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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
Follow @Michael Arbeiter
| Follow @Hollywood_com
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
Follow Thomas Leupp on Twitter.
Follow Hollywood.com on Twitter.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
The Writers Guild of America has announced its nominations for outstanding achievement in screen in 2002.
Antwone Fisher, Bowling for Columbine, Far From Heaven, Gangs of New York and My Big Fat Greek Wedding have been nominated for the WGA's best original screenplay award.
About a Boy, About Schmidt, Adaptation, Chicago and
The Hours meanwhile will contend for best adapted screenplay.
Antwone Fisher, Written by Antwone Fisher; Fox Searchlight
Bowling for Columbine, Written by Michael Moore; United Artists/Alliance Atlantis/Salter Street Films/Dog Eat Dog Films
Far From Heaven, Written by Todd Haynes; Focus Features
Gangs of New York, Screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan, story by Jay Cocks; Miramax Films
My Big Fat Greek Wedding, Written by Nia Vardalos; Gold Circle Films/HBO/MPH Entertainment/Playtone
About a Boy, Screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby; Universal Pictures/Studio Canal/Working Title Films/Tribeca Productions
About Schmidt, Screenplay by Alexander Payne & Jim Taylor, based on the novel by Louis Begley; New Line Cinema
Adaptation, Screenplay by Charlie Kaufman and Donald Kaufman, based on the book The Orchid Thief by Susan Orlean; Columbia Pictures
Chicago, Screenplay by Bill Condon, based on the musical play, book by Bob Fosse and Fred Ebb and the play by Maurine Dallas Watkins; Miramax Films
The Hours, Screenplay by David Hare, based on the novel by Michael Cunningham; Paramount Pictures/Miramax Films
Animation--any length--one airing time (new category)
"The Bart Wants What It Wants" (The Simpsons), Written by John Frink & Don Payne; Gracie Films in association with 20th Century Fox Television; Fox
"Blame It on Lisa" (The Simpsons), Written by Bob Bendetson; Gracie Films in association with 20th Century Fox Television; Fox
"Godfellas" (Futurama), Written by Ken Keeler; 20th Century Fox Television; Fox
"Jaws Wired Shut" (The Simpsons), Written by Matt Selman; Gracie Films in association with 20th Century Fox Television; Fox
"My Own Private Rodeo" (King of the Hill), Written by Alex Gregory & Peter Huyck; 20th Century Fox Television Productions in association with Deedle-Dee Productions, Judgmental Films and 3 Arts Entertainment; Fox
Santa Baby! Written by Peter Bakalian & Suzanne Collins; Rankin/Bass; Fox
Original Long Form--over one hour--one or two parts, one or two airing times
Dor to Door, Written by William H. Macy & Steven Schachter; Turner Pages, Inc.; TNT
The Gathering Storm, Teleplay by Hugh Whitemore, Story by Larry Ramin and Hugh Whitemore; a Scott Free Production in association with HBO Films; HBO
Sins of the Father Written by John Pielmeier, based on the magazine article that appeared in Texas Monthly by Pamela Colloff; Artisan; FX
Strange Relations, Written by Tim Kazurinsky; Showtime; Granada Entertainment; Showtime
Adapted Long Form--over one hour--one or two parts, one or two airing times
"Batogne" (Band of Brothers), Written by Bruce C. McKenna, based on the book by Stephen E. Ambrose; DreamWorks/Playtone/HBO; HBO
Hysterical Blindness, Teleplay by Laura Cahill, based on the play by Laura Cahill; Hysterical Films, Inc.; HBO
Last Call, Screenplay by Henry Bromell, based on the memoir Against the Current: As I Remember F. Scott Fitzgerald by Frances Kroll Ring; Room 520/Barnstorm Films; Showtime
Mark Twain's Roughing It, Teleplay by Steven H. Berman, based on the book Roughing It by Mark Twain; Larry Levinson Productions; Hallmark Channel
Episodic Drama--any length, one airing time
"Game On" (The West Wing), Written by Aaron Sorkin & Paul Redford; John Wells Productions in association with Warner Bros. Television; NBC
"In Place of Anger" (Six Feet Under), Written by Christian Taylor; Six Feet Productions; HBO
"Nino Del Polvo" (Resurrection Boulevard), Written by Robert Eisele; Showtime; Viacom Productions, Inc.; Patagonia House; Showtime
"On the Beach" (ER), Written by John Wells; Constant C Productions; Amblin Television; Warner Bros. Television; NBC
Pilot (The Education of Max Bickford), Written by Dawn Prestwich & Nicole Yorkin; 20th Century Fox Television; CBS
"Whoever Did This" (The Sopranos), Written by Robin Green & Mitchell Burgess; Soprano Productions, Inc.; HBO
Episodic Comedy--any length, one airing time
"Change of Address" (Sex and the City), Written by Julie Rottenberg & Elisa Zuritsky; Darren Star Productions in association with HBO Original Programming; HBO
"I Heart NY" (Sex and the City), Written by Michael Patrick King; Darren Star Productions in association with HBO Original Programming; HBO
Pilot (The Bernie Mac Show), Written by Larry Wilmore; Regency Television in association with 20th Century Fox Television; FOX
"My First Day", (pilot, Scrubs), Written by Bill Lawrence; Touchstone Television Productions; NBC
"Plus One is the Loneliest Number" (Sex and the City), Written by Cindy Chupack; Darren Star Productions in association with HBO Original Programming; HBO
"Rooms With a View" (Frasier), Written by Dan O' Shannon & Lori Kirkland & Bob Daily; Grub Street Productions in association with Paramount Pictures; NBC
"The Wedding" (Ed), Written by Rob Burnett & Jon Beckerman; Viacom Productions in association with Worldwide Pants, Inc. and NBC Studios; NBC
Comedy/Variety---Music, Awards, Tributes--Specials--any length
The Kennedy Center Honors Written by Don Baer and George Stevens, Jr., Film Sequences Written by Sara Lukinson; A George Stevens Jr. Presentation - Kennedy Center Television Productions, Inc.; CBS
NBC 75th Anniversary Special, Written by Doug Abeles, James Anderson, Robert Carlock, Tina Fey, Charlie Grandy, Steve Higgins, Lorne Michaels, Paula Pell, Herb Sargent, Michael Schur, Michael Shoemaker; Broadway Video in association with NBC Studios; NBC
Comedy/Variety--(including talk) Series
Dennis Miller Live, Written by Eddie Feldmann, Jose Arroyo, Richard Dahm, David Feldman, Jim Hanna, Rob Z. Kutner, Kirsten McFarland, Dennis Miller, Jacob Sager Weinstein; Happy Family Productions; HBO
Late Night With Conan O'Brien, Written by Mike Sweeney, Chris Albers, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; Broadway Video; NBC
Mad TV, Writing Supervised by Scott King, Written by Dick Blasucci, Garry Campbell, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, Devon Shepard, Rich Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos; QDE/Girl Group; FOX
Saturday Night Live, Written by Tina Fey, Doug Abeles, Leo Allen, James Anderson, Max Brooks, James Downey, James Eagan, Hugh Fink, Charlie Grandy, Jack Handey, Steve Higgins, Erik Kenward, Dennis McNicholas, Lorne Michaels, Corwin Moore, Matt Murray, Paula Pell, Matt Piedmont, Ken Scarborough, Michael Schur, Frank Sebastiano, T. Sean Shannon, Eric Slovin, Robert Smigel, Emily Spivey, Andrew Steele, Scott Wainio, Jerry Collins, Tom David; Broadway Video in association with SNL Studios; NBC
Guiding Light, Written by Millee Taggart, Lucky Gold, Christopher Dunn, Tita Bell, Jill Lorie Hurst, Penelope Koechl, David Kreizman, Eleanor Labine, Alan Madison, Danielle Paige, A.J. Pierce, Janet Reed Ahearn, Susan Rice, David Rupel, Melissa Salmons, Eddie Sanchez, Lisa Seidman, David Smilow; Procter & Gamble; CBS
The Young and the Restless, Written by Kay Alden, Trent Jones, John F. Smith, Jerry Birn, Jim Houghton, Natalie Minardi, Janice Ferri, Eric Freiwald, Joshua McCaffrey, Michael Minnis, Rex M. Best; Columbia TriStar; CBS
Elmo's World: Happy Holidays!, Written by Christine Ferraro; Sesame Workshop; PBS
Off Season, Written by Glenn Gers; Showtime Networks, Inc.; Showtime
Our America, Teleplay by Gordon Rayfield, Based on the book "Our America: Life and Death on the South Side of Chicago" by Lealan Jones, Lloyd Newman and David Isay; Joseph Stern Productions; All Media, Inc.; Showtime
The Red Sneakers, Teleplay by Mark Saltzman, Story by Jeffrey Rubin; Lynch Entertainment, Tom Lynch Company, RS Productions, Ltd., Showtime Networks, Inc.; Showtime
Bioterror (Nova), Written by Matthew Collins; A Nova Production by the New York Times/ Granada Factuals USA and Lone Wolf Pictures, Inc., for WGBH/ Boston in association with Channel 4 Television; PBS
The Man Who Knew (Frontline), Written by Michael J. Kirk, Kirk Documentary Group; PBS
9/11, Written by Tom Forman & Greg Kandra; Goldfish Pictures, Inc.; CBS
Rollover: The Hidden Story of the SUV (Frontline), Written by Marc Shaffer & Barak Goodman; 10/20 Productions; PBS
Documentary--Other Than Current Events
America's First River, Part One, Written by Tom Spain; WNET/Educational Broadcasting Corp.; Public Affairs Television; PBS
Empire State Building Ironworker (A Day in their Lives), Written by Peter Hankoff; Termite Art Productions; History Channel; History Channel
Evolution of a Revolution (Founding Brothers), Written by Kelly McPherson and Melissa Jo Peltier & Allison MacEwan; MPH Entertainment Inc.; History Channel; History Channel
Monkey Trial (American Experience), Written by Christine Lesiak; WGBH Educational Foundation; PBS
News--Regularly Scheduled, Bulletin or Breaking Report
Attack on America Written by Jerry Cipriano, Paul Fischer, Thomas Harris, Hugh Heckman, Bruce Meyer; CBS Evening News; CBS
September 11th Controllers, Written by Jonathan W. Kaplan; CBS