Actor Nathan Lane saw off competition from stars including Alec Baldwin, Tom Hanks and Jake Gyllenhaal to land the top honour at the New York Drama League Awards on Friday (17May13). Bette Midler, Vanessa Williams, Edie Falco and Alan Cumming were also in the running for the Distinguished Performance prize, but it was Lane's turn in Douglas Carter Beane's burlesque drama The Nance which bagged him the prestigious accolade.
Cyndi Lauper added another award to her collection for Kinky Boots, which was named Distinguished Production of a Musical, while Distinguished Revival of a Musical went to Pippin.
Distinguished Play was bestowed upon Vanya and Sonia and Masha and Spike, and Who's Afraid of Virginia Woolf? landed the Distinguished Revival of a Play honour.
Bernadette Peters walked away with the Distinguished Achievement in Musical Theatre trophy and Jerry Mitchell received the Founders Award for Excellence in Directing during the ceremony, which was held at the Marriott Marquis Times Square.
The New York Drama League Awards celebrate the best in Broadway and Off Broadway and are voted for by the public.
The An Education star joins other big Hollywood names, like Kevin Spacey, Jesse Eisenberg, Alan Rickman and Matthew Broderick among this year's (12) hopefuls, while Ricky Martin has been recognised for his role as Che Guevara in Evita.
And there were double nominations for Martin Luther King, Jr. play The Mountaintop (Samuel L. Jackson and Angela Bassett) and Arthur Miller's Death of a Salesman (Andrew Garfield and Philip Seymour Hoffman).
The 2012 Drama League nominees for Distinguished Production of a Play, Distinguished Production of a Musical, Distinguished Revival of a Play, Distinguished Revival of a Musical, and the much coveted Distinguished Performance Award were announced on Tuesday (24Apr12).
Clybourne Park, The Columnist, The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, The Lyons, One Man, Two Guvnors, Other Desert Cities, Peter and The Starcatcher, Tribes, Seminar, Septimus and Clarissa and Venus in Fur will compete for the Distinguished Production of a Play trophy, while the Distinguished Production of a Musical award will be a battle between Ghost, Leap of Faith, Mission Drift, Newsies, Nice Work If You Can Get It, Once and Queen of The Mist.
The nominated revivals include And God Created Great Whales, Death of a Salesman, Look Back in Anger, Wit, Carrie, Follies, Evita and Jesus Christ Superstar.
The 78th annual Drama League Awards will be held at the Marriott Marquis Times Square on 18 May (12).
And Alan Menken and Rosie O'Donnell are already winners - they've been named the respective recipients of the Distinguished Achievement in Musical Theatre and Unique Contribution to the Theatre prizes.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.
I hope that if alien cultures are monitoring our entertainment they take a pass on the film Planet 51. It may reverse the human/alien traditional roles by having the human astronaut be the fish out of water on an alien planet but xenophobia stopped being a funny or useful plot device by the mid-'80s. Any mildly cognizant alien intelligences would take one look at this movie and decide to check back on the human race in another hundred years.
Justin Long plays Lem just another awkward teenager a role Long is too long-in-the-tooth to play in person anymore but shortly he could (and very well may) make a career out of doing it in voice work. Lem wants to be an astronomer and is vying for a job at the local observatory. He wants to score with neighborhood hottie Neera (Jessica Biel) but he can never quite muster up the confidence to make his move. His friends obsessed with comics and science fiction movies of the googly-eyed alien invasion ilk aren’t helping either. The catch is that these are all green-skinned tentacle-haired no-genitaled aliens on a distant planet who without a hint of explanation are living their lives parallel to Earth’s 1950s.
Lem is finally starting to get his game on when his life is turned upside down by the inconvenient entry of Captain Charles “Chuck” Baker (Dwayne 'The Rock' Johnson). Chuck is a human being and an astronaut who has landed his ship on the titular planet expecting something more barren only to find himself on the run from a culture living in fear of invasion because of a popular series of alien invasion films. His only help to get back to his module and dock with his mother ship in orbit before his countdown runs out (?) is Lem and his group of nerdy friends. Adventure ostensibly ensues and lessons are eventually learned by all: The cowardly Lem learns self-confidence the arrogant Chuck learns humility and we’re all supposed to learn tolerance towards those different from us. Unfortunately the only lesson actually imparted here is to be more careful when choosing an animated sci-fi film on which to spend your money.
While the premise here -- turning a cliché on its head -- shows promise Planet 51 has only switched the players. Every dumb alien joke since E.T. flew in front of the moon (and of course that’s here too) is included in the unimaginative script penned by the presumably sleep-writing Joe Stillman (Shrek Beavis and Butt-Head Do America). There’s not even anything fun and fast-paced here to take advantage of the animated CG format and make up for the crushing boredom. Why even do this sort of thing without an eye-candy chase scene or two?
The cast members as talented as they may be fare no better with the nothing they’re given. Johnson sounds as if he was reading a children’s book out loud to kindergarteners and it’s exhausting listening to him pander. Long is going through the same ol’ motions that have made up the majority of his career thus far and Biel is ridiculously unnecessary since she is given practically nothing to say or do. You’d think appearances by John Cleese as an alien scientist or Gary Oldman as the general leading the search for Chuck would bring some creative juices or some (sadly lacking) clever humor to the affair but they never manage to get past the tedious nature of the material written for them.
If there was ever an animated film that needed a clever punch-up team it’s this one. Planet 51 lacks both style AND substance which is surprising given the wealth of opportunities you’d think would be presented here. Perhaps first-time Spanish director Jorge Blanco and new Madrid-based studio Ilion Animation were overconfident about making a children’s film. All I can think is that they must have assumed this was going straight to DVD anyway and no one would notice. Planet 51 deserves to be packed up in a dusty crate in a corner of the Area 51 warehouse never to be seen again.
The American military has always been at the forefront of technological innovation often working on the fringes of scientific credibility in its constant search for new ways to locate and eliminate enemies. At times the military's eagerness to gain an edge over its adversaries has led it to some strange dark places many of which are chronicled in The Men Who Stare at Goats British author Jon Ronson’s real-life account of the U.S. government’s efforts to create an army of “psychic supersoldiers."
If you’re not familiar with the world of psychic warfare (and really why would you be?) the book’s title refers to an experiment conducted during the 1980s at Fort Bragg North Carolina in which specially trained soldiers using methods culled from the top-secret First Earth Battalion Operations Manual attempted to stop the heart of a goat using nothing but the power of the mind. The ultimate goal obviously was to develop the skill for eventual use on enemy combatants.
Chock full of similarly wild yet credible stories The Men Who Stare at Goats’ strange-but-true subject matter lends itself perfectly to film adaptation. Its structure — a disparate collection of loosely related vignettes covering over a 30-year timespan — does not. Nevertheless director Grant Heslov and screenwriter Peter Straughan gave it a shot refashioning the material to such an extent that the movie is no longer “based upon” Ronson’s book but instead merely “inspired by” it.
Thankfully Heslov kept intact two of the book’s greatest strengths: its lively irreverent tone and its fascinating array of colorful characters. The latter is no doubt what attracted the film’s star-studded cast led by George Clooney as Lyn Cassady a fidgety veteran of the “psychic spy” brigade whose chance meeting with journalist Bob Wilton Ronson’s onscreen counterpart (played as an American ironically by U.K. actor Ewan McGregor) provides the catalyst for the storyline.
As Cassady squires Wilton through the Iraqi desert en route he claims to a contracting gig he regales the awe-struck reporter with stories of the New Earth Army and its founder a Vietnam vet-turned-New Age acolyte named Bill Django (Jeff Bridges). In the early '80s Django now a ponytailed flower child managed to obtain Army approval to spearhead a pilot program that would to train a legion of “warrior monks” to read minds pass through walls and disable enemies through a wide variety of non-lethal methods.
Any program like the New Earth Army is bound to attract its share of bad apples amoral folk who aim to use its teachings to enrich themselves and cause harm to others. In The Men Who Stare at Goats the entire rotten orchard is represented by Larry Hooper (Kevin Spacey) a sleazy manipulative charlatan whose devious machinations ultimately serve to bring down the entire operation.
Goats is at its loopy best as Cassady cycles through various off-the-wall anecdotes of Django and his increasingly bizarre training methods. But it falls apart when Heslov attempts to weave it all into a coherent storyline complete with a climax centered on a hairbrained scheme to spike the water supply at an American fort with LSD. It's understandable that Heslov felt compelled to invent something that could bring some resolution to the story but getting everyone high on acid? It sounds like a gimmick stolen from one of the lesser Revenge of the Nerds sequels.
Needless to say that last part wasn’t in Ronson’s book.