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Posts Tagged ‘Pulp Fiction’

Friday January 18th, 2013

The Top 10 Directorial Debuts Of All Time

By Joey Magidson
Film Contributor

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For a filmmaker, it’s rare to make a real impact with your debut feature. Most of the time, you begin your career with a calling-card movie or a work that doesn’t fully express your true talent. There are, however, certain instances when a director is able to wow audiences and leave his or her mark on the film world right from the get-go.

This year, we’ve seen Benh Zeitlin make his debut with a film that many absolutely love in Beasts of the Southern Wild. Zeitlin’s freshman feature has been mentioned as one of the top debuts by a filmmaker in some time, so that got me thinking: What are the 10 best of all time?

Of course, there’s some level of subjectivity to this kind of a list. If I were strictly going off of my personal favorite debuts, people such as Judd Apatow, Darren Aronofsky, Mel Brooks and Kevin Smith would be high up on my own Top 10. For the purposes of this list, though, I’m putting as much of my individual preference aside as possible. Below you’ll find 10 of the great directorial debuts of all time.

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Monday December 17th, 2012

Violence Could Become A Major Factor In This Year’s Crop Of Oscar Contenders

By Joey Magidson
Film Contributor

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Like everyone else, I was shocked and saddened by the tragic school shooting this past Friday in Newtown, Connecticut. The thought of little kids and their teachers being targeted is just sickening. The event even moved President Obama to tears.

There are two things that deserve the blame, above all else, for this and any other massacre like it: the gunman and his guns. But, seeing as we focus on Hollywood on this site, I think that we should be honest and acknowledge that the entertainment industry probably isn’t helping matters.

For me, the shooting in the Connecticut elementary school brought back memories of the mass shooting in a movie theater — another place in which we always presumed we were safe — in Aurora, Colo. on the July night earlier this year on which The Dark Knight Rises opened.

It was only a few months ago, but in the aftermath of that tragedy many in show business accepted that their glamourization of violence might he partially to blame for making a deranged guy want to dress up like The Joker and shoot up a movie theater. Movie mogul Harvey Weinstein, who had nothing to do with that particular film, even called for a summit on violence in movies. But as the news faded from the headlines, and therefore the public’s consciousness, so too did the motivation and willpower to do anything about it.

(It’s a sad irony that the most violent film of this holiday season is none other than The Weinstein Co.’s Django Unchained.)

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Thursday October 4th, 2012

Hollywood Film Awards to Honor Quentin Tarantino’s ‘Django Unchained’ Screenplay

By Scott Feinberg
The Hollywood Reporter

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The Hollywood Reporter has learned that Quentin Tarantino, the iconic Oscar-winning scribe of Pulp Fiction (1994) who is in Oscar contention again this year for the Civil War-era spaghetti Western Django Unchained, will receive the Hollywood Screenwriter Award at the 16th annual Hollywood Film Awards — the first awards show of the 2012 Oscar season — when its gala ceremony is held Oct. 22 at the Beverly Hilton.

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Monday April 16th, 2012

Cannes Festival Selects Tim Roth as Un Certain Regard Jury Prez

By Josh Abraham

English actor and director Tim Roth will be the president of the Un Certain Regard Jury, part of the Festival de Cannes Official Selection, for which twenty films will be announced at the same time as those for the competition during the press conference on April, 19th.

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Wednesday November 30th, 2011

Harvey Weinstein Talks Oscars, Michelle Williams and the Charm of “My Week With Marilyn”

By Sean O’Connell

“Pulp Fiction.” “The English Patient.” “Good Will Hunting.” “Shakespeare in Love.” “Chicago.” “The Aviator.” “Gangs of New York.” “The Reader.” “The King’s Speech.”

For decades, Harvey Weinstein’s name has been synonymous with the Academy Awards, and his influential fingerprints have been all over the Oscar season.

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Monday September 13th, 2010

YOU CAN’T SCARE THE ACADEMY… RIGHT?

Everyone already knows about the scene in “127 Hours” (Fox Searchlight, 11/5, trailer) in which the mountain climber Aron Ralston (James Franco) cuts off his arm in order to save his life, as I wrote in a post yesterday afternoon and as Fox Searchlight acknowledged last night by introducing Aron Ralston to the audience before the premiere screening of the film. As you might imagine, it’s a particularly difficult one to watch — in fact, two people fainted and had to be carted away by ambulance after seeing it at Telluride last week, while two people passed out and one had a seizure after seeing it last night. Which leads to the big question: will apprehension about it keep Academy members from watching and/or voting for the film?

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Saturday August 7th, 2010

SOLILOQUIES THAT SEALED THE DEAL

JULES
Your mom and I are in hell right now and the bottom line is marriage is hard. It’s really fuckin’ hard. It’s just two people slogging through the shit, year after year, getting older, changing — fucking marathon, okay? So sometimes, you know, you’re together so long you stop seeing the other person, you just see weird projections of your own junk. Instead of talking to each other, you go off the rails, and act grubby, and make stupid choices, which is what I did. And I feel sick about it because I love you guys, and your mom, and that’s the truth. And sometimes you hurt the ones you love the most, and I don’t know why. You know, if I read more Russian novels… Anyway… I just wanted to say how sorry I am for what I did. I hope you’ll forgive me eventually. Thank you.

* * *

What you’ve just read is a transcript of Julianne Moore’s beautiful speech about marriage — or, rather, the beautiful speech about marriage that Lisa Cholodenko and Stuart Blumberg wrote for Moore’s character Jules to give to her wife and two children — in “The Kids Are All Right” (Focus Features, 7/9, trailer), one of this year’s leading awards contenders. In theaters, one can hear the sound of a pin drop as Moore delivers these lines. Later this year, it will undoubtedly be played over and over again to introduce her as a nominee at awards ceremonies. And, come Oscar time, it might well join the list (scroll down) of movie speeches that can be credited for almost single-handedly securing an acting nomination or win.

What makes this speech click, like most of those others, is this: it articulates some “greater truth” that applies not only to the characters in the film, but universally. Moore doesn’t say “the bottom line is gay marriage is hard,” but rather “the bottom line is marriage is hard,” and her description of it is something that rings true for any couple that’s been together for a long time — gay, straight, or otherwise. (Just listen to the murmured conversation in theaters after the scene ends.)

Interestingly, a March 2009 version of the script — a copy of which I have obtained — called for a speech that differs markedly from the one that made the final cut. Here is what was to be said:

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