The Poseidon Adventure filmmaker passed away at a Los Angeles hospital on Wednesday (16Jun10), his friend Peter Bowes has confirmed.
Born in London to photographer Elwin Neame and actress Ivy Close, Neame began his career in the film industry as a messenger boy at the U.K.'s famous Elstree Studios, where he first met acclaimed director Alfred Hitchcock.
He became an assistant cameraman on Hitchcock's 1929 movie Blackmail, before working as a cinematographer on 1933 musical comedy Happy.
He turned to directing in 1947 with Take My Life, and he worked with acting legend Alec Guinness on three of his films, The Card (1952), The Horse's Mouth (1958) and Tunes of Glory (1960).
But Neame will perhaps be best remembered for 1972's The Poseidon Adventure, which earned three Academy Award nominations, including Best Supporting Actress for Shelley Winters. The disaster movie, which also starred Gene Hackman and Ernest Borgnine, won in the two other categories it was nominated for - Best Song for The Song from The Poseidon Adventure, also known as The Morning After, and Special Achievement in Visual Effects.
During his lengthy career, Neame also worked with Judy Garland, Dirk Bogarde and Dame Maggie Smith, who won the Best Actress Oscar in 1969 for her role in The Prime of Miss Jean Brodie.
He is survived by his third wife Donna Friedberg, who he wed in 1993; his son Christopher, a writer/producer, from his first marriage to Beryl Heanly; and his grandson Gareth, who works as a TV producer.
Some comedies fail because of poor execution their humor somehow lost in the transition from script to screen. Others like the Jennifer Aniston/Gerard Butler rom-com The Bounty Hunter are doomed from the outset lacking even the potential to be funny even in the best of circumstances. If you substituted Cary Grant and Katharine Hepburn in the lead roles and screened the film in a theater pumped full of nitrous oxide you would still hear nary a laugh emitted from the audience.
Continuing his tragic post-300 freefall Butler plays Milo a scruffy irascible cop-turned-bounty hunter with a pile of debt and a mounting drinking problem. The source of his troubles we learn is his pugnacious ex-wife Nicole (Aniston) a hot-shot investigative journalist who walked out on him a little less than a year ago. On the trail of a potentially explosive news story career-obsessed Nicole unwisely opts to skip a bail hearing relating to her accidental injuring of a police horse some months prior. When the fed-up judge declares her a fugitive a still-resentful Milo is only too happy to bring her to justice. Nicole unsurprisingly refuses to go quietly.
Aniston and Butler are both charismatic enough to form a decent screwball rapport (though Butler increasingly speaks as if his mouth is stuffed with peanut butter) but neither possesses the comic chops necessary to extract lemonade from the rancid lemons of The Bounty Hunter’s lifeless script which might as well have been sketched on a bar napkin the night before the shoot for all its imagination. Not helping matters is veteran rom-com director Andy Tennant (Fool’s Gold Hitch) whose most significant contribution is a handful of wacky chase sequences borrowed straight from Benny Hill (They leave one side of the screen then return on the other! Whoa!) set to the nu-metal equivalent of Yakety Sax.
This appallingly unfunny rom-com is a crime against comedy. Lock it up and throw away the key.
The year is 2057 and Al Gore be damned global cooling is threatening mankind: The sun is on the verge of death which would equal the death of the planet. Seven years earlier a space mission Icarus I was shot up to deliver a payload that would reignite the sun; nobody has since heard from those aboard all of whom are assumed dead. Now it’s up to Icarus II comprised of an eight-passenger crew of physicists and astronauts led by Capt. Kaneda (Hiroyuki Sanada) and including pilot Cassie (Rose Byrne) biologist Corazon (Michelle Yeoh) and archrivals Capa (Cillian Murphy) and Mace (Chris Evans). As the ship is floating along a blip shows up on the audible radar ostensibly coming from Icarus I. The crew is faced with a difficult crucial decision only to be compounded when a miscalculation by the navigator (Benedict Wong) takes them slightly off course. If they pursue the signal from Icarus I it could unlock key secrets as to what went wrong the first time and provide an extra payload—or it could be a fatal mistake. Either way it’s nowhere near the toughest decision they’ll be forced to make. As a heartthrob who can act Cillian Murphy is precisely the double threat Chris Evans aspires to be someday soon. Maybe that’ll happen on his next movie The Nanny Diaries because Sunshine finds him miscast—and testosterone-y when he’s supposed to be testy. Evans fresh off the more suitable Fantastic Four sequel isn’t quite cut out for the heady stuff in which he must internalize his inner action star. Murphy to be fair is no great shakes either. Clearly he’s now a Danny Boyle favorite but in their last collaboration 2002’s 28 Days Later the doomsday scenario was different and Murphy’s character would’ve been toast if he were half as sedate as his character Capa is in Sunshine. He comes alive towards the end but that’s when the movie comes undone. A possible future Boyle favorite talented Aussie actress Byrne who starred in this year’s Boyle-produced 28 Weeks Later could’ve benefited from more face time—as could have the film. In other words there’s no true female voice. Talented supporters like Yeoh (Memoirs of a Geisha) and Troy Garity (Barbershop) who stars as the second-in-command are grossly underused but Sunshine does need all the Chris Evans it can muster lest bad box office attacks. Just as his actors in Sunshine are our last great hope to save the dying sun director Danny Boyle may be our last great hope to save the sci-fi genre. Accordingly sci-fi fans will definitely love where Boyle’s head is at but the rest of us will think he’s just got a bad case of ADD. Boyle director of beloved movies Trainspotting and 28 Days Later as well as largely reviled The Beach spends most of the movie with proper pacing messages and themes—only to erase it all from our memories with a spastic final act. He takes the ending in all manner of directions and genres after sucking us in with serious quasi-topical commentary on life in general and life aboard a spaceship. It’s too bad. Ditto writer/frequent collaborator Alex Garland (The Beach 28 Days Later) who touches on some fascinating far regions of sci-fi-dom but winds up leaving them in space dust to co-indulge on the ending. The superb cinematography is on par with that of Boyle’s past work but the simpler shots are more entrancing than the complex ones: When the characters sit on an observation deck to reflect on a close-up of the burning sun it’s more profound and impressive than the frenetic special-effects-heavy camerawork at the end. Which is perhaps the best way to sum up the slow-fast dynamic of the film.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).
Maid in Manhattan is yet another take on the Cinderella story. There are very few surprises but the film is still somewhat enjoyable despite its predictable setup. Cinderella aka Marisa Ventura (Jennifer Lopez) is a hardworking no-nonsense single mom who loves her son Ty (Tyler Posey) and dreams of breaking out of her job as a maid at a five-star hotel in Manhattan. Her Fairy Godmother aka co-worker Stephanie (Marissa Matrone) unwittingly gives her that chance when she convinces Marisa to try on some expensive clothes left in a suite by the Evil Stepsister aka spoiled socialite Caroline Lane (Natasha Richardson) while they're cleaning. In walks Prince Charming aka Christopher Marshall (Ralph Fiennes) an incredibly handsome U.S. senator candidate and the city's most eligible bachelor and Boom! sparks fly. Chris thinks Marisa is the expensive suite's occupant--and she's too overwhelmed by the domino effect that happens to tell him different. Ah what a tangled web love at first sight can weave. Marisa spends the rest of the movie trying to cover up her error in judgment while also becoming increasingly drawn to her prince. Will he find out who she really is? Of course. Will it matter in the end? Of course not.
This may have been created as another vehicle to help further propel the career of actress/singer/designer/fiancee to Ben Affleck J. Lo but unexpectedly someone else comes out of the film looking better--Fiennes. It's little hard even for Jenny on the Block to outshine an Oscar-nominated actor. He elevates the formulaic subject matter and portrays a pretty down-to-earth Prince Charming without us ever seeing a forced move. I'm curious as to why such a high-caliber actor would choose such a run-of-the-mill project like this but whatever the reason he makes it work--at least for his part. Lopez doesn't do anything out of the ordinary. In fact it looks like she may have simply cloned the same expressions she put on in her other successful romantic comedy The Wedding Planner. And unfortunately Lopez and Fiennes don't share the same kind of heat she shared in that film with Matthew McConaughey or even George Clooney in Out of Sight (still her best performance to date). Yet they manage to convey a fair amount of good feelings to make the movie palatable. Richardson has a blast playing the rich bitch Caroline while Matrone making her film debut just comes off as annoying and pushy even if she thinks she's doing the right thing. Thank goodness she is because if things had turned out badly it would be in Marisa's best interest to go out and shoot her. Stanley Tucci as Christopher's watchdog campaign manager and Bob Hoskins as a senior-level butler at the hotel both do the best they can with silly parts.
Maid in Manhattan relies so heavily on the been-there-done-that Cinderella formula it becomes one of those romantic comedies you'll end up waiting to watch on cable one Saturday night rather than paying to see in a movie theater. It's really a shame because director Wayne Wang (The Joy Luck Club) had some interesting elements to play with and lots of acting talent to back it up. Perhaps Lopez could have played Marisa more wacky than so serious maybe try to show some comic ability. It would be a nice change of pace to think out of the box for once--what if the lovestruck pair didn't get together in the end? (I know the film would have fallen flat on its face.) But instead Maid wallows in predictability and implausibility. Christopher falls a little too hard and a little too fast for reality. Also it's hard to believe a maid would have access to all the hotel's amenities as Marisa does--borrowing a Harry Winston diamond necklace from the hotel jewelry store for the gala event? Unlikely to say the least. The only aspect of the film that stands out is the sneak peek you get into the inner workings of a top-notch hotel. It's definitely a world you don't get to see very often.