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- He is cast in the role of AuPairs in the 2006 50 Films to See Before You Die.
- Some tidbits from Jeffrey Wells site (linked to THE DRUDGE REPORT): Universal's "let Munich speak for itself" campaign...which of course was Steven Spielberg's concept to begin with (and thereafter conveyed by his spokesperson Marvin Levy to Universal publicists and Uni's Oscar consultant Tony Angellotti) was obviously a mistake. Munich doesn't open until 12.23 and won't have its Academy showing until this weekend, but the flatline reactions from critics groups and the failure to score a Best Picture (Drama) Golden Globe nomination means it's all but dead as a Best Picture Oscar contender. And yet Munich could have fared better if Spielberg had agreed to make the rounds and spar in the ring. Oscar prognosticator and Maxim critic Pete Hammond'>Pete Hammond says that "you really can't just sit back any more...it's a different world and a different game these days. It's not your father's Oscar campaign any more. Oscar runs are like Presidential campaigns, and if everyone's taking a shot at you every five minutes and you don't respond and if [contrary views] get out there and they hold, it's going to hurt. Munich is a political film about a political situation, and you've gotta react. You don't let those kind of things go unanswered." Levy says "we don't feel in any way that our not getting a Best Picture nomination from the Golden Globes makes it less likely that we could [succeed] with the Academy...we could still get that nod." Is Spielberg going to come out of his shell and start campaigning and mixing it up? Levy says "we haven't talked to him about that, and we're now evaluating where we are." Steven Spielberg is allegedly going to start talking to the press about Munich (there's an L.A. Times piece in the works) and making the rounds. And it's not going to make any differ- ence. Spielberg could stand at the corner of Wilshire and La Peer every night at 7 pm passing out Munich leaflets and it wouldn't matter. A film-critic friend said yesterday that "a let-the-movie- speak-for-itself campaign can work for the right film. The movie just needs to speak to people. Munich didn't. Million Dollar Baby did. I think Pete Hammond'>Pete Hammond saying 'it's not your father's Oscar cam- paign any more' is ultimately just excuse-making. Eastwood did very little press leading up to the nominations last year. Yeah, he's Clint. He doesn't have to glad-hand. But Million Dollar Baby copped seven Oscar nominations and four major Oscars last year simply by being a great movie. If Munich had delivered the goods, we wouldn't be having this conversation." [from an item about Paramount purchasing DreamWorks- I mean, I really don't get it, especially considering the growing belief that Spielberg is past his prime (Munich certainly doesn't argue against this thesis) and the fact that he's been talking to friends about wanting to downshift out of directing down the road and putting more of his time and energy into altruistic pursuits, like improving the opportunities for education among third-world peoples.] "The trouble [with King Kong] is that Jackson, an exuberant director, fresh from his triumph with the Lord of the Rings trilogy, likes to shoot up a storm, and here his exuberance spills over into senselessness," writes David Denby in his New Yorker review. The Depression background, just a few shots in the original [Kong], is stretched out here with a montage of shantytowns and strikes; the black "natives" in Skull Island -- filthy, grotesque and vicious -- seem like escapees from a sideshow. In the original, Kong defends his blonde against dinosaurs for just a couple of scenes, but here the fights go on forever. Repeating what Spielberg has already accomplished in the Jurassic Park series, Jackson has fallen into a trap. Spectacle must be more and more astonishing or it creates as much as boredom as wonder, yet it's not easy, as filmmakers are finding out, to top what others have delivered and stay within a disciplined narrative." I know we're all taking off for the holidays, but the failure of major entertainment reporters to step up and face the reality of the Great Middle-American Ho-Humming of King Kong is amazing. This is a hugely surprising story and....zzzzz. Joseph Jones , a reader, says he "saw King Kong last night at an AMC multiplex here in Tampa. We arrived an hour prior to the show, expecting a line (I remember arriving an hour before a showing of Jurassic Park back in 1993 -- and still ending up near the back of the line and in dreadful off-to-the-side seats) but we were the first ones there. We were let into the theater a half-hour before the show, and, by this time, there were maybe 10 people. By the time the show started, there were plenty of empty seats...still. I can't say I share your enthusiasm for the film -- I found that first hour pretty much intolerable, the second hour ok, and the third hour fantastic. Yet, by that time, I was grateful for this bombastic flick to finally end. Audience reaction seemed good but not great. I overheard the group behind me saying that they'd enjoyed other films this year more (Batman Begins was mentioned as a preferred film). My companion commented that while there was some truly amazing stuff in the film, there was also a lot of bad stuff in the film. I imagine word-of-mouth is going to be mixed." Reese Witherspoon will win the Golden Globe (Musical Comedy) award for her Walk the Line performance, and that's cool. But the also-nominated Sarah Jessica Parker delivers a more skilled and much-more-difficult-to-pull-off performance in The Family Stone, and the HFPA members should really think this over before voting. Witherspoon's June Carter is all about spirit and buoyancy...the sincerity and level-headedness of a good country girl. But Parker's performance is a trapeze act, and the more I think about it the more exceptional it seems. DreamWorks is seriously pulling out the stops to push Match Point into Best Picture contention. The more this first-rate moralistic drama gets seen and talked up, the higher it moves up on everyone's list. (Most Best Picture nominees say something about life that everyone knows to be bottom-line true, and Match Point obviously delivers in this respect.) The key to getting nominated will be whether DreamWorks' marketing honcho Terry Press and Allen's publicist Leslee Dart can convince Allen to attend the Golden Globes show on 1.16.05. If he shows and does the dance (he's an absolute pro at winning people over) and submits to the process, it could happen. The San Francisco Film Critics agree with my feelings about Kevin Costner and his loose-shoes performance in The Upside of Anger (voiced in the current lead story) by giving him their Best Supporting Actor award. (Yes!) They also went for Brokeback Mountain for Best Picture, Heath Ledger for Best Actor, Walk the Line's Reese Witherspoon for Best Actress, and Junebug's Amy Adams for best Supporting Actress. They also gave their Best Dcoumentary award to Werner Herzog's Grizzly Man, which, as mentioned earlier, the Academy's Documentary committee diodn't even include on its preliminary list of twelve. Grizzly Man will have its DVD debut on 12.26. The Producers will earn a projected $159,000 at six theatres this weekend, or $26,000 a print. Trackers are saying this is D.O.A. business...finito. A guy keeping tabs on the numbers at New York's Ziegfeld theatre told a friend he knew The Producers was dead after Friday's first matinee. Too many bad reviews, too cornball, no under-25 attendance to speak of and Susan Stroman can't direct with any pizazz or sense of style...down for the count and off to DVD. Mark L. Falconer-film and video links at http://hometown.aol.com/mfalc1/links.html Recent films seen: KING KONG 2005 *** THE FAMILY STONE *** MEMOIRS OF A GEISHA ** NARNIA EPISODE ONE *** PRIDE AND PREJUDICE ***
- Some tidbits from Jeffrey Wells site (linked to THE DRUDGE REPORT): Universal's "let Munich speak for itself" campaign...which of course was Steven Spielberg's concept to begin with (and thereafter conveyed by his spokesperson Marvin Levy to Universal publicists and Uni's Oscar consultant Tony Angellotti) was obviously a mistake. Munich doesn't open until 12.23 and won't have its Academy showing until this weekend, but the flatline reactions from critics groups and the failure to score a Best Picture (Drama) Golden Globe nomination means it's all but dead as a Best Picture Oscar contender. And yet Munich could have fared better if Spielberg had agreed to make the rounds and spar in the ring. Oscar prognosticator and Maxim critic Pete Hammond'>Pete Hammond says that "you really can't just sit back any more...it's a different world and a different game these days. It's not your father's Oscar campaign any more. Oscar runs are like Presidential campaigns, and if everyone's taking a shot at you every five minutes and you don't respond and if [contrary views] get out there and they hold, it's going to hurt. Munich is a political film about a political situation, and you've gotta react. You don't let those kind of things go unanswered." Levy says "we don't feel in any way that our not getting a Best Picture nomination from the Golden Globes makes it less likely that we could [succeed] with the Academy...we could still get that nod." Is Spielberg going to come out of his shell and start campaigning and mixing it up? Levy says "we haven't talked to him about that, and we're now evaluating where we are." Steven Spielberg is allegedly going to start talking to the press about Munich (there's an L.A. Times piece in the works) and making the rounds. And it's not going to make any differ- ence. Spielberg could stand at the corner of Wilshire and La Peer every night at 7 pm passing out Munich leaflets and it wouldn't matter. A film-critic friend said yesterday that "a let-the-movie- speak-for-itself campaign can work for the right film. The movie just needs to speak to people. Munich didn't. Million Dollar Baby did. I think Pete Hammond'>Pete Hammond saying 'it's not your father's Oscar cam- paign any more' is ultimately just excuse-making. Eastwood did very little press leading up to the nominations last year. Yeah, he's Clint. He doesn't have to glad-hand. But Million Dollar Baby copped seven Oscar nominations and four major Oscars last year simply by being a great movie. If Munich had delivered the goods, we wouldn't be having this conversation." [from an item about Paramount purchasing DreamWorks- I mean, I really don't get it, especially considering the growing belief that Spielberg is past his prime (Munich certainly doesn't argue against this thesis) and the fact that he's been talking to friends about wanting to downshift out of directing down the road and putting more of his time and energy into altruistic pursuits, like improving the opportunities for education among third-world peoples.] "The trouble [with King Kong] is that Jackson, an exuberant director, fresh from his triumph with the Lord of the Rings trilogy, likes to shoot up a storm, and here his exuberance spills over into senselessness," writes David Denby in his New Yorker review. The Depression background, just a few shots in the original [Kong], is stretched out here with a montage of shantytowns and strikes; the black "natives" in Skull Island -- filthy, grotesque and vicious -- seem like escapees from a sideshow. In the original, Kong defends his blonde against dinosaurs for just a couple of scenes, but here the fights go on forever. Repeating what Spielberg has already accomplished in the Jurassic Park series, Jackson has fallen into a trap. Spectacle must be more and more astonishing or it creates as much as boredom as wonder, yet it's not easy, as filmmakers are finding out, to top what others have delivered and stay within a disciplined narrative." I know we're all taking off for the holidays, but the failure of major entertainment reporters to step up and face the reality of the Great Middle-American Ho-Humming of King Kong is amazing. This is a hugely surprising story and....zzzzz. Joseph Jones , a reader, says he "saw King Kong last night at an AMC multiplex here in Tampa. We arrived an hour prior to the show, expecting a line (I remember arriving an hour before a showing of Jurassic Park back in 1993 -- and still ending up near the back of the line and in dreadful off-to-the-side seats) but we were the first ones there. We were let into the theater a half-hour before the show, and, by this time, there were maybe 10 people. By the time the show started, there were plenty of empty seats...still. I can't say I share your enthusiasm for the film -- I found that first hour pretty much intolerable, the second hour ok, and the third hour fantastic. Yet, by that time, I was grateful for this bombastic flick to finally end. Audience reaction seemed good but not great. I overheard the group behind me saying that they'd enjoyed other films this year more (Batman Begins was mentioned as a preferred film). My companion commented that while there was some truly amazing stuff in the film, there was also a lot of bad stuff in the film. I imagine word-of-mouth is going to be mixed." Reese Witherspoon will win the Golden Globe (Musical Comedy) award for her Walk the Line performance, and that's cool. But the also-nominated Sarah Jessica Parker delivers a more skilled and much-more-difficult-to-pull-off performance in The Family Stone, and the HFPA members should really think this over before voting. Witherspoon's June Carter is all about spirit and buoyancy...the sincerity and level-headedness of a good country girl. But Parker's performance is a trapeze act, and the more I think about it the more exceptional it seems. DreamWorks is seriously pulling out the stops to push Match Point into Best Picture contention. The more this first-rate moralistic drama gets seen and talked up, the higher it moves up on everyone's list. (Most Best Picture nominees say something about life that everyone knows to be bottom-line true, and Match Point obviously delivers in this respect.) The key to getting nominated will be whether DreamWorks' marketing honcho Terry Press and Allen's publicist Leslee Dart can convince Allen to attend the Golden Globes show on 1.16.05. If he shows and does the dance (he's an absolute pro at winning people over) and submits to the process, it could happen. The San Francisco Film Critics agree with my feelings about Kevin Costner and his loose-shoes performance in The Upside of Anger (voiced in the current lead story) by giving him their Best Supporting Actor award. (Yes!) They also went for Brokeback Mountain for Best Picture, Heath Ledger for Best Actor, Walk the Line's Reese Witherspoon for Best Actress, and Junebug's Amy Adams for best Supporting Actress. They also gave their Best Dcoumentary award to Werner Herzog's Grizzly Man, which, as mentioned earlier, the Academy's Documentary committee diodn't even include on its preliminary list of twelve. Grizzly Man will have its DVD debut on 12.26. The Producers will earn a projected $159,000 at six theatres this weekend, or $26,000 a print. Trackers are saying this is D.O.A. business...finito. A guy keeping tabs on the numbers at New York's Ziegfeld theatre told a friend he knew The Producers was dead after Friday's first matinee. Too many bad reviews, too cornball, no under-25 attendance to speak of and Susan Stroman can't direct with any pizazz or sense of style...down for the count and off to DVD. Mark L. Falconer-film and video links at http://hometown.aol.com/mfalc1/links.html Recent films seen: KING KONG 2005 *** THE FAMILY STONE *** MEMOIRS OF A GEISHA ** NARNIA EPISODE ONE *** PRIDE AND PREJUDICE ***
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