You don't arrive at the Grand Budapest Hotel without your share of Wes Anderson baggage. Odds are, if you've booked a visit to this film, you've enjoyed your past trips to the Wes Indies (I promise I'll stop this extended metaphor soon), delighting especially in Rushmore, The Royal Tenenbaums, and his most recent charmer Moonrise Kingdom. On the other hand, you could be the adventurous sort — a curious diplomat who never really got Anderson's uric-toned deadpan drudgings but can't resist browsing through the brochures of his latest European getaway. First off, neither community should worry about a bias in this review — I'm a Life Aquatic devotee, equally alienating to both sides. Second, neither community should be deterred by Andersonian expectations, be they sky high or subterranean, in planned Budapest excursions. No matter who you are, this movie will charm your dandy pants off and then some.
While GBH hangs tight to the filmmaker's recognizable style, the movie is a departure for Anderson in a number of ways. The first being plot: there is one. A doozy, too. We're accustomed to spending our Wes flicks peering into the stagnant souls of pensive man-children — or children-men (Moonrise) or fox-kits (guess) — whose journeys are confined primarily to the internal. But not long into Grand Budapest, we're on a bona fide adventure with one of the director's most attractive heroes to date: the didactic Gustave H. (Ralph Fiennes mastering sympathetic comedy better than anyone could have imagined he might), who invests his heart and soul into the titular hotel, an oasis of nobility in a decaying 1930s Europe. Gustave is plucked from his sadomasochistic nirvana overseeing every cog and sprocket in the mountaintop institution and thrust into a madcap caper — reminiscent of, and not accidentally, the Hollywood comedies of the era — involving murder, framing, art theft, jailbreak, love, sex, envy, secret societies, high speed chases... believe me, I haven't given half of it away. Along the way, we rope in a courageous baker (Saoirse Ronan), a dutiful attorney (Jeff Goldblum), a hotheaded socialite (Adrien Brody) and his psychopathic henchman (Willem Dafoe), and no shortage of Anderson regulars. The director proves just as adept at the large scale as he is at the small, delivering would-be cartoon high jinks with the same tangible life that you'd find in a Billy Wilder romp or one of the better Hope/Crosby Road to movies.
Anchoring the monkey business down to a recognizable planet Earth (without sacrificing an ounce of comedy) is the throughline of Gustave's budding friendship with his lobby boy, Zero (newcomer Tony Revolori, whose performance is an unprecedented and thrilling mixture of Wes Anderson stoicism and tempered humility), the only living being who appreciates the significance of the Grand Budapest as much as Gustave does. In joining these two oddballs on their quest beyond the parameters of FDA-approved doses of zany, we appreciate it, too: the significance of holding fast to something you believe in, understand, trust, and love in a world that makes less and less sense everyday. Anderson's World War II might not be as ostensibly hard-hitting as that to which modern cinema is accustomed, but there's a chilling, somber horror story lurking beneath the surface of Grand Budapest. Behind every side-splitting laugh, cookie cutter backdrop, and otherworldly antic, there is a pulsating dread that makes it all mean something. As vivid as the worlds of Rushmore, Tenenbaums, Fantastic Mr. Fox, and Moonrise might well have been, none have had this much weight and soul.
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So it's astonishing that we're able to zip to and fro' every crevice of this haunting, misty Central Europe at top speeds, grins never waning as our hero Gustave delivers supernaturally articulate diatribes capped with physically startling profanity. So much of it is that delightfully odd, agonizingly devoted character, his unlikely camaraderie with the unflappably earnest young Zero, and his adherence to the magic that inhabits the Grand Budapest Hotel. There are few places like it on Earth, as we learn. There aren't many movies like it here either.
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After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
DeGeneres comes in second behind Apple boss Tim Cook on Out magazine's 2011 Power 50 List. Cooper is third and Ross is 10th.
Designers Marc Jacobs and Tom Ford, film producer Scott Rudin, Glee creator Ryan Murphy, blogger Perez Hilton, music mogul David Geffen and actor Neil Patrick Harris make the top 20.
Jodie Foster, singer Adam Lambert, Oscar winner Dustin Lance Black and The Kids Are All Right director Lisa Cholodenko also make the 2011 list.
The British Academy of Film and Television Arts has released its list of nominees for the annual BAFTA Awards, also known as the British Oscars or the only big awards show with a category just for British only. Surprise, surprise, the Brits have come out on top; the historical drama, The King’s Speech swept the noms with 14 in total. Close behind is Darren Aronofsky’s surprising thriller, Black Swan with 12 total nominations. The British Film category that comes in addition to the BAFTA’s “Best Film” category gives a second chance to 127 Hours, which doesn’t make the top five in the overall category but has the chance to take the top Brits-only honor. Also of note, 14 year old Hailee Steinfeld, who’s blowing audiences away in December’s True Grit, merits the grownup honor of a nomination for best lead actress for her role in the film (mini fist pump!).
While the awards will be broadcast exclusively on BBC One, sorry America, it’s still worth knowing which films made the cut.
And the nominees are:
• Black Swan - Mike Medavoy, Brian Oliver, Scott Franklin
• Inception - Emma Thomas, Christopher Nolan
• The King’s Speech - Iain Canning, Emile Sherman, Gareth Unwin
• The Social Network - Scott Rudin, Dana Brunetti, Michael De Luca, Céan Chaffin
• True Grit - Scott Rudin, Ethan Coen, Joel Coen
Outstanding British Film
• 127 Hours - Danny Boyle, Simon Beaufoy, Christian Colson, John Smithson
• Another Year - Mike Leigh, Georgina Lowe
• Four Lions - Chris Morris, Jesse Armstrong, Sam Bain, Mark Herbert, Derrin Schlesinger
• The King’s Speech - Tom Hooper, David Seidler, Iain Canning, Emile Sherman, Gareth Unwin
• Made in Dagenham - Nigel Cole, William Ivory, Elizabeth Karlsen, Stephen Woolley
Outstanding Debut by a British Writer, Director or Producer
• The Arbor - Director, Producer - Clio Barnard, Tracy O’Riordan
• Exit Through The Gift Shop - Director, Producer – Banksy, Jaimie D’Cruz
• Four Lions - Director/Writer - Chris Morris
• Monsters - Director/Writer – Gareth Edwards
• Skeletons - Director/Writer – Nick Whitfield
• 127 Hours - Danny Boyle
• Black Swan - Darren Aronofsky
• Inception - Christopher Nolan
• The King’s Speech - Tom Hooper
• The Social Network - David Fincher
• Black Swan - Mark Heyman, Andrés Heinz, John McLaughlin
• The Fighter - Scott Silver, Paul Tamasy, Eric Johnson
• Inception - Christopher Nolan
• The Kids Are All Right - Lisa Cholodenko, Stuart Blumberg
• The King’s Speech - David Seidler
• 127 Hours - Danny Boyle, Simon Beaufoy
• The Girl With The Dragon Tattoo - Rasmus Heisterberg, Nikolaj Arcel
• The Social Network - Aaron Sorkin
• Toy Story 3 - Michael Arndt
• True Grit - Joel Coen, Ethan Coen
Film Not In the English Language
• Biutiful - Alejandro González Iñárritu, Jon Kilik, Fernando Bovaira
• The Girl With The Dragon Tattoo - Søren Stærmose, Niels Arden Oplev
• I Am Love - Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Massimiliano Violante
• Of Gods And Men - Xavier Beauvois
• The Secrets In Their Eyes - Mariela Besuievsky, Juan José Campanella
• Despicable Me - Chris Renaud, Pierre Coffin
• How To Train Your Dragon - Chris Sanders, Dean DeBlois
• Toy Story 3 - Lee Unkrich
• Javier Bardem – Biutiful
• Jeff Bridges - True Grit
• Jesse Eisenberg - The Social Network
• Colin Firth - The King’s Speech
• James Franco - 127 Hours
• Annette Benning - The Kids Are All Right
• Julianne Moore - The Kids Are All Right
• Natalie Portman - Black Swan
• Noomi Rapace - The Girl with the Dragon Tattoo
• Hailee Steinfeld - True Grit
• Christian Bale - The Fighter
• Andrew Garfield - The Social Network
• Pete Postlethwaite - The Town
• Mark Ruffalo - The Kids Are All Right
• Geoffrey Rush - The King’s Speech
• Amy Adams - The Fighter
• Helena Bonham Carter - The King’s Speech
• Barbara Hershey - Black Swan
• Lesley Manville - Another Year
• Miranda Richardson - Made in Dagenham
• 127 Hours - AR Rahman
• Alice In Wonderland - Danny Elfman
• How to Train Your Dragon - John Powell
• Inception - Hans Zimmer
• The King’s Speech - Alexandre Desplat
• 127 Hours - Anthony Dod Mantle, Enrique Chediak
• Black Swan - Matthew Libatique
• Inception - Wally Pfister
• The King’s Speech - Danny Cohen
• True Grit - Roger Deakins
For the full list of nominees, visit the BAFTA site, here.
Oy is Marci X an awful movie. Not a single shred of intelligence in it. But if you need to know the story here it is. Marci Feld (Lisa Kudrow) is a somewhat spoiled Jewish-American princess thanks to her father Ben Feld (Richard Benjamin) a corporate mogul. She has lived an extremely pampered life but also has been fairly successful in her altruistic endeavors. Marci can organize any fund-raiser for any disease of the week and bring in thousands of dollars while her friends declare "Marci cares! Marci loves!" but does she really? Well she'll have to start because she is soon faced with the daunting task of taking over after her father suffers a stress-induced heart attack watching his empire start to crumble. Seems that somewhere within daddy's vast holdings there is a hardcore rap label Felony Assault which suddenly comes under siege after the label's star rapper Dr. S (Damon Wayans) releases his latest album. The songs are tad on the "controversial" side with titles such as "It Ain't My Baby Because I Don't Like You" and "Shoot Ya' Teacha!" and has elicited the ire of a conservative right senator Mary Ellen Spinkle (Christine Baranski) who vows to ruin Dr. S--and Ben Feld along with him. To rescue her father's plummeting stock Marci in her own special way attempts to tone down the rapper's bad-boy edge but the two end up falling in love. And the rest shall we say is history.
You have to feel somewhat sorry for the actors in this movie. Audiences can go see it and forget about it the minute they hit the theater parking lot but Marci X's cast are going to have to live with this for the rest of their lives. Seriously Marci X isn't something an actor would want to put on their resume especially Kudrow who really does have a great deal of talent as a comedian if given the right material (i.e. Friends). Instead her Marci is forced to come out on stage in a Chanel suit perfect hair carrying a Louis Vuitton bag just as white as she can be and belt out a rap song about the "power of her purse" in front of a predominantly black audience--and then win them over. It's sad. Not even Reese Witherspoon could get away with this let alone Kudrow. Wayans too must be shaking his head thinking "I haven't done a movie since 2000's Bamboozled and really haven't had a film hit like ever so I pick Marci X to star in?" To his credit Wayans does look like he has some fun being the in-your-face Dr. S (full name Dr. Snatchcatcher) strutting around with a funky afro and gold teeth--but he should just stick with his successful TV sitcom My Wife and Kids and give up on a movie career.
Still these two actors ultimately must have been swayed by the what they thought would be potentially funny stuff considering who was involved behind the scenes. Meaning Marci X must have looked really super on paper. Attached is Scott Rudin one of Hollywood's more prolific and successful producers whose numerous credits include The Hours The Royal Tenenbaums and Wonder Boys. The writer is Paul Rudnick who has written good comedies such as In & Out and Addams Family Values and the director is Marci X co-star Richard Benjamin one of cinema's greatest comic actors (Goodbye Columbus; The Sunshine Boys) and fairly successful director (My Favorite Year). What happened with Marci X for chrissakes? Who says it's funny to have four spoiled Jewish girls come out on the dance floor at a hip-hop club and do an African tribal dance--and win the crowd over again? Or watch the eternally uptight Spinkle privately getting jiggy with it when she hears one Dr. S' songs? Nothing absolutely nothing is remotely funny in this movie--more bile-producing than anything else.
Universal Studios is getting ready for a third helping of American Pie, which is set to begin filming in January. According to Variety, Pie 3 has been in the works for some time, but dealmaking with the actors--whose sequel options did not extend beyond American Pie 2--was complex. So far, Seann William Scott, Jason Biggs, Alyson Hannigan and Eugene Levy have all signed on to reprise their roles. Director Jesse Dylan (How High) is in negotiations to direct the film, written by Adam Herz. Pie 3 is slated for an August 2003 release.
'N Sync star Lance Bass may see his dreams of going to space squashed unless he comes up with a substantial chunk of change. The singer, who has been training in Star City just outside Moscow, is set to join an October mission to the International Space Station. But a spokesperson for Russia's space agency said Wednesday his contract could be dissolved because the first payment has been delayed, Reuters reports. The flight costs a reported $20 million.
Actor Jeremy Irons found a productive way to pass the time when he found himself in a messy airport lounge after his flight was diverted to Shannon Airport in southwestern Ireland, Reuters reports. Apparently upset by the sight of beer-drenched tables and overflowing ashtrays, Jeremy grabbed some cleaning supplies and started cleaning. The Oscar-winning actor was en route to his castle in Cork, southern Ireland.
The 2004 movie awards season is getting a makeover, sparked in part by the Academy of Motion Picture Arts and Sciences' decision to move its annual Oscar ceremony from its traditional late-March berth to Feb. 29. According to The Hollywood Reporter, the Screen Actors Guild is moving its own televised awards ceremony to Sunday, Feb. 8, 2004, at the Los Angeles Shrine Exposition Center--a month earlier than has been the norm. The 2003 SAG ceremonies will take place as scheduled Sunday, March 9, two weeks before the Oscars on March 23.
After a series of flops and an extended hiatus from studio films, Demi Moore has agreed to take on a small role in Charlie's Angels 2: Halo, which is slated for release next June. According to Variety, Moore will play a former, "fallen," angel working on the other side of the law. Drew Barrymore, Lucy Liu and Cameron Diaz will reprise their roles in the sequel to the 2000 hit.
Oscar-winning director Jonathan Demme may reunite with his Silence of the Lambs star Jodie Foster. Paramount Pictures and producer Scott Rudin have asked scribe Richard Price to pen an original idea specifically designed for the director and the actress, Variety reports. The yet-untitled project is loosely described by sources as a thriller set in a modern urban setting.
MGM has hired Don D. Scott to write a sequel to Ice Cube's upcoming urban comedy Barbershop, according to The Hollywood Reporter. Director Tim Story is in negotiations to helm the project. The film, which opens Sept. 13, is an ensemble story that takes place in the course of a day at a barbershop on Chicago's South Side. Positive test screenings prompted the studio to move forward with the project, but no deals have yet been made with the actors to return.
Kid Rock will star in DreamWorks Picture's urban motorcycle project titled Biker Boyz. According to The Hollywood Reporter, Kid Rock will join a cast that includes Lisa Bonet, Laurence Fishburne, Derek Luke, Orlando Jones, Brendan Fehr and Meagan Good. The film follows the real-life exploits of Manuel Galloway, a California motorcycle club president known as the King of Cali. Kid Rock will play Dog, the leader of a rival motorcycle club.
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?
Novelist and college teacher Grady Tripp (Michael Douglas) is a literary luminary on the strength of his smash first book but his follow-up is going nowhere after years of effort. Blocked emotionally as well as creatively this rumpled pot-smoking eccentric has driven away his wife and squandered another opportunity for love with his school's hubby-cheating chancellor (Frances McDormand). Then an exceptionally gifted young student (Tobey Maguire) triggers a series of misadventures that exceeds anything Grady ever dreamed up for his fiction.
In a performance that rivals his work in "Wall Street" as the best of his career Douglas grounds the film with effortless-looking naturalism and crusty charm. His knack for bringing sympathy to unsavory characters allows "Wonder Boys" to retain an edge while stealthily reaching for viewers' heartstrings. Playing a sensitive misfit coming of age for the umpteenth time is no stretch for Maguire ("The Cider House Rules") but he's touchingly effective nonetheless. The invaluable Robert Downey Jr. ("Chaplin") is delightful as Grady's stressed-out but loyal agent who hits town with a hulking transvestite on his arm.
Curtis Hanson ("L.A. Confidential") takes the fine screenplay adaptation by Steve Kloves ("The Fabulous Baker Boys") and wrings it for every drop of humor and pathos. Wise and full of heart in its sly way "Wonder Boys" is the kind of deeply satisfying piece filmmakers must have in mind when they set out to make dramas. The obvious disparity between the film's wide critical acclaim and dismal box-office performance earlier this year led Paramount Pictures to give it a rare re-release as the holiday Oscar season gets underway.