By now you've heard the news that Morgan Spurlock, the Academy Award-nominated director of Super Size Me and other provocative documentaries, made a deal with the devil to direct the new One Direction documentary. Turns out, however, that Spurlock isn't the only Oscar nominee to sell out. Here are a few others.
5. Woody AllenAllen had just been nominated for a writing Oscar for Deconstructing Harry when he broke precedent and lent his voice to the 1998 animated comedy Antz. Perhaps some dollar signs are too big for even Woody to pass up.
4. Meryl StreepThe 17-time Academy Award nominee clearly went for the big payday by appearing in the 2008 ABBA jukebox musical Mamma Mia!
3. Robert De NiroIt seems like the studios have no idea what to do with De Niro anymore. I mean how else does one explain the fact that a seven-time Oscar nominee has now been reduced to dopey comedies like Meet the Fockers? Maybe De Niro is just looking for a big paycheck in his old age, but if last year's Silver Linings Playbook is any indication, he can still act with the best of them.
2. Tom HanksHanks is not known for making flashy Hollywood fare, but in 2006 the two-time Oscar winner did exactly that by starring in the big budget adaptation of Dan Brown's shockingly popular novel The Da Vinci Code, with an atrocious haircut to complete the humiliation.
1. Nicolas CageIt's hard to believe that once upon a time Nicolas Cage was starring in such modern classics as Raising Arizona, Moonstruck, and Leaving Las Vegas, which netted him his first and only Oscar. Then came a leading role in 1996's Con Air, and well, aside from Adaptation, Cage hasn't really made a good movie since.
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The film follows the journey of the title character (Kirsten Dunst) the winsome sweet-natured teenage archduchess of Austria who is dispatched by her family in the late 1700s into a politically advantageous marriage to Louis XVI (Jason Schwartzman) the future king of France. While the trappings of the royal palace at Versailles are as extravagant and glamorous as any traditional historical biopic the heart of the film is Marie Antoinette’s smaller more emotional world as she struggles to fit in with the puzzling customs and often-stern judgment of a foreign court. She must also fulfill her duty to her own nation—namely producing an heir to safeguard their political status a task that proves increasingly frustrating as she romances her maddeningly reticent new husband. Much like any modern young woman in our era of airhead heiresses she initially soothes her angst by indulging in excessive shopping sprees wild parties and flirtations with a hunky war hero. But she also eases into her role on the throne only to find that her starving angry peasant subjects have taken a harsh view of the gossip surrounding her profligate behavior as they mount the French Revolution. As a child actress who worked steadily into her teens and early twenties Dunst has always been a fresh sunny presence on screen in popcorn films like Bring It On but who could also reveal an ability to access darker corners as she did in her debut performance in Interview with the Vampire and in Sofia Coppola’s directorial debut The Virgin Suicides. But after her breakthrough role in 2002’s Spider-Man most of Dunst’s subsequent efforts seem to have be chosen more to build her Hollywood stardom than challenge her acting skills and perhaps unchallenged she delivers performances more competent than compelling. Marie Antoinette is a welcome return to a more complicated and conflicted role and she rises to the challenge admirably with her most appealing and most affecting turn to date. Utterly capturing the queen’s evolution from naïf to sophisticate gaining wisdom and maturity from her youthful frustrations and overindulgences Dunst makes Marie’s plight utterly relatable and imbues virtually every scene of the film with a watchability that outdoes even the luxe production design. In only her third—and most ambitious—film writer-director Sofia Coppola continues on her hot streak. Already one of the most atmospheric and subtle helmers working in Hollywood she not only marries her modern dreamlike style to the opulent visuals of a historical drama she effectively redefines Marie Antoinette in a way that any alienated over-her-head teen of today could appreciate while also showing just why the population at large might have considered her a monster. As Coppola is the quiet introspective daughter of a revered famously over-the-top filmmaker she too was thrust into a sophisticated world at an early age and was with her much-panned acting turn in The Godfather Part III certainly misunderstood by the public if not reviled. One is tempted to think a certain reliability applies to her success with her story. But her assured skills as a filmmaker are what really make Marie soar—even her experimental touches such as the use of anachronistic music on the soundtrack (the Strokes Bow Wow Wow New Order and others appear alongside Vivaldi). It make perfect sense in context the kind of tunes a disaffected adolescent might play in her bedroom while wondering why no one understands them. That’s just the icing; the rest of Marie’s delectable cake is well worth eating.
Idi Amin was the ruthless dictator of the African nation of Uganda throughout much of the 1970s. He was ultimately blamed for thousands upon thousands of deaths (some estimates place the death toll in the hundreds of thousands) during his tenure. The Last King of Scotland is a fictionalized version of Amin’s (Forest Whitaker) reign of terror. Giddy after graduating from med school in Scotland Nicholas Garrigan (James McAvoy) randomly picks Uganda to be his first post-college destination. When he gets there the locals are abuzz after the new leader has been sworn in and vows to right all that is wrong with the country. After a chance encounter with Amin Garrigan bears witness to his dichotomous personalities as the ruler goes from threatening to charming on a whim. Amin is so taken with the young doctor--and vice versa--that he invites Garrigan to become his personal physician. A doctor-patient relationship leads to close friendship and before long Garrigan is the very center of the dictator’s inner circle. And not long thereafter he learns that there is no worse place to be. For over 20 years now we’ve all bore witness to Whitaker’s mastery of acting. His choices have been eclectic and his performances consistently great but it’s always been a case of “And oh Forest Whitaker’s great too.” Until now. Whitaker makes what can only be described as an earthquake of an entrance. It’s clear in the movie when Amin will first appear and yet the actor still manages to catch us off-guard. Amin’s manic personalities are child’s play for Whitaker but he never has fun with it which is where other actors might have gone overboard. He is now leading the race for the Best Actor Oscar too. Not that the supporting players are too shabby though. McAvoy's (The Chronicles of Narnia) Garrigan is actually the heart of the story allowing for more screen time than Whitaker and the Scotsman soaks up every second. He sticks out like a sore thumb in the film but not only because he’s from the opposite side of the earth; it’s because McAvoy the actor makes sure to react differently to everything. In addition former X-File-r Gillian Anderson turns in a solid if short apperance--and you’ll be surprised how amazingly hot she is! Kerry Washington (Mr. and Mrs. Smith) as one of Amin’s countless neglected ex-wives is superb as well.
The contrast between Last King's first and second half is as night-and-day as Amin's personalities. In the first half director Kevin MacDonald (Touching the Void) allows the story to simmer to the point of perfection; in the second half he gets sloppy as though in a rush to finish a different movie than the one he started. The ending also a mix of truth and fable (plucked from the highly acclaimed book by Giles Foden) quickly spirals towards its conclusion which is tough to watch for very different reasons. But prior to that--even at some points in the uneven second half--MacDonald paints a beautiful monster out of Amin. Maybe more importantly he paints a beautiful picture of African ambiance an indirect thank you to the Ugandan people that allowed unprecedented access to their country for the sake of Last King. Even with MacDonald's occasional blunders it's hard to deny the power of his film.
Here is the complete list of winners:
Best Motion Picture - Drama
The Aviator WINNER!
Million Dollar Baby
Best Performance by an Actress in a Motion Picture - Drama
Scarlett Johansson, A Love Song For Bobby Long
Nicole Kidman, Birth
Imelda Staunton, Vera Drake
Hilary Swank, Million Dollar Baby WINNER!
Uma Thurman, Kill Bill Vol. 2
Best Performance by an Actor in a Motion Picture - Drama
Javier Bardem, The Sea Inside
Don Cheadle, Hotel Rwanda
Johnny Depp, Finding Neverland
Leonardo Dicaprio, The Aviator WINNER!
Liam Neeson, Kinsey
Best Motion Picture - Musical or Comedy
Eternal Sunshine of the Spotless Mind
The Phantom of the Opera
Best Performance by an Actress in a Motion Picture - Musical or Comedy
Annette Bening, Being Julia WINNER!
Ashley Judd, De-Lovely
Emmy Rossum, The Phantom of the Opera
Kate Winslet, Eternal Sunshine of the Spotless Mind
Renee Zellweger, Bridget Jones: the Edge of Reason
Best Performance by an Actor in a Motion Picture -Musical or Comedy
Jim Carrey, Eternal Sunshine of the Spotless Mind
Jamie Foxx, Ray WINNER!
Paul Giamatti, Sideways
Kevin Kline, De-Lovely
Kevin Spacey, Beyond the Sea
Best Director - Motion Picture
Clint Eastwood, Million Dollar Baby WINNER!
Marc Forster, Finding Neverland
Mike Nichols, Closer
Alexander Payne, Sideways
Martin Scorsese, The Aviator
Best Foreign Language Film
The Chorus (Les Choristes), (France)
House of Flying Daggers, (China)
The Motorcycle Diaries, (Brazil)
The Sea Inside, (Spain) WINNER!
A Very Long Engagement, (France)
Best Performance by an Actress in a Supporting Role in a Motion Picture
Cate Blanchet, The Aviator
Laura Linney, Kinsey
Virginia Madsen, Sideways
Natalie Portman, Closer WINNER!
Meryl Streep, The Manchurian Candidate
Best Performance by an Actor in a Supporting Role in a Motion Picture
David Carradine, Kill Bill Vol. 2
Thomas Haden Church, Sideways
Jamie Foxx, Collateral
Morgan Freeman, Million Dollar Baby
Clive Owen, Closer WINNER!
Best Screenplay - Motion Picture
Charlie Kaufman, Eternal Sunshine of the Spotless Mind
John Logan, The Aviator
David Magee, Finding Neverland
Patrick Marber, Closer
Alexander Payne & Jim Taylor, Sideways WINNER!
Best Original Score - Motion Picture
Clint Eastwood, Million Dollar Baby
Jan A.P. Kaczmarek, Finding Neverland
Rolfe Kent, Sideways
Howard Shore, The Aviator WINNER!
Hans Zimmer, Spanglish
Best Original Song - Motion Picture
"Accidentally In Love" -- Shrek 2
Music & Lyrics By: Adam Duritz, Dan Vickery, David Immergluck, Matthew Malley & David Bryson
"Believe" - The Polar Express
Music & Lyrics By: Glen Ballard & Alan Silvestri
"Learn To Be Lonely" - The Phantom of the Opera
Music By: Andrew Lloyd Webber
Lyrics By: Charles Hart
"Million Voices" - Hotel Rwanda
Music By: Wyclef Jean, Jerry "Wonder" Duplessis, Andrea Guerra
Lyrics By: Wyclef Jean
"Old Habits Die Hard" - Alfie
Music & Lyrics By: Mick Jagger & David A. Stewart WINNER!
Best Television Series - Drama
Nip/Tuck (FX) WINNER!
The Sopranos (HBO)
Best Performance by an Actress in a Television Series - Drama
Edie Falco, The Sopranos
Jennifer Garner, Alias
Mariska Hargitay, Law & Order: Special Victims Unit WINNER!
Christine Lahti, Jack & Bobby
Joely Richardson, Nip/Tuck
Best Performance by an Actor in a Television Series - Drama
Michael Chiklis, The Shield
Denis Leary, Rescue Me
Julian Mcmahon, Nip/Tuck
Ian McShane, Deadwood WINNER!
James Spader, Boston Legal
Best Television Series - Musical or Comedy
Arrested Development (Fox)
Desperate Housewives (ABC) WINNER!
Sex and the City (HBO)
Will & Grace (NBC)
Best Performance by an Actress in a Television Series - Musical or Comedy
Marcia Cross, Desperate Housewives
Teri Hatcher, Desperate Housewives WINNER!
Felicity Huffman, Desperate Housewives
Debra Messing, Will & Grace
Sarah Jessica Parker, Sex And The City
Best Performance by an Actor in a Television Series - Musical or Comedy
Jason Bateman, Arrested Development WINNER!
Zach Braff, Scrubs
Larry David, Curb Your Enthusiasm
Matt Leblanc, Joey
Tony Shalhoub, Monk
Charlie Sheen, Two And A Half Men
Best Mini-Series or Motion Picture Made For Television
American Family - Journey of Dreams (PBS)
Iron Jawed Angels (HBO)
The Life and Death of Peter Sellers (HBO) WINNER!
The Lion in Winter (Showtime)
Something the Lord Made (HBO)
Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Glenn Close, The Lion in Winter WINNER!
Blythe Danner, Back When We Were Grown Ups
Julianna Margulies, The Grid
Miranda Richardson, The Lost Prince
Hilary Swank, Iron Jawed Angels
Best Performance by an Actor in a Mini-Series or A Motion Picture Made for Television
Mos Def, Something the Lord Made
Jamie Foxx, Redemption
William H. Macy, The Wool Cap
Geoffrey Rush, The Life and Death of Peter Sellers WINNER!
Patrick Stewart, The Lion in Winter
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Drea De Matteo, The Sopranos
Anjelica Huston, Iron Jawed Angels WINNER!
Nicolette Sheridan, Desperate Housewives
Charlize Theron, The Life and Death of Peter Sellers
Emily Watson, The Life and Death of Peter Sellers
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Sean Hayes, Will & Grace
Michael Imperioli, The Sopranos
Jeremy Piven, Entourage
Oliver Platt, Huff
William Shatner, Boston Legal WINNER!
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.
When retired U.S. Special Forces Soldier Chris Vaughn (Johnson) returns to Kipsat County Wash. it's only to find his hometown overrun with crime drugs and violence. The old mill where Chris's father (John Beasley) worked for most of his life is closed and the town's only thriving industry is the Wild Cherry casino. Even Chris' high school sweetie Deni (Ashley Scott) couldn't resist the Wild Cherry's lure; she's become a peepshow dancer to "pay the bills." But Chris really loses it when he discovers the casino's dealers are using loaded dice--and he starts a brawl that ends with the security team carving up his chest and abdomen with a rusty Exacto knife. Chris also learns that that his old high school rival the casino's owner Jay Hamilton (Neal McDonough) has transformed the mill into a crystal meth lab and is using the casino's menacing security staff to sell the drugs to innocent kids. Chris strikes back by running for sheriff firing the entire police department on his first day and with the help of a cedar two-by-four and his deputy and buddy Ray Templeton (Johnny Knoxville) restores peace to the Pacific Northwest.
Johnson looking buffer than ever is well cast in the role of Chris: He's a fearless and determined soldier with beyond-human fighting skills. But while the film takes advantage of Johnson's brawn it fails to take advantage of his brain. In last year's comedy The Rundown Johnson proved he was more than a muscle-bound action star; he oozed charm and was surprisingly witty. With Walking Tall he never gets a chance to flex his acting muscles; if anything they atrophy. The only skills Johnson gets to show off are his ability to swing a plank at someone's shins and his unique way of bashing skulls against slot machines. Johnson's sidekick Ray played by Knoxville of MTV's Jackass fame is an ex-junkie who after spending a couple of years in the slammer is content with living in a camper and doing odd jobs around town. With his scraggly appearance and klutzy demeanor Knoxville supplies the film with brief interludes of humor amid the slam fest including a scene in which he stabs a bad guy with a potato peeler. Johnson and Knoxville would have made a first-rate action team had they had more screen time together.
A WWE production with Vince McMahon serving as executive producer Walking Tall has none of the subtlety of director Kevin Bray's last film All About the Benjamins and all the elements of a wrestling match. As with wrestling the film begins by melodramatically establishing the story (Chris and his family's lives are devastated by the mill's closure) and just like rival pugilists who publicly taunt the favored wrestler Chris challenges Jay--not for the world title but at least for control of Kipsat County--in a never-ending battle between good and evil that mimics wrestling to a T. But what's entertaining in the ring doesn't translate to film especially when the good guy running the town is a maniacal meathead. Chris is supposed to be the protagonist who single-handedly saves the town but who's responding to the citizens' domestic violence calls for example when the sheriff fires the entire precinct and spends 24 hours a day casing the casino? Never mind the fact that he has sex with his girlfriend in his office while he's on the clock.