Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
As you might have guessed, the BAFTA ceremony was this weekend and a bunch of British films won. Of course this was bound to happen. I'd give it to my home team, too. The results don't necessarily determine the outcome of the Oscar's in two weeks, but it does confirm that there are a lot of great films competing this year. The King's Speech was easily the big winner, taking home Best Film, Actor, both Supporting Actor awards, British Film, Original Screenplay and Music. Inception and Alice in Wonderland, as the only other slightly British films in Hollywood, took most of the technical awards for Production Design, Hair & Make Up, Visual Effects, etc. And when the Brits didn't have a clear domestic winner, I like to imagine they begrudgingly handed them over to David Fincher, Natalie Portman, Toy Story 3 and the lot.
Best Film- The King’s Speech
Director - The Social Network - David Fincher
Leading Actor - Colin Firth - The King’s Speech
Leading Actress - Natalie Portman - Black Swan
Supporting Actor - Geoffrey Rush - The King’s Speech
Supporting Actress - Helena Bonham Carter - The King’s Speech
Adapted Screenplay- The Social Network - Aaron Sorkin
Original Screenplay - The King’s Speech - David Seidler
Animated Film - Toy Story 3 - Lee Unkrich
Outstanding British Film - The King’s Speech
Film Not In The English Language - The Girl With The Dragon Tattoo
Outstanding Debut By A British Writer, Director Or Producer - Four Lions - Chris Morris (Director/Writer)
Cinematography - True Grit - Roger Deakins
Editing - The Social Network - Angus Wall, Kirk Baxter
Production Design - Inception - Guy Hendrix Dyas, Larry Dias, Doug Mowat
Sound - Inception - Richard King, Lora Hirschberg, Gary A Rizzo, Ed Novick
Special Visual Effects - Inception - Chris Corbould, Paul Franklin, Andrew Lockley, Peter Bebb
Make Up & Hair - Alice In Wonderland - Valli O'Reilly, Paul Gooch
Original Music - The King’s Speech - Alexandre Desplat
Costume Design - Alice In Wonderland - Colleen Atwood
Short Film - Until The River Runs Red - Paul Wright, Poss Kondeatis
Short Animation - The Eagleman Stag - Michael Please
The Orange Wednesdays Rising Star Award (voted by the public) - Tom Hardy
Corrine Gehrls, a former employee on Winfrey's private jet, was dismissed after she was accused of engaging in "inappropriate intimate behaviour" with a pilot while the TV titan slept.
Gehrls went on to file suit last week (09Oct09), accusing fellow flight staff Myron Gooch and Kirby Bumpus - King's daughter - of lying to Winfrey about the alleged onboard act to get rid of her.
She is demanding damages of $75,000 (£50,000).
But O Magazine editor King has dismissed Gehrls claims - and is convinced she only filed suit because of Winfrey's wealth.
She tells celebrity blogger Perez Hilton, "It's one of those things that those of us who are close to Oprah know that she's an easy target for these kind of lawsuits… She's a very easy target, and then if you're in the inner circle, you now become a target.
"But what I also know about these kind of lawsuits, these kind of opportunistic lawsuits, for lack of a better word, is that the truth always comes out.
"I just look forward to the day that the truth will prevail, and I know it will in this case too. This is what's so upsetting to me. It's characterised like Oprah's running some hanky-panky airlines - nothing could be further from the truth."
Corrine Gehrls filed suit on Friday (09Oct09) claiming she was fired from her job after she was accused of engaging in "inappropriate intimate behaviour" with a pilot during a flight as Winfrey slept elsewhere in the cabin.
Gehrls, who worked on Winfrey's private plane until July (09), alleges two other flight attendants hatched a plot to get her dismissed - accusing them of lying to Winfrey about the alleged onboard act.
She was subsequently fired along with Chief Pilot Terry Pansing.
Gehrls has filed suit against the star's Harpo company, as well the two other members of the flight crew - named as Myron Gooch and Kirby Bumpus, who is the daughter of Winfrey's best friend Gayle King.
The legal papers state, "Gooch and Bumpus falsely told Winfrey and Harpo that on the June 14, 2009 Harpo flight... Pansing and Gehrls had been observed having inappropriate intimate conduct outside the cockpit of the plane."
Gehrls is asking for damages in excess of $75,000 (£50,000), according to TMZ.com.
BEVERLY HILLS, Calif., March 19, 2000 - Rene Russo, the actress, didn't win any awards for her head-turning performance in "The Thomas Crown Affair." But tonight here at the Beverly Hilton, Rene Russo, the haircut, did. Welcome to the first-ever Hollywood Makeup Artist and Hair Stylist Guild Awards, where the above-the-title stars take back seats to behind-the-scenes primping professionals.
Yes, it was the beauty folks' turn to make Oscar-like acceptance speeches and bask in the praise of thankful A-list celebrities who they've made look good, "day after day, year after year, facelift after facelift," as host Rita Rudner drolly put it.
"It's the American dream that I've heard so much about. It's happening to me right now," hair stylist Enzo Angileri said, accepting the so-called Georgie award for doing Russo's do in "Thomas Crown," named best contemporary hairstyling work.
Decades ago, hair and make-up people were treated like celebrities themselves. But the list of big names attending the awards ceremony showed that, while movie and TV beauticians may no longer make it into the gossip columns, they nonetheless are held in high esteem by those who do.
"It's an art form," said actor Billy Bob Thornton, an award presenter. As if to prove that point, Thornton showed up in full make-up (complete with oily gray hair) and costume (a Slim Whitman-meets-Colonel Sanders outfit) from "Waking Up In Reno," a film he's now shooting, in which he plays an aging country singer.
"A lot of people don't realize how much time we spend in make-up, how many hours we spend being literally transformed by these artists," he said.
Other name brands handing trophies included: Holly Hunter, Brendan Fraser (greeted by cat-calls from the audience), Ellen Burstyn, Mimi Rogers, and cast members from TV shows like "That 70's Show," "Freaks and Geeks," and "Providence." Before the event, crowds of fans and electronic lined the Beverly Hilton lobby as the stars rolled in.
Tony Curtis presented the lifetime achievement award to makeup artist Monty Westmore, who recently retired after a 50-plus-year career that included more than 100 films, ranging from "The Treasure of Sierra Madre" with Humphrey Bogart to the forthcoming "How the Grinch Stole Christmas" with Jim Carrey.
Unlike the Oscars, which have been plagued by mishaps this year despite 72 years of experience, the Georgies basically survived their first go-round with almost no problems. Ballots were mailed out to the 1,100 members of the International Alliance of Theatrical Stage Employees Local 706, who voted on the 17 different award categories. And the golden statuettes, which look vaguely Oscar-like, didn't disappear en route to the event.
But note the phrase: Almost no problems. Amid the celebration, two important items were missing: The champagne and sunglasses. The champagne ordered for the ceremonies never arrived, and was believed to have been delivered to another hotel. And the Calvin Klein shades that were to be supplied by the designer label and given out to the presenters, also were no-shows.
When informed of this caper, actress Christina Applegate (of "Jesse" fame) was understandably dejected.
"Was I supposed to get some glasses?" Applegate said. "Darn."
Here's a complete look at the night's winners:
Best Contemporary Makeup (Feature) Toni G and Will Huff "The General's Daughter."
Best Period Makeup (Feature) Leonard Engleman, "Tea With Mussolini."
Best Character Makeup (Feature) Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch, "Sleepy Hollow."
Best Effects Makeup (Feature) Greg Cannom and Wesley Wofford, "Bicentennial Man."
Best Contemporary Hair Styling (Feature) Enzo Angileri "The Thomas Crown Affair."
Best Period Hair Styling (Feature) Vivian McAteer, for Cher in "Tea With Mussolini." Television TELEVISION
Best Contemporary Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) James MacKinnon and Stephanie Fowler, "Thank You Providence," "Providence."
Best Period Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham, "Triangle," "The X-Files."
Best Character Makeup (Television) Jennifer Aspinall, Felicia Linsky and Ed French, Episode #507, "Mad TV."
Best Makeup Effects (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Kenny Myers, Todd A. McIntosh, Robin Beauxchesne, Douglas Noe, and Brigette Myre-Ellis, "Living Conditions," "Buffy The Vampire Slayer."
Best Period Makeup (For a Mini-Series or Movie of the Week) Sue Cabel, Matthew Mungle and Joe Hailey, "And The Beat Goes On: The Sonny and Cher Story."
Best Character Makeup (For a Mini-Series or Movie of the Week) Douglas Noe, for Cicely Tyson in "A Lesson Before Dying."
Best Contemporary Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Darrell Fielder, Jonathan Hanousak and Joy Zapata, "The Final Frontier," "Mad About You."
Best Period Hair Styling (For a Single Episode of a Regular Series -- Sitcom, Drama or Daytime) Gabriella Pollino, Deborah Piper, Valerie Scott and Cindy Costello, "Prom Night," "That 70's Show."
Best Character Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Bride of Chaotica," "Star Trek Voyager."
Best Innovative Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Dragon's Teeth," "Star Trek Voyager."
Best Period Hair Styling (For a Mini-Series or Movie of the Week) Marlene Williams and Tim Jones "And The Beat Goes On: The Sonny & Cher Story."