The Screengrab : penelope cruz

DVD O'Digest for March 17, 2009

Paul Clark — Tue, 17 Mar 2009 14:00:00 GMT

This week, the much-ballyhooed Luck of the Irish doesn’t extend to DVD shoppers, who will find little in the way of worthwhile recent releases to add to their collections. Nonetheless, there’s worthy stuff hitting the market today, provided you know where to look.

This week’s haul of recent releases is headed by Will Smith’s latest attempt to curry Academy favor, Gabriele Muccino’s Seven Pounds (Sony, also Blu-Ray). Other movies hitting stores today include the animated family film The Tale of Despereaux (Universal, also Blu-Ray), the comic book-inspired revenge actioner Punisher: War Zone (Lionsgate, also Blu-Ray), and Ben Kingsley and Penelope Cruz in Elegy (Sony). Also, this weekend brings the release of two new DVDs starring newly-anointed star Kristen Stewart- the smash vampire-teen blockbuster Twilight and the Mary Stuart Masterson-directed indie drama The Cake Eaters, the movie that answers the question, “whatever happened to Mary Stuart Masterson?”

In the classics department, the big news this week is the release of Akira Kurosawa’s first color film, Dodes’ka-den (Criterion). I’ve yet to see it myself, but according to a number of critics, Dodes’ka-den is second-tier Kurosawa. All the same, it’s still Kurosawa, so I’m eager to give it a look. Also this week: The Robe Special Edition (Fox, also Blu-Ray), a lumbering biblical picture that’s justly remembered solely for being the first Cinemascope release; and the box set Eclipse Series 15: Travels With Hiroshi Shimizu, featuring four titles from this Japanese auteur.

In TV on DVD, this week brings Mr. Belvedere Seasons 1 and 2 (Universal). And in Blu-Ray only news, the highlights this week are the sword-and-sandal epic Quo Vadis (Fox) and the eighties favorite The Princess Bride (MGM).

Finally, I’d like to close this column introducing a new feature with this week’s DVD Digest, spotlighting the most bizarre DVD synopsis of any of this week’s new releases. Despite some competition from a movie that described itself as “a horrific thriller in the vein of Captivity (who’d want to be associated with Captivity???), the inaugural winner of the prize was the Media Blasters’ DVD entitled Booby Life. Here’s the synopsis, courtesy of DVD Planet:

Naoto, your run-of-the-mill young dude with a thing for top-heavy women, is the luckiest bum in the world. Ayane, a busty babe he's known for almost all his life, has a thing for him and lets him have his way with her anytime he wants. On top of that, Chika, another one of his chesty childhood friends, has just a big a crush on him too. When she says to him, "My boobs belong to you," there's no way any guy with a healthy sex drive can resist. There's now only two hard things in Naoto's life now, and one of them is choosing between two gorgeous hotties!

So much for a slow DVD week, eh?

Spirit Awards Unveiled; Mickey Rourke Crazy Train Rolls On

Andrew Osborne — Sun, 22 Feb 2009 23:11:00 GMT

SEVEN THINGS I DISCOVERED WHILE WATCHING THE SPIRIT AWARDS ON IFC YESTERDAY:

1. Steve Coogan is a better host than Rainn Wilson. But then again, so am I.

2. Melissa Leo takes the whole "indie spirit" thing way, way too seriously (and the "fashion" thing way, way too not seriously).

3. Teri Hatcher can neither sing nor dance, nor is she funny, making her a curious choice to perform a comical musical tribute to Wendy & Lucy.

4. On the day of her big make-out scene with Scarlett Johansson in Vicky Cristina Barcelona, Woody Allen had a panic attack about a mysterious freckle he'd just discovered and rushed to a doctor to get it checked out. (But apparently it was nothing).

5. Rosie Perez thinks Penelope Cruz is a fly bitch.

6. According to Mickey Rourke, Eric Roberts did something terrible fifteen years ago. But Hollywood should forgive him.

7. We're all going to be really, really sick of Mickey Rourke by next year's Spirit Awards (if not much, much sooner).

As for the rest of what I learned watching the live broadcast from a big tent in Santa Monica, here's a list of the 2009 Spirit Award Winners:

Best Feature
The Wrestler

Best Director
Tom McCarthy, The Visitor

Best Screenplay
Woody Allen, Vicky Cristina Barcelona

Best First Feature
Synecdoche, New York (Director: Charlie Kaufman)

Best First Screenplay
Dustin Lance Black, Milk

John Cassavetes Award (For the Best Feature made for under $500,000)
In Search of a Midnight Kiss (Writer/Director: Alex Holdridge)

Best Supporting Female
Penelope Cruz, Vicky Cristina Barcelona

Best Supporting Male
James Franco, Milk

Best Female Lead
Melissa Leo, Frozen River

Best Male Lead
Mickey Rourke, The Wrestler

Best Cinematography
Maryse Alberti, The Wrestler

Best Foreign Film
The Class (Director: Laurent Cantet)

Best Documentary
Man on Wire (Director: James Marsh)

Screengrab Predicts The Oscars: Winners (Part Three)

Andrew Osborne — Thu, 05 Feb 2009 22:00:00 GMT

BEST SUPPORTING ACTOR

And the nominees are...

Josh Brolin – Milk
Robert Downey, Jr. – Tropic Thunder
Philip Seymour Hoffman – Doubt
Heath Ledger – The Dark Knight
Michael Shannon – Revolutionary Road

Paul Clark Predicts: Heath Ledger

Probably the most iron-clad pick of the major nominees, giving Hollywood a chance to honor one of their brightest young talents who was gone far too soon. Although if by some chance there’s a sentiment out there to give it to someone who’s still around, I’d say Brolin would be the best bet -- Hoffman just won, Shannon’s lucky just to be nominated, and they’d never give Downey an Oscar for a performance that controversial. But yeah, this is Ledger’s all the way.

Andrew Osborne Predicts: Heath Ledger

Leonard Pierce Predicts: Heath Ledger

Josh Brolin’s terrific performance in Milk may be diffused by the fact that he’s surrounded by other great supporting roles. Downey deserved his nomination, but won’t get it in a million years. But really, what are we even talking about here? If there’s ever been, forgive me, a mortal lock in the history of the Oscars, it’s Heath Ledger’s performance as the Joker.

Should Win: Heath Ledger, The Dark Knight
Will Win: Heath Ledger, The Dark Knight

Nick Schager Predicts: Heath Ledger

Iconic role in an immense blockbuster? And it’s his final performance? Ledger is this year’s sure bet.

Sarah Clyne Sundberg Predicts: Heath Ledger

Any other year, Philip Seymour Hoffman, since he's in enough high profile movies this year to warrant it. Rightfully, though the award belongs to Josh Brolin. This being not a normal year, but rather The Year Heath Ledger Died, he will get posthumously rewarded.

Scott Von Doviak Predicts: Heath Ledger

SCREENGRAB CONSENSUS: HEATH LEDGER

BEST SUPPORTING ACTRESS

And the nominees are...

Amy Adams – Doubt
Penélope Cruz – Vicky Cristina Barcelona
Viola Davis – Doubt
Taraji P. Henson – The Curious Case of Benjamin Button
Marisa Tomei – The Wrestler

Paul Clark Predicts: Viola Davis

I’d say this is between Davis and Cruz, but the role wins it for Davis. After all, the role has already brought home a Tony, and while it’s tempting to think Cruz could accept the Oscar from her boyfriend and Vicky Cristina Barcelona costar Javier Bardem, Davis’ Oscar clip will be hard to beat.

Andrew Osborne Predicts: Viola Davis

I really, really want Penélope Cruz to win this, simply because she gave (for me, anyway) the most memorable Supporting Actress performance of the year...but the Academy hates comedy and loves drama, especially snot-running down the face “Oscar” moments like Viola Davis’ cameo in Doubt. Plus...diversity! And, hey, Viola ain't no slouch and totally knocked her scene outta the park, so no hard feelings. Taraji P. Henson doesn’t deserve it: she was likeable enough, but her performance was all about make-up, so I’ll be mad if she wins. Amy Adams doesn’t deserve it, either: she was fine, but the role was fairly bland. And I wouldn’t mind seeing Marisa Tomei win, but I’m guessing the Mickey Rooney wing of the Academy watched about five minutes of The Wrestler before snapping it off in disgust and reaching for that nice Benjamin Button screener again...

Leonard Pierce Predicts: Marisa Tomei

To hear a lot of the entertainment pundits tell it, Marisa Tomei is a stone cold lock for her role in The Wrestler, but I’m not convinced. She still catches a decent amount of flak from critics who don’t think she deserved her first Oscar. Viola Davis seems the most deserving for Doubt, but may suffer from a vote-split with Amy Adams. This one may be the most difficult of the major categories to call.

Should Win: Viola Davis, Doubt
Will Win: Marisa Tomei, The Wrestler

Nick Schager Predicts: Viola Davis

Davis takes supporting actress honors, because Doubt has to win something. And because Woody Allen’s excruciating Barcelona-travelogue-cum-phony-threesome-dramedy can’t in any way be honored. Please.

Sarah Clyne Sundberg Predicts: Viola Davis

Because she was that good and because the Academy will want to throw something Doubt's way.

Scott Von Doviak Predicts: Penélope Cruz

SCREENGRAB CONSENSUS: VIOLA DAVIS

Stay tuned for no Miley Cyrus, no Bruce Springsteen, no Jon Stewart and some Indian guy called Gulzar as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

DVD Digest for January 27, 2009

Paul Clark — Tue, 27 Jan 2009 15:00:00 GMT

This week, a whole bunch of late-summer/early-fall releases are coming on DVD to help soothe the midwinter moviegoing blues.

Of this week’s bumper crop of recent theatrical releases coming to DVD, the most noteworthy is Woody Allen’s Vicky Cristina Barcelona (Genius Products, also Blu-Ray), which became the Woodman’s biggest hit in years due in no small part to the promise of hot Penelope Cruz-on-Scarlett Johansson action. That it was also a welcome change of scenery for the filmmaker- shooting for the first time in Spain- helped matters somewhat as well. It’s definitely worth a look if you haven’t seen it yet- come for the sexy stuff, stay for the memorable performances by Oscar nominee Cruz, Javier Bardem playing a character 180 degrees removed from his Anton Chigurh, and the ever-dependable Rebecca Hall.

Also this week, Warner unleashes the cops’n’robbers trifecta of Edward Norton and Colin Farrell in Pride and Glory (also Blu-Ray), Neil LaBute’s Lakeview Terrace (also Blu-Ray), and Guy Ritchie’s Rocknrolla (also Blu-Ray). Other releases include: Rainn Wilson in The Rocker (Fox, also Blu-Ray); Kirk Cameron’s inspirational melodrama Fireproof (Sony), the Iraq War drama The Lucky Ones (Lionsgate); Roman Polanski: Wanted and Desired (Image), a docuymentary about the filmmaker’s controversial court case; the French thriller Tell No One (MPI); the babes-and-binge-drinking comedy College (Fox); and a pair of direct-to-DVD animated releases, Hulk Vs. (Lionsgate, also Blu-Ray) and Open Season 2 (Sony, also Blu-Ray).

This week’s selection of classics coming to DVD is highlighted by MGM’s The Pink Panther Film Collection (MGM), which includes all of the films including a new pressing of the original, also available in separately as The Pink Panther (1963) Collector’s Edition (MGM, also Blu-Ray). There’s also The Pink Panther Classic Cartoon Collection (MGM), a nine-disc set of the televised Pink Panther shorts. All of this Pink Panther news might be happier if it didn’t portend the release of the second crappy remake starring Steve Martin, but what can you do. Also this week: Mary Poppins 45th Anniversary Edition (Disney).

Finally, the big Blu-Ray only news this week is the release of Universal’s The Bourne Collection, which includes all three theatrical features (sorry, no Richard Chamberlain TV movie), along with a raft of extras. Also this week: Oliver Stone’s Any Given Sunday Director’s Cut (Warner), the college band drama Drumline Special Edition (Fox), and the annual release of Groundhog Day (Sony).

JENKINS!!!!! (a.k.a., Screengrab's Oscar Nod Prediction Results)

Andrew Osborne — Fri, 23 Jan 2009 15:00:00 GMT

Just wanted to give a big Screengrab high-five to the always hardworking, frequently overlooked (until now) character actor Richard Jenkins for his well-deserved Best Actor nomination for The Visitor. I’ve been a Jenkins fan ever since his great comic role as the long-suffering federal agent in Flirting With Disaster, and I’m happy to see him get bumped to the A list (or at least the B+ list) at last.

It was also nice to see Michael Shannon vault onto the red carpet outta nowhere. The wife and I just saw Revolutionary Road the other night, and shortly thereafter we turned to each other and said, “Why no Best Supporting Actor buzz for the crazy guy?” So we’re glad the Academy felt the same way. (And Penelope Cruz was always a lock for a Best Supporting Actress nod, but I’m still happy it’s official.)

On the other hand, while I wasn’t really expecting Oscar love for Debra Winger or Sally Hawkins, it’s still too bad they got snubbed (although Hawkins at least got a nice shiny Golden Globe for her trouble).

In other news, the ongoing Benjamin Button love fest (really? Brad Pitt gave a better performance than Clint in Gran Torino?) continues to baffle me as much as the curious case of Doubt not being a Best Picture or Best Director contender despite nominations for the screenplay and just about every actor with a speaking part in the movie. (Man, the Academy must really hate Dutch angles!)

But the big question you’re asking yourself is: which Screengrab staffer (or reader) scored highest in our Oscar Nomination Prediction Pool?

Well, first I should mention the staff as a whole scored a (fairly) respectable B- with our collective overall picks, correctly guessing 24.5 out of 30 nominations (for an 81.67% accuracy rating, if I did the math right).

Although we flubbed one Best Picture prediction and one Best Director slot, I can’t say I’m terribly upset about the Academy snubbing Christopher Nolan or The Dark Knight. (Scott Von Doviak and Sarah Clyne Sundberg, meanwhile, were the only ones on the staff who picked The Reader for the fifth Best Picture spot, having fortuitously remembered that Academy bylaws require at least one Holocaust-themed nomination per year).

Speaking of which, the Screengrab accurately anticipated a Best Actress nomination for Kate Winslet...but only Sarah had the ESP-Fu to anticipate the nod would be for The Reader, not Revolutionary Road. EW.com explained it thusly: “The Academy overruled a campaign and placed Kate Winslet in the lead-acting category for The Reader instead of Revolutionary Road. She may not have gotten two nominations, but this increases her chance at an eventual win.” (Unfortunately, I’m not entirely sure what they’re talking about.)

We also mistakenly forecast Best Actress noms for Cate Blanchett and the delightful Ms. Hawkins (although a few of us managed to correctly forecast nods for Angelina Jolie and Melissa Leo in our individual picks).

Nobody here (except, ahem, me) saw the Jenkins nomination coming, but I also joined the general mistaken consensus that Clint would snake a Best Actor nod away from Brad Pitt.

Finally, we only scored three and three and a half out of five in both tricky Best Supporting categories, favoring Ralph Fiennes and James Franco over Josh Brolin and Michael Shannon and (in a tie) Debra Winger and Kate Winslet (for The Reader...we’re still confused about that whole thing) over Taraji P. Henson.

As for which Screengrab writer (or reader playing along at home) had the most correct individual nomination predictions...well (ahem), I’ll just let the scores speak for themselves...

15 – Leonard Pierce
16 – Sarah Clyne Sundberg
21 – Iris Steensma
22 – Paul Clark
22 – Scott Von Doviak
24 – Andrew Osborne

Woo-hoo! Yes! In your face...uh...esteemed colleagues!

Okay, that's it for now! See you soon for the next round!

Related Stories:
Oscar Nominations Announced
Your 2008 Razzie Nominations
Screengrab Live Blogs The Golden Globes

Screengrab Predicts The Oscars: Nominations (Part One)

Andrew Osborne — Thu, 08 Jan 2009 21:00:00 GMT

In the wee hours of January 22nd (my birthday by the way – Target gift cards are always appreciated!), the nominations for the 81st Academy Awards will be announced by whichever two actors lost the coin-toss at the 80th Academy Awards ceremony last February. (Apparently the nominations were originally supposed to be announced on January 20th, but apparently there’s some big parade or whatever going on that day.)

Anyway, next to making year-end lists and posting cleavagey shots of Scarlett Johannson, there’s nothing your friends at the Screengrab enjoy more than Oscar predictions.

This year, we’re keeping score...and you (yes, YOU!) can play along at home by posting your predictions (down yonder in the Comments section) for the five nominees in each of the following major categories (along with your long-range guess for the winners of each award): Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actor & Best Supporting Actress.

After the actual nominees are announced, we’ll tally up the points and see which Screengrabber (or Commenter!) had the most accurate predictions, thus earning the top-seed spot going into the full-scale Oscar prediction play-offs.

For the Screengrab’s individual and collective picks, we'll see you after the jump!

BEST SUPPORTING ACTRESS

Scott Von Doviak Predicts:

NOMINEES
Penelope Cruz (Vicky Cristina Barcelona)
Viola Davis (Doubt)
Marisa Tomei (The Wrestler)
Debra Winger (Rachel Getting Married)
Kate Winslet (The Reader)

Penelope Cruz is the thinking man's choice for Vicky Cristina Barcelona. Kate Winslet will pull double duty for taking it all off in The Reader. Speaking of taking it all off, how about Marisa Tomei in The Wrestler? Viola Davis stole the show with five minutes in Doubt. And how about trying to lure Debra Winger back to full-time work with a nomination for Rachel Getting Married?

WINNER
Cruz, resurrecting the Woody Allen lock on this category from a decade ago.

Sarah Clyne Sundberg Predicts:

NOMINEES
Amy Adams (Doubt)
Penelope Cruz (Vicky Cristina Barcelona)
Beyoncé Knowles (Cadillac Records)
Samantha Morton (Synecdoche, New York)
Marisa Tomei (The Wrestler)

There are surprisingly few obvious choices for this one. Penelope Cruz will get nominated for Vicky Cristina Barcelona because it's the first good Woody Allen pic in years and nobody else is going to get any recognition for it. Marisa Tomei is here for playing a stripper, which is the type of thing that leads to nomination, unless of course you are Elizabeth Berkley. Amy Adams seems like another likely contender and Samantha Morton and Beyoncé Knowles, well they don't seem likely at all… I just like the thought of it really.

Paul Clark Predicts:

NOMINEES
Penelope Cruz (Vicky Cristina Barcelona)
Viola Davis (Doubt)
Taraji P. Henson (The Curious Case of Benjamin Button)
Marisa Tomei (The Wrestler)
Kate Winslet (The Reader)

Anyone who is familiar with Doubt knows that the character of Mrs. Miller is prime awards bait, and Davis most definitely brought her game to the role. And Cruz’s memorably over-the-top turn as Vicky Cristina Barcelona’s unhinged Maria Elena promises to be the first acting nomination from a Woody Allen film in nearly a decade (while you’re at it, pencil Allen in for his 15th Best Original Screenplay nomination). Winslet looks like she’s on track to rack up nomination #6 and perhaps even #7 this year, and I’m guessing that this’ll be her year to win one. Another name that keeps popping up in the precursor awards is Amy Adams, but do you think that the voters will nominate all four principle actors from a movie they didn’t love enough to nominate for Best Picture? I doubt it. Looking much more likely are one-time Oscar winner Marisa Tomei in The Wrestler, and Taraji P. Henson, whose adorable performance as Benjamin Button’s adoptive mother Queenie is a highlight of a movie that ought to get plenty of Academy attention.

WINNER
Kate Winslet

Andrew Osborne Predicts:

NOMINEES
Amy Adams (Doubt)
Penelope Cruz (Vicky Cristina Barcelona)
Viola Davis (Doubt)
Marisa Tomei (The Wrestler)
Debra Winger (Rachel Getting Married)

Why no love for Debra Winger’s blistering mama in Rachel Getting Married? Nobody’s talking up her Academy Award chances and as far as I know, only the Spirit awards have given a nod to one of last year's most memorable performances...but voting emotionally rather than strategically is always a sure way to hemorrhage points in your office Oscar pool (see my prediction snub of Sally Hawkins under Best Actress), so I’ll go with a safe bet for my first choice instead: Penelope Cruz, who’s also going to win (okay, to be honest, this pick is strategic and emotional, since she gave another one of my favorite performances of 2008, raising all surrounding boats on her raging, hormonal tide in Vicky Cristina Barcelona). But if it’s not Cruz, then it’s hard to imagine anyone beating Viola Davis, who was flat-out fantastic in Doubt. (Actually, now that I think about it...scratch Cruz and put me down for Davis: in such a tight race, a single vote could easily tip the balance, and for all I know, that swing vote could be Mia Farrow.) Aside from those two sure things, though, Supporting Actress is always the trickiest of the major categories to predict. Nobody expected Marisa Tomei to win for My Cousin Vinny way back in ‘92, for instance (though nobody was too surprised to see her fall victim to the Best Supporting Actress curse shortly thereafter); still, despite rumors that she’s, um, a bit of a handful to work with, she’s still a Made Guy in the Academy family, and it seems about time for Oscar to welcome her back. As for Amy Adams...well, she's America’s (and Hollywood’s) latest sweetheart, she looks good in red carpet couture and she did nice work in Doubt, so I expect she’ll snag the fourth spot. And finally...ah, what the hell: Winger.

WINNER
Viola Davis

Leonard Pierce Predicts:

Although 2008 got widely (and, I think, somewhat unfairly) smeared as an off year for movies, it was definitely a good year for the kinds of flicks that Oscar voters go for. With plenty of historical epics, ‘message’ pictures, and the kinds of ripe, fruity performances that always rack up AMPAS gold, the year may not have been a great one for the art house crowds, but it should provide the kind of entertainment at the Oscar ceremonies that Hugh Jackman won’t. Forthwith, my predictions for what’ll show up on the ballots in six major categories (the sure-fire lock: that I’ll make a total ass of myself with these picks).

NOMINATIONS
Amy Adams (Doubt)
Penelope Cruz (Vicky Cristina Barcelona)
Viola Davis (Doubt)
Amy Ryan (The Changeling)
Kate Winslet (The Reader)

The Academy will nominate a Woody Allen movie, as they do every few years just to get on his nerves, and movie fans will grind their teeth trying to figure out which Amy is which, distracting them from their usual annual confusion over why two actresses from the same movie got the nod. But in the end, Winslet will take home the statue for The Reader, a movie that’s going to get stiffed everywhere but in the acting categories. BIGGEST SCREWJOB: Debra Winger’s wonderful turn in Rachel Getting Married will be ignored, because the Academy can only handle so many comeback stories at a time.

WINNER
Kate Winslet

SCREENGRAB CONSENSUS: NOMINEES
AMY ADAMS, PENELOPE CRUZ, VIOLA DAVIS, MARISA TOMEI, KATE WINSLET

SCREENGRAB CONSENSUS: WINNER
KATE WINSLET

Click Here For Part Two, Three, Four, Five & Six

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Sarah Clyne Sundberg, Scott Von Doviak

Despised, Powerless Screenwriters Announce WGA Award Nominees!

Andrew Osborne — Thu, 08 Jan 2009 14:00:00 GMT

Screenwriters aren't exactly the most glamorous bunch in the Hollywood pantheon, so forgive me for bribing you with this image of the muy atractivas Penelope Cruz and Scarlett Johansson to announce the Writer's Guild nominees for best scripts of the 2008 movie season.

But this is not a completely gratuitious Johansson-ing: Woody Allen's script for Vicky Cristina Barcelona is one of five in contention for the WGA's Best Original Screenplay Award.

See you after the jump for the rest of the noddage!

(P.S. -- A nod for the underwritten father/daughter relationship of The Wrestler over all those wedding rehearsal dinner speeches in Rachel Getting Married? Discuss.)

2009 WRITERS GUILD AWARD NOMINATIONS

Original Screenplay
Burn After Reading, Written by Joel Coen & Ethan Coen, Focus Features
Milk, Written by Dustin Lance Black, Focus Features
Vicky Cristina Barcelona, Written by Woody Allen, The Weinstein Company
The Visitor, Written by Tom McCarthy, Overture Films
The Wrestler, Written by Robert Siegel, Fox Searchlight Pictures

Adapted Screenplay
The Curious Case of Benjamin Button, Screenplay by Eric Roth; Screen Story by Eric Roth and Robin Swicord; Based on the Short Story by F. Scott Fitzgerald, Paramount Pictures and Warner Bros. Pictures
The Dark Knight, Screenplay by Jonathan Nolan and Christopher Nolan; Story by Christopher Nolan & David S. Goyer; Based on Characters Appearing in Comic Books Published by DC Comics; Batman Created by Bob Kane, Warner Bros. Pictures
Doubt, Screenplay by John Patrick Shanley, Based on his Stage Play, Miramax Films
Frost/Nixon, Screenplay by Peter Morgan, Based on his Stage Play, Universal Pictures
Slumdog Millionaire, Screenplay by Simon Beaufoy, Based on the Novel Q and A by Vikas Swarup, Fox Searchlight Pictures

Documentary Screenplay
Boogie Man: The Lee Atwater Story, Written by Stefan Forbes and Noland Walker, InterPositive Media
Chicago 10, Written by Brett Morgen, Roadside Attractions
Fuel, Written by Johnny O'Hara, Greenlight Theatrical / Intention Media
Gonzo: The Life and Work of Dr. Hunter S. Thompson, Screenplay by Alex Gibney, From the Words of Hunter S. Thompson, Magnolia Pictures
Waltz with Bashir, Written by Ari Folman, Sony Pictures Classics

Andrew Osborne's Top Ten Movies of 2008 (Part Two)

Andrew Osborne — Sun, 28 Dec 2008 22:46:00 GMT

6. THE WACKNESS

Thoughtful, well-made coming-of-age stories are usually popular, and weed has been making a cinematic comeback lately, so I’m not exactly sure why The Wackness in general and Josh Peck’s charming turn as wistful pot dealer Luke Shapiro didn’t make more of a splash in 2008. Writer/director Jonathan Levine’s evocation of Manhattan circa 1994 feels as specific and lived-in as Ben Braddock’s Pasadena or Lloyd Dobler’s Washington suburb, and it’s hard to think of a better first-love interest than Olivia Thirlby. I posted a full review of the movie back in June when it first charmed me at the Provincetown Film Festival, so rather than repeat all that praise, I’ll just paraphrase Thirlby’s character and say the film wound up on my Top Ten because, in a difficult year, it reminded me to look at the dopeness and not just the wackness.

7. FULL BATTLE RATTLE

Full Battle Rattle is a documentary by Jesse Moss and Tony Gerber about a simulated Iraqi province in California’s Mojave desert, populated by Iraqi-American citizens and U.S. Army “insurgents” in a full-immersion training scenario where soldiers practice both their combat and diplomacy skills before heading off to the real war in Iraq. At first, it’s funny to watch battles interrupted by visits from the ice cream man as the military combines role-playing and stagecraft to create what seems like a strange, gorey theme park or game show (complete with graphically wounded mannequin “casualties,” designed to prepare fledgling medics for the realities of war). But it’s those harsh realities waiting for the participants beyond all the play-acting that provide the film with its emotional core, as we come to know the various players, including an Iraqi immigrant terrified of being deported and an American combat vet who admits, tellingly, that after returning from a tour of duty, it takes him several days to start viewing his Iraqi colleagues as people again (as opposed to potential enemies). By the time the simulation ends and the soldiers we’ve come to know say goodbye to their families and ship out to an uncertain future, the lady next to me in the movie theater was openly weeping, and there seemed to be something in my eye as well.

8. IRON MAN

I’ve gone on record about my utter bafflement over the messianic fervor surrounding The Dark Knight, a good but occasionally clunky superhero movie featuring an entertaining performance by a talented actor who died far too young. But I still don’t see why Heath Ledger’s Brad Dourif-ian performance as The Joker is considered groundbreaking or revelatory: compare its evocation of evil to Dennis Hopper in Blue Velvet and then get back to me. And I’m still not really sure why Batman’s deliberations over civil liberties vs. public safety are especially more profound than Iron Man’s growing awareness of the consequences of war profiteering, except that Jon Favreau’s comic book adaptation takes itself far less seriously while delivering its tightly paced (but not over-written) action payload. Robert Downey Jr.’s performance is nowhere near as flashy or iconic as Ledger’s, of course – a typical downside of playing the good guy – but it’s miles ahead of Christian Bale’s stiff-in-a-suit Caped Crusader. Downey is fun and fascinating to watch, infusing a potentially one-dimensional role with the gravity and humanity of hard-won experience, as well as the humility of a man all too aware he could very easily have shared Ledger’s fate.

9. IN BRUGES

Who is this incredibly engaging, charismatic actor named Colin Farrell, and why haven’t I seen him on the big screen before now? Oh, sure, I’m familiar with his doppelganger: that brooding, constipated Irish guy with the same name who kept threatening to be the next big thing for several years, but never quite arrived thanks to performances in a succession of mezzo-mezzo movies that never quite connected with audiences. But the Farrell who plays the guilt-ridden hit man Ray in Martin McDonagh’s funny, suspenseful crime drama In Bruges is a true movie star, well-paired with Brendan Gleeson as the soulful mentor waiting for the other shoe to drop in the titular Belgian town after a botched assignment brings down the wrath of crime boss Ralph Fiennes (who likewise has never been quite so compelling on screen). The beautiful but claustrophobic confines of the distinctive setting and the pervasive undertow of regret gives Bruges a richer flavor than, say, a fun but ultimately disposable Guy Ritchie offering like RockNRolla, even if McDonagh’s film isn’t ultimately all that much more than the sum of its high quality parts.

10. VICKY CRISTINA BARCELONA

Until three seconds ago, I was planning to include Slumdog Millionaire in the final slot of this list, if only for the energy and scope of Danny Boyle’s storytelling mojo. But as I started to think and write about it, I realized the film as a whole simply left me cold. On the other hand, there was no lack of heat in Woody Allen’s latest comeback film, which is possibly why I have warmer memories of it. Penelope Cruz's performance as the hot-blooded trois in the ménage between Scarlett Johansson’s feckless American tourist and Javier Bardem’s Spanish art stud is probably better than the movie itself, but Allen still has some interesting things to say about the chimerical nature of love, the conflicting desires of the brain, heart and libido and the way smart people consistently outsmart themselves by refusing to acknowledge what they really want, even when they somehow manage to find it. (And, of course, the fact the movie unfolds against a backdrop of gorgeous Spanish locations doesn’t hurt, either.)

Honorable Mention: Wellness, Goliath, Turn the River, American Teen, Pineapple Express, Tropic Thunder, Tell No One, Ghost Town, Burn After Reading, The Bank Job, RockNRolla, Role Models, Quantum of Solace, Slumdog Millionaire, Doubt

Worst Movies I Actually Saw:
Patti Smith: Dream of Life, Indiana Jones & The Kingdom of the Crystal Skull, What Just Happened?

Worst Movie I Didn’t See:
An American Carol

Most Overrated:
The Dark Knight (see above)

Most Overcriticized:
The Happening

Respected More Than Liked:
Synechdoche

TOP TV:
The Wire
Mad Men
The Amazing Race
The Daily Show & The Colbert Report
Survivor: Micronesia & Gabon
Breaking Bad
The Soup
Everybody Hates Chris
Recount
Generation Kill
Project Runway
True Blood

2008 SOUNDTRACK
“No One” – Alicia Keyes
“Pretty Blue” – Moonflower
“Paper Planes” – M.I.A.
“Wichita Lineman” – Glen Campbell
“Single Ladies (Put A Ring On It)” – Beyonce
“Sex Changes” – The Dresden Dolls
“Shoot the Runner” – Kasabian
“Still Alive” – GLaDOS
“Sax Rohmer, Pt. 1” – The Mountain Goats
“M79” – Vampire Weekend
“I Am Commando” – The NorthAtom
“I’m Good. I’m Gone” – Lykke Li
“Belleville Rendezvous” – The Triplets of Belleville (Soundtrack)
“Happy Days Are Here Again” – Barbara Streisand

Click Here For Part One

Screengrab Presents: Cinema's Greatest Comebacks (Part One)

Andrew Osborne — Thu, 18 Dec 2008 21:00:00 GMT

“Don’t call it a comeback, I been here for years,” implored L.L. Cool J (shortly before his mother told him to knock us unconscious), raising an interesting point in the endless Hollywood parlor game of career perception: after all, the recent Golden Globe nominations for Penelope Cruz and Javier Bardem would seem to mark Vicky Cristina Barcelona as a return to form for Woody Allen...but what then to make of the fact that Match Point, Sweet & Lowdown, Manhattan Murder Mystery, Crimes & Misdemeanors, etc. etc. were all considered phoenix-like returns to form in the Woodman’s prolific (and sometimes crappy) oeuvre? How many times can a person come back if they never really go away?

Sometimes, though (as in the case of pugilist/thespian Mickey Rourke), the weepy entertainment magazine profiles and welcome home parties seem entirely appropriate. After all, the one-time heartthrob used to be a bona fide movie star (and light bondage icon) thanks to hits like Diner and 9 ½ Weeks, and though he’s done interesting work since then in films like Buffalo '66 and Spun, among others, there’s a big difference between co-starring with Eric Roberts and generating Oscar buzz.

Sure, Rourke essentially torpedoed his own career by stomping around like the Pope of Douchebag Village for years and years...but as the auto and financial industries have shown, everybody gets a second chance in America, no matter how bad you fuck up (unless, of course, you’re poor).

So, in honor of this week’s release of The Wrestler, we here at The Screengrab hereby salute...THE GREATEST COMEBACKS OF ALL TIME!

(And stay tuned next week as we ask Santa for THE COMEBACKS WE’D MOST LIKE TO SEE!)

JACK NICHOLSON in TERMS OF ENDEARMENT (1983)

Though you could be forgiven for not believing it, there was a stretch there where it looked touch and go for the continued health of Jack Nicholson's continued career and reputation. After winning the Academy Award for Best Actor for One Flew Over the Cuckoo's Nest (1975), Nicholson jumped head first into a series of high-profile ventures -- The Missouri Breaks, Goin' South (which he also directed), The Postman Always Rings Twice, and, yes, friends, The Shining, which did disappointing box office and was badly mauled by most reviewers. However many fans it's racked up in the years since, the reaction to his performance in The Shining was typical: the conventional wisdom was quickly turning towards the direction that a man once capable of sensitive work had turned into an eyeball-rolling self-parodist, and in a Playboy interview published a year before his 1982 death, the gentle-spirited Henry Fonda criticized Nicholson for having thrown away his career and disgracing his profession. The actor's critical reputation began to recover around the time the magazine hit the stands, starting with his supporting performance in Reds and then with his starring role in the little-seen The Border, but it was Terms of Endearment that set the tone for Nicholson's successful reinvention of himself as a post-counterculture elder statesman who styled himself as a broad but soulful entertainer, someone who was still prone to go over the top but could usually make you love him for it. It could be argued that Nicholson lost something beautiful in the process -- as Anthony Lane later wrote, Nicholson rose to stardom as a man who seemed deeply pained by the state of the world, and sustained his stardom into old age by turning into someone who seemed very pleased with himself -- but it was still an audacious pull back from the career abyss. The role of the pear-shaped horndog Garrett Breedlove won him a second Academy Award, this time for Best Supporting Actor, neatly bookending his time of trouble. It also established that he was smarter than Burt Reynolds, who famously turned the role down to honor his commitment to Hal Needham to do Stroker Ace, which in career terms was like honoring his commitment to show up in front of the firing squad at dawn with a cigarette in his mouth and the blindfold in place.

AL PACINO in SEA OF LOVE (1989)

This entertaining, twisty little thriller made the leap to event status on the strength of its announcement that Pacino had returned to functionability. Pacino had entered into a nightmarishly sustained slump after The Godfather, Part II and Dog Day Afternoon, starring in a series of movies that rank among the very worst of their time (Bobby Deerfield, Revolution), films so thoroughly mediocre and tinny that it was impossible to imagine what appeal they'd ever had for him (...And Justice for All, Author! Author!), as well as Cruising and Scarface, which, for whatever cult status they would come to enjoy, earned him more in bad press at the time than they did in good reviews or box office. Compared to some of those misfires, the relative modesty of Sea of Love was part of its appeal at the time: it was a relief to see Pacino, returning to the screen, after a four-year absence, in a clever little cop opera that gave him a chance to look worn-down and middle-aged but not romantically implausible, enjoying the Richard Price-scripted byplay with such solid pros as John Goodman and Richard Jenkins, and -- an eternal Pacino specialty -- demonstrating that he wasn't afraid to pitch on-screen woo with an actress (Ellen Barkin) who looked as if she could fold him up and stick him in her purse. His spirit refreshed, Pacino was back a year later as Big Boy Caprice in Dick Tracy, happily gnawing the last traces of meat from the hambone.

CHRISTOPHER LEE in THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001) & STAR WARS EPISODE II: ATTACK OF THE CLONES (2002)

Lee has scarcely stopped working since entering movies in the late 1940s, but his ghettoized stardom in horror movies failed to translate into mainstream screen prominence, and as the decades went by, he seemed most likely to appear in high-profile pictures when the director was someone like Joe Dante or Tim Burton, who'd cut his teeth on Hammer films and felt an affectionate debt of gratitude to the old gent. Which is nice, but self-paroding cameos in Gremlins 2 and Sleepy Hollow do not a comeback make. The first real sign in years that the then-78-year-old Lee still had strapping reserves of energy going to waste came when he turned up in the 2000 BBC version of Mervyn Peake's Gormenghast, where he was dashingly costumed and looked and moved like a man twenty years younger. But the cherries on top of his career came with his villainous performances as Rings' malignant sorcerer Saruman and the abuser of the Force Lord Dooku -- subtle, George -- which, by drawing on memories of his screen past even as they threaded him into the texture of the two biggest multi-part fantasy series of the turn of the century, honored his career while tying it up with a handsome bow. After which, Lee being Lee, he called his agent and went back to work.

DENNIS HOPPER & DEAN STOCKWELL in BLUE VELVET (1986)

For most of his career, Hopper had led the league in blackballings, being driven out of the acting profession by the director Henry Hathaway, then remaking himself as a director and returning in glory with the 1969 Easy Rider. The box office success of that movie was so bewildering to the studios that Hopper was given a big bag with a dollar sign on it and absolute creative freedom to do whatever he wanted for his next movie as director, which resulted in 1971's The Last Movie...and cue blackballing number two. Hopper would spend most of the next fifteen years reeling from his intake of drugs and drink while working on a string of offbeat projects for European and American maverick directors, ranging from Apocalypse Now and Rumble Fish for Coppola and Wim Wenders' The American Friend to Neil Young's Human Highway, Henry Jaglom's Tracks and Orson Welles' unfinished The Other Side of the Wind. His performances in most of them were pretty unsteady; Hopper seemed to have his notion of artistry boiled down to the actor's willingness to do anything, but nobody ever hesitated to hire Dennis Hopper because they were concerned that he might not be crazy enough. He's said that Blue Velvet, one of a string of films he appeared in around 1986 which also includes River's Edge, Hoosiers, and The Texas Chain Saw Massacre Part II, was the first job he'd gotten after getting clean and sober, though he apparently almost talked himself out of it by telling David Lynch that he had to play Frank Booth because he was Frank Booth, after which Lynch considered hiding under the table. It's a measure of how impressed Hollywood was with both Hopper's performance and the sheer feat of rendering himself employable that Entertainment Tonight had a camera installed in Hopper's home when the Academy Award nominees were announced on television so that they could record his reaction, it being a forgone conclusion that his name would be among those read aloud. (It's a measure of just how freaked out Hollywood was by Blue Velvet that the E.T. cameras got to record Hopper's momentary confusion when it turned out that he'd been nominated instead for his work in Hoosiers.) Hopper's long shadow also obscured some of the triumph of his Blue Velvet co-star, one-scene wonder Dean Stockwell, who had also appeared with him in The Last Movie, Tracks, and Human Highway. A child actor back in the 1940s, Stockwell had kept his career going into adulthood, winning the Best Actor award at Cannes for 1959's Compulsion and co-starring with Katharine Hepburn, Ralph Richardson, and Jason Robards in 1962's Long Day's Journey into Night. He went counterculture and turned his back on Hollywood in the late '60s and '70s, then slowly began creeping back with parts in Paris, Texas and To Live and Die in L.A., as well as Lynch's Dune, which he later told an interviewer was the only role he wanted badly enough to screen test for. (The interviewer next asked if he'd care to explain why he'd wanted it so badly. Stockwell replied that he'd rather not.) But it was his performance in Blue Velvet that made him hot enough that he could quit his second job hustling real estate.

JOHN TRAVOLTA in PULP FICTION (1994)

Travolta may have mixed feelings about having had his career resurrected by Quentin Tarantino, given that he's been known to insist to interviewers that he wasn't that far down the ladder when Pulp Fiction broke -- those Look Who's Talking movies made a lot of darn money, thank you very much! -- but most people who cared knew that Tarantino's dialogue and taste in hair extensions restored cachet and hipness to a star brand that had gotten badly devalued since 1981. Travolta cemented his comeback with Get Shorty, a project that he, yes, turned down before Tarantino called him up and advised him to snap to attention. His filmography since then has more than its fair share of stinkers, but it's better remembered now than it was in 1993 that he really is a terrific actor, and he retains the special dignity of a star who came back after being depicted as having been reduced to tending bar in a '70s nostalgia club on an episode of The Simpsons, an episode on which -- the ultimate indignity! -- he didn't even get to provide his own self-mocking voice. And, lest we forget, he did get to name Harry Knowles's site.

Click Here For Part Two, Three, Four & Five

Contributors: Andrew Osborne, Phil Nugent

Morning Deal Report: Golden Globe Nominees Announced, NY Critics Sound Off

Scott Von Doviak — Thu, 11 Dec 2008 14:30:00 GMT

Frost/Nixon and The Curious Case of Benjamin Button lead the way with five nominations each, as the Golden Globe nominees were announced this morning. Both were nominated for Best Drama, along with The Reader, Revolutionary Road and Slumdog Millionaire. Meryl Streep is nominated for both Doubt and Mamma Mia, matched by Kate Winslet for The Reader and Revolutionary Road. Other acting nominees include Sean Penn for Milk, Mickey Rourke for The Wrestler and Heath Ledger for The Dark Knight – the sole Bat-nomination. Check out the full roster here.

The New York Film Critics Circle drank up Milk, naming it the best movie of the year and honoring Penn and Josh Brolin for their performances. Happy-Go-Lucky earned kudos for director Mike Leigh and star Sally Hawkins. Penelope Cruz took Supporting Actress honors for Vicky Cristina Barcelona. Here's the full list.

“Ben Stiller is set to replace Mark Ruffalo in Greenburg, a comedy-drama Noah Baumbach is writing and directing,” per The Hollywood Reporter. Ruffalo dropped out after the shooting death of his brother last week. Greenburg “is expected to center on the intimacies of relationships in the manner of Baumbach's other films,” if that helps.

Related:
Globes Without Glitter
Auto-Baumbach-graphies

Ever-Mysterious National Board of Review's Year-End Awards

Scott Von Doviak — Thu, 04 Dec 2008 20:00:00 GMT

Before any of the critics’ associations weigh in with their year-end awards, the National Board of Review releases its annual awards announcement and Top 10 list. While this organization certainly has an official-sounding name, questions remain about the legitimacy of the group, which was actually founded as a censorship board in 1909. In response to a reader question, Roger Ebert once wrote, “I have never met anyone who has met a member of the National Board of Review. The director John Boormann recently told me that he attended one of their award banquets at the Tavern on the Green in Central Park, and met several other award winners. There was a celebrity host to hand out the prizes. ‘After I got back home,’ he mused, ‘I realized that I had not met a single person claiming to be a member of the National Board of Review.’”

Be that as it may, the NBR’s list is taken seriously each year as a bellwether of the upcoming critics’ prizes and other awards, so we hereby dutifully present their top honors:

BEST PICTURE: Slumdog Millionaire
BEST DIRECTOR: David Fincher, The Curious Case of Benjamin Button
BEST ACTOR: Clint Eastwood, Gran Torino
BEST ACTRESS: Anne Hathaway, Rachel Getting Married
BEST SUPPORTING ACTOR: Josh Brolin, Milk
BEST SUPPORTING ACTRESS: Penelope Cruz, Vicky Cristina Barcelona

TOP TEN FILMS:

Burn after Reading
Changeling
The Curious Case of Benjamin Button
The Dark Knight
Defiance
Frost/Nixon
Gran Torino
Milk
WALL•E
The Wrestler

2008 Gotham Awards & 2009 Spirit Nominations Announced

Andrew Osborne — Wed, 03 Dec 2008 15:00:00 GMT

Yes, it's that magical time of year again: Oscar pre-season. True, we've still got a few more weeks of 2008 releases to go (including the obligatory one-week L.A. runs for last minute Academy Awards consideration), but in the same way baseball fans start frothing at the mouth in anticipation when the equipment trucks roll down to Florida for Spring Training, so, too, do the red carpet geeks amongst us jump for joy at the first sign of envelopes opening.

And, indeed, last night in New York City, the Independent Feature Project rolled out their annual Gotham Awards ceremomy, paying tribute to director Courtney Hunt's Frozen River as Best Feature, with Lance Hammer winning the Best Breakthrough Director Award for his film Ballast. Best Documentary went to Trouble the Water (directed by Tia Lessin & Carl Deal), while the Best Ensemble Performance Award went to both the casts of Vicky Cristina Barcelona and Synecdoche, New York (which blew my mind by having Samantha Morton and Emily Watson play the same character, thus further diminishing my already shaky capacity for telling the actresses apart). Rounding out the Gothams was the Breakthrough Actor Award, which went to Melissa Leo for her performance in Frozen River, and Best Film Not Playing At A Theater Near You, taken by Nina Paley's Sita Sings the Blues.

But, even better, Oscar's laid-back, pot-smoking kid sister, the Spirit Awards, announced nominations for the ceremony that will take place live on the IFC Channel at 5PM EST on February 21st, 2009 (and will hopefully not have Rainn Wilson as host again). Mmm...plaudits!

THE 2009 SPIRIT AWARD NOMINATIONS

Best Feature

"Ballast"
Producers: Lance Hammer, Nina Parikh
"Frozen River"
Producers: Chip Hourihan, Heather Rae

"Rachel Getting Married"
Producers: Neda Armian, Jonathan Demme, Marc Platt

"Wendy and Lucy"
Producers: Larry Fessenden, Neil Kopp, Anish Savjani

"The Wrestler"
Producers: Darren Aronofsky, Scott Franklin

Best Director

Ramin Bahrani, "Chop Shop"
Jonathan Demme, "Rachel Getting Married"

Lance Hammer, "Ballast"

Courtney Hunt, "Frozen River"

Thomas McCarthy, "The Visitor"

Best First Feature

"Afterschool"
Director: Antonio Campos
Producers: Sean Durkin, Josh Mond
"Medicine for Melancholy"
Director: Barry Jenkins
Producer: Justin Barber

"Sangre de Mi Sangre"
Director: Christopher Zalla
Producers: Per Melita, Benjamin Odell

"Sleep Dealer"
Director: Alex Rivera
Producer: Anthony Bregman

"Synecdoche, New York"
Director: Charlie Kaufman
Producers: Anthony Bregman, Spike Jonze, Charlie Kaufman, Sidney Kimmel

John Cassavetes Award (Given to the best feature made for under $500,000)

"In Search of a Midnight Kiss"
Writer/Director: Alex Holdridge
Producers: Seth Caplan and Scoot McNairy
"Prince of Broadway"
Director: Sean Baker
Writers: Sean Baker, Darren Dean
Producer: Darren Dean

"The Signal"
Writer/Directors: David Bruckner, Dan Bush, Jacob Gentry
Producers: Jacob Gentry and Alexander Motiagh

"Take Out"
Writer/Directors/Producers: Sean Baker and Shih-Ching Tsou

"Turn the River"
Writer/Director: Chris Eigeman
Producer: Ami Armstrong

Best First Screenplay

Dustin Lance Black, "Milk"
Lance Hammer, "Ballast"

Courtney Hunt, "Frozen River"

Jonathan Levine, "The Wackness"

Jenny Lumet, "Rachel Getting Married"

Best Screenplay

Woody Allen, "Vicky Cristina Barcelona"
Anna Boden and Ryan Fleck, "Sugar"

Charlie Kaufman, "Synecdoche, New York"

Howard A. Rodman, "Savage Grace"

Christopher Zalla, "Sangre de Mi Sangre"

Best Female Lead

Summer Bishil, "Towelhead"
Anne Hathaway, "Rachel Getting Married"

Melissa Leo, "Frozen River"

Tarra Riggs, "Ballast"

Michelle Williams, "Wendy and Lucy"

Best Male Lead

Javier Bardem, "Vicky Cristina Barcelona"
Richard Jenkins, "The Visitor"

Sean Penn, "Milk"

Jeremy Renner, "The Hurt Locker"

Mickey Rourke, "The Wrestler"

Best Supporting Female

Penelope Cruz, "Vicky Cristina Barcelona"
Rosemarie DeWitt, "Rachel Getting Married"

Rosie Perez, "The Take"

Misty Upham, "Frozen River"

Debra Winger, "Rachel Getting Married"

Best Supporting Male

James Franco, "Milk"
Anthony Mackie, "The Hurt Locker"

Charlie McDermott, "Frozen River"

JimMyron Ross, "Ballast"

Haaz Sleiman, "The Visitor"

Best Cinematography

Maryse Alberti, "The Wrestler"
Lol Crowley, "Ballast"

James Laxton, "Medicine for Melancholy"

Harris Savides, "Milk"

Michael Simmonds, "Chop Shop"

Best Documentary

"The Betrayal (Nerakhoon)"
Director: Ellen Kuras and Thavisouk Phrasavath
"Encounters at the End of the World"
Director: Werner Herzog

"Man on Wire"
Director: James Marsh

"The Order of Myths"
Director: Margaret Brown

"Up the Yangtze"
Director: Yang Chung

Best Foreign Film

"The Class" (France)
Director: Laurent Cantet
"Gomorrah" (Italy)
Director: Matteo Garrone

"Hunger" (UK/Ireland)
Director: Steve McQueen

"Secret of the Grain" (France)
Director: Abdellatif Kechiche

"Silent Light" (Mexico/France/Netherlands/Germany)
Director: Carlos Reygadas

Robert Altman Award (Given to one film's director, casting director and ensemble cast)

"Synecdoche, New York"
Director: Charlie Kaufman
Casting Director: Jeanne McCarthy
Ensemble Cast: Hope Davis, Philip Seymour Hoffman, Jennifer Jason Leigh, Catherine Keener, Samantha Morton, Tom Noonan, Dianne Wiest, Michelle Williams

Someone to Watch Award

Barry Jenkins, "Medicine for Melancholy"
Nina Paley, "Sita Sings the Blues"

Lynn Shelton, "My Effortless Brilliance"

Truer Than Fiction Award

Margaret Brown, "The Order of Myths"
Sacha Gervasi, "Anvil! The Story of Anvil"

Darius Marder, "Loot"

Producers Award

Lars Knudsen and Jay Van Hoy, "Treeless Mountain" and "I'll Come Running"
Jason Orans, "Goodbye Solo" and "Year of the Fish"

Heather Rae, "Frozen River" and "Ibid"

Screengrab Review: Vicky Cristina Barcelona

Andrew Osborne — Sun, 17 Aug 2008 12:30:00 GMT

Like Robin William’s out-of-focus actor in Deconstructing Harry, it’s often hard to really see any new Woody Allen film clearly.

For some, the director is a creepy old relic who shot his load in the seventies and eighties, then slept with his not-quite-technically underage not-quite-technically stepdaughter and keeps churning out ever-more-terrible movies to suck whatever money he still can from the wallets of the aging bourgeoisie pseudo-intellectuals willing to pay for his particular brand of nostalgic, non-threatening real estate porn. For others, the Soon-Yi controversy wasn’t as much of a deal-breaker as the sight of Allen snogging comely young co-stars who (to paraphrase Wooderson from Dazed and Confused) kept staying the same age while he kept getting older. Some just never dug his insular, overeducated, upper-class shtick in the first place. And even for die-hard fans, it’s hard not to greet each new Allen film like each new Prince album, hoping against hope that somehow this time it’ll be Purple Rain again, only to be disappointed when it's not (and wondering vaguely why he can’t just save up all his remaining talent for one last masterpiece rather than cranking out so much sub par material).

Like Jacob Marley’s chains, personal and cultural baggage come pre-tangled with Allen’s projects, making it difficult for critics and viewers not to greet them with preconceived notions...and the director’s ritualistic obsession with certain recurring themes, cadences, soundtrack palettes, filmmaking tropes and opening title designs can inspire (usually unfavorable) comparisons between what you’re watching and better earlier work.

So let’s pretend instead for a moment that Vicky Cristina Barcelona was directed by Andrew Bujalski or Joe Swanberg or Jay Duplass or one of those other low blood pressure mumblecore guys, upgrading one of their typically meandering, fitfully amusing Petri dishes of human behavior with better production values, bigger stars and a tighter script. Though trading on certain shopworn but reliable stereotypes about bloodless American yuppies and passionate Spanish artistas, you’d probably find Buswanplass' latest offering a pleasant diversion, a well-paced travelogue of gorgeous locations and philosophical landscapes, from Oviedo and Passeig de Gracia to Rebecca Hall’s Type A realist Vicky and Scarlett Johansson’s fickle, restless Cristina, a spoiled wannabe bohemian who can only define her life in terms of what she doesn’t want. Over the course of the story, Buswanplass demonstrates how the seemingly opposite personalities of American friends Vicky and Cristina ultimately lead to similar frustrations with life and love. But Javier Bardem and (especially) Penelope Cruz are the real stars of the movie, and the best thing about it. Their chemistry as incompatible soul mates is a grown-up refraction of the Vicky/Cristina dynamic, with Bardem cool and sexy as the “reasonable” one and Cruz a total hoot as the hot-blooded free spirit he loves and loathes (and vice-versa).

Do you really need another meandering romantic roundelay sprinkled with New Yorker one-liners, flavored with hints of another director (in this case, Almodovar) and a score free of rock, pop or hip-hop? Well, no, probably not. But as empty summer calories go, Vicky Cristina Barcelona’s probably healthier than another helping of CGI fast-food, and goes down easy like sangria on a long summer weekend.

Related Stories: Take Five - Woody, Penelope Cruz Shows Off Bronzed Woody, Scarlett Johansson-Penelope Cruz Smooch “Least Sexy Thing Ever”

Take Five: Woody

Leonard Pierce — Fri, 15 Aug 2008 20:30:00 GMT

Boy, what's up with all the Woody Allen posts this week? I mean, sure, he's got a new movie opening today (Vicki Cristina Barcelona), and sure, a lot of critics are claiming it's his best work in a decade. But someone says that every decade, and have been doing so for approximately four decades. So who is this jerk who's so obsessed with the Wood-man, that he keeps forcing Screengrab readers to share his mania? Oh, right -- it's me. It may surprise you to learn that, given my fascination with the former Mssr. Konigsberg, I am not especially a huge fan of his work, and I'm certainly not one of his more vociferous defenders. I think he's mistaken about being a Serious Artist, which gets in the way of his being one of the funniest men of his generation; he's got a major Mary Sue complex; he's somewhat technically limited as a director and receives a lot of credit for work that is properly given to his cinematographers; and I agree with Joe Queenan that his work is literally sophomoric -- the intellectual, moral and emotional themes in his movies rarely get past the level of someone who, like Woody himself, dropped out of college his sophomore year. But in Annie Hall and Manhattan, he made two of the best movies of the 1970s; he's one of the finest comic minds on the planet; and he's managed to make a career for himself so robust that he's made an average of a movie a year for 30 years, which, no matter how similar the themes in said movies, is something like a miracle. So, after you've watched Penelope Cruz and Scarlett Johansson make out in the Wood-man's latest masterpiece, why not rent five more of my favorites, and make it a festival?

WHAT'S UP, TIGER LILY? (1966)

The fact that the directorial debut of a man many people consider the greatest moviemaker of his generation was little more than a cheap Chinese action-thriler with jokey dialogue dubbed in over it is shocking to some people. It's as if someone told you that thumbocentric auteur/Kung Pow! Enter the Fist director Steve Oedekerk grew up to be Jean-Luc Godard. But it's true: for his very first film in 1966, Woody Allen got the rights to a junk chop-socky called Key of Keys from American International Pictures, who had judged its plot too elaborate. Woody and his cast simply chucked the damn plot out the window and turned the entire thing into a goofball James Bond parody, which the studio padded out with some extraneous nonsense and a couple of pop songs by the Lovin' Spoonful (the biggest brush that Woody would ever again have with modern popular culture), released, and went on to make a fortune off of. What's even more surprising than the fact that What's Up, Tiger Lily? was Woody Allen's first movie as a 'director' is that it works so well -- it's tightly paced, contains tons of funny gags (many of which seemed a lot fresher than when bad comedians and internet wags recycled them 40 years later on the internet and in movie theatres). A fun, funny piece of detournment , no matter how you view Allen's later career.

ZELIG (1983)

Woody Allen's 12th feature film as director may be his most daring, in terms of visual style, formalist invention, and pure idea. Although technology, and the application of the basic notion in other, lesser films, has somewhat blunted Zelig's impact, at the time of its release, it couldn't have seemed more daring: an experimental psychologist is brought in to study the case of one Leonard Zelig, an insecure nebbish who has made his way through life -- and even entered the orbits of some of the 20th century's most famous and infamous figures -- without having a personality of his own. So much of a non-entity is Zelig that he takes on the characteristics -- psychological, moral, intellectual, and even physical -- of the people around him. It's an interesting treatise, in its own way, of the nature of celebrity and the way some peoples' whole lives are malleable thanks to their eagerness to please. But one of the problems with Allen's movies is that it's easy to get carried away with that kind of talk, and forget about whata funny, detailed, and sophisticated movie it is; and, beyond that, Woody did a good bit of stretching (uncharacteristic for him) in order to carry off the film's technical requirements and insert his nebbishy nuance in all of modern history. An outstanding film, one of his best.

HANNAH AND HER SISTERS (1986)

I've never been much of a fan of Woody Allen's 'serious' work. While I appreciate the effort to stretch, and the desire of a talented man to be thought of as something more than a clown, they've always come across as somewhat joyless and flat to me. To abandon what you're best at in favor of something a dozen people do better is an odd thing for an artist to do, and until Allen becomes a much better technical director and stops writing dialogue that means to sound impressive and instead sounds pretentious, I'll continue to be one of those cranky jerks who prefers his funny stuff, thank you very much. That said, Hannah and Her Sisters is a pretty terrific film, if for no other reason than the astonishingly good performances he coaxes out of his cast. It's not without typical Woody Allen drama flaws: the characters are generally unlikable, the dialogue veers into hootiness more than once, and it's yet another example of why the Wood-man shouldn't ever be allowed to comment on any American popular culture after 1965 or so. But it's got a strong script, a more steady than normal technical sensibility, great music, a handful of genuinely powerful emotional scenes, and some of the most stunning performances he's ever gotten out of his cast, especially from Michael Caine and Dianne Wiest.

RADIO DAYS (1987)

Right in between the excellent but heavy Hannah and Her Sisters and the rambling, disappointing bummer of September, Woody Allen decided to give us moviegoers a big, delicious, tasty candy treat in the form of Radio Days, an absolutely delightful little movie that doesn't get nearly the credit it deserves as one of his best films. A combination childhood memoir and loving tribute to the Golden Age of radio, it's one of his sweetest and most good-natured films, and possibly the funniest one he's done in the last 20 years. While his focus, as always, is on interpersonal dynamics, he doesn't get lost in it, as is his unfortunate tendency to do; instead, he opens up the stage just enough to let us see his neighbors, his teachers, and most importantly, the cast and crew of the radio shows that helped shape him, who come across as alternately admirable, chummy, and utterly absurd. Best of all, these winning characters are played by one of the best ensemble casts Allen ever assembled, and, for the first time, he gets out of the way and lets the script and the story do the heavy lifting. Radio Days is simply a charming, utterly likable movie, a gem in Woody Allen's catalog -- it's a genuine feel-good movie, not because it's full of sentimental treacle, but because you feel good after watching it, and when you aren't, you wish you were.

DECONSTRUCTING HARRY (1997)

It was the late 1990s when Woody Allen's reputation as a filmmaker started to take a lot of serious hits, and there aren't many critics -- myself included -- who are willing to step up and defend many of the films he's made in the last ten years. Sometimes he went to the same well a bit too often; other times, he accepted less-than-stellar performances out of his cast, or stretched a little further than his talent was willing to let him go. Other times, he just seemed tired and cranky and unsure of what he wanted to do. While Deconstructing Harry was guilty of all of these to a greater or lesser degree, for some reason, it resonated with me a lot more than did most of his work from the last decade. Perhaps it's the unexpectedly nasty edge to the film that suggests that Allen could be one of the great cynics if he wasn't already one of the great neurotics; perhaps it's the gleeful piss-take at his own public persona, which, although he ultimately lets himself off the hook, shows that he's a lot more self-aware than he might let on in his latter-day work; or maybe it's just that, while they don't always succeed, the metafictional conceits, surrealistic elements and extremely un-Allenish use of camera effects, quick-cut editing and other film trickery illustrate that he isn't entirely moribund. Whatever the case, while it's by no means a great film, Deconstructing Harry at least shows the old pro's still got some life in him.

Penelope Cruz Shows Off Bronzed Woody

Leonard Pierce — Fri, 15 Aug 2008 14:00:00 GMT

Oh, the things you find when you're a pretty young movie star out for a night on the town.

According to World Entertainment News Network, the internet equivalent of magazines only available at grocery store checkout lines, Penelope Cruz, Scarlett Johansson, and Javier Bardem, the harem of talented folks Woody Allen has collected for his latest flick, Vicki Cristina Barcelona, were out for a night on the town in the small Spanish city of Oviedo, when they happened to discover...a bronze statue of Woody Allen. No, they weren't drunk -- or, at least, they weren't just drunk. They'd stumbled upon a statue erected by the Spanish government in 2002 after they awarded the filmmaker with the "Prince of Asturias" award for cultural acheivement. "We took pictures with the sculpture," says Cruz, "hugging it, and gave the pictures to Woody."

Which, if this interview with the Onion's AV Club is any indication, he immediately threw away. Allen, who once was so uncommunicative with the press that he may as well have been a statue himself, tells the AV Club's Scott Tobias that "My walls don't have photographs of me and the actors, I was with, or any of that stuff. If you were in my house in New York, you wouldn't know I was in the movie business. It just looks like a regular house, like the home of a lawyer or something, and I try and keep that disciplined, and just work." The Wood-man also expounds on why he chose to film in spain, what he thinks of the Knicks, and how bad -- to the exact degree -- an actor has to be before he fires him.

The Screengrab Highlight Reel: August 2-8, 2008

Scott Von Doviak — Fri, 08 Aug 2008 21:30:00 GMT

First of all, I should mention that we here at the Screengrab are sensitive to your complaints that the place has become something of a boy’s club, strewn with boxer shorts, empty beer cans, baseball cards and “adult reading material.” To that end, we’ve tidied up a bit, sprayed some lilac-scented Febreeze around, and are now prepared to welcome the newest member of the Screengrab team, Sarah Clyne Sundberg. Sarah made her debut earlier today with Olympic Games Past, so please extend your warmest greetings. As for the betesticled among us, we’ve been busy this week:

You ever think “Hey, that movie could have been directed by that other guy!” Well, so have we! Here are 15 Movies That (Almost) Could’ve Been Directed by Someone Else (Parts One, Two, Three and Four).

The Midnight Meat Train probably won’t be coming anywhere near you, but maybe you can catch Elegy or In Search of a Midnight Kiss.

How about a triple feature from the Summer of ’78: Revenge of the Pink Panther, Sgt. Pepper’s Lonely Hearts Club Band and Hooper were all clogging the drive-ins 30 years ago. None of them really summed up the season like The Endless Summer, though.

Best wishes to Morgan Freeman for a speedy recovery and a painless divorce!

Scarlett Johnasson and Penelope Cruz did their best to lower our expectations of their lesbian makeout session in Vicky Cristina Barcelona.

While cleaning out Screengrab headquarters, we found these Boxes of Kubrick.

Jason Statham as Daredevil? Britney Spears in Faster, Pussycat…Kill! Kill!? Maybe in the Parallel Universe Film Guide.

Rejoice in my misery as I resume my Unwatchable quest to view every movie on the IMDb Bottom 100 list, including College Road Trip and Kickboxer 3: The Art of War.

That’s it. Get your motor running, head out on the highway!

Movie Review: "Elegy"

Phil Nugent — Thu, 07 Aug 2008 16:00:00 GMT

Back in the early 1980s, a new kind of movie hero appeared onscreen, a dashing international man of mystery pitted against historical bad guys. Now that the actor who played that role is in his sixties, there was some trepidation expressed in some quarters that he might be getting, as they say, too old for this shit. But now that the smoke has cleared, it seems clear that, yes, this has truly been the summer of Gandhi. Or at least of the actor who played him, Ben Kingsley. Things got off to an inauspicious start with the Mike Myers train wreck The Love Guru, where he made funny faces. More recently, he appeared in Brad Anderson's indie thriller Transsiberian, where he made with a funny accent. And in between, there was Jonathan Levine's The Wackness (also known as I Love the '90s: The Motion Picture), where he made out with an Olsen twin. (I forget which one--they do look alike, after all--but I'm guessing that it was whichever one was on Weeds. She seems to be the one with the wild-child gene.) Now Kingsley has a full-on starring role in Elegy. directed by the Spanish-born filmmaker Isabel Coixet from Nicholas Meyer's adaptation of the Philip Roth novel The Dying Animal.

Kingsley plays David Kepesh, a New York literature professor and host of a Leonard Lopate-like radio talk show. (The novel marks Kepesh's third starring role in a Roth novel. He first appeared in the 1972 The Breast, which he narrates from his hospital bed after having metamorphosed into the 155-pound title character. After that, apparently, he got better.) Obsessing over his inability to fold in the face of "the tyranny of beauty" has always been Kepesh's thing, and this time the dictator with his heart (or any blood-pulsing organ) in her hand is Penelope Cruz, playing a student thirty years his junior who eases into a post-semester affair with the panting old thing. Actually, the biggest surprise of Elegy may be just how well Kingsley holds up his end of their steamy affair, especially in his bare-chested bedroom scenes. When Kingsley was a much younger man, he often had the reticent manner and the looks of someone who seemed to be killing time waiting to become as old as he felt. Now that he's 64, there's something commanding about him that goes beyond acting technique. I found the sexual attraction between him and Cruz convincing. Cruz herself is a different matter. Physically she embodies the concept of the tyranny of beauty just fine, but she still can't act with any authority in English, and Coixet makes her look kind of ridiculous by dressing her as if she were in her teens or early twenties (or as if she were a thirtyish woman acting out a premature midlife crisis, which doesn't seem to be the idea). In her shiny dark bangs and colorful East Village folk costume, she's the human equivalent of a Hello Kitty backpack.

Coixet--she made the deathwatch melodrama My Life without Me-- is not the world's most visually resourceful director, and here, telling a story that depends a lot on emotions that would be impossible to convey in words, she puts a lot of weight on Kingsley, shoving the camera in his face when he's alone in the frame and practically yelling, "Act!" (She and Meyer have also accommodated their star by making Kepesh a transplanted Englishman. This will come as news to Roth fans, but it's a relief to get to hear Kingsley caressing his dialogue in his own voice for a change.) The movie is worth seeing for his scenes with the other actors in the smallish cast: Patricia Clarkson as his semi-regular fuck buddy of the past twenty years, Peter Sarsgaard as his (embittered) son the doctor, and especially, and surprisingly, Dennis Hopper as his best friend, a bearded poet named George O'Hearn. Kingsley and Hopper may actually be a weirder pairing than Kingsley and Cruz, especially since this one works. I'd assumed that Hopper was perfectly content in his little rut, but he looks incredibly happy to get to be in a movie where he doesn't have to snort coke or get his thumbs scissored off or try to think up a new way to deliver the line "Fuck!" while wielding an Uzi, and he gives a fine, engaging performance that lends Kingsley solid back-up. (His wife is played by Deborah Harry, who, like Hopper, has aged a lot more gracefully than you might have thought possible: in profile, she looks as if she ought to be posing for her official portrait as First Lady of something.) And Ben Kingsley establishes himself as a formidable post-middle-age sex symbol for the literary appreciation set. It's a measure of just how formidable that he's got me trying to think up alternative terms for "old", since he looks as if he might conceivably be able to kick my ass.

Scarlett Johansson-Penelope Cruz Smooch “Least Sexy Thing Ever”

Scott Von Doviak — Wed, 06 Aug 2008 15:30:00 GMT

The marketing team behind Woody Allen’s Vicky Cristina Barcelona (due in theaters later this month) must be ready to throw a party for the director and cast on a yacht – or more likely a slow boat to China. Several months ago we told you about Allen downplaying expectations of “torrid sex” in the movie, saying “People who come and expect those exaggerations are going to be disappointed.” Now we’ve got Scarlett Johansson revealing that her make-out session with Penelope Cruz wasn’t all that thrilling – and Cruz declining to speak about it at all.

US Weekly caught up with the dynamic duo on the red carpet and got the lowdown: “When they shot the scene, ‘there were like 60 crewmen [sitting around] eating salami sandwiches!’ Johansson said at the movie's Los Angeles premiere Monday. ‘It's really the least sexy thing you can ever imagine!’” Wow, is it too early to order my tickets? Meanwhile, Cruz was even less effusive in a Q&A with Newsweek. “Really, Scarlett and I have run out of lines to say about that. We're calling Woody to give us some material. People love that subject. The only thing which is honest, the set was very crowded that day. But I don't have anything else to tell you about it.”

We can only hope this raw passion translates to the screen.

Related:
And Now, Scarlett Johansson Making Out with Penelope Cruz
The Band From "Barcelona"

Cannes Rundown, Day 3: A Christmas Tale and more!

Paul Clark — Sat, 17 May 2008 02:21:00 GMT

Of all the films in competition this year at Cannes, the one that has me most excited was A Christmas Tale, the latest film by the masterful Arnaud Desplechin, whose Kings and Queen was one of the finest films of recent years. Not wanting to have everything spoiled for me before I see it myself, I’ve tried to avoid reading the reviews coming from Cannes too much or too deeply, but based on the little I’ve read my hopes for the film are well-founded. Here’s the one and only Glenn Kenny:

“The creation of such a vivid, individualized group of characters and such a compelling roster of dilemmas is a staggering enough feat. But what makes this movie such a darkly exuberant feast is Desplechin's storytelling. Calling his directorial style "eclectic" simply doesn't do. He has packed himself an almost inexhaustible kit bag of cinematic techniques that he deploys here with an ease that makes his previous film, the incredibly impressive Kings and Queen, look relatively forced. Not only is there not a single dull moment in this two-and-a-half-hour family drama; the film practically teems with ferocious moments, and the novelistic detail offered by Desplechin (here collaborating on the screenplay with longtime writing partner Emmanuel Bourdieu) is always spot-on.”

Thanks, Glenn. Let’s see what others have to say…

Andrew O’Hehir: “Rather than supplying the holiday healing suggested by the title, Desplechin (and co-writer Emmanuel Bourdieu) have constructed a tale as emotionally challenging, fragmentary and unresolved as family life itself. At the press conference after the film, Desplechin said he always aimed to make films that were "strange and personal," and that were singular rather than generic. He has succeeded, perhaps at the cost of demanding too much from his viewers.”

Attaboy, Arnaud! And of course, this being Cannes, several other films screened today as well, though none as intriguing (to me anyway) as Arnaud’s. Let’s check out the rundown:

Time Out London’s Geoff Andrew gives us a second opinion on Three Monkeys- “This fifth feature is arguably the most ambitious film yet from the maker of ‘Uzak’ and ‘Climates’. It has the dry humour, assured pacing, astute psychological insights and sharp sense of moral and dramatic irony that has been conspicuous in all his work, but in many respects the film feels like an expansion upon ‘Climates’, not only in extending that film’s clear-eyed, unsentimental assessment of male-female relationships from a couple to a whole family and its acquaintances, but in exploring the rich potential afforded by digital technology; if you thought Ceylan’s photographer’s eye produced stunning images in ‘Climates’, ‘Three Monkeys’ pushes the envelope still further.”

ScreenDaily’s Lee Marshall weighs in on the out of competition omnibus film Tokyo!- “One out of three ain't bad for this Tokyo-themed directorial three-hander. Whimsical Michel Gondry delivers a thirty-minute segment that resonates, while compatriot Leos Carax spoils an otherwise tasty genre exercise by pressing it into service as a message film. Korea's Bong Joon-ho, meanwhile, delivers an artsy rom-com that is too slight even for its half-hour running time.”

Finally, two opinions on Scarlett and Penelope making out Vicky Cristina Barcelona, a pro from Variety’s Todd McCarthy- “Just as London did when Allen went there for "Match Point," the Catalan capital serves as an evident stimulus for the director. Even if the film provides a strictly tourist's view of the city (a perspective justified by the scenario, in fact), and one just as upscale and heedless of money as ever for Allen, "VCB" is by several degrees more hot-blooded than his usual norm, thanks especially due to the palpable chemistry of Bardem and Cruz in the second half.”

… and a con from (who else?) Jeffrey Wells- “I haven't the time to write any kind of comprehensive review of this sometimes unintentionally comedic, frequently cliche-ridden parody of a Woody Allen film, but it dawned on me early on that it plays exactly like a Ben Stiller Show parody of a typical Allen effort. Allen has been accused of parodying himself for years, but now he's really done it. And it pains me to say this. No one filmmaker has given me greater pleasure for a longer period of time than Allen. I worship the guy, but VCB is agony to sit through at times.”

Ouch. Let’s leave on a high note, shall we? Any positive press for Desplechin’s film counts as good news in my book. So here’s Cineuropa’s Fabien Lemercier on A Christmas Tale- “This exploration of a family – made of viciousness, a tormented past and a painful present – goes straight to the heart, in particular those psychologically unpleasant zones that Desplechin loves to depict. The result is a high-class feature that is both complex and subtle.”

Woohoo!

The Screengrab Highlight Reel: May 10-16, 2008

Scott Von Doviak — Fri, 16 May 2008 21:30:00 GMT

Join us if you dare for a disorienting journey of sight and sound we call THE WEEK IN SCREENGRAB!!!

SEE!!! Scarlett Johansson make out with Penelope Cruz for two seconds!

TREMBLE!! Before the might of the Top 12 Tough Jews in Cinema!

MARVEL!! At our prognosticating ability as Speed Racer Bombs! Screengrab Two For Two!

HOWL!!! At our fierce declaration that CGI Must Die!

DESPAIR!!! At the news of the Sequel to Donnie Darko!

REJOICE!!! As Godzilla Turns 50!

RECOIL!!! At the latest entries in the Unwatchable series: the flatulent Track of the Moon Beast, the unspeakable Marci X, and the merely so-so Invasion of the Neptune Men!

BOIL!!! A rabbit, I mean! As we look back at Fatal Attraction!

HURL!!! As you discover Werner Herzog’s Very Bad Idea!

SHAKE!!! And shimmy! As you listen to OST: Run Lola Run!

DRINK!!! Along with Shia LaBeouf!

FEAR!!! The Killer Inside Me!

And finally…did we mention Scarlett Johansson making out with Penelope Cruz? All right, enough of that. Have a good weekend, Screengrabbers and Screengrabettes!

And Now, Scarlett Johansson Making Out with Penelope Cruz

Scott Von Doviak — Tue, 13 May 2008 21:00:00 GMT

Good heavens, has it really been a week since our last pandering Scarlett Johansson post? How time flies! Although Woody Allen has done his best to undermine his own publicists by downplaying the erotic elements of his latest effort, Vicky Christina Barcelona – in response to the rumors of a steamy ménage a trois among Johansson, Penelope Cruz and Javier Bardem, the Woodman stoked the flames by telling Entertainment Weekly, “People who come and expect those exaggerations are going to be disappointed” – the marketing team simply isn’t having it. As V.C. Barcelona gets set to launch at the Cannes Film Festival, a teaser chock full o’ steamy smoochin’ has hit the YouTubes. Hit the jump for all the action:

Cannes 2008: Meet the Jury!

Paul Clark — Thu, 24 Apr 2008 15:00:00 GMT

Yesterday, The Screengrab was the 152nd blog on the web to post the Competition slate for next month's Cannes Film Festival. But before you start predicting the winners sight unseen, we suggest you get to know the members of the Competition jury. That way you'll know whose names to curse when your favorite filmmaker gets smoked by some little-known furriner whose name you can't pronounce.

This year's Cannes Competition Jury:

Sean Penn (Jury President) is a filmmaker of some note, directing four films since his 1990 debut, The Indian Runner. His most recent film is the memorably Oscar-snubbed Into the Wild. When not behind the camera, Penn is also known for his political and charitable work, which has taken him to Iran and to the post-Katrina New Orleans. Penn has also been known to act on occasion.

Sergio Castellitto has appeared in several films in Competition, including 2001's Va Savoir and 2002's The Religion Hour (My Mother's Smile). Once referred to by Screengrab favorite Mike D'Angelo as "maybe the most underrated thesp alive," he also starred in the popular Mostly Martha, better known as No Reservations, Except Good. Castellitto has also directed two features, including the 2004 film Don't Move, in which he exercised his director's clout in order to give himself several love scenes with Penelope Cruz.

Natalie Hershlag, alternately known as Natalie Portman, made her big-screen debut at age 13 in Luc Besson's The Professional, sometimes referred to as Léon by various talkbackers on Ain't It Cool News. Since that time, she has become one of the most sought-after actresses of her generation, particularly among horny fanboys who despair that she will never get completely naked onscreen. Hershlag is set to make her directorial debut in this year's omnibus film New York, I Love You, where her short film will appear alongside new works by such acclaimed filmmakers as Brett Ratner and Scarlett Johansson. She also wants you to know that the Shins will totally change your life.

Alfonso Cuaron first gained international critical attention with his 1995 film A Little Princess, and subsequent films like Y Tu Mama Tambien and Children of Men have proven him a formidable talent (he also allegedly made a low-budget adaptation of a little-known English fantasy novel, but no one knows what became of this). In 2006, his high-profile friendship with fellow Mexican filmmakers Guillermo Del Toro and Alejandro Gonzalez Iñarritu let to the trio briefly becoming known as "The Three Amigos" for several months before they were sued by Chevy Chase, Martin Short and Steve Martin.

Apichatpong Weerasethakul has such a long name that I run the risk of hitting my character limit simply by typing it. Luckily for me, he prefers to simply be called "Joe." Joe has garnered widespread critical acclaim for his whimsical, magical-realist films, which include Mysterious Object at Noon, Blissfully Yours, and Syndromes and a Century. His 2004 film Tropical Malady won the Jury Prize at Cannes, and Roger Ebert called the film "a meditation on portentous but incoherent themes." By which we're guessing he meant "awesome."

Alexandra Maria Lara, a ravishing Romanian who moved to Germany at age 4, made her movie debut at 16. However, the role that brought her international acclaim came in 2004's Downfall, in which she portrayed Hitler's personal secretary Traudl Junge. Since then, she costarred in Francis Ford Coppola's Youth Without Youth and in last year's Ian Curtis biopic Control, where she met current boyfriend Sam Riley (isn't that cute?). Lara will next appear in Stephen Daldry's The Reader, as well as taking a supporting role in Spike Lee's WWII drama Miracle at St. Anna, a role you won't find out about by looking her up on IMDb.

Rachid Bouchareb is a French director-producer who last appeared at Cannes with his 2006 drama Days of Glory. In addition to his own films, he has also produced the work of numerous other filmmakers, including all four features to date by Bruno Dumont. Sorry, I have nothing humorous to say about this guy.

So there you have it. Seven jury members, down from nine last year. How will they vote? Will Penn insist on a political bent, or at least something appeals to his artier side? Will Cuaron stump for his fellow Latin Americans? Which Bouchareb will show up- the one who directed the rousing WW2 or the guy who produces Bruno Dumont movies? Will Joe gravitate to fellow talking-primate lover Charlie Kaufman? Will the paparazzi devote most of their attention to Portman and Lara (yes, they will)? Let the blind prognosticating commence in 5, 4, 3...

Today’s Reason To Live: The Scarlett Johansson-Penélope Cruz-Javier Bardem Ménage à trois!

Andrew Osborne — Sun, 20 Apr 2008 16:00:00 GMT

So, for those of you who haven’t received your Entertainment Weekly Summer Movie Preview yet (or read the news previously at Screengrab), hold onto your freakin’ hats: Woody Allen is filming a new movie in New York City with...deep breath...Larry David!!!

So, yes, despite Scoop and Melinda and Melinda and Hollywood Ending (and, uh, The Curse of the Jade Scorpion and Small Time Crooks and Celebrity and...well, you get the idea), I’m just going to cross my fingers and hope against hope that America’s favorite bald fuck has the power to resurrect Mr. Konigsberg’s erstwhile comedy mojo.

Oh...and the hot, spicy Johannson-Cruz-Bardem threeway?

Well, they’re all co-starring in Woody Allen’s upcoming summer release, Vicky Cristina Barcelona, and because of that, according to the director, “...it got out that there was torrid sex in the picture.” But unfortunately, he cautions, “People who come and expect those exaggerations are going to be disappointed.”

There is, however, “a discretely photographed ménage à trois,” which should at the very least earn the flick a spot on my Netflix list.

Ah, who am I kidding? See you in the popcorn line on August 29th!

The Ten Greatest Prosthetics in Movie History, Part 2

Peter Smith — Tue, 04 Dec 2007 21:00:00 GMT

Nicole Kidman's Nose in THE HOURS (2002)

Can a fake nose win an Oscar? Some might say it already did, when Nicole Kidman's turn as Virginia Woolf in The Hours was awarded the golden statue for Best Actress. We've got nothing against Kidman's performance in that film, but judging by the reams of press that her lightly reoriented schnozz got at the time, you'd think that it was the nose that was wearing Kidman, instead of the other way around. Of course, this was yet another award in a long series of Best Actress Oscars that went to Beautiful Women Doing Unglamorous Things — whether it was playing a tarted-up legal secretary (Julia Roberts in Erin Brockovich), having sex with Billy Bob Thornton (Halle Berry in Monster's Ball) or looking like a burn victim (Charlize Theron in Monster). Which is, really, the only way we can explain Kidman's decision to use such a subtle prosthetic in the first place; it's not like the American moviegoing public had any idea what Virginia Woolf looked like in the first place.

Jeff Goldblum's Jaw, Cheeks, Eyes, His Very Fucking Being, in THE FLY (1986)

Some of us were prohibited from watching more than two hours of TV a week as children. Luckily, some of us were also latch-key kids, so naturally, whenever no one was home, we gorged, often on both food and shlocky afternoon TV movies. And those of us who were unlucky enough to see The Fly at this time didn't quite grasp the extent of our mistake until it was too late. There you are, happily eating your delivery pizza, and in the middle of a big, meaty bite, you're confronted by the spectacle of one of Brundlefly's eyes falling off, like an egg yolk dripping into batter. You assume that's the most disgusting scene they're gonna throw at you. Again, big mistake. Jeff Goldblum's Brundlefly is possibly the single most hideous, repugnant creature ever seen on film — worse than the Alien mother, worse than any other close competitor. Every negative trait of Jeff Goldblum's physiognomy is brought into stark relief onto an insect face; when it decays, we dare you to keep eating. We certainly didn't.

Penelope Cruz's Ass, VOLVER (2006)

Since her Hollywood debut, Cruz has been the poster child for foreign-born performers who aren't half as compelling in English as they are in their native tongue. Which is why her reunion with Pedro Almodovar was a cause for celebration — not only would she be working in Spanish again, but she was collaborating with a filmmaker who always brought out the best in her. But strangely enough, much of the buzz around Penelope's role in 2006's Volver focused less on the performance than around the generous fake derrière she strapped on for the role. According to Almodovar, the padded rump was necessary for the character, an earthy, hard-working mother in the Anna Magnani tradition, and this makes sense, since Penelope Cruz is lovely, but talk about bun cakes — she ain't got 'em. But then a funny thing happened. Instead of drawing undue attention to Penelope's prodigious prosthetic posterior, the hype allowed moviegoers to grow accustomed to the sight of the suddenly callipygian Cruz, much in the same way Alejandro Amenabar leaked stills of a heavily made-up Javier Bardem to the Spanish press so the public would get used to his appearance in The Sea Inside. The gimmick paid off in the end, as Cruz's full-bodied (sorry) performance made the rockin' world go 'round, garnering her unprecedented critical praise and a rare (for a foreign-language performer) Best Actress Oscar nomination. In fact, after the success of Volver, the only question that remains for Penelope Cruz's career is: how can she leave this behind?

Vincent Gallo's Penis in THE BROWN BUNNY (2003)

When people actually got around to seeing Vincent Gallo's The Brown Bunny rather than just making fun of it (which isn't to say that they stopped making fun of it afterwards, or that many people actually got around to seeing it), the scene that generated the most buzz was what is delicately referred to as "the blowjob", where Gallo's lodge pole is climbed by Chloe Sevigny, for whom one has never felt more pity. The scene's verite qualities and (literally) naked emotional power are what most people talked about, although we think they were just grateful that something was actually happening in the movie after endless shots of Gallo driving aimlessly across country. Gallo, who tends to be pretty sensitive about things like this, has always claimed that the hog in question belongs to him; French director Claire Denis, on the contrary, claims that it is an artificial wang, and that, worse yet, it isn't even Vince's artificial wang — she says he stole it off the set of her 2001 film Trouble Every Day, in which he had a large part, but not that large part. In the absence of, er, concrete evidence from Gallo, we're going to go with Claire Denis' version of events; we figure that since she's not on record as hoping Roger Ebert gets cancer for giving one of her films a bad review, she's got the moral high ground.

Gwyneth Paltrow's Body in SHALLOW HAL (2001)

Hollywood's relationship with the overweight isn't exactly a history of sensitivity and kindness. Particularly where women are concerned, the mere suggestion of being a few pounds beyond anorexic means you're virtually unemployable; and in a city where people like Christina Ricci, Drew Barrymore and Britney Spears can be attacked in the press for being fat, roles for actual human women, let alone fat women, are few and far between. When the Farrelly brothers decided to make a movie about a shallow womanizer who falls in love with a 300-pound woman to prove that he can see 'inner beauty,' they had a casting decision to make: hire two people to play Rosemary Shanahan — one a beautiful, thin Hollywood blonde, to portray Hal's perception of her, and one a genuine 300-pound actress to portray the 'real' character — or just stick Gwyneth Paltrow in a fat suit? (It didn't help the whole unpleasant aftertaste of the movie that its male lead was Jack Black, an actor who gets romantic leads despite his own flabby physique; no actress with a body like Black's would ever nail down a leading-lady part.) Perhaps it's too much to expect anything like insight from filmmakers whose reputation is built on the gross-out comedy, but the fat suit is already a ethical minefield (representing, as it does, a sort of physical proof of Hollywood's allergy to hiring anyone genuinely overweight to appear in a prominent role) without filling it with an actress who probably weighed 110 pounds soaking wet when she was filming the role.

HONORABLE MENTIONS:

Willem Dafoe's Teeth in WILD AT HEART (1990)

The whole world seems to be rotting in David Lynch's nightmare road movie, and nowhere is this clearer than in the misbegotten mouth of white-trash villain Bobby Peru, played by Willem Dafoe in full-moon mode. Unholy, irredeemable, and defiantly unflossed, Bobby Peru is meant to be the ultimate dark void awaiting the young lovers at the end of their road to nowhere, and no Satanic movie character ever displayed a less welcoming smile. Perverse to the end, the still-smiling Bobby finally slides a shotgun beneath his chin and blows his own head off, after which the part of his body above the gum line must have felt a certain amount of relief.

Goldie Hawn's Fat in DEATH BECOMES HER (1992)

In this special-effects comedy, Goldie Hawn and Meryl Streep play lifelong rivals who achieve "undead" immortality and spend the rest of the movie blowing holes in each other, twisting each other's necks into pretzels, knocking their heads into their chest cavities, and generally behaving as if Chuck Jones were their stunt coordinator. But the most effective physical mutation in the picture may come when Hawn slips into an old-fashioned fat suit and layers of latex makeup to depict her character's depressive obesity after Streep has waltzed off with her fiancee. Nothing in the movie is funnier than Hawn's expression of malicious satisfaction, with her features sunk deep in the mass of her cream puff head, as she imagines raining destruction down on her gal pal. At the time, Hawn was forty-six years old and had spent a quarter of a century doing her damndest to hang onto the body and mannerisms of a teenage girl. Maybe she felt wickedly giddy at even pretending to have let herself go.

Dennis Hopper's False Leg in RIVER'S EDGE (1987)

Dennis Hopper, fresh from his comeback in Blue Velvet, lays claim to the being the counterculture's answer to Walter Brennan in this generation-gap study of alienated youth. John Heard made a good grab for the position in Cutter's Way, where he staggered around pretending to be one-legged and wore an eye patch to boot, but that was nothing compared to what you get when you equip Hopper with an artificial leg, an inflatable sex doll, and the name "Feck", and sit back to watch him rock. When Hopper, who deals dope to the local teenagers, sits down to remove his false leg, it symbolizes the loss of his own youthful innocence and the disconnect between the older characters and the young people, which is fed by their use of his own product. Or something like that. And did we mention that his character's name is Feck!?

— Paul Clark, Bilge Ebiri, Phil Nugent, Leonard Pierce, Vadim Rizov

Forgotten Films: Masked and Anonymous (2003)

Peter Smith — Thu, 15 Nov 2007 18:00:00 GMT

Bob Dylan re-wrote the rules about what was allowed of a famous singer, songwriter, and public figure, but it turned out that he did have one normal thing about him: he liked the idea of being a movie star. Dylan was a movie star whenever he got to be himself in caught footage, as in D. A. Pennebaker's 1967 documentary Don't Look Back, but his first several attempts to pass for an actor, or to capture his magnificence himself, tended to be kind of, well, disastrous. The music he produced for the soundtrack of Sam Peckinpah's Pat Garrett & Billy the Kid (1973) yielded a triumph in "Knockin' on Heaven's Door," but Peckinpah's attempt to incorporate Dylan into the cast, as a mysterious, knife-throwing hombre known as "Alias", only resulted in a smirking blank space on the screen. Dylan's own 1978 Renaldo & Clara, a four-hour mixture of fantasy and documentary sequences threaded through with performance footage from the 1975-76 Rolling Thunder Revue, inspired print seminars, in places like the Village Voice, on the theme, "Dylan: What Happened?"; long unavailable in its complete form, the movie will probably be seen again around the time that Jerry Lewis's The Day the Clown Cried is released as part of the Criterion Collection. Then there's Hearts of Fire, a misguided 1987 rock-'n-roll love story with Dylan as the sage old music legend who plays smitten mentor to the uni-named cupcake Fiona. The barely-released film was the last work by its director, Richard Marquand (Eye of the Needle, Return of the Jedi), who had a fatal stroke before signing off on the final cut.

After a long lay-off from movies, Dylan re-emerged in 2003 as the star of Masked and Anonymous, directed by Larry Charles. (It was the first movie directed by Charles, who was then best known for his TV work, as a writer on Seinfeld and a director on Curb Your Enthusiasm. His second movie would be Borat.) Dylan and Charles co-wrote the script, under the pseudonyms "Sergei Petrov" and "Rene Fonatine." It was made fast — principal photography was reportedly completed in twenty days — and relatively cheap; a lot of well-known people agreed to be paid scale on it because, like the various celebrities who appeared in Renaldo & Clara, they just wanted to work with Dylan. The cast includes Jeff Bridges, John Goodman, Jessica Lange, Ed Harris, Val Kilmer, Mickey Rourke, Angela Bassett, Penelope Cruz, Giovanni Ribisi, Luke Wilson, Fred Ward, Bruce Dern, Cheech Marin, Tracey Walter, Robert Wisdom, Chris Penn, Christian Slater and Susan Tyrrell, as well as Dylan's longtime touring band (including guitarist Charlie Sexton and bassist Tony Garnier) and a little girl named Tinashe Kachingwe, who brings down the house with her a-cappella version of "The Times They Are A-Changin'." The reward they get for their participation is that they all get to be characters in a new Dylan song — one of the really long ones, like "Stuck Inside of Mobile with the Memphis Blues Again," full of imagery and puns and symbols and throwaway jokes. That's how the movie is conceived.

The setting is America as a junta-led dictatorship, with government-controlled media and street executions, and with Dylan as a legendary troubadour named "Jack Fate" who's spent the last several years locked away in prison. An Albert Grossman-like manager figure — Uncle Sweetheart, played by John Goodman — gets him sprung so he can perform at a big televised benefit concert, and he tours the back country on his way to the performance site, serving as witness to the perversion of the country's ideals, and playing straight man to a succession of ranters and weirdos. The movie has its dead spots and its puzzlements, and it rambles, as you might expect. But it's not just some vanity project. There's real pain and a lot of humor in it, and its vision of an entertainment-sated America in lockdown is politically sophisticated in a way that was guaranteed to go over like a lead balloon when it was released during the summer of "Mission Accomplished!" Part of the movie's strength, and part of what may cause many to regard it as dismissible, is that it pictures this nightmare of where we may be headed but doesn't have any ideas of how to slay the dragon once it plops its ass down in the seat of power. Dylan doesn't dismiss the power and value of music, but he knows damn well that it doesn't stop jackbooted thugs in their tracks.

The one message that does come through loud and clear is that the sixties have been over a long time, they aren't ever coming back, and they may not have been everything that nostalgic boomers and post-boomer dreamers want to think they were in the first place. In one of the movie's funniest and most pointed scenes, Goodman reads a long list of songs that the government would like Jack Fate to perform for the national television audience: it's a string of rebellious sixties classics ("Street Fighting Man", "Masters of War"), now toothless but still good for making the listener imagine that he must be a part of something daring. (Dylan's deadpan response: "I dunno, Sweetheart. It seems like a whole lot of songs.") And the movie's villain is a self-hating blowhard of a rock journalist (Jeff Bridges) who "interviews" the Dylan character by suggesting that he's a has-been and a sell-out while reeling off the names of rock heroes such as Hendrix who had the decency to die young. Dylan seems to hate this asshole more than the dying, dictatorial "president" (Richard C. Sarina) or his replacement — Mickey Rourke, who caresses the screen with his sweetest pussycat smile while promising, "We will empty the prisons, and fill the football stadiums!" Masked and Anonymous was part of a general comeback for Dylan that began with his 1997 album Time Out of Mind; since then, his autumnal renaissance has included a couple more albums (Love and Theft, Modern Times) and his memoir Chronicles, Volume One, as well as the belated official release Live 1966 and the Martin Scorsese documentary No Direction Home. (He also won an Academy Award for the song "Things Have Changed" from Wonder Boys.) In this unexpected surge of critically garlanded work, Masked and Anonymous (which also yielded a superb soundtrack album) may have gotten lost in the shuffle, but in its own eccentric way, it's as intriguing a statement about Dylan and his myth as any yet caught on film. At least, until the imminent release of Todd Haynes I'm Not There, which addresses the problem of summing up Dylan by dividing the part among six different actors. You can bet that Dylan is kicking himself for not having thought of that before.

— Phil Nugent