The 25th annual AFI Fest got underway tonight at Grauman’s Chinese Theater in Hollywood with the world premiere of Clint Eastwood’s J. Edgar, Warner Brothers’ highly anticipated bio-pic of legendary FBI director J. Edgar Hoover, who is portrayed in the film byLeonardo DiCaprio.
Posts Tagged ‘Clint Eastwood’
FEINBERG FORECAST: ‘Tintin’ Triumphs in London, ‘Descendants’ Descends on New York, ‘Rum’ Hangover in Hamptons
Among the things that factored into this week’s projections (which appear further down on the page)…
The 15th annual Hollywood Film Festival and Hollywood Film Awards, presented by Starz Entertainment, will honor Academy Award nominee Bennett Miller with its 2011 Hollywood Director Award.
Miller is being recognized for his work on the critically acclaimed blockbusterMoneyball, which was adapted fromMichael Lewis’s best-selling novel and stars Brad Pitt as Oakland A’s general managerBilly Beane. Miller will collect his statuette at the Hollywood Awards Gala Ceremony, which will take place at the Beverly Hilton on Oct. 24.
If I took one thing away from my interview in Toronto last month with Bryce Dallas Howard (which you can hear for yourself below), it’s that the 30-year-old actress/producer is absolutely lovely — smart, funny, and remarkably humble and down-to-earth. This shouldn’t have come as a surprise to me, based on everything that I’d previously heard about her and the fact that her father is Ron Howard, one of the most liked and respected men in Hollywood… but I must confess that it sort of did, primarily because she was so convincing on screen this year playing not one but two — forgive me — irredeemable bitches, a southern racist and a philandering girlfriend, in Tate Taylor’s The Help and Jonathan Levine’s 50/50, respectively.
THE FINISH LINE: Melissa McCarthy’s Latest Performance, ‘50/50,’ Brad Pitt’s ‘Moneyball’ Earn Praise
Today’s recommendations of important, interesting and eccentric stories pertaining to the awards race…
The vast majority of this year’s awards hopefuls have already played at least once on the festival circuit (Sundance, Berlin, Cannes, Telluride, Toronto, and/or New York) and/or gone into general release. Most of those that have not are set for October or November releases. But a select few others are being held until December, the last month in which they are eligible to qualify for Oscar consideration this year, and only being selectively screened for the press before then, if at all.
While hanging out in the Tribeca press lounge on Sunday afternoon, I ran into my friend/fellow film pundit Ed Douglas, who had been at the festival all week and told me that the best film that he’d seen, to that point, was a sequel to “Butch Cassidy and the Sundance Kid” (1969). I chuckled and said that I thought a sequel to that classic buddy movie had already been made, referring to “The Sting” (1973), which obviously involved different characters but not coincidentally re-teamed the earlier film’s director (George Roy Hill) and stars (Paul Newman and Robert Redford). No, no, Douglas said, this one was literally a sequel to the first, albeit with the different actors inhabiting the iconic parts of the bandits. It sounded sacrilegious to me, but I respect Douglas, so I got on the phone with the film’s publicist, who was kind enough to provide me with a ticket to the second public screening of the film later that evening.
“Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for ScottFeinberg.com — every week until the Academy Awards in order to help to peel back the curtain on the Oscar voting process. (His identity must be protected in order to spare him from repercussions for disclosing the aforementioned information.)
Thus far, he has shared his thoughts in column 1 about his general preferences; column 2 about “Solitary Man” (Anchor Bay Films, 5/21, R, trailer) and “Winter’s Bone” (Roadside Attractions, 6/11, R, trailer); column 3 about “Alice in Wonderland” (Disney, 3/5, PG, trailer), “Mother and Child” (Sony Pictures Classics, 5/7, R, trailer), and “Toy Story 3” (Disney, 6/18, G, trailer); column 4 about “Get Low” (Sony Pictures Classics, 7/30, PG-13, trailer), “The Kids Are All Right” (Focus Features, 7/9, R, trailer), and “The Social Network” (Columbia, 10/1, PG-13, trailer); column 5 about “127 Hours” (Fox Searchlight, 11/5, R, trailer), “Biutiful” (Roadside Attractions, 12/17, R, trailer), and “Shutter Island” (Paramount, 2/19, R, trailer); column 6 about “Inception” (Warner Brothers, 7/16, PG-13, trailer), “Made in Dagenham” (Sony Pictures Classics, 11/19, R, trailer), and “Somewhere” (Focus Features, 12/22, R, trailer); column 7 about “Another Year” (Sony Pictures Classics, 12/29, PG-13, trailer), “Fair Game” (Summit, 11/5, PG-13, trailer), and “Rabbit Hole” (Lionsgate, 12/17, PG-13, trailer); column 8 about “Blue Valentine” (The Weinstein Company, 12/29, R, trailer), “The Fighter” (Paramount, 12/10, R, trailer), and “True Grit” (Paramount, 12/22, PG-13, trailer); column 9 about “The Ghost Writer” (Summit, 2/19, PG-13, trailer), “The King’s Speech” (The Weinstein Company, 11/26, R, trailer), and “The Town” (Warner Brothers, 9/17, R, trailer); column 10 about “Black Swan” (Fox Searchlight, 12/3, R, trailer), “Conviction” (Fox Searchlight, 10/15, R, trailer), and “I Am Love” (Magnolia, 6/18, R, trailer); column 11 about his nomination ballots; column 12 about “All Good Things” (Magnolia, 12/3, R, trailer), “Animal Kingdom” (Sony Pictures Classics, 8/13, R, trailer), and “The Way Back” (Newmarket, 12/29, PG-13, trailer); column 13 about “Barney’s Version” (Sony Pictures Classics, 12/3, R, trailer), “Love and Other Drugs” (20th Century Fox, 11/24, R, trailer), and “Tangled” (Disney, 11/24, PG, trailer); and column 14 about “The Illusionist” (Sony Pictures Classics, 12/25, PG, trailer), “Inside Job” (Sony Pictures Classics, 10/8, PG-13, trailer), “Harry Potter and the Deathly Hallows: Part 1” (Warner Brothers, 11/19, PG-13, trailer), and “How to Train Your Dragon” (DreamWorks Animation, 3/26, PG, trailer).
This week, he assesses three more films: “Casino Jack” (ATO Pictures, 12/17, R, trailer), “Hereafter” (Warner Brothers, 10/22, PG-13, trailer), and “Iron Man 2” (Paramount, 5/7, PG-13, trailer). The first brought Kevin Spacey a Golden Globe nomination for best actor (drama); the latter two are nominated for the best visual effects Oscar.
Last night, the Santa Barbara International Film Festival presented the writer-director-producer Christopher Nolan with its highest honor, the Modern Master Award, at the majestic Arlington Theatre. The two-hour ceremony featured an extensive Q&A with Nolan moderated by film critic Pete Hammond, followed by a brief but heartfelt tribute to him from his “Inception” star/doppleganger Leonardo DiCaprio, who also presented him his statuette. (Previous recipients have included Michael Douglas, Sean Penn, Jodie Foster, Peter Jackson, George Clooney, Clint Eastwood, and James Cameron.)
Last week, I had the opportunity to spend about 15 minutes at New York’s Waldorf-Astoria Hotel with Matt Damon, who is not only one of the biggest movie stars of his generation but also a genuine actor’s actor who not infrequently takes on smaller parts in outstanding films. The latest and greatest example of this is his role as the verbose, cocksure Texas Ranger Mr. LaBoeuf in the Coen brothers’ newly-released Western “True Grit” (Paramount, 12/22, PG-13, trailer), for which he is now in the running for a best supporting actor Oscar nod.