It's easy to hate on the Twilight movies. They're the epitome of indulgent fan-servicing filmmaking alienating anyone on the outside of their cultish fanbase. With consistent navel-gazing screenplays by series screenwriter Melissa Rosenberg (adapted from the equally shallow source material from author Stephanie Meyers) there's little reason to think future installments could ever transcend their predecessors.
But whereas Twilight New Moon and Eclipse contently burrowed themselves under the forlorn faces and over-dramatic moping of stars Kristen Stewart Robert Pattinson and Taylor Lautner director Bill Condon (Dreamgirls Kinsey Candyman 2: Farewell to the Flesh) unearths a saving grace in The Twilight Saga: Breaking Dawn - Part 1: pure insanity from which blossoms color comedy and scares. The movie is one giant wink to the camera—and it serves the melodrama of Twilight tremendously.
The first half of the not-quite-epic Twilight conclusion kicks off with the wedding of Bella (Stewart) and Edward (Pattinson) a long-awaited event Condon manages to spin into an authentically nerve-wracking and touching sequence. Finally a Twilight movie with an obvious purpose—Bella and Edward have been waiting since Movie One to consummate their relationship (waiting until marriage) but lingering at the end of every daydream every loving gaze every sweet nothing is the gut-wrenching fact that Bella will give up her humanity. Breaking Dawn - Part 1 confronts this dead on with an overtness absent from the previous movies.
While the script is still committed to visualizing Bella Edward and Jacob's uncinematic inner monologues Condon peppers every scene with the zest of ridiculousness saving Breaking Dawn from ever dragging. Edward cracking a bed in half during his first sexual experience is just the beginning—the movie features everything from demon-fearing Brazilian housekeepers to body horror straight out of a Cronenberg film to corny CSI-esque shots of vampire venom jetting through bloodstreams. In one scene Jacob (Lautner) morphs into canine form to telepathically declare (in Lautner's brooding "tough guy" voice) that he is the true Alpha Male of the pack. The moment's hammy and trite but Condon shoots it with all the over-the-top machismo exuding from the wolfpack. Subtle no. Fun yes.
Breaking Dawn - Part 1 is far and away the best of the Twilight series. Sexy silly scary and stupid the movie's tonal balancing act amounts to an Evil Dead for tween romantics. There's gravity to the events we're witnessing on screen (Pattinson and Stewart even have a tense argument that results in an explosion of their previously-presumed non-existent emotions) but a self-reflexive lens keeps the normally-idiotic confessions of love and hushed prophetic warnings of the Cullen family in check. The operatic tale crescendos with buckets of blood and "tragedy" straight out of a high school Shakespeare production—completely in tune with the outlandish plot and a satisfying cliffhanger for Part 2. The movie is weighed down by the baggage that comes with a Twilight movie but the formula is shaken up just enough to inject the undead franchise with a little life.
Later this summer Chris Evans will become a legitimate leading man with a little movie called Captain America: The First Avenger. However before he goes all star-spangled he’s headlining a wonderful independent film called Puncture in which he plays a troubled but talented Texas personal injury lawyer fighting the good fight in a world gone greedy.
Directed by Mark (who co-stars as Paul Danziger) and Adam Kassen this dramatization of a true story follows Mike Weiss (Evans) a functioning drug addict and crusading do-gooder who stumbles upon a major case-within-a-case while checking in with Vicky (Vinessa Shaw) a client and former nurse who contracted HIV after being accidentally pricked by a dirty needle on the job. She tells him and his partner Paul about her family friend Jeffrey Dancourt who has developed and produced a “Safety Point” syringe that retracts and locks into place after being used so that it can’t be repurposed or reused. The product could save millions of lives across the country but the domineering Healthcare Group Purchasing Organizations consider it too costly for mass implementation. The fight to inform America’s healthcare workers of the existence of Safety Point and to get these secure syringes flowing through U.S. hospitals is what Puncture is all about.
Well that’s almost what it’s all about. Writer Chris Lopata balances the narrative by focusing much of his script on Weiss struggling with his inner demons which are plentiful. A good lawyer who’d go to the grave fighting for the right cause he’s also a hard-partying cocksure womanizer who’ll do any drug on the table (an oxymoronic set of vices considering his commitment to his career and clients.) Whether this behavior is meant to turn the audience on to or off of the character is neither here nor there; in a film as bleak as Puncture often is Evans is the comic relief beating heart and magnetic MVP. His signature witty delivery and nonchalant body language contrast the overabundance of rigid legal lingo to make the movie more enjoyable for everyone (as will his abs for the female viewers and the filmmakers show plenty of them.)
Of course in most cases it takes more than just a good-looking star to carry a movie and Puncture doesn’t solely rely on one man’s performance. Kudos to Mark Kassen who shines in front of and behind the camera as Mike’s straight-laced best friend and business partner Paul and his brother Adam for making a stinging statement about a corrupt institution in an entertaining fashion. The brothers don’t show off too much in their feature debut; instead they let their actors define the film while offering occasional technical assistance to heighten or visualize the drama. Sometimes they’re a bit conspicuous like when they splice scenes together using dialogue as a through line. Others instances like over exposing lights while playing with the cameras focus to put us in Mike’s trippy state of consciousness are more subtle.
Though the directors have made a touching and relatable film it’s as much a victim of formula as you’d expect a legal drama to be. From pacing to plot points you’ll feel as though you’re watching a cross between A Few Good Men The Insider and Philadelphia as it makes its way toward an inevitable conclusion. Further it delves into a few dead-end subplots (involving some shady figures who you’re led to believe will help turn the picture in an unexpected direction) that are frustratingly out of place much like the topic of the picture at this time. Still these cons aren’t enough to bury Puncture’s quality as a whole. It’s easily Evans’ best performance to date and a hearty freshman effort from the Kassen Bros.
Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.
The British Academy of Film and Television Arts (BAFTA) recognized some of the year’s best films on Sunday. "Gladiator" was chosen best film, and "Crouching Tiger, Hidden Dragon" took away best foreign-language film honors. Each of these Oscar contenders received four BAFTA awards in total.
Producers Douglas Wick, David Franzoni and Branko Lustig accepted the best film award for "Gladiator," praising director Ridley Scott during their acceptance speech, who lost out on the best director prize to Ang Lee for "Tiger."
Besides best foreign film and best director, "Crouching Tiger" also won for music (Tan Dun) and costume design (Tim Yip). Of BAFTA and the United Kingdom, Lee said: "You've always been great to me. This is like a second home to me now."
“Gladiator” also won the Orange Audience Award for most popular film of 2000. Scott thanked DreamWorks and Universal for their courage in backing a $100 million film in a genre that hadn't been touched for 30 years. "It is especially good to win this on my home turf as I spend so much time in the United States," Scott said during his acceptance speech. "I am absolutely thrilled."
Besides the BAFTA honor for best film, "Gladiator" also picked up awards for cinematography (John Mathieson), production design (Arthur Max) and editing (Pietro Scalia).
British effort "Billy Elliot" won three awards, including best British film, best actor (Jamie Bell) and best supporting actress for Julie Walters.
Julia Roberts was named best actress for her performance in the title role of "Erin Brockovich." Presenter Hugh Grant, and co-star in "Notting Hill," picked up the award for the absentee actress.
Best original screenplay and best sound awards went to Cameron Crowe’s "Almost Famous." Crowe's wife, Nancy Wilson, accepted his award, saying that Crowe was unable to attend the event as a double ear infection prevented him from flying. "He meant this movie as a love letter from his heart to music," Wilson said.
Steven Soderbergh's "Traffic" also won two awards, for adapted screenplay (Stephen Gaghan) and supporting actor (Benicio Del Toro).
Veteran casting director Mary Selway was given the Michael Balcon Award for her outstanding contribution to cinema. Actor Albert Finney was presented with a British Film Academy Fellowship for lifetime achievement, receiving a standing ovation.
The complete list of winners:
THE ACADEMY FELLOWSHIP: Albert Finney
THE MICHAEL BALCON AWARD for outstanding British Contribution to Cinema: Mary Selway
THE ALEXANDER KORDA AWARD for outstanding British Film of the Year: "Billy Elliot"
BEST FILM: "Gladiator"
THE DAVID LEAN AWARD for Achievement in Direction: Ang Lee, "Crouching Tiger, Hidden Dragon"
SCREENPLAY (Original): Cameron Crowe, "Almost Famous"
SCREENPLAY (Adapted): Stephen Gaghan, "Traffic"
PERFORMANCE BY AN ACTRESS in a leading role: Julia Roberts, "Erin Brockovich"
PERFORMANCE BY AN ACTOR in a leading role: Jamie Bell, "Billy Elliot"
PERFORMANCE BY AN ACTRESS in a supporting role: Julie Walters, "Billy Elliot"
PERFORMANCE BY AN ACTOR in a supporting role: Benicio Del Toro, "Traffic"
FILM NOT IN THE ENGLISH LANGUAGE: "Crouching Tiger, Hidden Dragon" (Bill Hong/Hsu Li Kong/Ang Lee )
THE ANTHONY ASQUITH AWARD for achievement in Film Music: Tan Dun, "Crouching Tiger, Hidden Dragon"
THE CARL FOREMAN AWARD for Most Promising Newcomer to British Film: Pawel Pawlikowski
CINEMATOGRAPHY: John Mathieson, "Gladiator"
PRODUCTION DESIGN: Arthur Max, "Gladiator"
COSTUME DESIGN: Tim Yip, "Crouching Tiger, Hidden Dragon"
EDITING: Pietro Scalia, "Gladiator"
SOUND: Jeff Wexler/D.M. Hemphill/Rick Kline/Paul Massey/Mike Wilhoit, "Almost Famous"
ACHIEVEMENT IN SPECIAL VISUAL EFFECTS: Stefen Fangmeier/John Frazier/Walt Conti/Habib Zargarpour/Tim Alexander, "The Perfect Storm"
MAKE UP/HAIR: Rick Baker/Kazuhirop Tsuji/Tony G./Gal Ryan/Sylvia Nava, "How the Grinch Stole Christmas"
SHORT FILM Gary Holding/Justine Leahy/Tinge Krishnan, "Shadowscan"
SHORT ANIMATION: Claire Jennings/Willem Thijssen/Michael Dudok de Wit, "Father and Daughter"
ORANGE AUDIENCE AWARD: "Gladiator"