The Academy of Motion Picture Arts and Sciences unveiled its commemorative poster for the 77th Academy Awards Wednesday--a design created by Brett Davidson, an unknown newcomer who has been on staff at the Academy for 10 years and currently serves as the organization's information systems support specialist.
Davidson's design was chosen through a blind selection process by Academy executives and members of its Board of Governors. "We looked at dozens of designs but there was something about Brett's image that we all were drawn to; it was a unanimous decision," the Academy's executive director Bruce Davis said in the press statement. "It was only after we had made the decision that we found out the designer was one of our own staff. It's great for Brett to have this opportunity."
"I was so excited when I found out my design had been chosen," said Davidson, who studied both film and graphic design at the University of Miami in Florida. "Graphic design has always been my passion, so it's unbelievably gratifying that my work will be used to promote such a prestigious event."
Meanwhile, Variety reports the Academy has picked the 12 finalists who will compete for a coveted nomination in the Best Documentary category, including Morgan Spurlock's Super Size Me, a searing look at the fast-food industry; Stacy Peralta's surfing opus Riding Giants; Mark Wexler's Tell Them Who You Are, a moving portrait of Wexler's father, director Haskell Wexler; and Kevin MacDonald's Touching the Void, a docu based on the book by Joe Simpson about his mountaineering adventures in the Peruvian Andes.
Other titles on the short list were Zana Briski and Ross Kauffman's Born Into Brothels, about impoverished children of prostitutes in Calcutta and Jessica Yu's In the Realms of the Unreal, which follows the life of Henry Darger, a Chicago janitor who penned the 15,000-page children's fantasy novel of the same name.
Michael Moore, who won an Oscar for his previous effort Bowling for Columbine, took his controversial Fahrenheit 9/11 out of the running in the category, contending the move was aimed at opening up the docu race. The film is instead taking a stab at a Best Picture nod.
A handful of other documentaries that should have gotten noticed were disqualified due to having aired on television, either domestically or abroad, including Jehane Noujaim's Control Room, a look at the Al Jazeera's coverage on the Iraq war. Also missing was Metallica: Some Kind of Monster, the fascinating portrait of the '80s metal band, who became riddled with internal strife.
Academy Awards will be presented on Feb. 27, 2005, at the Kodak Theatre and televised on ABC.
Let's just get through Gigli's plot so we can move on to the fun stuff. A lowly hit man Larry Gigli (Ben Affleck) is hired to kidnap the mentally handicapped little brother (Justin Bartha) of a federal prosecutor for Mob purposes. A second hitperson the comely independent-minded Ricki (Jennifer Lopez) is also put on the case because Gigli can't be trusted to do the job correctly. Holed up in Gigli's apartment the duo clashes at first but gradually form a bond even though Gigli is a chauvinistic jughead and Ricki a tough-nut lesbian. Of course they also form an attachment to their quarry Brian who in his untainted innocence manages to change these two hardened individuals. Now that's over with here's just a sampling of some of the deep and meaningful dialogue that passes between these two lovebirds: Says Gigli: "I am the bull and you are the cow…f**k with the bull you get the horn." Gigli to Ricki: "I'm the Sultan of Slick…the original gangster's gangster." Ricki to Gigli: "You know this might be a good time to suggest you not allow the seeds of cruel hope to sprout in your soul." Then later more from Ricki: "The penis is a sea slug or more like a really long toe. But kissing the mouth…The mouth--the lips the warm moist hole--is a twin sister to the…" Well you get the picture. Even Brian gets in a good one when he chirps spastically "It's not my fault I'm brain damaged!" Can it get any better than this?
Ben Jen what were you thinking? On second thought don't answer that--we'd probably rather not know. This is one time when watching two huge celebrities like Jennifer Lopez and Ben Affleck fall in love is more cringe-worthy than romantic in any way. Imagine if you will Lopez as Ricki who having succumbed to Gigli's er charm sprawls herself seductively on the bed in a little kimono robe and tells him "It's turkey time. Gobble gobble"--with a straight face. Or how about this one: "You know I'm not into the whole man thing…but somehow you got through." (Insert audible collective audience groan here). Affleck who stands around looking like he's been hit in the face with a frying pan most of the time--of course without ever mussing his hair--comes off looking even worse if that's possible. His accent fluctuates between that of a Brooklyn thug and Southern California surfer dude. As far as how some of the high-profile cameos in the film got there--including Christopher Walken as a quirky cop and Al Pacino as a mobster who gets to vent in his usual boisterous way--obviously some favors must have been called in. Pacino did win his only Oscar for his performance in Scent of a Woman helmed by Gigli's director Martin Brest. Maybe they all deserve more credit for enduring such utterly banal garbage.
Writer/director Brest has had a spotty career at best. Of a handful of movies he's had a hit here and there (Beverly Hills Cop) and a few failures (Meet Joe Black). But with Gigli the filmmaker reaches the bottom rung. He took big names thrown them in a big-budget crime drama that really wants to be a small talky indie and the end result is more like a really bad play in which all the characters give their own over-the-top soliloquies waxing prophetic about every subject under the sun--differences between males and females being gay vs. straight anger management retardation slopping pie on one's head (believe it). Granted on some level Brest is trying to think out of the box within a formulaic setting and in all honesty Gigli's premise isn't all that dreadful--just hacky. There may have been a somewhat decent movie hidden somewhere in Gigli--enough of movie at least to attract Lopez and Affleck (whose romance began on the shoot). Instead it's a discombobulated jumbled mess of incoherent musings and horrible dialogue that moviegoers just shouldn't be subjected to. We wonder if at this very moment J. Lo isn't saying to her future hubby "Let's not do this again"--but wait they are in Kevin Smith's Jersey Girls. We don't want to know what he's saying.
Frank Abagnale Jr. (Leonardo DiCaprio) never aspires to become one of the youngest people ever to make the FBI's 10 Most Wanted List--it just kind of turns out that way. His adventures begin in 1967 when he runs away from home at 16 just as his parents are divorcing. He finds himself alone in the Big Apple unsuccessfully trying to cash fake $20 checks. One day Frank notices how much respect is given to two airline pilots and he decides impersonating a Pan Am co-pilot might be just the ticket so to speak. Thus begins his brilliant three-year run as a master of deception. After infiltrating Pan Am he changes careers--he's a pediatrician then a lawyer--all the while perfecting his forgery skills. Cashing fake checks all over the country Abagnale amasses millions and quite literally becomes a kid in a candy store buying sports cars and fancy suits losing his virginity and pretending he is James Bond. Still the fact remains Frank is just a kid. Even after all these adult experiences his main objective is to get his father Frank Sr. (Christopher Walken) a down-on-his-luck store owner hounded by the IRS back together with his now-remarried mother (Nathalie Baye). Frank's nefarious activities eventually catch the authorities' attention and Carl Hanratty (Tom Hanks) a no-nonsense FBI agent in charge of the bank fraud division is soon hot on Frank's tail. But Frank doesn't mind. Part of him wants to get caught and he baits Hanratty to never give up the chase. Hanratty never does and finally brings his man to justice.
Catch Me's acting ensemble shines. Given the fact DiCaprio is in two high-profile movies this holiday season--this one and Gangs of New York--puts the actor back on the radar after a hiatus (perhaps he was licking his wounds after starring in the disastrous 2001 The Beach). Yet if you were to match the performances DiCaprio's stellar turn as Abagnale definitely stands out as the better of the two (the Golden Globes feel the same recently giving DiCaprio a nod for best actor in a drama). He fits the part like a glove--all at once charismatic childish vulnerable and deadly intelligent. DiCaprio easily shows how Frank isn't necessarily a sociopath but more a needy kid looking for acceptance. Say what you will about DiCaprio's movie star qualities he still has the acting chops to make it work. Walken as Frank Sr. also gives one of the better performances of his career playing a sad man who knows the apple doesn't fall from the tree but who is too proud to admit his mistakes--even to his son. Hanks is superb as well (is there anything this man can't do?) playing the by-the-book Hanratty completely devoid of emotion--but making us laugh anyway every time he comes on the screen. He doesn't mean to of course but to see Hanks play something so obviously straight somehow brings out the humor in the situation even more. Just don't ask Hanratty to tell you a joke. TV's Alias honey Jennifer Garner also makes a nice cameo as a prostitute--watch out folks she's heading for the big screen.
Based on the real-life memoirs of Frank W. Abagnale Jr. Catch Me If You Can is a fascinating study of a brilliant mind which isn't by nature criminal--just slightly misguided (ironically the real Abagnale now in his 50s is a legitimate businessman who also acts as an consultant for the FBI's bank fraud division). Under the skillful hands of director Steven Spielberg Catch Me has a great deal of fun going for a very '60s tongue-in-cheek Pink Panther feel from the opening credits to the ease at which Frank goes about his merry way conning everyone including himself. The motto of the film has to be "never deny." Frank accepts everything and things just fall into his lap. Even when Frank tries to tell the truth to the father (played by Martin Sheen) of a woman he wants to marry it works to his advantage. Yet the meat of the film is Frank's inner turmoil at the breakup of his parents of wanting his family back together again and of his need to come clean. Frank secretly wants to be disciplined told what to do and that's why Hanratty becomes so important almost a fatherly figure to him. The film probably plays about a half hour too long especially in explaining what happens to Abagnale after he gets caught but otherwise it totally engages you.
December 03, 2002 10:14am EST
Psychologist Chris Kelvin (George Clooney) is asked to investigate the strange behavior of a small group of scientists aboard a space station orbiting the planet Solaris. The expedition has stopped all communication with Earth and mission captain Gibarian (Ulrich Tukur) has committed suicide. Once on board the space station Kelvin discovers two surviving crewmembers who are suffering from extreme stress and paranoia brought on by studying the planetary body. He learns that Solaris can create physical personifications known as "visitors " which are drawn from the crew's subconscious memories. For Kelvin a "visitor" comes in the form of his wife Rheya (Natascha McElhone) who committed suicide years earlier. Soon enough he finds himself in the same nutty predicament as the crew and becomes fixated on the possibility he can change the events that lead to Rheya's death. The film based on Stanislaw Lem's 1961 novel of the same name is not so much a sci-fi pic as it is a futuristic romance. It's a slow-building story that raises many questions without ever answering them including the planet's motives.
While Clooney delivers a soulful performance as the worrisome Chris Kelvin it might have been more interesting to establish his character without spelling out his past. Kelvin's wife Rheya is supposed to be a character so dark that flowers practically die when she walks into a room. While McElhone's portrayal of Rheya is not bad her morbidity comes more from the character's back story than the actress's performance; Rheya is suicidal and has an abortion hence she is a sinister being. Viola Davis plays Helen Gordon one of the two surviving crewmembers on the space station. Good performance but her character is too inconsistent. At the start of the film for example she is holed up in her quarters and refuses to come out. In the next scene however she divulges everything she knows to Kelvin in a very logical and calm manner. What happened to the paranoia the extreme stress? Jeremy Davies is the second crewmember Snow (perhaps aptly named because he seems almost as though he's actually on coke). Doing his best Crispin Glover Davies is the most irritating thing about the movie.
Solaris was first adapted as a feature film by Russian director Andrei Tarkovsky in 1972 in a much longer and truer version of the book. Director/screenwriter Steven Soderbergh decided to delve deeper into Kelvin's relationship with his wife Rheya than necessary. Not a sci-fi director at heart Soderbergh whitewashes many of the book's technical details such as what constellation the space station is orbiting or anything pertinent about Solaris itself. He chooses instead to focus on Kelvin's troubled relationship with Rheya which is established through sappy flashbacks. But what goes on between the couple on the space station is much more compelling than their overly sentimentalized past. Because the new Rheya is created from Kelvin's mind her own memories are actually his; if he remembers they met on a train for example so will she. Eventually she begins to question her own existence and demands answers from Kelvin that he cannot provide. Soderbergh examines religious philosophical and spiritual issues in a not-so-subtle manner but leaves the film open to interpretation. Completely devoid of splashy special effects Soderbergh's Solaris is beautifully shot with a minimalist effect.
Let's just say there aren't any surprises in Stealing Harvard. You pretty much know what you are in for when you sit down. John Plummer (Jason Lee) is a good-hearted fellow who just wants to marry his longtime fiancée Elaine Warner (Leslie Mann). He works hard for her father (Dennis Farina) at a medical supply store but Mr. Warner is less than happy with his future son-in-law. Still John finally gets his wish when he and Elaine reach the $30 000 mark she made them save so they could marry and buy their dream house. That's it? We can go home now? Alas no. A snag in their plans comes when John's niece Noreen (Tammy Blanchard) gets accepted to Harvard and his trailer-trash sister Patty (Megan Mullally) reminds him of his promise to help pay for Noreen's education--to the tune of $29 800. D'oh! Since John can't disappoint Elaine and Noreen he asks his best friend Duff (Tom Green) to help him try to get hold of another 30 grand. Duff agrees of course but accomplishing this feat legitimately is simply not an option. As Duff's plans to turn them into petty criminals fail each and every time John becomes increasingly desperate. What will he do? And more importantly do we care?
As an actor Jason Lee has made some curious choices. Sticking with director Kevin Smith (Chasing Amy Dogma) has been a smart move as well as scooping up a choice role in Cameron Crowe's Almost Famous. But he's made some pretty bad choices as well--Kissing A Fool Big Trouble and now Stealing Harvard. The material is way beneath him. John is too milquetoast for Lee's smart-ass style and it doesn't suit him at all. There is another reason Lee should have just walked away from this one--being in a movie with Tom Green. Green's Duff does manage to elicit a few laughs here and there but the comic actor who once touched a very eclectic funny bone in many people has now become a parody of himself. And an annoying one at that. Mann (George of the Jungle) does some interesting things with her character Elaine. You don't really like the uptight daddy's girl much in the beginning but then she blossoms and changes showing Mann's comic abilities nicely. John C. McGinley as the detective who goes after the two boneheads and Mullally as the slutty Patty both turn in funny performances. Farina however is completely wasted which is a shame.
OK so there are a few times in Stealing Harvard where you actually laugh out loud. You've seen most of them in the trailer but they are funny nonetheless. Duff and John trying to choose their code names Duff getting smashed up against the window John dressed as a woman. There are also a couple of moments you don't see in the trailer that kind of make you chuckle like when McGinley's detective explains what he actually uses the toothbrush for that Duff put in his mouth and pretty much all the scenes with Mullally. They are however few and far between. For the most part Harvard sticks to its insipid and completely ridiculous script and run-of-the-mill direction by Kids In the Hall alum Bruce McCulloch. For us hardened critics it's hard to have our intelligence insulted even for a forced laugh. But for some out there this could just be the kind of mindless entertainment they crave.
The British Academy of Film and Television Arts (BAFTA) recognized some of the year’s best films on Sunday. "Gladiator" was chosen best film, and "Crouching Tiger, Hidden Dragon" took away best foreign-language film honors. Each of these Oscar contenders received four BAFTA awards in total.
Producers Douglas Wick, David Franzoni and Branko Lustig accepted the best film award for "Gladiator," praising director Ridley Scott during their acceptance speech, who lost out on the best director prize to Ang Lee for "Tiger."
Besides best foreign film and best director, "Crouching Tiger" also won for music (Tan Dun) and costume design (Tim Yip). Of BAFTA and the United Kingdom, Lee said: "You've always been great to me. This is like a second home to me now."
“Gladiator” also won the Orange Audience Award for most popular film of 2000. Scott thanked DreamWorks and Universal for their courage in backing a $100 million film in a genre that hadn't been touched for 30 years. "It is especially good to win this on my home turf as I spend so much time in the United States," Scott said during his acceptance speech. "I am absolutely thrilled."
Besides the BAFTA honor for best film, "Gladiator" also picked up awards for cinematography (John Mathieson), production design (Arthur Max) and editing (Pietro Scalia).
British effort "Billy Elliot" won three awards, including best British film, best actor (Jamie Bell) and best supporting actress for Julie Walters.
Julia Roberts was named best actress for her performance in the title role of "Erin Brockovich." Presenter Hugh Grant, and co-star in "Notting Hill," picked up the award for the absentee actress.
Best original screenplay and best sound awards went to Cameron Crowe’s "Almost Famous." Crowe's wife, Nancy Wilson, accepted his award, saying that Crowe was unable to attend the event as a double ear infection prevented him from flying. "He meant this movie as a love letter from his heart to music," Wilson said.
Steven Soderbergh's "Traffic" also won two awards, for adapted screenplay (Stephen Gaghan) and supporting actor (Benicio Del Toro).
Veteran casting director Mary Selway was given the Michael Balcon Award for her outstanding contribution to cinema. Actor Albert Finney was presented with a British Film Academy Fellowship for lifetime achievement, receiving a standing ovation.
The complete list of winners:
THE ACADEMY FELLOWSHIP: Albert Finney
THE MICHAEL BALCON AWARD for outstanding British Contribution to Cinema: Mary Selway
THE ALEXANDER KORDA AWARD for outstanding British Film of the Year: "Billy Elliot"
BEST FILM: "Gladiator"
THE DAVID LEAN AWARD for Achievement in Direction: Ang Lee, "Crouching Tiger, Hidden Dragon"
SCREENPLAY (Original): Cameron Crowe, "Almost Famous"
SCREENPLAY (Adapted): Stephen Gaghan, "Traffic"
PERFORMANCE BY AN ACTRESS in a leading role: Julia Roberts, "Erin Brockovich"
PERFORMANCE BY AN ACTOR in a leading role: Jamie Bell, "Billy Elliot"
PERFORMANCE BY AN ACTRESS in a supporting role: Julie Walters, "Billy Elliot"
PERFORMANCE BY AN ACTOR in a supporting role: Benicio Del Toro, "Traffic"
FILM NOT IN THE ENGLISH LANGUAGE: "Crouching Tiger, Hidden Dragon" (Bill Hong/Hsu Li Kong/Ang Lee )
THE ANTHONY ASQUITH AWARD for achievement in Film Music: Tan Dun, "Crouching Tiger, Hidden Dragon"
THE CARL FOREMAN AWARD for Most Promising Newcomer to British Film: Pawel Pawlikowski
CINEMATOGRAPHY: John Mathieson, "Gladiator"
PRODUCTION DESIGN: Arthur Max, "Gladiator"
COSTUME DESIGN: Tim Yip, "Crouching Tiger, Hidden Dragon"
EDITING: Pietro Scalia, "Gladiator"
SOUND: Jeff Wexler/D.M. Hemphill/Rick Kline/Paul Massey/Mike Wilhoit, "Almost Famous"
ACHIEVEMENT IN SPECIAL VISUAL EFFECTS: Stefen Fangmeier/John Frazier/Walt Conti/Habib Zargarpour/Tim Alexander, "The Perfect Storm"
MAKE UP/HAIR: Rick Baker/Kazuhirop Tsuji/Tony G./Gal Ryan/Sylvia Nava, "How the Grinch Stole Christmas"
SHORT FILM Gary Holding/Justine Leahy/Tinge Krishnan, "Shadowscan"
SHORT ANIMATION: Claire Jennings/Willem Thijssen/Michael Dudok de Wit, "Father and Daughter"
ORANGE AUDIENCE AWARD: "Gladiator"