A lot of times you hear about stars getting cast in major blockbuster franchises who actually weren't fans of that franchise before signing on. Even director J.J. Abrams has said repeatedly that he wasn't a fan of Star Trek before helming his 2009 reboot. But this is not the case with Alice Eve, who plays Dr. Carol Marcus in Abrams' Star Trek Into Darkness (out May 17). When she was a little kid, her grandfather introduced her to The Original Series and she's remained a fan ever since.
"I liked Shatner, of course," Eve says at a press event for her new Tribeca Film Festival indie Some Velvet Morning. "But there's such an approachability to [Star Trek creator] Gene Roddenberry's genius. He hardly gets any credit, but he invented everything we use now. The communicators from The Original Series are basically just cell phones. Samsung won the lawsuit Apple filed against them [claiming Samsung's tablets infringed on the iPad's copyright] by showing that Star Trek had featured tablet computers years and years before the iPad. To say that you’re not a fan of Star Trek, is to say that you’re not a fan of everything that services you in our society. Which you may not be, but in that case, good luck to you."
With that level of fandom, it was no trouble picking Eve's brain for her favorite Trek episode, and she offered up her fave without hesitation: "Charlie X" from The Original Series. "It’s one of the earliest episodes from Season 1," Eve says. "I love Charlie [played by Robert Walker, Jr.] and the way he's a little kid in a teenager's body, acting out tantrums. And that moment when Shatner leans in to give Charlie some advice, because Charlie’s in love with Yeoman Rand and he thinks he’s never going to get her, it’s so great. Shatner says, 'Be gentle and go slow.' Have there ever been better words of advice given to a young man in love?"
Eve's fandom is primarily limited to The Original Series, and she doesn't claim to be as familiar with its spinoffs, or even its previous movie incarnations. "I can’t say that I know the lexicon as intimately as a lot of people, so I may be unworthy of being called a Trekkie," says Eve. "That would be doing a disservice to the people who really are Trekkies. But what drew me to Star Trek originally is how intelligently thought out a universe it is, and that's also why I'm so happy to be a part of this film."
She shouldn't be so hard on herself. Anyone who's this enthusiastic about Trek deserves at the very least to be an "honorary Trekkie."
Check back soon for more from Eve on her daring new film, Some Velvet Morning.
Follow Christian Blauvelt on Twitter @Ctblauvelt
More: ‘Star Trek Into Darkness’: The ‘Wrath of Khan’ Similarities Just Keep Comin’… Forget Khan, John Harrison Is a Klingon Could John Harrison Be a Member of Section 31? How ‘DS9’ Became the Best, Most Influential ‘Trek’
From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
Among the surprises to be found in the Golden Globe nominations announced Thursday morning, the unexpected recognition for one film really stood out. That little movie would be Salmon Fishing in the Yemen, which picked up three nods: Best Actor in a Comedy, for Ewan McGregor; Best Actress in a Comedy, for Emily Blunt; and Best Motion Picture – Musical or Comedy. That's pretty major recognition for a film that only made $9 million Stateside. So what exactly is Salmon Fishing in the Yemen? Directed by Lasse Hallström (The Cider House Rules, Chocolat), it's a gentle indie starring McGregor and Blunt as a fly-fishing expert and a PR representative, respectively, who undertake a goodwill project to improve relations between the U.K. and Yemen. That project is to invest in a vision held by one of Yemen's most progressive and forward-thinking rulers, Sheikh Muhammad (Amr Waked), to bring salmon fishing to his country — quite a challenge, since you need a temperate climate and, obviously, an abundant water supply for salmon to thrive. Yemen, mostly covered by a scorching desert, has neither. It's a delicate "against all odds" story about starry-eyed dreamers trying to make the impossible possible. In short, the very definition of a "feel good" movie.
But Salmon Fishing in the Yemen certainly hasn't been discussed as an awards season contender — until the three Globe nominations it received today, that is. So how did this underseen gem win over the Hollywood Foreign Press Association and get these accolades?
1. The Musical or Comedy Category Allows for Films Released Earlier in the Year To Be Acknowledged
By its very nature, the Best Motion Picture – Musical or Comedy category allows for more films to be represented among the Globe contenders than are usually being buzzed about during the awards season. For one, that's because the guilds and the Oscars rarely award comedies. As such, it's entirely possible for a film that gets a Best Musical or Comedy nod at the Golden Globes to fail to pick a single nomination at any other major awards gathering. Witness such strong former nominees like 50/50, Burn After Reading, and In Bruges, and also such Musical or Comedy nominees like The Tourist, Red, Burlesque, and Alice in Wonderland (all four of which came from that gem of a movie year 2010). For two, the very fact that this category exists means that the HFPA has to cast a wider net and look back at movies released earlier in the year. Salmon Fishing came out on March 9, making it pretty much a no-show for the Academy Awards season. But the Globes have recently nominated Midnight in Paris, Bridesmaids, (500) Days of Summer, and, sigh, The Hangover — the wolf pack bros even won the statuette — all of which were released in the first half of their respective years.
2. International Co-Productions Do Well
The Hollywood Foreign Press Association is just that: an association of foreign journalists who write for publications based in Europe, Asia, Australia, and Central and South America, yet cover Hollywood. Often, they like to recognize films that cross national boundaries, and those typically come in the form of transnational productions with financing from studios outside of America. We're not talking about the latest subtitled art house film, mind you. Michael Haneke's Amour was very much ghettoized in the Best Foreign Language Film category. We're talking about films like The Tourist and Midnight in Paris that were funded largely by non-American studios like GK Films or StudioCanal, but that are in every other respect pretty much indistinguishable from a typical Hollywood movie. Or an American-funded movie with a largely non-American cast like this year's nominee Best Exotic Marigold Hotel. Salmon Fishing in the Yemen represents a kind of transnational sweet spot here because it had American funding in part by Lionsgate, with the rest picked up by Britain's BBC Films, Kudos Films, and the U.K. Film Council. And it featured a totally non-American cast of Brits (McGregor, Blunt, and Kristin Scott Thomas), and Middle Eastern megastar Amr Waked.
3. It Has a Likable But Under-Lauded Cast
As far as Ewan McGregor and Emily Blunt's nominations are concerned, we say, "About time!" It's hard to think of two more consistently solid, often brilliant, actors working in the industry. But for all their critical accolades, they've been pretty much overlooked whenever awards season comes around. The only major American award Blunt has received was a Best Supporting Actress Golden Globe for the BBC TV movie Gideon's Daughter in 2007. She also received Globe nods for The Devil Wears Prada (where she was arguably the best thing about that movie that wasn't named Meryl Streep) in 2007 and The Young Victoria in 2009, but the Academy has never taken notice of her work. Shockingly, this is only McGregor's second Globe nod (he's never been Oscar nominated, either) after his nomination for Moulin Rouge! in 2002. His great performances from Trainspotting to The Ghost Writer drew raves... and awards season yawns. Maybe the HFPA decided it was time to give these two a bit more recognition. Even Hollywood.com called their work in Salmon Fishing Oscar-bait earlier this year.
4. Golden Globe Winner Simon Beaufoy Wrote the Script
The Golden Globe and Oscar-winning scribe of Slumdog Millionaire was already an HFPA favorite. And, though he was working in far more subtle territory than 2008's bombastic Slumdog, he drops us into the bustling maelstrom of a modernizing Middle East much the same way he did with India, appealing once again to the HFPA's appreciation of a globalized cinema.
5. It’s a Light Comedy, But It Shows the Middle-East in a Way We Rarely See It.
Salmon Fishing is actually quite an important movie. After years of movies and TV shows — not to mention the news media — focusing on terrorism, warfare, dictatorships, poverty, misogyny when it comes to the Middle East, here's a film that offers a more balanced view. Yes, the region, and specifically Yemen, face tremendous challenges, but there are also many parts of the Middle East that are modern, tolerant melting pots populated by forward-thinking people who reject extremism. With the character of Sheikh Muhammad, Beaufoy and director Hallström, offer up an incredibly positive Arab character — something in short supply in our stereotype-glutted media landscape — and a vision of a nation trying to move beyond its violent history. It doesn't gloss over the very real challenges that Yemen faces, terrorism among them, but it also doesn't define this region by violence. In that regard, it's the anti-Zero Dark Thirty.
6. It’s a Damn Good Movie
McGregor and Blunt spark with screwball verve, Hallström luxuriates in beautiful landscapes, and Beaufoy offers up a quixotic quest about achieving beauty and contentment under impossible conditions. It's a cliché to say it, but Salmon Fishing in the Yemen really is one of the best "feel good" movies of the year. No wonder the Golden Globes acknowledged it.
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: CBS Films]
‘Salmon Fishing’ Director Lasse Hallström On Movie’s Noms, Plus Reactions from Jessica Chastain, Kathryn Bigelow, Tim Burton
‘Golden Globes’: What Movies and Movie Actors Were Snubbed?
From Our Partners:
’The Hobbit’ Cast: A Who’s Who New Character Guide (Moviefone)
Movie Mistakes: Biggest Flubs in Sports Films (Moviefone)
A massive hit never ends at its own conclusion for better or worse. Lost Tim Burton's Alice in Wonderland The Blair Witch Project and other pop culture milestones spawned plenty of imitators of wavering quality that trickled on to screens until the phenomena tapered off. Joyful Noise the new film starring Queen Latifah and Dolly Parton is one these auxiliary creative endeavors a direct descendant of the cheeky drama/comedy/musical hybrid Glee. But instead of teenage issues and pop covers Joyful Noise swaps in familial struggles gospel tunes and a sizable serving of Christian faith. The combination results in a movie that lacks the jazz hand energy of Glee but packs good-natured laughs to keep someone awake for its two hour duration. More "noise" than "joyful."
Mere minutes after the passing away of choir leader Bernie Vi Rose (Latifah) inherits the position—along with a serving of negative vibes from Bernie's wife G.G. (Parton) who was hoping to take the job herself. The new responsibility is only the beginning of Vi Rose's troubles as she attempts to balance her rebellious daughter Olivia's (Keke Palmer) raging hormones her son Walter's (Dexter Darden) Asperger's syndrome her husband's absence during a military stint and her own old school God-faring ways. Hardships are whipped into further chaos upon the arrival of Randy G.G.'s rambunctious horny grandson who shows up at rehearsal with an eye on Olivia and undeniable vocal skills. Randy's rock and roll edge is readily embraced by the group but even with the national gospel championship on the line Vi Rose isn't ready to toss tradition aside.
Joyful Noise is a mixed bag sporadically entertaining when director Todd Graff (Camp Bandslam) lets his two commanding stars flex their comedic muscles or belt soulful tunes. Latifah and Parton can do both with ease—Latifah has a natural charm while Parton essentially fills the "kooky Betty White" here—but instead of letting the two fly Graff breaks up the action with overwrought drama and bizarre side character stories. The script injects a lot of ideas into the picture—loss of faith modernizing ideologies coping with tragedy sexuality under the eye of God—but every tender moment is fumbled. A gut-wrenching conversation between Vi Rose and her autistic son should have weight and the actors do their best but the material doesn't service the emotional complexity of the scenario. Instead it opts to cut to a musical number. Another sequence involving the overnight demise of another character is even played for comedy even when it causes one woman to question her beliefs.
Thank God for the musical numbers which have enough energy to brush the flimsier moments under the rug. The Glee-inspired pop tune covers (Michael Jackson's "Man in the Mirror " Usher's "Yeah"—both tailored with religious modifications) aren't nearly as interesting or powerful as the straight-up gospel songs. But unlike the tunes Joyful Noise doesn't have rhyme or reason. A mishmash of played out character stereotypes narrative cliches and enjoyable but erratic music the movie feels more like a cash-in than it should. Latifah and Parton are a sizzling duo but the vehicle built for them is a clunker. As Vi Rose might say the only way to have a great time at Joyful Noise is to believe. Really really hard.
S03E09: Well, this is grim. After yesterday’s less than stellar news about the fate of United States of Tara, each new episode comes with the rather bittersweet reminder in the back of our minds that this is the end. Each new episode brings us one step closer to the finale that, rather than being a cliffhanger that we’re expecting, is the actual no-more-after-this series finale. It sucks doesn’t it? Especially considering the whole season has been completed for months with the hope that they would be coming back. So, it’s definitely not going to end on a conclusive final moment. Fantastic.
Oh well though. No use crying over spilled mimosas. We have three really great seasons of Tara, which is more than a lot of other great shows had, so let's count our blessings while we can. Everyone involved with the show is extremely talented and will work again; we’ll see them soon. Besides, we still have three episodes left and if this episode is any indication, things are about to get weird. How excellent is that? Not as excellent as a fourth season but DAMMIT I’M TRYING TO REMAIN POSITIVE.
"Same film, over and over again. Minimal plotting, funereal pacing. Hardly American stuff." - Hataras
Anyway, Tara has gone off the deep end! The really deep end. Like, Mariana Trench deep. Bryce is out in full force despite everything Hataras does, like keeping constant watch over Tara. Hataras brings in a colleague and they pretty much agree. Tara is crazy and unlike anything they have ever seen before. Bryce is in full blown crazy mode taking out the alters one by one. He ripped up the bunny and Chicken was dead. He burnt Shashana’s book and Shashana is gone. He nailed Gimmy’s red poncho to a ping-pong table and stabbed it with a knife while wearing a pumpkin on his head. Yeah, he’s crazy. And Hataras is well over his head, like his boss seemed to tell him, but Eddie Izzard don’t play that game and he keeps on trying to help.
Ah, but it’s no use. Bryce is a fairly clever teenage boy. The pills Tara takes? He vomits them back up so they won’t take effect. Think about that for a second; how terrifying it is what Bryce is doing. Up until that point, Tara always had the safety net of medication in case things got too hairy. But now? When things are at their absolute worst? Her traditional means of medication are of no use. She’ll either have to get another type of drug or administer it in an alternate way. But still, it’s quite creepy how Bryce manages to maneuver around all the road blocks put in front of him.
And his biggest roadblock? Hataras. Bryce does the unspeakable and puts crab in his soup. There was a gentle reminder in the “Previously...” section that reminded those that forgot (okay, I’ll take the bait. I forgot) he’s deathly allergic to crab. And so he starts to clam up and poof: he almost dies. This is, of course, is VERY BAD and Hataras seemingly removes himself from helping Tara. Very sad stuff indeed.
Now, this was a very interesting plot line. So far Bryce has gone through and “killed” the three newest alters one by one and took out Tara’s biggest ally. Also, he seems to have an eye for the theatrics (pumpkin on head, anyone?). Of course, being the compassionate human I am, I want Tara and her family to be safe. But being the lover of television I really can’t wait to see where this goes. Joesph Campbell speaks of the monomyth and every great hero has to reach the lowest point of their life on their journey to then rise back up in triumph. Needless to say, Tara is well on her way to entering the lowest point of her life and Bryce is driving her headlong into it. This is going to get especially good when he starts going after the three original (at least when the show started) alters: Alice, T, and Buck.
"But this isn't a story about my mom. It's about my dad." - Marshall
I’ll gloss over Kate and Char’s story if only because the rest of the family had so much more an interesting time this week. Char discovered that you can drink and take care of a baby at the park. Good for her. Kate realized that dating a father is kind of hellish when the kid is the spawn of Satan. Good for her. Not saying they weren’t important but Marshall and Max’s story was so much more interesting!
So, Marshall and Max finally get to New York for the film festival and Max finally sees Marshall’s film. It turns out, the film is mostly about him and Max finally sees what Marshall thinks of him. Finally. Now I’d like to imagine the whole film and Max’s reaction to it is a meta-metaphor for Max’s portrayal on the show. Marshall tried to boil down the extremely complex psyche of his father into a short film. Considering how weird this family is, you can’t do that and Max takes offense to it. What he said about how there were so many unspoken moments that weren’t captured that fleshed out his reasons really spoke to the character of the show. For those who might have criticized/questioned Max in the past (like Marshall did earlier this season), we’re watching a TV. We get to see the most interesting 30 minutes of these character’s lives but in their world they have full weeks to live their lives. If these characters are real (which the best television creates real characters that exist even when we’re not watching) they have lives beyond what we see. And those are the moments that keep Max around. Whether you agree with that sentiment is up to you. I think the show is well-written enough that I can believe Max sticking with Tara and that there’s more to them than we’re shown. Marshall and Max’s stories have been suffering lately, but I really think that scene on the sidewalk made up for it. This is a female-centric show, but there is a strong male presence as well that finally got to voice its frustrations. It worked quite well for me.
So that’s that. Three more episodes to go and then bye-bye Tara. I feel a little bit like a dead man walking. I can see the end and no that it couldn’t possibly answer or fulfill all my questions. But oh well, it’s just a TV show. A damn good one though and we’re sorry to see it go.