Relativity Media/Everett Collection
TV could be director's gold for Steven Soderbergh and Jane Campion, who both brought their feature film A-game to television this season with Behind the Candelabra and Top of the Lake - along with Emmy chances for Outstanding Directing for a Miniseries, Movie or Dramatic Special. Here's an inside look at their triumphs and a list of all director Oscar winner/nominees who've scored Emmy nominations and wins, by year and project. For more, check out the story at Studio System News.
The prestige and buzz-factor for today's top TV movies and miniseries are in full force as event programming like Behind The Candelabra, Phil Spector, and American Horror Story: Asylum helped revive the genre, all while becoming Emmy contenders in the process. Check out the full story at Studio System News.
First thing's first: Magic Mike delivers on the eye candy. Club Xquisite the wildest male strip club in Tampa sports an ensemble of muscled men ready to flash their ridiculous moves in even more ridiculous dance numbers (this crew has never seen a pair of assless pants they didn't like). Bringing a few dollar bills to the movie is recommended — Magic Mike is shot up close and personal enough that flailing them about will come naturally.
But between the codpieces air humping and penis pumps Magic Mike tells a surprisingly relatable funny and poignant parable centered on a character all too familiar to anyone with an ounce of ambition. Mike (Channing Tatum) leads a triple life: By day he's a roof tiler; by night an exotic dancer; and in his dreams he's a furniture craftsman and entrepreneur. When Mike first crosses paths with Adam (Alex Pettyfer) his worries about the future are dispelled slipping right into mentor mode to show the 19-year-old the wonders of sex drugs and rock and roll. Adam's broke and without direction — the perfect state of being for a stripper-in-the-making. Mike's sales pitch is irresistible and when Adam unwillingly takes the stage for the first time he feels the rush of a dozen woman screaming groping and stuffing singles down his jock strap. There's no question: A stripper's life is a journey worth embarking on.
In his typical fashion director Steven Soderbergh (Traffic Erin Brockovich) defies conventions sticking with Mike's ups and downs rather than transforming Magic Mike into a Goodfellas-esque "newbie in over his head" story. Between playing protector to the mesmerized Adam and attempting to strike up an actual relationship with Adam's sister Brooke (Cody Horn) Mike finds himself for the first time looking inward. Does a job define a man? He's convinced it doesn't but as Adam loses himself to the profession becoming the Xquisite's cutthroat owner Dallas' (the wonderfully slimy Matthew McConaughey) right-hand man and parlaying the gig into more dangerous ventures Mike realizes breakdancing in thongs may be more poisonous to his dreams than he ever realized.
Exploitation Magic Mike is not. The film's dance sequences are sexy and sleek but only to clue the audience into the job's allure. Backstage is equally important; Soderbergh does an amazing job constructing the boy's club atmosphere that keeps Mike and Adam coming back. Lively characters like Ken (Matt Bomer) and Big Dick Richie (Joe Manganiello) say little but speak volumes in the background of every scene. They're palling around and when they finally do reach out to Adam to profess their friendship it makes perfect sense. For a guy without a family the dancers are a perfect replacement.
While the cast is stellar Tatum continues his streak of star-making performances in the role of Mike. Obviously the man can dance — and he blows any memories of Step Up into oblivion. Beyond that he's perfectly in tune with Soderbergh's naturalistic style cool on his feet with the comedy and devastatingly subtle in the drama. His rapport with Horn who is equally striking in her casual approach is sweet and real a constant reminder that even a guy who lap dances in a fireman costume for a living has feelings too. Soderbergh enhances each of his performers with spot on photography: His Tampa is gritty and yellow-tinged the interior of the club a safe haven from the blase nature of reality. Magic Mike carries a full package.
Magic Mike hits all the right notes of comedy and drama that's completely unexpected in the summer blockbuster surroundings. Come for the stripping stay for the high-caliber filmmaking. Magic Mike is one of the year's best.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.