Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Rachel Weisz will have sex in her next movie. Again, Rachel Weisz will have a sex scene and possibly multiple sex scenes in 360. Oh, hello Google pervs. Nice to meet you. Please wash your hands.
Of course, we won’t get to see said sex scenes (bye Google pervs!), but the film shows great promise. Directing is Fernando Meirelles who previously guided Weisz to her Oscar win in The Constant Gardner, a riveting international drama. The story "revolves" around a constantly rotating (you like my choice of vocabulary, don't cha?) cast of characters after they have just done the whoopie (but since it’s supposed to be dark and psycho sexual, they will probably not call it whoopie). From the AB post-coital conversation, we go to the BC post-romp convo, to the CD, to the DE, till we finally come full circle back to A. Thus the 360 title. Clever isn’t it?
Which is why it was originally written in 1900 by Arthur Schnitzler titled La Ronde. But I’m sure you remembered that from your Early 20th Century German Dramatics class.
This time around, it’s being penned by Peter Morgan. Morgan is responsible for many critically lauded films like The Queen, The Last King of Scotland, and Frost/Nixon. And we all remember the sexual tension and hot passion from The Queen (hubba hubba QE2!). Hopefully, 360 will also feature Michael Sheen. We’re long past due for a Michael Sheen sex scene. Oh, hello Google pervs again!
Nobody does dog movies quite like Disney. The canine gold rush for Walt Disney Studios began in 1955 with the release of the animated Lady & the Tramp, which generated a $93.6M cume in three separate theatrical releases. The studio then continued with the king of all dog movies, 1961’s animated classic 101 Dalmatians ($144.8M cume in five releases), rolled through the 1990’s with the live action 101 and 102 Dalmatians starring Glenn Close, which combined to gross over $200M domestic, and has shown no signs of slowing down this decade with hits like Snow Dogs ($81.1M cume) and Eight Below ($81.6M). It’s fair to say that Disney has added another big dog to its resume.
Beverly Hills Chihuahua’s little star Chloe (voice by Drew Barrymore) may be small, but she has a very big bite. The new live action talking dog movie grabbed a stunning $8M on its opening day, and, with a predictably huge surge of family business Saturday and Sunday, Beverly Hills Chihuahua will likely reach an estimated $29M for the three-day. If the number holds, this would be the all-time second-biggest Disney dog movie opening in history, trailing only 1996’s live action 101 Dalmatians ($33.5M). Early math is pointing toward a possible $105M-$110M total domestic take.
Eagle Eye (Dreamworks/Paramount), the holdover high-tech thriller starring Shia LaBeouf, scared up another $5.44M on its second Friday, and it seems headed for an estimated $17.7M weekend, down only 39 percent or so from its meteoric opening. Based on that hold, the DJ Caruso-directed blockbuster will reach almost $55M by the end of Sunday and seems to be on track for $100M-$105M domestic.
Shia LaBeouf may be Hollywood’s biggest Under 25 male star, but 20-year-old Michael Cera is in the conversation thanks to Superbad ($121.5M cume) and Juno ($143.5M cume), but his new flick Nick & Norah’s Infinite Playlist (Sony) has opened below industry expectations The exceedingly well-reviewed teen comedy (71 percent Fresh on Rotten Tomatoes) is No. 3 for the day with $4.4M and that will likely translate to a less-than-expected $12M opening weekend. Director Peter Sollett’s first film was a quirky teen romance set in Lower Manhattan called Raising Victor Vargas, which earned five Independent Spirit Awards, so he had the perfect sensibility to make a movie like this work. Despite the soft opening, the Nick & Norah’s Infinite Playlist will still be very profitable with a production budget of only $10M.
The Richard Gere-Diane Lane tearjerker Nights in Rodanthe (Warner Bros) is solidly entrenched at fourth for the day and the weekend. The Nicholas Sparks adaptation is luring Females 25 Plus to America’s multiplexes with about $2.4M on Friday and an anticipated second weekend of $7.35M, down just 45 percent. That will give Rodanthe a new cume of $25M or so by Monday morning.
The Ed Harris-directed Appaloosa (Warner Bros) is proving that America still loves a good Western. With a cast that includes Viggo Mortensen and Oscar winners Renee Zellweger and Jeremy Irons, this second directorial effort for Harris has expanded to 1,045 playdates with terrific results. The old-fashioned shoot-em-up seized $1.6M on Friday, and it is headed for a strong $5M weekend, good for fifth place.
David Zucker’s conservative comedy rant An American Carol (Vivendi) has surpassed industry expectations with $1.22M on its opening day. The movie, which makes sport of the uber liberal “documentarian” Michael Moore will likely sell $3.8M in tickets over the weekend for $2,325 Per Theatre Average. Although it was not screened for critics, L.A. Weekly’s Scott Foundas did manage to see it, and he says, “The movie’s level of political discourse makes Couric/Palin look like Frost/Nixon.” Regardless, it was not made for left coast critics, and there is clearly room at multiplexes for movies made by and for conservatives.
Ironically, holdover Fireproof (IDP Films/Samuel Goldwyn), a Christian-themed film made by the Sherwood Baptist Church in Albany, Georgia, will likely outperform An American Carol for the th-day despite being in its second week and showing at almost 800 fewer locations. The red state-friendly Fireproof will likely reach $4M for the frame for a new cumeree of almost $12.5M. This is a massive success for filmmaker and Sherwood Baptist Church Associate Pastor Alex Kendrick considering that the movie was made for only $500,000 and all of the profit will be funneled back into the church ministries.
From the Godly to the godless as the Bill Maher doc Religulous (Lionsgate), a nihilistic filmmaking exercise if there ever was one, will probably crack the top 10 for the weekend. Maher attacks religion generally, and Christianity specifically, in this comic doc, and it has generated a surprisingly strong $1.1M, which should translate to an impressive $3.5M despite being on only 502 screens. That would be an impressive $6,900+ Per Theatre Average.
In a rather hodgepodge weekend of releases, the remaining three titles are all disappointments to varying degrees. Universal’s feel-good Flash of Genius, the real-life story of Robert Kearns, who invented the intermittent windshield wiper, had the invention stolen by Ford and then sued the auto giant, scored about $655 per screen on Friday for an $729,000 gross. With generally positive reviews (59 percent Fresh on Rotten Tomatoes) and a cast including Oscar nominee Greg Kinnear, Golden Globe nominee Lauren Graham and Oscar nominee Alan Alda, Flash of Genius will still only reach $2.32M for the three-day, and it will miss the top 10 altogether.
Blindness (Miramax), the dismally-reviewed new movie from Oscar nominee Fernando Meirelles (City of God, The Constant Gardener) stumbled to an embarrassing $740,000 Friday and, for the weekend, $2M and a dismal $1,185 PTA is in the cards. (You know you are in trouble when the National Association of the Blind is protesting your movie.) Meanwhile, MGM’s How To Lose Friends & Alienate People starring the always-funny Simon Pegg is a non-starter with just $456,000 on opening day and a projected $1.4M for the three-day. That is a weekend Per Theatre of just $801.
STUDIO THREE-DAY ESTIMATES
1. NEW - Beverly Hills Chihuahua (Disney) - $29M, $9,020 PTA, $29M cume
2. Eagle Eye (Dreamworks/Paramount) - $17.7M, $5,034 PTA, $54.6M cume
3. NEW - Nick & Norah’s Infinite Playlist (Sony) - $12M, $4,957 PTA, $12M cume
4. Nights in Rodanthe (Warner Bros) - $7.35M, $2,722 PTA, $25M cume
5. Appaloosa (Warner Bros) - $5M, $4,799PTA, $5.57M
6. Lakeview Terrace (Sony) - $4.5M, $1,748 PTA, $32.1M cume
7. Burn After Reading (Focus) - $4.08M, $1,703 PTA, $51.64M cume
8. Fireproof (IDP Films/Samuel Goldwyn) - $4.06M, $4,776 PTA, $12.5M cume
9. NEW- An American Carol (Vivendi) – $3.8M, $2,325 PTA, $3.8M cume
10. NEW – Religulous (Lionsgate) - $3.5M, $6,972 PTA, $3.5M cume
11. NEW - Flash of Genius (Universal) - $2.32M, $2,120 PTA, $2.32M cume
12. NEW – Blindness (Miramax) - $2M, $1,185 PTA, $2M cume
*NEW – How To Lose Friends & Alienate People (MGM) - $14M, $801 PTA, $1.4M cume
Here's your complete list of the 63rd Annual Golden Globes nominations and winners.
Best Motion Picture--Drama
Brokeback Mountain Winner!
The Constant Gardener
Good Night, and Good Luck
A History of Violence
Best Performance by an Actress in a Motion Picture--Drama
Maria Bello, A History of Violence
Felicity Huffman, Transamerica Winner!
Gwyneth Paltrow, Proof
Charlize Theron, North Country
Ziyi Zhang, Memoirs of a Geisha
Best Performance by an Actor in a Motion Picture--Drama
Russell Crowe, Cinderella Man
Philip Seymour Hoffman, Capote Winner!
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
David Strathairn, Good Night, and Good Luck
Best Motion Picture--Musical or Comedy
Mrs. Henderson Presents
Pride & Prejudice
The Squid and the Whale
Walk The Line Winner!
Best Performance by an Actress in a Motion Picture--Musical or Comedy
Judi Dench, Mrs. Henderson Presents
Keira Knightley, Pride & Prejudice
Laura Linney, The Squid and the Whale
Sarah Jessica Parker, The Family Stone
Reese Witherspoon, Walk The Line Winner!
Best Performance by an Actor in a Motion Picture--Musical or Comedy
Pierce Brosnan, The Matador
Jeff Daniels, The Squid and the Whale
Johnny Depp, Charlie and the Chocolate Factory
Nathan Lane, The Producers
Cillian Murphy, Breakfast on Pluto
Joaquin Phoenix, Walk The Line Winner!
Best Performance by an Actress in a Supporting Role in a Motion Picture
Scarlett Johansson, Match Point
Shirley MacLaine, In Her Shoes
Frances McDormand, North Country
Rachel Weisz, The Constant Gardener Winner!
Michelle Williams, Brokeback Mountain
Best Performance by an Actor in a Supporting Role in a Motion Picture
George Clooney, Syriana Winner!
Matt Dillon, Crash
Will Ferrell, The Producers
Paul Giamatti, Cinderella Man
Bob Hoskins, Mrs. Henderson Presents
Best Director--Motion Picture
Woody Allen, Match Point
George Clooney, Good Night, and Good Luck
Peter Jackson, King Kong
Ang Lee, Brokeback Mountain Winner!
Fernando Meirelles, The Constant Gardener
Steven Spielberg, Munich
Best Foreign Language Film
Kung Fu Hustle (China)
Master of the Crimson Armor aka The Promise (China)
Merry Christmas (Joyeux Noel) (France)
Paradise Now (Palestine) Winner!
Tsotsi (South Africa)
Best Screenplay--Motion Picture
Woody Allen, Match Point
George Clooney & Grant Heslov, Good Night, and Good Luck
Paul Haggis & Bobby Moresco, Crash
Tony Kushner & Eric Roth, Munich
Larry McMurty & Diana Ossana, Brokeback Mountain Winner!
Best Original Score--Motion Picture
Alexandre Desplat, Syriana
James Newton Howard, King Kong
Gustavo Santaolalla, Brokeback Mountain
Harry Gregson-Williams, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
John Williams, Memoirs of a Geisha Winner!
Best Original Song--Motion Picture
“A Love That Will Never Grow Old,” Brokeback Mountain Winner!
“Christmas in Love,” Christmas in Love
“There’s Nothing Like a Show on Broadway,” The Producers
“Travelin’ Thru,” Transamerica
“Wunderkind,” The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Best Television Series--Drama
Commander in Chief (ABC)
Grey’s Anatomy (ABC)
Lost (ABC) Winner!
Prison Break (Fox)
Best Performance by an Actress in a Television Series--Drama
Patricia Arquette, Medium
Glenn Close, The Shield
Geena Davis, Commander in Chief Winner!
Kyra Sedgwick, The Closer
Polly Walker, Rome
Best Performance by an Actor in a Television Series--Drama
Patrick Dempsey, Grey’s Anatomy
Matthew Fox, Lost
Hugh Laurie, House Winner!
Wentworth Miller, Prison Break
Kiefer Sutherland, 24
Best Television Series--Musical or Comedy
Curb Your Enthusiasm (HBO)
Desperate Housewives (ABC) Winner!
Everybody Hates Chris (UPN)
My Name is Earl (NBC)
Best Performance by an Actress in a Television Series--Musical or Comedy
Marcia Cross, Desperate Housewives
Teri Hatcher, Desperate Housewives
Felicity Huffman, Desperate Housewives
Eva Longoria, Desperate Housewives
Mary-Louise Parker, Weeds Winner!
Best Performance by an Actor in a Television Series--Musical or Comedy
Zach Braff, Scrubs
Steve Carell, The Office Winner!
Larry David, Curb Your Enthusiasm
Jason Lee, My Name is Earl
Charlie Sheen, Two and a Half Men
Best Mini-Series or Motion Picture Made for Television
Empire Falls (HBO) Winner!
Into the West (TNT)
Lackawanna Blues (HBO)
Sleeper Cell (Showtime)
Viva Blackpool (BBC America)
Warm Springs (HBO)
Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Halle Berry, Their Eyes Were Watching God
Kelly MacDonald, The Girl in the Café
S. Epatha Merkerson, Lackawanna Blues Winner!
Cynthia Nixon, Warm Springs
Mira Sorvino, Human Trafficking
Best Performance by an Actor In a Mini-Series or a Motion Picture Made for Television
Kenneth Branagh, Warm Springs
Ed Harris, Empire Falls
Jonathan Rhys Meyers, Elvis Winner!
Bill Nighy, The Girl in the Café
Donald Sutherland, Human Trafficking
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Candice Bergen, Boston Legal
Camryn Manheim, Elvis
Sandra Oh, Grey’s Anatomy Winner!
Elizabeth Perkins, Weeds
Joanne Woodward, Empire Falls
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Naveen Andrews, Lost
Paul Newman, Empire Falls Winner!
Jeremy Piven, Entourage
Randy Quaid, Elvis
Donald Sutherland, Commander in Chief