Oscar-winner Halle Berry's flop Catwoman and US President George W. Bush's government were the big winners at Saturday's Golden Raspberry Awards.
Berry shocked film fans when she graciously arrived on stage, clutching her Academy Award, to collect her Worst Actress Razzie at the Los Angeles ceremony. Catwoman won four accolades, including Worst Director for Pitof, Worst Picture and Worst Screenplay.
Berry said, "Oh my gosh, oh my God. I never in my life thought that I would be here, winning a Razzie. It's not like I ever aspired to be here, but thank you.
"When I was a kid, my mother told me that if you could not be a good loser, then there's no way you could be a good winner. It was just what my career needed--I was at the top and now I'm at the bottom."
Meanwhile a host of top Republicans, including Bush, were honored for their 'performances' in Michael Moore's hit documentary Fahrenheit 9/11.
The anti-Bush film picked up four accolades including Worst Actor, Worst Supporting Actor for Defense Secretary Donald Rumsfeld, Worst Supporting Actress for Britney Spears' cameo and Worst Screen Couple for Bush and Secretary of State Condoleeza Rice or his pet goat.
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Bush's California Governor Arnold Schwarzenegger was also named Worst Razzie Loser of the Golden Raspberry Award Foundation's 25-year history, for actors who received the most nominations without ever winning a trophy.
The full list of winner is:
Worst Picture: Catwoman
Worst Actor in a Leading Role: George W. Bush in Fahrenheit 9/11
Worst Actress in a Leading Role: Halle Berry in Catwoman
Worst Supporting Actor: Donald Rumsfeld in Fahrenheit 9/11
Worst Supporting Actress: Britney Spears in Fahrenheit 9/11
Worst Screen Couple: George W. Bush and either Condoleeza Rice or His Pet Goat
in Fahrenheit 9/11
Worst Remake or Sequel: Scooby Doo 2: Monsters Unleashed
Worst Director: Pitof for Catwoman
Worst Screenplay: Catwoman written by Theresa Rebeck and John Brancato &
Michael Ferris and John Rogers
Worst Musical of our First 25 Years: From Justin To Kelly (2003)
Worst Comedy of our First 25 Years: Gigli (2003)
Worst Drama of our First 25 Years: Battlefield Earth (2000)
Worst Razzie Loser of our First 25 Years: Arnold Schwarzenegger
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Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.
The French film Vidocq, starring Gerard Depardieu and set for release on Sept. 19, will become the first feature to be released using the Sony-Panavision technology that George Lucas employed with his latest Star Wars film, the London Sunday Observer reported from Paris. The newspaper said that 800 of the $22-million film's 2,300 scenes were manipulated by computers after shooting was completed. The film's director, who uses only the single name Pitof, told the Observer: "I think this is the first step towards the cinema of the future. It certainly makes it a very different thing to do to make a film - post-production, by which I mean editing and inserting special effects, becomes just as important as the actual filming."