeed the first three-quarters of the film are well-shot well-acted vignettes that evoke an era but it’s the thoughtful and clever integration of RFK into the third act that unifies and ultimately gives each of the stories—and the film as a whole—genuine dramatic power. Ultimately Estevez uses Kennedy’s own words to deliver a solemn respectful eulogy for the man and a hopeful call to keep the man’s dreams alive.
Colombian newcomer Juanes received six Latin Grammy Awards nominations on Tuesday, the most for any artist, including record of the year, album of the year, song of the year, for "Fijate Bien," and best new artist.
Spanish artist Alejandro Sanz earned the second-most nominations, five in total, including record of the year, album of the year, song of the year, for "El Alma Al Aire," and best male pop vocal album.
Two of the most popular Mexican female acts also were nominated. Thalia and Paulina Rubio, who both performed with the group Timbiriche during their teens, each received nominations for best female pop vocal album.
Among the young stars who has successfully crossed over to the Spanish market is pop sensation Christina Aguilera. She received two nominations: best record of the year and best female pop vocal album for Pero Me Acuerdo De Ti (But I Remember You).
A group of famous Latin American singers and musicians, including Thalia, Jon Secada and Emilio Esfetan, took the stage at the American Airlines Arena in Miami to read the list of nominees for the second annual Latin Grammy Awards. The awards will be held at the arena on Tuesday, Sept. 11.
All the artists present at the nomination announcement carried a sense of pride to be able to carry their music across the world.
"There is a lot of diversity in the music, different angles and different flavors," said producer Emilio Estefan, who is married of singer Gloria Estefan. " It's a dream for me to showcase the music here. That is always something that I dreamt about when I was younger, and to have that finally happen is a dream come true."
"Its almost like a dream to be a part of the music," singer Paulina Rubio said. "The Grammys are one of the most important awards in music and I am glad to be a part of it. I owe it all to my fans."
Latin artists are beginning to confirm that their music is cross-cultural, Colombian singer Shalim said.
"Music is the universal language, and the fact that we are Latin and are to take our music across is very satisfying," Shalim said.
This year's nominations "truly reflect both international scope of Latin music and the diversity of the artists who make it," said Michael Greene, president and CEO of the National Academy of Recording Arts and Sciences and the Latin Recording Academy.
"We are celebrating span the globe and the multi-faceted genres of what we now know as Latin music," he added.
"Miami is a direct connection with the Latin music industry," said Alex Penelas, Miami-Dade Mayor, during a pre-recorded televised speech. "We have some of own very own Latin American artists here, such as Jon Secada, Gloria Estefan, and Celia Cruz...I love Celia Cruz."
Penelas was unable to attend the event because he is currently in South Africa promoting cultural events for the city of Miami.
" We have to celebrate Miami and Miami has to celebrate its music," he said
The aim of the Latin Grammy Awards is to recognize excellence and create a greater public awareness of the cultural diversity and contributions of recording artists.
But it hasn't been easy for Miami to be the host of the Latin Grammy Awards.
Last year, Miami-Dade's civic leaders rejected that the show was hosted in the stage, citing an ordinance that bars the country from those doing business with Cuba. The show was held in Los Angeles. The ordinance was later dropped, allowing Penelas and City of Miami Mayor Joe Carollo to pursue hosting the awards.
Jorge Mas Santos, president of the Cuban American National Foundation said how important it was to bring the show to Miami.
"Make no mistake about it: This is a community that is a center of ideas of freedom of expression and cultural exchange," Mas Santos said. "I am proud to be a part of this endeavor."
Greene took the opportunity to talk about the 2001 Person of the Year Award, which will be given to Julio Iglesias on Sept. 10.
"Julio [Iglesias] has always opened the doors to his house and offered help when we built the South Florida Chapter of the Latin Recording Academy," Greene said.
These awards show will also a silent auction with proceeds benefiting the Latin Academy's outreach and education programs.
The academy is expanding its chapters to Latin American countries across the world, such as Brazil, Mexico, Argentina, and Republica Dominicana to help raise music education in schools.
"We're probably concentrating this year a little more on discovery of talent," Greene said. "We'll still have the big artists ... but we're committed to finding new artists that can be successful."
A complete list of the 39 nominations can be seen on the Grammy Web site, http://www.grammy.com
The second Latin Grammy Awards will be broadcast live from Miami by CBS on Tuesday, Sept 11, from 9 p.m. to 11 p.m. EDT.
Moviegoers celebrated "Mummy"'s Day this weekend with a record setting $70 million opening.
Universal's PG-13 rated adventure sequel The Mummy Returns kicked off Hollywood's pre-summer season with a staggering ESTIMATED $70.11 million at 3,104 theaters ($20,615 per theater). Mummy accounted for about 65% of the weekend's total key films gross of $107.5 million.
Mummy is well on its way to what looks like it could be a $200 million gross in domestic theaters. That would be about $45 million more than the first Mummy did domestically in 1999.
Mummy goes into the record books as the biggest three day non-holiday opening ever, beating the record set by 20th Century Fox and Lucasfilm's Star Wars: Episode One -- The Phantom Menace with $64.81 million the weekend of May 21-23, 1999, at 2,970 theaters ($21,822 per theater). Having opened on a Wednesday, Phantom Menace's cume for five days was $105.7 million.
The 1999 original The Mummy opened to $43.4 million the weekend of May 7-9 at 3,209 theaters ($13,515 per theater). In its second weekend it fell 43% to $24.86 million at 3,226 theaters ($7,705 per theater). Its cume after 10 days was $80.6 million. Mummy went on to do $155.2 million domestically and $258.1 million internationally for a worldwide total of $413.3 million. In its third weekend, Mummy was knocked down to second place by the blockbuster arrival of Phantom Menace.
Mummy Returns's average per theater was the highest for any film playing in wide or limited release this weekend.
Written and directed by Stephen Sommers, Mummy stars Brendan Fraser and Rachel Weisz. It also features an appearance by wrestling star The Rock. The Alphaville Production was produced by James Jacks and Sean Daniel and executive produced by Bob Ducsay and Don Zepfel.
"Except for Lost World, which was a holiday weekend, it's the greatest opening ever," Universal distribution president Nikki Rocco said Sunday morning. Universal's The Lost World: Jurassic Park opened in 1997 to $74.7 million for the three day weekend portion of the four day Memorial Day holiday (May 23-26) weekend.
"What we did was we went into the history of Universal and we created a franchise that we truly believed could dominate the marketplace," Rocco explained. "We took a piece of Universal's history and created an unbelievable franchise. With appropriate sequel management, we brought back the cast, we brought back the director, we managed the cost and we had a great story. That's what made this so unique.
"Our exit polls are 90% in the Top Two Boxes (excellent and very good) and a 70% Definite Recommend. That's huge."
The film's PG-13 rating, she added, "broadened the base. Because of the fact that it's a bit fantasy, parents and kids alike can enjoy it. There's no blood. It's part of comic book fantasy. This is a picture that's an absolute thrill ride that will certainly have tons of repeat business."
Universal's 1932 classic The Mummy, directed by Karl Freund and starring Boris Karloff, was a horror film. So were the studio's continuation of the Mummy story in the 1940s in such films as The Mummy's Hand, The Mummy's Tomb, The Mummy's Ghost and The Mummy's Curse.
"They were horror films," Rocco noted. "That's what's so unique about how we built the franchise. We took a piece of the history and created this whole new thing."
Assessing the film's impact in the marketplace, Rocco observed, "We kicked off summer early. We reinvigorated the marketplace to record breaking numbers (of about $107.5 million for key films). Last year was a record (for this weekend) of $82.2 million. We also hold the biggest Friday opening with $23.4 million and the biggest Saturday opening with $26.8 million." Those are the biggest ever for any Friday or Saturday, she said, adding that "Lost World did $21.9 million on Friday."
Warner Bros. and Franchise Pictures' PG-13 rated action drama Driven fell one notch in its second week to a slower ESTIMATED $6.06 million (-50%) at 2,905 theaters (theater count unchanged; $2,084 per theater). Its cume is approximately $21.6 million.
Directed by Renny Harlin, Driven stars Sylvester Stallone. It was produced by Elie Samaha, Stallone and Harlin and written by Stallone.
Bridget Jones's Diary, the R rated romantic comedy co-financed by Miramax Films, Universal Pictures and StudioCanal and produced by Britain's Working Title, slid one peg to third place in its fourth week with a still attractive ESTIMATED $6.0 million (-20%) at 2,547 theaters (+15 theaters; $2,355 per theater). Its cume is approximately $44.7 million, heading for $55-60 million in domestic theaters.
Directed by Sharon Maguire, Bridget stars Renee Zellweger, Colin Firth and Hugh Grant.
Having only cost about $25 million to produce, Bridget will be profitable for its financing partners.
Dimension's PG rated family appeal thriller Spy Kids fell one rung to fourth place in its sixth week with a less playful ESTIMATED $4.0 million (-31%) at 2,815 theaters (-290 theaters; $1,420 per theater). Its cume is approximately $98.5 million, heading for $105-110 million in domestic theaters.
"It should hit $100 million by next weekend," Miramax senior vice president, marketing David Kaminow said Sunday morning.
With a production cost of only $35 million, Spy Kidswill be very profitable for Dimension.
Written and directed by Robert Rodriguez, Spy Kids stars Antonio Banderas and Carla Gugino.
Paramount Pictures' R rated suspense thriller Along Came A Spider dropped one slot to fifth place in its fifth week with a quieter ESTIMATED $3.8 million (-32%) at 2,573 theaters (theater count unchanged; $1,477 per theater). Its cume is approximately $60.0 million, heading for $65-70 million in domestic theaters.
Directed by Lee Tamahori, Spider stars Morgan Freeman and Monica Potter.
"It's where we had it pretty much targeted," Paramount distribution president Wayne Lewellen said Sunday morning.
"I had it in the low $60 millions originally. I think it has a shot to get into the higher $60 millions (like) $67 or $68 million. If it continues to hang on at this level, it could get even closer to $70 million."
Spider is the prequel to the 1997 hit Kiss the Girls, which did $60.5 million in domestic theatrical release.
Paramount's PG rated sequel Crocodile Dundee in Los Angeles skidded one rung to sixth place in its third week with a dull ESTIMATED $3.2 million (-31%) at 2,141 theaters (+17 theaters; $1,495 per theater). Its cume is approximately $18.0 million.
Directed by Simon Wincer, Crocodile stars Paul Hogan.
New Line Cinema's R rated drama Blow fell one step to seventh place in its fifth week with a quiet ESTIMATED $2.4 million (-28%) at 1,558 theaters (-155 theaters; $1,540 per theater). Its cume is approximately $44.2 million, heading for $50 million in domestic theaters.
Directed by Ted Demme, Blow stars Johnny Depp and Penelope Cruz.
Columbia Pictures PG-13 rated youth appeal comedy Joe Dirt, which was ninth last week, tied for eighth place in its fourth week with a slow ESTIMATED $1.5 million (-45%) at 1,783 theaters (-701 theaters; $841 per theater). Its cume is approximately $24.7 million.
Directed by Dennis Gordon, Joe stars David Spade.
Sony's Screen Gems division's R rated vampire tale The Forsaken, which was eighth last week, tied for eight place in its second week with a calm ESTIMATED $1.5 million (-50%) at 1,514 theaters (theater count unchanged; $991 per theater). Its cume is approximately $5.2 million.
Written and directed by J.S. Cardone, Forsaken stars Kerr Smith and Brendan Fehr.
There was a close race for tenth place based on studio ESTIMATES Sunday morning.
USA Films' R rated comedy drama One Night at McCool's, which was 11th last week, in its second week did a slow ESTIMATED $1.33 million (-47%) at 1,814 theaters (-4 theaters; $734 per theater). Its cume is approximately $4.7 million.
Directed by Harald Swart, McCool's stars Liv Tyler, Matt Dillon, John Goodman, Paul Reiser and Michael Douglas.
New Line Cinema's R rated comedy drama Town & Country, which was seventh last week, in its second week did a depressing ESTIMATED $1.3 million (-58%) at 2,222 theaters (theater count unchanged; $576 per theater). Its cume is approximately $5.2 million.
Directed by Peter Chelsom, Town stars Warren Beatty, Diane Keaton, Andie MacDowell, Garry Shandling, Jenna Elfman, Nastassja Kinski and Goldie Hawn.
This weekend also saw the arrival of Universal's Pavilion of Women, arriving quietly to an ESTIMATED $0.016 million at 7 theaters ($2,312 per theater).
Directed by Yim Ho, Women stars Willem Dafoe and Luo Yan.
Columbia held 766 national sneak previews Saturday night of its PG-13 rated pre-summer youth appeal adventure A Knight's Tale.
The studio said Sunday morning that the sneaks were 75% full and generated very encouraging exit polls. Those on hand scored the film 85% in the Top Two Boxes (excellent and very good) with an 80% Definite Recommend. Columbia said the audience was divided evenly between males and females and those under and over the age of 25.
Tale opens May 11 at 2,800-plus theaters.
Written and directed by Brian Helgeland, Tale stars Heath Ledger.
On the expansion front, this weekend saw Newmarket's R rated film noir thriller Memento widen in its eighth week, still holding well with an ESTIMATED $1.29 million (+1%) at 410 theaters (+86 theaters; $3,140 per theater). Its cume is approximately $8.4 million.
Directed by Christopher Nolan, it stars Guy Pearce, Carrie-Anne Moss and Joe Pantoliano.
Columbia went wider with its R rated thriller The Tailor of Panama, continuing to hold well in its sixth week with an ESTIMATED $1.0 million (+7%) at 436 theaters (+77 theaters; $2,249 per theater). Its cume is approximately $9.4 million.
Directed by John Boorman, Tailor stars Pierce Brosnan and Geoffrey Rush.
Lions Gate Films' R rated drama Amores Perros went wider in its sixth week with a quiet ESTIMATED $0.3 million (-41%) at 184 theaters (+11 theaters; $1,610 per theater). Its cume is approximately $3.4 million.
Directed and produced by Alejandro Gonzalez Inarritu, Perros stars Emilio Echevarria and Gael Garcia Bernal.
Warner Bros.' PG-13 rated comedy The Dish added theaters in its eighth week, continuing to hold well with an ESTIMATED $0.16 million (+5%) at 82 theaters (+22 theaters; $1,951 per theater). Its cume is approximately $1.3 million.
Directed by Rob Stich, The Dish stars Sam Neill and Kevin Harrington.
Miramax's R rated French thriller With a Friend Like Harry... continued to widen in its third week with a still encouraging ESTIMATED $0.16 million at 25 theaters (+13 theaters; $6,400 per theater). Its North American cume is approximately $0.6 million.
Harry is being released under Miramax's French film banner Miramax Zoe.
Directed by Dominik Moll, it stars Laurent Lucas, Sergi Lopez, Mathilde Seigner and Sophie Guillemin.
Artisan Entertainment's controversial unrated The Center of the World added theaters in its third week with an okay ESTIMATED $0.12 million at 32 theaters (+24 theaters; $3,885 per theater). Its cume is approximately $0.3 million.
Directed by Wayne Wang, it stars Molly Parker and Peter Sarsgaard.
Key films -- those grossing more than $500,000 -- took in approximately $107.46 million, up about 30.7% from the comparable weekend last year when key films grossed $82.22 million.
This weekend's key film gross was up about 71.67% from last weekend this year when key films did $62.60 million.
Last year, DreamWorks' opening week of Gladiator was first with $34.82 million at 2,938 theaters ($11,851 per theater); and Universal's third week of U-571 was second with $7.77 million at 2,701 theaters ($2,875 per theater). The top two films one year ago grossed $42.6 million. This year, the top two films grossed an ESTIMATED $76.2 million.