Breaking Bad star Bryan Cranston is celebrating two nominations for the 2014 Directors Guild of America Awards. The multiple Emmy winner received nods in both the comedy and drama categories for the 66th annual prizegiving.
Cranston, who played drug kingpin Walter White on Breaking Bad, was nominated for outstanding directorial achievement in a dramatic series for the episode Blood Money, as well as outstanding directorial achievement in a comedy series for the Modern Family episode The Old Man & The Tree.
Cranston will be up against Breaking Bad creator and executive producer Vince Gilligan for his work on the series finale, Felina, in the drama category, along with David Fincher for House of Cards, Lesli Linka Glatter for Homeland and David Nutter for Game of Thrones.
In the comedy category, the actor will face off against fellow Modern Family director Gail Mancuso, Anthony Rich and Mark Cendrowski for The Big Bang Theory and Beth McCarthy-Miller for 30 Rock's series finale.
McCarthy-Miller nabbed another nomination in the movies for television and miniseries category for her work in The Sound of Music Live!, along with Rob Ashford. They are up against Stephen Frears for Muhammad Ali's Greatest Fight, David Mamet for Phil Spector, Nelson McCormick for Killing Kennedy, and Steven Soderbergh for Behind the Candelabra.
The winners will be announced at the DGA Awards ceremony on 25 January (14).
Sift through comments on franchise sequel announcements and you'll find many crying afoul to Hollywood's insistence of resurfacing every last brand in their bank of titles. The desire for original content is reasonable but occasionally a cinematic follow-up does have the potential to be rich and rewarding. Revisiting characters who've seen time pass in their own lives is worthy of exploration — Peter Bogdanovich's Texasville Richard Linklater's Before Sunset and even A Very Harold & Kumar Christmas prove that theory. American Reunion reaches for that same dramatic arc reentering the lives of its core cast eight years after American Wedding. But instead of mixing comedy with any weighty issues the movie only tickles the nostalgia bone (and without f**king one pie in the process) — a hurdle that keeps American Reunion from being nearly as riotous as the original.
Life hits a wall for Jim (Jason Biggs) in 2012. He's a happily married man a father and a moderately successful employee of a faceless company. But after catching his wife Michelle (Alyson Hannigan) enjoying the company of a shower head it dawns on Jim that he's in need of a shake-up. Perfect timing: Jim packs up the family and heads to his hometown for his 13th high school reunion (sure why not) where he reunites with the old gang: Kevin (Thomas Ian Nicholas) currently whipped into submission by his girlfriend Finch (Eddie Kaye Thomas) back from a trip around the world Oz (Chris Klein) now a superstar sportscaster fresh off a celebrity dance show stint and Steve Stifler (Seann William Scott) a law firm temp who continues to turn women into his own personal squeeze toys. The high school buddies devolve quickly into their old habits alcoholic antics and potty-mouthed rants by the red solo cupful. Good fun for Jim no fun for Michelle.
Instead of digging deep into its well-founded characters (which I swear is allowed in a raunchy R-rated comedy) American Reunion sticks to the familiar goofball scenarios of its predecessors. Which is passable because the core group who stuck through all three movies — Biggs Nicholas Thomas and Scott — make poop-infused pranks and slapstick shtick like a scene in which Jim and co. must get a drunken naked eighteen-year-old back into her parents' house without looking like total creepsters highly entertaining. Scott once again proves him an underused comedic talent making Stifler one of the few characters who can rattle off colorful cuss words while showing a glimmer of humanity. Same goes for Eugene Levy as Jim's Dad who finds his role beefed up now that he's once again single. Grieving for years over his wife's death Jim helps his advice-dealing pop hit the dating scene and Levy spins gold out of the silliest of situations.
The problem with American Reunion is everyone else. Chris Klein never clicks with the rest of the group (that's what he gets for skipping out on Jim's wedding) while the rest of the ensemble feel ham-fisted for cameo purposes rather than complimenting the storyline. Tara Reid and Mena Suvari return to the franchise to stand around and react to the ineptitude of their male counterparts. Natasha Lyonne is in and out faster than Jim's first time. Other brief character appearances are like bigfoot sightings. The idea of bringing the entire cast of the original back for more seems perfect but without proper pacing from writers/directors Jon Hurwitz and Hayden Schlossberg (Harold & Kumar Escape from Guantanamo Bay) there's never a moment to enjoy it.
American Reunion is a flaccid entry servicing fans while coming through with enough laugh out loud moments to make one scream (In one scene Jim takes a page out of Michael Fassbender's Shame that will elicit audible reactions). If these were fresh characters we'd brush it off — but at the film's core is a lovable familiar bunch of knuckleheads that can't be ignored. And if Stifler wants to party you party.
Based on H.G. "Buzz" Bissinger's bestselling book of the same name Friday Night Lights tells the true story of the dusty West Texas town of Odessa where nothing much happens until September rolls around. That's when the town's 20 000 or so denizens pour into Ratliff Stadium the country's biggest high school football field every Friday night to watch the Permian Panthers Odessa's "boys in black " take to the field. All the town's hope and dreams are pinned on the padded shoulders of these young gridiron heroes--including insecure quarterback Mike Winchell (Lucas Black); cocky self-assured running back Boobie Miles (Derek Luke); headstrong self-destructive tailback Don Billingsley (Garrett Hedlund) who must contend with an overbearing abusive dad (Tim McGraw--yes that Tim McGraw the country singer); and the team's spiritual leader middle linebacker Ivory Christian (newcomer Lee Jackson). The Panthers begin their season with one thing on their minds--winning their fifth straight championship for the first time in the team's 30-year history--but for their coach Gary Gaines (Billy Bob Thornton) it also means instilling a love and joy of the game in the boys' hearts amidst tremendous pressures and expectations. Easier said than done.
There isn't a false note in any of the performances and no one falls back on clichéd versions of their characters as is so easy to do in rah-rah sports movies. Thornton does a particularly good job as Gaines keeping you guessing whether he's going to be a hardass insensitive to his players' emotional needs (like so many movie football coaches before him) or if he truly means to coach his boys in a fair and decent way. Gaines too has to deal with his own pressures especially from the townsfolk who are likely to string him up if the team loses the championship. As for Gaines' players Black (the oh-so-serious kid from Thornton's Sling Blade) is all grown up and buffed out and still very serious. It works for the young actor though as the beleaguered Winchell struggles with the love-hate relationship he has with his chosen sport. Other standouts include Luke (Antwone Fisher) as the star player Boobie whose cocksureness leads him to an injury; Hedlund as the volatile Billingsley trying desperately to please his father; and McGraw making his film debut as the father a former Permian Panther champion who sure hasn't given up his competitive spirit basically beating it into his son. First Faith Hill (McGraw's real-life wife) in The Stepford Wives and now McGraw--who knew country singers could act?
From All the Right Moves to Varsity Blues to Remember the Titans Friday Night Lights unfortunately doesn't completely distinguish itself from the pack of football movies before it--like those this is all about how the young players--be they underdogs second-string nobodies or stars--rising above the mounting pressure and playing the best they can bless their hearts. Still there's no question the sports genre--particularly football--always gets the juices pumping with FNL being no exception. It might have something to do with our sick fascination with watching bone-crunching hits and body-punishing tackles. It's dangerous out there for these guys; no other sport (besides maybe hockey) can elicit such wince-inducing emotion and actor/director Peter Berg (The Rundown) exploits that. Obviously influenced by Oliver Stone's Any Given Sunday Berg effectively paints his own gritty documentary-style picture of the competitive sport without relying on too many trite gushy over-the-top moments. And to give it credit the film does not necessarily have a feel-good "let's win one for the Gipper" ending; it is based on a true story after all and as we know real life isn't all sunshine and roses especially in the bloodthirsty world of Texas high school football.