Skyfall is the perfect film to accompany the 50th Anniversary of the first big screen Bond movie Dr. No. The movie is a crossroads for 007; the spy is an old soul with unconventional archaic methods struggling to exist in a high-tech world with enemies who swap laser beams and nukes for Internet viruses and data infiltration. This conflict is the core of Skyfall — perfect for director Sam Mendes (American Beauty Revolutionary Road) — and the human drama gives every moment of the espionage thriller additional weight. Sure there are the grandiose set pieces we've come to expect from the series. But like the older films Mendes keeps most of the action contained the focus always on star Daniel Craig as he evades and confronts danger. He even pushes further allowing the evildoers into MI-6's home and through the magic of performance the audience into the mind of Bond.
After a botched mission sends him off the grid James Bond returns to his homebase in London to discover the MI-6 in disarray. The target of system attacks seemingly designed to screw with M (Judi Dench) MI-6 calls upon a noticeably shaken (not stirred) Bond to get back on his feet and track down the nefarious face behind the online terrorism. While politico Gareth Mallory (Ralph Fiennes) would prefer to use the magic of computers and drones to dig up the bad guy M knows even Bond at 50% is unlike any machine in the world. A few training sessions and a weapon upgrade from Q (Ben Whishaw) later Bond hits the road.
In pure Bond fashion Skyfall traverses some beautiful landscapes. From China's glowing waterside gambling epicenter Macau to the remains of a South Pacific isle to the foggy country side of Scotland. Departing from action movie aesthetics and embracing shadows atmosphere and imperfection Bond's journey feels even more tangible than the "realistic" approach of Casino Royale. The haunting locations reflect his deeply personal mission. It helps too that Bond is faced by one of his best villains yet: Javier Bardem as the charming psychopathic Raul Silva. Silva acts as another mirror for Bond albeit a version completely off the rails. Like a mix of Hannibal Lecter and Heath Ledger's Joker in The Dark Knight Silva is determined to burn his opponents in any fashion possible. Bardem plays it all with a sinister smirk — a twist on the maniacally-laughing Bond villains of yesteryear.
Skyfall's concentration is on the dramatic but continuously delivers in the action department. Mendes finds innovative new ways to stage classic Bond moments; a one-shot fist fight in the windows of skyscraper bubbles over with intensity while another in the Chinese casino tips its hat to the campier side of the franchise. And the movie goes big with an opening sequence on par with any of Bond's past outings and a foot chase through London's Tube that tests Craig's limits as a physical performer. He never misses a beat.
Impressively Skyfall is a movie pulled from this moment in history while encompassing everything that made James Bond a long-lasting character. It's one of the best Bond entries of all time a heart-pounding action flick from start to finish (with a rousing conclusion evoking everything from Terence Young to Sam Peckinpah) and one of the best movies of the year.
Yes it’s true. Although it reaped deserved accolades and an Oscar win for its star Philip Seymour Hoffman Capote keeps you somewhat at arm’s length as you watch Truman Capote go through his agonizing journey to writing his one and only masterpiece In Cold Blood. Infamous however wears its heart on its sleeve drawing you in immediately. When we first meet Capote (Toby Jones) it’s in New York. As the toast of the town and confidante to some of Manhattan’s elite grand dames including Babe Paley (Sigourney Weaver) and Slim Keith (Hope Davis) Capote’s mood is light and airy his antics hilarious. Then once Capote travels to Kansas to cover the grisly Cutter murders with his dear friend Nell Harper Lee (Sandra Bullock) the frivolity is peeled away layer by layer. When he finally becomes so tortuously—and yes even romantically (it goes there)—entangled with killer Perry Smith (Daniel Craig) and the writing of his book hits its crescendo Capote emerges as a beaten-down and bitter man who ultimately can’t even be lifted by his high society friends. Infamous is infinitely more heartbreaking. It’s really hard to top Hoffman’s Oscar-winning performance as Truman Capote. He embodies the character with such exquisite and subtle suffering you don’t mind the fact he doesn’t look anything like the diminutive author. Toby Jones (Finding Neverland) however does look like Capote. A LOT like him and is just as capable at wringing out all of Capote’s brilliance and faults. But rather than dominate Jones’ eerie look-a-like characterization blends in more with Infamous’ scenery allowing some of the other colorful characters to step up to the plate. Weaver and Davis are effusive and catty as Capote’s Manhattan buddies who give hints on what’s to become of Capote later in his life when he finally goes too far and crosses these fine society ladies. Craig is also particularly effecting as Smith full of pathos and rage. But the real stand out is Bullock as Harper Lee. Her unassuming but quietly fierce take on the To Kill a Mockingbird author far outshines Catherine Keener’s Oscar-nominated performance in Capote. Bullock brings such an essence to the role that when watching Lee tell stories of when she and Truman were children you see the little girl Scout from Mockingbird so very clearly. Kudos all around. Director/writer Douglas McGrath has to got to be kicking himself. Seriously. Of course he’s going to say “Given the riveting contradictions in Capote’s character the rich range of people who made up his circle and the comic and dramatic turns that marked the period the real wonder is that there were only two scripts.” But the fact of the matter is Capote came first and furious getting all kinds of good strokes. Releasing another movie about the very same subject on its heels...well that movie is going to have a harder time. Period. And that’s a real shame. McGrath does some truly marvelous things with Infamous. He shows how a flamboyant gay writer spoiled chic who plays court jester to the very cream of New York society is set down in the wastelands of Kansas to write about a horrible crime. Capote’s antics at first are hilarious such as trying to wear cowboy boots and a cowboy hat just to fit in. But then the shift into the dark side as Capote delves deeper and deeper into the psyche of the killers keeps you riveted. It might be the same but Infamous is just as worthy.
BEVERLY HILLS, Calif., March 19, 2000 - Rene Russo, the actress, didn't win any awards for her head-turning performance in "The Thomas Crown Affair." But tonight here at the Beverly Hilton, Rene Russo, the haircut, did. Welcome to the first-ever Hollywood Makeup Artist and Hair Stylist Guild Awards, where the above-the-title stars take back seats to behind-the-scenes primping professionals.
Yes, it was the beauty folks' turn to make Oscar-like acceptance speeches and bask in the praise of thankful A-list celebrities who they've made look good, "day after day, year after year, facelift after facelift," as host Rita Rudner drolly put it.
"It's the American dream that I've heard so much about. It's happening to me right now," hair stylist Enzo Angileri said, accepting the so-called Georgie award for doing Russo's do in "Thomas Crown," named best contemporary hairstyling work.
Decades ago, hair and make-up people were treated like celebrities themselves. But the list of big names attending the awards ceremony showed that, while movie and TV beauticians may no longer make it into the gossip columns, they nonetheless are held in high esteem by those who do.
"It's an art form," said actor Billy Bob Thornton, an award presenter. As if to prove that point, Thornton showed up in full make-up (complete with oily gray hair) and costume (a Slim Whitman-meets-Colonel Sanders outfit) from "Waking Up In Reno," a film he's now shooting, in which he plays an aging country singer.
"A lot of people don't realize how much time we spend in make-up, how many hours we spend being literally transformed by these artists," he said.
Other name brands handing trophies included: Holly Hunter, Brendan Fraser (greeted by cat-calls from the audience), Ellen Burstyn, Mimi Rogers, and cast members from TV shows like "That 70's Show," "Freaks and Geeks," and "Providence." Before the event, crowds of fans and electronic lined the Beverly Hilton lobby as the stars rolled in.
Tony Curtis presented the lifetime achievement award to makeup artist Monty Westmore, who recently retired after a 50-plus-year career that included more than 100 films, ranging from "The Treasure of Sierra Madre" with Humphrey Bogart to the forthcoming "How the Grinch Stole Christmas" with Jim Carrey.
Unlike the Oscars, which have been plagued by mishaps this year despite 72 years of experience, the Georgies basically survived their first go-round with almost no problems. Ballots were mailed out to the 1,100 members of the International Alliance of Theatrical Stage Employees Local 706, who voted on the 17 different award categories. And the golden statuettes, which look vaguely Oscar-like, didn't disappear en route to the event.
But note the phrase: Almost no problems. Amid the celebration, two important items were missing: The champagne and sunglasses. The champagne ordered for the ceremonies never arrived, and was believed to have been delivered to another hotel. And the Calvin Klein shades that were to be supplied by the designer label and given out to the presenters, also were no-shows.
When informed of this caper, actress Christina Applegate (of "Jesse" fame) was understandably dejected.
"Was I supposed to get some glasses?" Applegate said. "Darn."
Here's a complete look at the night's winners:
Best Contemporary Makeup (Feature) Toni G and Will Huff "The General's Daughter."
Best Period Makeup (Feature) Leonard Engleman, "Tea With Mussolini."
Best Character Makeup (Feature) Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch, "Sleepy Hollow."
Best Effects Makeup (Feature) Greg Cannom and Wesley Wofford, "Bicentennial Man."
Best Contemporary Hair Styling (Feature) Enzo Angileri "The Thomas Crown Affair."
Best Period Hair Styling (Feature) Vivian McAteer, for Cher in "Tea With Mussolini." Television TELEVISION
Best Contemporary Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) James MacKinnon and Stephanie Fowler, "Thank You Providence," "Providence."
Best Period Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham, "Triangle," "The X-Files."
Best Character Makeup (Television) Jennifer Aspinall, Felicia Linsky and Ed French, Episode #507, "Mad TV."
Best Makeup Effects (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Kenny Myers, Todd A. McIntosh, Robin Beauxchesne, Douglas Noe, and Brigette Myre-Ellis, "Living Conditions," "Buffy The Vampire Slayer."
Best Period Makeup (For a Mini-Series or Movie of the Week) Sue Cabel, Matthew Mungle and Joe Hailey, "And The Beat Goes On: The Sonny and Cher Story."
Best Character Makeup (For a Mini-Series or Movie of the Week) Douglas Noe, for Cicely Tyson in "A Lesson Before Dying."
Best Contemporary Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Darrell Fielder, Jonathan Hanousak and Joy Zapata, "The Final Frontier," "Mad About You."
Best Period Hair Styling (For a Single Episode of a Regular Series -- Sitcom, Drama or Daytime) Gabriella Pollino, Deborah Piper, Valerie Scott and Cindy Costello, "Prom Night," "That 70's Show."
Best Character Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Bride of Chaotica," "Star Trek Voyager."
Best Innovative Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Dragon's Teeth," "Star Trek Voyager."
Best Period Hair Styling (For a Mini-Series or Movie of the Week) Marlene Williams and Tim Jones "And The Beat Goes On: The Sonny & Cher Story."
SANTA MONICA, Calif., Feb. 7, 2000 -- At long last, an awards show that's dedicated solely to the people who are truly indispensable to Hollywood: makeup artists and hairstylists.
Yes, you heard right -- one entire awards ceremony, with all the necessary trimmings and accoutrements, has sprung up to give special notice to industry makeup artists and hairstylists ... and no one else. (Don't worry, plastic surgeons of America, you'll probably get your nods soon enough).
Nominations for the 1st Annual Hollywood Makeup Artists and Hair Stylist Guild Awards, honoring outstanding makeup and hair achievements in film and TV, were announced today. The nominees in the 17 categories were chosen by 1,100 active members of the International Alliance of Theatrical Stage Employees Local 706. Guild members will vote for the winners. Balloting begins Tuesday, with awards to be handed out March 19 at the Beverly Hilton Hotel.
If all this sounds terribly serious stuff -- it is, according to guild committee member Marvin Westmore, scion of George Westmore, who started the first makeup and hair department at the Selig studio in 1917, and for whom the Lifetime Achievement Award is named after.
"It's very difficult to get the makeup and hair artists recognized in a proper manner. In the makeup field, as in the hair field, there're a number of categories that are never considered," Westmore said today. "We've got a category on contemporary makeup and hair, historical makeup and hair ... and about 15 other categories that address other specialties. We feel that it's important to give all the industry hair and makeup artists their proper due and not just simply lump their achievements together."
Celeb presenters who will dignify the event include Christina Applegate, Annette Bening, Ellen Burstyn, Kim Delaney, Brendan Fraser, Ed Harris, Holly Hunter and Rob Lowe.
Here's the complete list of nominees:
Best Contemporary Makeup -- Feature
Debbie Zoller, James MacKinnon and Jill Cady for "Goodbye Lover" (Regency/Warner Bros.)
Ronnie Specter for "The Story of Us" (Castle Rock/Universal)
Allan Apone, Donald Mowat, Ron Snyder and Adam Brandy for "Three Kings" (Warner Bros.)
Toni G and Will Huff for "The General's Daughter" (Neufeld/Rehme Productions/Paramount)
Best Period Makeup -- Feature
Leonard Engleman for "Tea With Mussolini" (Universal/MGM)
Patty York, Cheryl Nick, Michele Burke and Steve Artmont for "Austin Powers: The Spy Who Shagged Me" (New Line)
Ronnie Specter for "A Midsummer Night's Dream" (Fox Searchlight)
Best Character Makeup -- Feature
Sheryl Leight Ptak for "Man on the Moon" (Jersey Films/Universal)
Cheri Minns for "Bicentennial Man" (Columbia/Touchstone)
Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch for "Sleepy Hollow" (Paramount)
Best Special Effects Makeup -- Feature
Michele Burke, Kenny Myers, Will Huff and Kevin Haney for Mike Myers as Austin Powers and Dr. Evil, and Vernon Troyer as Mini Me in "Austin Powers: The Spy Who Shagged Me" (New Line)
Greg Cannom and Wesley Wofford for "Bicentennial Man" (Columbia/Touchstone) Stan Winston and Mike Smithson for Mike Myers as Fat Bastard in "Austin Powers: The Spy Who Shagged Me" (New Line)
Best Contemporary Hair Styling -- Feature
Enzo Angileri for "The Thomas Crown Affair" (MGM)
Cydney Cornell for "American Beauty" (DreamWorks)
Paul LeBlanc for "Anywhere But Here" (Fox 2000 Pictures) Frances Mathais for "Simpatico" (Emotion Pictures/Canal Plus/King's Gate/Fine Line)
Best Period Hair Styling - Feature
Peter Tothpal, Janet McDonald and Angie Cameron for "The 13th Warrior" (Touchstone)
Candy Walken, Jeri Baker-Sadler, Jennifer O'Halloran and Toni-Ann Walker for "Austin Powers: The Spy Who Shagged Me" (New Line)
Vivian McAteer for "Tea With Mussolini" (Universal/MGM)
Best Contemporary Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Patty Bunch Leisure and Cynthia Bachman for "Big Brother Is Coming," "Will & Grace" (NBC)
Cynthia Bachman and Patty Bunch Leisure for "I Never Promised You An Olive Garden," "Will & Grace" (NBC)
James MacKinnon and Stephanie Fowler for "Thank You Providence," "Providence" (NBC)
Best Period Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham for "Triangle," "The X-Files" (Fox)
Marie DelPrete fpr "Between a Rock Star and Hard Place," "Rude Awakenings" (Showtime/Mandalay TV/Columbia/TriStar TV)
Lisa Layman, David Syner and Joseph Regina for "Pilot," "Freaks & Geeks" (NBC)
James MacKinnon and Stephanie Fowler for "He's Come Undone," "Providence" (NBC)
Best Character Makeup - Television
Jennifer Aspinall, Felicia Linsky and Ed French for Episode #505, "Mad TV" (Fox)
Jennifer Aspinall, Felicia Linsky and Ed French for Episode #507, "Mad TV" (Fox)
Cheri Montesanto-Medcatf and Kevin Westmore for "Two Fathers/One Son," "The X-Files" (Fox)
Best Special Effects Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Michael Westmore, Scott Wheeler, James Rohland and Ellis Burman for "Dark Frontiers," "Star Trek Voyager" (UPN/Paramount)
Todd A. McIntosh, Robin Beauxchesne, Douglas Noe and Brigette Myre-Ellis for "Living Conditions," "Buffy The Vampire Slayer" (Fox/WB)
Bill Corso and Douglas Noe for "Just Duet," "L.A. Doctors" (CBS)
Best Period Makeup - Television (For a Mini-Series or Movie of the Week)
June Brickman and Tammy Ashmore for "The 60's" (NBC/Trimark)
Sue Cabel, Matthew Mungle and Joe Hailey for "And The Beat Goes On: The Sonny and Cher Story" (ABC) Marvin Westmore,
June Westmore and John Jackson for "Lansky" (HBO)
Best Character Makeup --Television (For a Mini-Series or Movie of the Week)
June Brickman and Tammy Ashmore for "The 60's" (NBC/Trimark)
Douglas Noe for "A Lesson Before Dying" (HBO)
Best Contemporary Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Ken Nelson and Suzanne Kontonickas for "The Devil's Music," "Charmed" (Spelling Television/WB)
Tim Burke for "Homo For The Holidays," "Will & Grace" (NBC)
Darrell Fielder, Jonathan Hanousak and Joy Zapata for "The Final Frontier," "Mad About You" (NBC/Columbia TriStar TV)
Best Period Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Stacy K. Black and Shana Fruman for "He's Come Undone," "Providence" (NBC)
Lana Heying for Episode #592 "Lataya, Letisha and Lanesha," "All That" (Nickelodeon)
Garbillera Pollina for "Prom Night," "That 70's Show" (Fox/Carsey-Werner)
Best Character Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime)
Dugg Krikpatrick and Judith Teidemann for "Episode #511, "Mad TV" (Fox)
Josee Normand, Charlotte Parker and Gloria Montemeyor for "Bride of Chaotica," "Star Trek Voyager" (Paramount/UPN)
Judith Teidemann, Dugg Krikpatrick and Chris Curry for "Who Wants To Be A Millionaire," "Mad TV" (Fox)
Best Innovative Hair Styling - Television (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Dugg Krikpatrick for "Episode #505," "Mad TV" (Fox)
Josee Normand, Charlotte Parker and Gloria Montemeyor for "Dragon's Teeth," "Star Trek Voyager" (Paramount/UPN)
Stacy K. Black and Shana Fruman for "He's Come Undone," "Providence" (NBC)
Best Period Hair Styling - Television (For a Mini-Series or Movie o the Week)
Vickey Phillips, Gerald Coke-Riley, Patricia Gunlock and Michael White for "Purgatory" (TNT)
Matthew Kasten, Natascha Ladek and Mishell Chandler for "Annie" (Walt Disney Television/ABC)
Marlene Williams and Tim Jones for "And The Beat Goes On: The Sonny & Cher Story" (ABC/Larry Thompson)
George Westmore Lifetime Achievement Award