If the railway thriller Unstoppable looks familiar it’s only because its director Tony Scott and star Denzel Washington partnered just over a year ago on another railway thriller The Taking of Pelham 123. In Unstoppable the train is granted a bigger slice of the narrative pie than it received in Pelham serving not only as the film’s principal setting but also its primary villain. Stocked with a payload of dangerous chemicals Train 777 (that’s one more evil than 666!) hurtles unmanned towards a calamitous rendezvous with the helpless residents of Stanton Pennsylvania. Surely an upgrade over a hammy John Travolta no?
On whom can we depend to put a stop to this massive killing machine this “missile the size of the Chrysler Building ” in the ominous words of Rosario Dawson’s station dispatcher? Not the entry-level clods (Ethan Suplee and T.J. Miller) whose ineptitude originally set the train on its fateful path. (In a chilling testament to the potential dangers posed by the obesity epidemic a chunky Suplee runs to catch up with the coasting train in the hopes of triggering its emergency brake before it leaves the station only to collapse in a wheezing heap unsuccessful.) Certainly not their supervisor (Kevin Dunn) a middle-management goon more concerned with impressing his corporate superiors than ensuring proper rail safety. And most definitely not the parent company’s feckless golf-playing (the nerve!) CEO whose disaster-containment strategy is dictated purely by stock price.
No sooner or later the burden of heroism must fall on the capable shoulders of our man Denzel. As Frank Barnes a resolutely competent locomotive engineer on a routine training assignment with a reluctant apprentice (Chris Pine unshaven) he emerges as the only force capable of preventing the Train of Doom from reaching its grisly destination. Of course in any train-related emergency such as the one depicted in Unstoppable a litany of things must go wrong before the task of averting disaster becomes the sole responsibility of the engineer of another train. And screenwriter Mark Bomback (Live Free or Die Hard) trooper that he is takes care to cycle through every single one of them lest we question the believability of such a scenario. Because believability is so important in films like this.
Denzel’s most formidable foe in Unstoppable it turns out is his own director. As an alleged “old-school” filmmaker Tony Scott largely eschews the usage of CGI but he embraces almost every other fashionable action-movie gimmick occasionally to nauseating effect. When the camera isn’t jostling about or zooming in and out jarringly it’s wheeling at breakneck speed across a dolly track; countless circling shots of key dialogue exchanges give the impression that we’re eavesdropping on these conversations from a helicopter. No static shots are allowed and cuts are quick and relentless giving us nary a moment to catch our breath or recover our equilibrium.
These are the tactics of an insecure director one with startlingly little faith in his material or his performers. As Unstoppable nears it climax we’re invested in the action not because of the incessant play-by-play of the TV reporters who’ve converged on the scene — a ploy mandated by Scott’s frantic style which by this point has left the story teetering on incoherence — but because of our almost accidental bond with the film’s protagonists who despite the director’s best efforts have managed to make just enough of an imprint on our consciousness that we’d prefer they not perish in a fiery train wreck.
The Constant Gardener is leading the pack ahead of next month's British Academy of Film and Television Arts (BAFTA) Awards after picking up 10 nominations.
Rachel Weisz, who won the Best Supporting Actress in a Motion Picture Golden Globe on Monday, is nominated for Actress in a Leading Role for her performance in the adaptation of Graham Greene's novel, while Ralph Fiennes is up for Actor in a Leading Role and filmmaker Fernando Meirelles is put forward for the David Lean Award for Achievement in Direction.
Hot on the heels of The Constant Gardener are gay cowboy heartbreaker Brokeback Mountain and politically charged Crash, which have both received nine nominations for the Feb. 19 awards ceremony.
Taiwanese filmmaker Ang Lee is nominated for the David Lean Award, and his stars Heath Ledger, Jake Gyllenhaal and Michelle Williams have all received recognition for their performances.
Hit British movie Pride and Prejudice has been named in six BAFTA categories including British Film of the Year and Actress in a Supporting Role for Brenda Blethyn's scene-stealing performance.
George Clooney is up for two awards—Actor in a Supporting Role for Syriana and Achievement in Direction for his handling of Good Night, And Good Luck—which has scooped six nominations.
Oscars favorites and Walk the Line co-stars Joaquin Phoenix and Reese Witherspoon have both been nominated for their acclaimed acting in the Johnny Cash biopic, while Chinese beauty Ziyi Zhang is up for the Actress in a Leading Role BAFTA for her star turn in the big screen version of Arthur Golden's best-selling novel Memoirs of a Geisha.
The partial list of nominees is as follows:
The Constant Gardener
Good Night, And Good Luck
The Alexander Korda Award for the Outstanding British Film of the Year:
A Cock and Bull Story
The Constant Gardener
Pride and Prejudice
The Curse of the Were-Rabbit
The Carl Foreman Award for Special Achievement by a British Director, Writer or Producer in Their First Feature Film:
David Belton (Producer)--Shooting Dogs
Peter Fudakowski (Producer)--Tsotsi
Annie Griffin (Director/Writer)—Festival
Richard Hawkins (Director)--Everything
Joe Wright (Director)--Pride and Prejudice
The David Lean Award for Achievement in Direction:
Brokeback Mountain--Ang Lee
The Constant Gardener--Fernando Meirelles
Good Night, And Good Luck--George Clooney
Best Original Screenplay:
Cinderella Man--Cliff Hollingsworth/Akiva Goldsman
Crash--Paul Haggis/Bobby Moresco
Good Night, And Good Luck--George Clooney/Grant Heslov
Hotel Rwanda--Keir Pearson/Terry George
Mrs. Henderson Presents--Martin Sherman
Best Adapted Screenplay:
Brokeback Mountain--Larry Mcmurtry/Diana Ossana
The Constant Gardener--Jeffrey Caine
A History of Violence--Josh Olson
Pride and Prejudice--Deborah Moggach
Best Film Not in the English Language:
De Battre Mon Coeur S'est Arrêté (The Beat That My Heart Skipped)
Le Grand Voyage
Kung Fu Hustle
Best Actor in a Leading Role:
David Strathairn--Good Night, And Good Luck
Heath Ledger--Brokeback Mountain
Joaquin Phoenix--Walk the Line
Philip Seymour Hoffman--Capote
Ralph Fiennes--The Constant Gardener
Best Actress in a Leading Role:
Charlize Theron--North Country
Judi Dench--Mrs. Henderson Presents
Rachel Weisz--The Constant Gardener
Reese Witherspoon--Walk the Line
Ziyi Zhang--Memoirs of a Geisha
Best Actor in a Supporting Role:
George Clooney--Good Night, And Good Luck
Jake Gyllenhaal--Brokeback Mountain
Best Actress in a Supporting Role:
Brenda Blethyn--Pride and Prejudice
Frances Mcdormand--North Country
Michelle Williams--Brokeback Mountain
Article Copyright World Entertainment News Network All Rights Reserved.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.
A scene on The WB's teen-targeted drama Dawson's Creek will show two gay teens locked in an extended kiss Wednesday night, USA Today reported today Monday. "I timed it," Scott Seomin of the Gay and Lesbian Alliance Against Defamation (GLAAD) told the newspaper. "It's like a 5 1/2-second mouth-to-mouth kiss. We haven't seen anything like this before on network TV." The episode is certain to arouse anger among numerous religious and pro-family activists. Heather Cirmo of the Family Research Council in Washington, D.C., told the newspaper that the episode will do a disservice to "impressionable teens who have questions about their sexuality by promoting a myth that homosexuality is something you're born with."
NBC FINALLY MAKES GOOD ON ITS PROMISE TO BUYERS
NBC finally scored a 4.5 rating Saturday night, the precise number that it guaranteed advertisers for its XFL football games. However, it pulled the number with a repeat of the James Bond movie Goldeneye.The movie peaked at 10:30 p.m. with a 5.4/10. Last week, the championship XFL contest averaged only a 2.5/5. The highest numbers for the night were scored by CBS's The District, which earned an 8.8/13 in the 10:00 p.m. hour and helped CBS win the night.
MURDOCH SEEN PULLING OFF DEAL TO BUY DIRECTV
Contrary to earlier reports, News Corp's proposal to take over Hughes Electronics' DirecTV will not be put to a vote of the General Motors board at its regular meeting Tuesday, the Los Angeles Times reported Monday. GM is the parent company of Hughes. Nevertheless, the newspaper said, top GM officials are continuing to meet with News Corp execs, including Chairman Rupert Murdoch, and are expected to recommend that the board approve Murdoch's latest proposal. Citing a "highly placed source," the Times said that a deal for DirecTV to be incorporated into Murdoch's Sky Global Network could come together in the next month.
BACARDI KNOCKING DOWN BARRIERS TO TV BOOZE ADS
Bacardi is expected to slice a large rip in the broadcast and cable industry's self-imposed ban on liquor advertising when it launches a sexy ad for its Disaronno Originale Amaretto liqueur on several cable outlets this week, the Wall Street Journal reported today Monday. The newspaper said that among the cable outlets carrying the spot will be Viacom's VHI, AOL Time Warner's TBC networks, and Comedy Central, jointly owned by Viacom and AOL Time Warner. In most instances, the ads, part of a $1.1-million cable marketing campaign, will run not on the networks themselves, the WSJ observed, but as local spots during station breaks in large markets, thereby circumventing anti-liquor policies by the nets.
BBC PLANS TO AIR LIVE INTERVIEWS WITH EXECUTION WITNESSES
As part of its plan to broadcast a documentary, The Oklahoma Bomber, in Britain on May 16, the day set for Timothy McVeigh's execution, the BBC will air live interviews with relatives of his victims after they have witnessed him being put to death, the London Independent on Sunday reported. The plans have sparked outrage by opponents of the death penalty in Britain. Frances Crook, director of the Howard League for Penal Reform, told the newspaper: "It disgusts me and I think it's a gross misuse of public funds. What makes it so shocking is that it's the BBC, which has a reputation for probity and ethical conduct." But David Belton, who was assigned to produce the live inserts for the documentary, replied, "We want to know if witnessing the execution has been a cathartic experience for the relatives, if it has helped them in the healing process. This is a legitimate question to ask, and it's in the public interest."
BRITISH MINISERIES LIKELY TO INFURIATE VIEWERS
Britain's commercial Channel 4 is bracing for a barrage of criticism when it airs the two-part miniseries Men Only on June 3 and 4, the London Sunday Times reported. The drama depicts upper middle-class men engaging in an assortment of amoral conduct and includes a graphic scene of a nurse being raped by three men, including a doctor, after being drugged with a horse tranquilizer. According to the Sunday Times, the men display little, if any, remorse afterwards. The drama, which was bought by Channel 4 two years ago, had originally been scheduled to air earlier this year, the newspaper said, and some executives of the network have questioned whether it should air at all. But Tessa Ross, head of drama programming for Channel 4, told the Sunday Times that she is "happy for Men Only to go out."
AOL TIME WARNER SETS SIGHTS (AND SITES) ON EUROPE
Seeking to expand its cable and Internet broadband operations into Europe, AOL Time Warner is in talks about forming an alliance with the British cable operator NTL, published reports said Monday.
OPTIMISM RISES OVER POSSIBLE WGA-PRODUCERS DEAL
Film and TV producers spent the weekend at the negotiating table with negotiators for the Writers Guild of America hoping to avert a strike following the expiration of the current labor contract at 12:01 a.m. Wednesday. WGA officials have indicated that they are willing to agree to an extension of the current contract on a day-to-day basis if progress in the talks is being made. They have not yet taken a strike-authorization vote, which is required before a strike can begin. Monday's Los Angeles Times quoted labor and industry executives who have been in contact with the two sides as saying that they expect a deal this week.
REPORTER PUBLISHER SAYS NEWSMAN "LOST HIS OBJECTIVITY"
The publisher of the Hollywood Reporter has defended his decision to kill a story by his labor reporter that accused the trade paper's gossip columnist of accepting favors from two movie producers. Robert J. Dowling said in a statement on Friday that he spiked the story by reporter David Robb "because I felt that, over the course of time, he had lost his objectivity on this issue and was no longer adhering to The Hollywood Reporter's standards of journalistic, ethical and professional conduct." Robb subsequently resigned. Meanwhile, the trade paper reported Monday that the Screen Actors Guild has initiated an audit of gossip columnist George Christy's film credits as part of the guild's routine investigation of individuals who it believes might be defrauding its pension and health plan.
CLOONEY TO RETURN AS BATMAN?
George Clooney is expected to fulfill a deal with Warner Bros. to portray Batman a second time, Britain's Guardian newspaper reported today. The newspaper quoted Darren Aronofsky, who has been tapped to direct the upcoming Batman: Year One, as saying: "George Clooney is going to be back as Batman in the movie. There are no major casting changes." Clooney was critical of his own performance as Batman in 1997's Batman and Robin, joining many reviewers in rapping the movie, which fell far short of studio expectations at the box office.
WEALTHY SINGER TO INVEST IN SCOTTISH MOVIE STUDIO
Former Eurythmics member Dave Stewart has decided to make a substantial investment in an $8-million film studio in Inverness, Scotland, the London Sunday Times reported. The studio, which is due to have a fiber-optic link to Stewart's multimedia company, the Hospital, in London, is likely to become the first film studio in Scotland. It is also being backed by James Cosmo, who costarred in Braveheart with Mel Gibson. "It won't be Hollywood, but it will be a proper working studio," Cosmo told the Sunday Times. Named Highland Studios, the facility sill reportedly have two main sound stages, one 15,000 square feet; the other 8,000 square feet. Plans by a rival group including Sean Connery to build a studio near Edinburgh have stalled, the newspaper said.