Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
The problem with a film in which characters stand around philosophizing about the nature of life is the fact they are standing around philosophizing about the nature of life. It can make for a compelling character piece or it can bore you to tears. Sunshine State does a little of both. The story centers on the locals of this island and how the regional real estate developers are looking to change the sleepy beachside community into a manicured resort area. One woman Marly Temple (The Sopranos' Edie Falco) is tired of running her retired father's motel and restaurant. She starts a tentative affair with a landscape architect (Timothy Hutton) but is really looking for a way out--perhaps to sell the business to the developers. The other woman Desiree Perry (Angela Bassett) returns home for a visit to show off her new husband Reggie (James McDaniel). But she has a tense relationship with her mother (Mary Alice) after being sent away by her parents at 15 for getting pregnant. Plus it seems the small black enclave in which she grew up is also being eyed by the developers. As their community is about to change both Marly and Desiree must deal with the sometimes overwhelming weight of family history and family expectations while trying to discover their own paths in life.
Of course this kind of film is an actor's dream--all characters and words with very little action. The array of talent in Sunshine State is vast with many standout performances but unfortunately just not enough substance to keep them all riveting. Falco comes off the best as the bored Marly dealing with her long-winded ornery father (played by the long-winded and ornery Ralph Waite) and her free-spirited mother (played by the delightful Jane Alexander). When Falco is on the screen the film takes on a quirky sensibility that writer/director John Sayles probably intended for the whole film. Her scenes with Hutton are packed full of interesting twists--and she definitely has one of the better lines of the film: "Having sex with me this drunk would be like being at the dentist....You know something's going on in there but you don't know what." Bassett doesn't pull her part off as well. She shows the right emotions as Desiree but somehow her storyline seems forced and the same goes for the supporting players around her. The rest of the cast--and it's considerable--fill in the blanks. Mary Steenburgen as the organizer of the local historical event known as "Buccaneer Days" and Gordon Clapp as her gambleholic husband with suicidal tendencies are also standouts.
Sayles is an eclectic filmmaker to say the least. Obviously a brilliant writer he picks his projects carefully and usually puts his own unique stamp on his films such as the powerful little gem Lone Star and the historical Eight Men Out. The framework and the setting of Sunshine State does set it apart from the rest. The director has a genuine affection for the Florida landscape shooting the entire film on Amelia Island one of the only places in history where blacks were allowed to go to the beach in segregated times. Sayles loves to dabble in the past and with some amazingly beautiful surroundings he is able to capture a certain historical feeling. Yet Sayles veers off from his usual style in how he sets his story. The writing is at times bitingly clever but it seems that Sayles is channeling director Robert Altman by trying to interweave the stories of several characters. Unfortunately he doesn't do nearly as good a job as Altman. With too many cooks in the kitchen you end up concentrating on only the characters that interest you thus tuning out the rest.
The Academy of Motion Picture Arts and Sciences handed out 21 awards tonight for scientific and technical achievements.
Actress Charlize Theron hosted the black tie gala at the Regent Beverly Wilshire hotel.
Scientific and Technical Awards are presented by the academy for ``devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures.''
Seven Scientific and Engineering Awards were presented in the form of plaques, and 14 Technical Achievement Awards were given out as certificates. Its board of directors chose the winners based on recommendations from the
Scientific and Technical Awards Committee.
Achievements receiving the scientific and technical awards needn't have been invented during the current year, said Awards Administration Director Richard Miller. They are considered ``only if they have proved their exceptional merit through successful use,'' he said.
An Oscar statuette was presented to Edmund M. Di Giulio, who the academy calls one of the film industry's ``foremost engineering minds.'' De Giulio was the Gordon E. Sawyer Award recipient. The award, established
in 1981, is ``presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.''
Perhaps best known for his part in the engineering and development of the Steadicam, Di Giulio has been active on various Academy subcommittees. He chaired the Academy's Scientific and Technical Awards Committee for five
An Award of Commendation went to Rune Ericson, who was honored for ``his groundbreaking efforts on and dedication to the development of the Kodak Super 16mm film format for motion pictures.'' According to the academy, the Swedish director of photography has worked for more than 30 years to improve the Super 16mm, which has been used for more than 500 feature films shot throughout the world since the 1970s.
The system gives the camera extreme mobility, allowing cuts in production costs and shooting time without corrupting the quality of the image, according to AMPAS. The 16mm film format has also played a significant part in furthering the mainstream success of low-budget films. By extending the width of the 16mm frame, more of the frame height can be used, which allows low-budget films to be produced in a technically compatible version for widescreen theatrical release.
Here are the Scientific and Engineering Award recipients:
John Eargle, Don Keele and Mark Engebretson for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems;
Iain Neil won for the concept and optical design and Al Saiki for the mechanical design of the Panavision Primo Macro Zoom Lens, a compact, wide-angle, macro focus lens;
Peter Kuran for the invention, and Sean Coughlin, Joseph A. Olivier and William Conner for the engineering and development, of the RCI-Color Film Restoration Process, which restores color to faded color negatives;
Franz Kraus, Johannes Steurer and Wolfgang Riedel for the design and development of the ARRILASER Film Recorder, which demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality;
Makoto Tsukada, Shoji Kaneko and the Technical Staff of Imagica Corp., and Daijiro Fujie of Nikon Corp., for the Imagica 65/35 Multi-Format Optical Printer, a liquid-gate optical printer that offers ease of set-up and change-
over to various formats from 35mm to 65mm;
Steve Gerlach, Gregory Farrell and Christian Lurin for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film, which allows all four soundtrack systems to be exposed on a single negative
with relative ease, facilitating more economic distribution of motion pictures; and
Paul Constantine and Peter M. Constantine for the design and development of the CELCO Digital Film Recorder products.
Here are the Technical Achievement Awards winners:
Pete Romano for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures;
Jordan Klein for his pioneering efforts in the development and application of underwater camera housings for motion pictures;
Lance Williams for his pioneering influence in the field of computer-generated animation and effects for motion pictures;
Bernard Werner and William Gelow for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems;
Tomlinson Holman for the research and systems integration resulting in the improvement of motion picture loudspeaker systems;
Geoff Jackson and Roger Woodburn for their DMS 120S Camera Motor;
Thomas Major Barron for the overall concept and design; Charles Smith for the structural engineering; and Gordon Seitz for the mechanical engineering of the Bulldog Motion Control Camera Crane;
John Anderson, Jim Hourihan, Cary Phillips and Sebastian Marino for the development of the ILM Creature Dynamics System;
Dr. Steve Sullivan and Eric Schafer for the development of the ILM Motion and Structure Recovery System;
Carl Ludwig and John Constantine Jr. for their contributions to CELCO Digital Film Recorder products;
Bill Spitzak, Paul Van Camp, Jonathan Egstad and Price Pethel for their pioneering effort on the NUKE-2D Compositing Software;
Dr. Uwe Sassenberg and Rolf Schneider for the development of ``3D Equalizer,'' an advanced and robust camera and object match-moving system;
Garland Stern for the concept and implementation of the Cel Paint Software System; and
Mic Rodgers and Matt Sweeney for the concept, design and realization of the ``Mic Rig,'' a self-contained, low bed picture car carrier and camera platform.