Oscars: A Closer Look at the Results That Were Overshadowed By the Chaos ... Brutally Honest Oscar Ballot #6: “Fell In Love With” Taraji P. Henson, “Turned Off” ’20th Century Women’ ... Oscars Primer: What You Need to Know Before Tonight’s Ceremony ... Brutally Honest Ballot #5: “Loved Emma Stone and Ryan Gosling Together,” “Gimme a Break” About ‘Arrival’ ... Oscars: Is There a Correlation Between Ceremony Runtime and TV Ratings? ... Brutally Honest Oscar Ballot #4: ‘Moonlight’ “Everything I Think An Oscar Picture Should Be,” ‘La La Land’ “A Piece of Shit” ... Publicists Awards: ‘Deadpool’ Hailed As Best PR Campaign, Nanci Ryder Gets Massive Ovation ... Oscars 2017: Isabelle Huppert Could Become the Third-Oldest Best Actress Winner Ever ...
Countdown to Oscars

Posts Tagged ‘Cape Fear’

Monday November 22nd, 2010


  • 60 Minutes: Lara Logan profiles the actor/producer Mark Wahlberg, who she says “has made a career of reinventing himself like no one else in show business,” just a few weeks before the release of “The Fighter,” a film that he produced and stars in as his childhood hero. He takes her back to Boston and opens up about his “reckless youth,” including an assault that he committed at the age of 16 that left a man blind and resulted in him serving 45 days in jail. That harrowing experience, he says, gave him the drive to make something more of his life — first as a rapper, then as a model, and now as an Oscar-nominated actor and producer who is on the brink of unveiling his “proudest achievement” yet.
  • Gold Derby: Tom O’Neil claims that certain members of the Hollywood Foreign Press Association “absolutely love” the recent blockbuster thriller “Red” and says that we should “expect it to bag noms for best comedy/musical picture, actor (Bruce Willis) and maybe even supporting actor (John Malkovich as a conspiracy-minded LSD tripper) and supporting actress (Helen Mirren as a machine-gun-toting Rambo).”
  • New York Times: Brooks Barnes adds to the mounting expectations of “Tangled,” the 50th animated film from Disney, which reportedly cost $175 million to make and “will carry global marketing costs in excess of $100 million.” Disney’s chief creative officer John Lasseter, who has spent over three years working on the film since the 2006 Disney-Pixar merger left him in charge of the studio, tells Barnes: ““This film is as good as a Pixar film, but it’s classic Disney, and I love that: heart, humor, beauty, music, wonderment, the love story.”
  • The Big Picture: Patrick Goldstein highlights one of the most glaring omissions from the recently released list of films eligible for this year’s best documentary feature Oscar: Werner Herzog’s visually stunning 3-D doc “Cave of Forgotten Dreams.” He was previously snubbed five years ago for his critically-acclaimed doc “Grizzly Man” (2005), but was nominated three years ago for “Encounters at the End of the World” (2007).
  • Awards Tracker: Susan King reports that best actress hopeful Nicole Kidman (“Rabbit Hole”) will receive the Santa Barbara International Film Festival’s 2011 Vanguard Award following a career tribute on February 5. According to the festival, the award was created to annually recognize “an actor who has forged his/her own path, taking artistic risks and making a significant and unique contribution to film.” Previous recipients have included Ryan Gosling, Kristin Scott Thomas, and Christoph Waltz.
  • Imageworks: As part of the no-holds-barred Oscar campaign for “Alice in Wonderland,” the special effects firm Sony Pictures Imageworks has invited select journalists to have tea with the visual effects and animation team responsible for the film, as well as to have “an individual opportunity to sit at an Avid at Sony Pictures Imageworks with one of our editors and a member of the visual effects and animation production team” for a demonstration of some of the work that went into the production of the film’s “nearly 2500 visual effects and animation shots.”
  • Los Angeles Times: Mark Olsen profiles the 24-year-old writer/director/actress Lena Dunham, who has made a big impression with “Tiny Furniture,” her debut film, and is now being “courted by Hollywood.” As Dunham puts it, her story could be succinctly described as: “girl makes movie about being a loser and then gets un-loserly things to happen to her.”
  • Hollywood-Elsewhere: Jeff Wells confirms that director Steven Spielberg will indeed adapt a still-to-be-written Tony Kushner script about Abraham Lincoln into a feature film, and that the 16th president will be played not by the Irish actor Liam Neeson, who was the rumored frontrunner for the part, but rather by the British actor Daniel Day-Lewis. Cinephiles largely cheered the casting of the two time best actor Oscar winner (who traveled on Friday to Springfield, Illinois and received a tour of relevant historical sites from Lincoln historian Doris Kearns Goodwin.) The film is due out in 2012.
  • The Film Experience: Nathaniel Rogers chats with the 37-year-old actress Juliette Lewis, who was nominated for the best supporting actress Oscar nearly two decades ago for “Cape Fear” (1991) and is hoping to be nominated for it again for this year’s Tony Goldwyn’s “Conviction.” She has only two brief scenes in the film, but, as Rogers writes, audiences can’t take their eyes of her when she’s on screen, and it seems likely that they will lead to other, more substantial acting roles for her in the near future.

Photo: Mark Wahlberg in “The Fighter.” Credit: Paramount.

Friday October 8th, 2010


  • New York Times: David Brooks, The Gray Lady’s conservative op-ed columnist, scolds “The Social Network” for “bad sociology” (asserting that “the old WASP Harvard of Mayflower families, regatta blazers and Anglo-Saxon cheekbones” doesn’t exist alongside “the largely Jewish and Asian Harvard of brilliant but geeky young strivers” but has actually been replaced by it), praises it for “good psychology (“the movie does a brilliant job dissecting the sorts of people who become stars in an information economy and a hypercompetitive, purified meritocracy”), and makes a terrific observation (“I was reminded of the famous last scene in ‘The Searchers,’ in which the John Wayne character is unable to join the social bliss he has created”).
  • New York Magazine: Willa Paskin compares the teaser trailer (released about a month ago) with the theatrical trailer (released last night) for “127 Hours,” the latter of which “powerfully lays out the stakes” but “[witholds] all signs of bloody hand amputation… so watch with no fear of gross-out.” (It also happens to feature an enthusiastic quote at the 2:13 mark from a Web site that you may have heard of.)
  • The Hollywood Reporter: Gregg Kilday wonders whether Paramount’s patience will pay off as the studio waits until the near-end of the awards season to release its two big awards hopefuls, David O. Russell’s “The Fighter” (12/10) and Ethan Coen and Joel Coen’s “True Grit” (12/25).
  • Roger Ebert’s Journal: Roger Ebert, in a piece entitled “Secretariat Was Not a Christian,” rebuts the recent/controversial review of “Secretariat” by Salon.com’s Andrew O’Hehir. Essentially, Ebert believes that O’Hehir advocated “a fevered conspiracy theory” when he described the G-rated Disney film as “Tea Party friendly” and suggested other “sinister subtexts” in his review, and he methodically lists and dispels each of them.
  • Movie City News: David Poland writes a passionate defense of the Academy’s rumored move of the Oscars ceremony from February to January. There has been quite a bit of backlash to the idea, mainly because it would shorten the period of time in which voters can see the films they’re asked to vote on, but Poland provides 10 reasons why the change “makes perfect sense.”
  • The Hollywood Reporter: Lindsay Powers reports that actress Juliette Lewis, who received a best supporting actress Oscar nod 19 years ago for “Cape Fear” (1991) and is chasing another this year for “Conviction,” was hospitalized on Wednesday night after a car in which she was riding was struck by another driver, who then fled the scene.
  • Angeleno: David Hochman catches up with two-time Oscar winner Kevin Spacey, who has worked in film only sporadically since moving to London in 2003, but whose “name is suddenly on so many new movies” — “Casino Jack,” the Jack Abramoff biopic; “Margin Call,” a thriller set at the start of the financial crisis; and “The Social Network,” the script of which is adapted from a book by his longtime friend Ben Mezrich, and on which he served as an executive producer.
  • In Contention: Guy Lodge reconsiders his list of supporting actress contenders after being told by an independent filmmaker that “Black Swan” bad girl Mila Kunis is “so winning” the category this year for her breakout performance in the “outre arthouse thriller.” His reasoning? The Academy’s notorious “affection for hot ingenues in sashaying supporting roles, as well as the current absence of any obvious frontrunners in the category.”
  • Scanners Blog: Jim Emerson details some of the most interesting cinematographic plans for the “The Social Network” that made it into the film (shooting The Henley Royal Regatta in a way that makes the rowers look like miniatures) and that did not (such as digitally editing Jesse Eisenberg’s run across the Harvard campus that opens the film so that it appeared to be done in one take, which would have been “the most extravagant sequence in the picture”).
  • Us Magazine: The celebrity rag confirms reports that Facebook CEO Mark Zuckerberg not only took his staff to see “The Social Network” last Friday, but also treated everyone to apple martinis — the same drink that the film’s incarnations of himself (Jesse Eisenberg) and Sean Parker (Justin Timberlake) have during their first meeting — after the film.
  • indieWIRE: Brian Brooks breaks the news that veteran film journalist Anne Thompson, who writes the “Thompson on Hollywood” blog for indieWIRE, has been named the site’s indieWIRE Editor-at-Large, a position “she has unofficially served for some time.” The announcement comes days after Todd McCarthy left the site to become the film critic for The Hollywood Reporter.

Photo: Jesse Eisenberg in the opening sequence of “The Social Network.” Credit: Columbia.

Friday October 1st, 2010


This weekend, moviegoers who check out the new vampire flick “Let Me In” (Overture, 10/1, trailer) will, at some point, inevitably turn to those around them to inquire about the female star, “Who is that girl?!” The answer is Chloe Moretz, a 13-year-old acting prodigy who has been in the game since she was six; made a strong impression in “500 Days of Summer” (2009) and “Kick-Ass” (2010); and has, as a result of her haunting performance in “Let Me In,” solidified her standing as the most talented child star working in Hollywood today and become a legitimate awards season conteder. (I’m not alone on this.) I spoke with Moretz by phone for about 20 minutes earlier today, and you can listen to the audio of our conversation by clicking here.

Read the rest of this entry »