In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."
SANTA MONICA, Calif., Feb. 7, 2000 -- At long last, an awards show that's dedicated solely to the people who are truly indispensable to Hollywood: makeup artists and hairstylists.
Yes, you heard right -- one entire awards ceremony, with all the necessary trimmings and accoutrements, has sprung up to give special notice to industry makeup artists and hairstylists ... and no one else. (Don't worry, plastic surgeons of America, you'll probably get your nods soon enough).
Nominations for the 1st Annual Hollywood Makeup Artists and Hair Stylist Guild Awards, honoring outstanding makeup and hair achievements in film and TV, were announced today. The nominees in the 17 categories were chosen by 1,100 active members of the International Alliance of Theatrical Stage Employees Local 706. Guild members will vote for the winners. Balloting begins Tuesday, with awards to be handed out March 19 at the Beverly Hilton Hotel.
If all this sounds terribly serious stuff -- it is, according to guild committee member Marvin Westmore, scion of George Westmore, who started the first makeup and hair department at the Selig studio in 1917, and for whom the Lifetime Achievement Award is named after.
"It's very difficult to get the makeup and hair artists recognized in a proper manner. In the makeup field, as in the hair field, there're a number of categories that are never considered," Westmore said today. "We've got a category on contemporary makeup and hair, historical makeup and hair ... and about 15 other categories that address other specialties. We feel that it's important to give all the industry hair and makeup artists their proper due and not just simply lump their achievements together."
Celeb presenters who will dignify the event include Christina Applegate, Annette Bening, Ellen Burstyn, Kim Delaney, Brendan Fraser, Ed Harris, Holly Hunter and Rob Lowe.
Here's the complete list of nominees:
Best Contemporary Makeup -- Feature
Debbie Zoller, James MacKinnon and Jill Cady for "Goodbye Lover" (Regency/Warner Bros.)
Ronnie Specter for "The Story of Us" (Castle Rock/Universal)
Allan Apone, Donald Mowat, Ron Snyder and Adam Brandy for "Three Kings" (Warner Bros.)
Toni G and Will Huff for "The General's Daughter" (Neufeld/Rehme Productions/Paramount)
Best Period Makeup -- Feature
Leonard Engleman for "Tea With Mussolini" (Universal/MGM)
Patty York, Cheryl Nick, Michele Burke and Steve Artmont for "Austin Powers: The Spy Who Shagged Me" (New Line)
Ronnie Specter for "A Midsummer Night's Dream" (Fox Searchlight)
Best Character Makeup -- Feature
Sheryl Leight Ptak for "Man on the Moon" (Jersey Films/Universal)
Cheri Minns for "Bicentennial Man" (Columbia/Touchstone)
Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch for "Sleepy Hollow" (Paramount)
Best Special Effects Makeup -- Feature
Michele Burke, Kenny Myers, Will Huff and Kevin Haney for Mike Myers as Austin Powers and Dr. Evil, and Vernon Troyer as Mini Me in "Austin Powers: The Spy Who Shagged Me" (New Line)
Greg Cannom and Wesley Wofford for "Bicentennial Man" (Columbia/Touchstone) Stan Winston and Mike Smithson for Mike Myers as Fat Bastard in "Austin Powers: The Spy Who Shagged Me" (New Line)
Best Contemporary Hair Styling -- Feature
Enzo Angileri for "The Thomas Crown Affair" (MGM)
Cydney Cornell for "American Beauty" (DreamWorks)
Paul LeBlanc for "Anywhere But Here" (Fox 2000 Pictures) Frances Mathais for "Simpatico" (Emotion Pictures/Canal Plus/King's Gate/Fine Line)
Best Period Hair Styling - Feature
Peter Tothpal, Janet McDonald and Angie Cameron for "The 13th Warrior" (Touchstone)
Candy Walken, Jeri Baker-Sadler, Jennifer O'Halloran and Toni-Ann Walker for "Austin Powers: The Spy Who Shagged Me" (New Line)
Vivian McAteer for "Tea With Mussolini" (Universal/MGM)
Best Contemporary Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Patty Bunch Leisure and Cynthia Bachman for "Big Brother Is Coming," "Will & Grace" (NBC)
Cynthia Bachman and Patty Bunch Leisure for "I Never Promised You An Olive Garden," "Will & Grace" (NBC)
James MacKinnon and Stephanie Fowler for "Thank You Providence," "Providence" (NBC)
Best Period Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham for "Triangle," "The X-Files" (Fox)
Marie DelPrete fpr "Between a Rock Star and Hard Place," "Rude Awakenings" (Showtime/Mandalay TV/Columbia/TriStar TV)
Lisa Layman, David Syner and Joseph Regina for "Pilot," "Freaks & Geeks" (NBC)
James MacKinnon and Stephanie Fowler for "He's Come Undone," "Providence" (NBC)
Best Character Makeup - Television
Jennifer Aspinall, Felicia Linsky and Ed French for Episode #505, "Mad TV" (Fox)
Jennifer Aspinall, Felicia Linsky and Ed French for Episode #507, "Mad TV" (Fox)
Cheri Montesanto-Medcatf and Kevin Westmore for "Two Fathers/One Son," "The X-Files" (Fox)
Best Special Effects Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Michael Westmore, Scott Wheeler, James Rohland and Ellis Burman for "Dark Frontiers," "Star Trek Voyager" (UPN/Paramount)
Todd A. McIntosh, Robin Beauxchesne, Douglas Noe and Brigette Myre-Ellis for "Living Conditions," "Buffy The Vampire Slayer" (Fox/WB)
Bill Corso and Douglas Noe for "Just Duet," "L.A. Doctors" (CBS)
Best Period Makeup - Television (For a Mini-Series or Movie of the Week)
June Brickman and Tammy Ashmore for "The 60's" (NBC/Trimark)
Sue Cabel, Matthew Mungle and Joe Hailey for "And The Beat Goes On: The Sonny and Cher Story" (ABC) Marvin Westmore,
June Westmore and John Jackson for "Lansky" (HBO)
Best Character Makeup --Television (For a Mini-Series or Movie of the Week)
June Brickman and Tammy Ashmore for "The 60's" (NBC/Trimark)
Douglas Noe for "A Lesson Before Dying" (HBO)
Best Contemporary Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Ken Nelson and Suzanne Kontonickas for "The Devil's Music," "Charmed" (Spelling Television/WB)
Tim Burke for "Homo For The Holidays," "Will & Grace" (NBC)
Darrell Fielder, Jonathan Hanousak and Joy Zapata for "The Final Frontier," "Mad About You" (NBC/Columbia TriStar TV)
Best Period Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Stacy K. Black and Shana Fruman for "He's Come Undone," "Providence" (NBC)
Lana Heying for Episode #592 "Lataya, Letisha and Lanesha," "All That" (Nickelodeon)
Garbillera Pollina for "Prom Night," "That 70's Show" (Fox/Carsey-Werner)
Best Character Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Dugg Krikpatrick and Judith Teidemann for "Episode #511, "Mad TV" (Fox)
Josee Normand, Charlotte Parker and Gloria Montemeyor for "Bride of Chaotica," "Star Trek Voyager" (Paramount/UPN)
Judith Teidemann, Dugg Krikpatrick and Chris Curry for "Who Wants To Be A Millionaire," "Mad TV" (Fox)
Best Innovative Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Dugg Krikpatrick for "Episode #505," "Mad TV" (Fox)
Josee Normand, Charlotte Parker and Gloria Montemeyor for "Dragon's Teeth," "Star Trek Voyager" (Paramount/UPN)
Stacy K. Black and Shana Fruman for "He's Come Undone," "Providence" (NBC)
Best Period Hair Styling - Television (For a Mini-Series or Movie o the Week)
Vickey Phillips, Gerald Coke-Riley, Patricia Gunlock and Michael White for "Purgatory" (TNT)
Matthew Kasten, Natascha Ladek and Mishell Chandler for "Annie" (Walt Disney Television/ABC)
Marlene Williams and Tim Jones for "And The Beat Goes On: The Sonny & Cher Story" (ABC/Larry Thompson)
George Westmore Lifetime Achievement Award