best last words

Batty: "I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain. Time to die."

Rutger Hauer as replicant Roy Batty in Ridley Scott's immortal, Blade Runner (82)

Up next for Hauer: Dracula III: Legacy (04), In the Shadow of the Cobra (04), Batman Begins (05), Mirror Wars: Reflection One (04) and The Poseidon Adventure (TV, 05).

Who are your Top 5 Favorite Fictional Characters on Film: A Poll
Characters either created for film or adapted from literary works
Top 100 Male choices (in alphabetical order):

1. George Bailey

2. Rocky Balboa

3. Hud Bannon

4. Buckaroo Banzai

5. Norman Bates

6. Roy Batty

7. Howard Beale

8. Hans Beckert

9. John Bender

10. Travis Bickle

11. Rick Blaine

12. The Blues Brothers ("Joliet" Jake Blues & Elwood Blues)

13. John "Bluto" Blutarsky

14. James Bond

15. Frank Booth

16. Benjamin Braddock

17. Ferris Bueller

18. Frank Bullitt

19. Rhett Butler

20. "Dirty" Harry Callahan

21. Jack Carter

22. Inspector Jacques Clouseau

23. Rooster Cogburn

24. Conan

25. Michael Corleone

26. Crash Davis

27. Alexander "Alex" de Large

28. Dignan

29. Fred C. Dobbs

30. Antoine Doinel

31. Jimmy "Popeye" Doyle

32. Count Dracula


33. Tyler Durden

34. Ethan Edwards

35. "Fast" Eddie Felson

36. Atticus Finch

37. Max Fischer

38. Det. Axel Foley

39. Frankenstein's Monster

40. Samuel Gerard

41. Police Chief Bill Gillespie

42. J. J. "Jake" Gittes

43. Gollum/Sméagol

44. Clark Griswold

45. Forrest Gump

46. HAL 9000

47. Hamlet, Prince of Denmark


48. Harry & Lloyd (Harry Dunne & Lloyd Christmas)

49. Capt. Virgil "The Cooler King" Hilts

50. Sherlock Holmes

51. Arthur "Cody" Jarrett

52. Indiana Jones

53. Marshal Will Kane

54. Clark Kent/Superman

55. Paul Kersey

56. Lt. Col. Bill Kilgore

57. Jeff Lebowski (The Dude)

58. Hannibal Lector

59. Harry Lime

60. Luke

61. Bill Lumbergh

62. John McClane

63. H.I. McDunnough

64. Capt. John Francis Xavier "Trapper John" McIntyre

65. Randle Patrick McMurphy

66. John Malcovich
(from Being John Malcovich)

67. Terry Malloy

68. The Man with No Name

69. Tony Manero

70. Capt./Maj. Bennett Marco

71. Jimmy Markum

72. Philip Marlowe

73. Mad Max

74. Tony Montana

75. William "Bill" Munny

76. The Odd Couple (Felix Ungar & Oscar Madison)

77. Snake Plisskin

78. Michel Poiccard (alias Laszlo Kovacs)

79. John Rambo

80. Ellis Boyd "Red" Redding

81. Enrico Salvatore "Ratso" Rizzo

82. Corky St. Clair

83. Sanjuro

84. Vin

85. John Shaft

86. Shane

87. Alvy Singer

88. Anakin Skywalker (Darth Vader)

89. Carl Spackler

90. Sam Spade

91. Jeff Spicoli

92. Jim Stark

93. Royal Tenenbaum

94. The Terminator

95. Det. Virgil Tibbs

96. Tramp

97. Dr. Peter Venkman

98. Bruce Wayne/Batman

99. Frank White

100. Wyatt (Captain America)

Best Actress
A list of the year's most promising Academy Award nominees

Annette Benning Being Julia

2-time Oscar nominee, and one hell of an actress, Annette Benning will more than likely enthrall you - or just plain give you the creeps. She has that power as an actress to either attract or repel. Giving her best performance in years, for director István Szabó (Mephisto, 80) the film plays less like All About Eve (50) than it does like Carrie (76). Someone once said, "revenge is a dish best served cold," and according to Benning's character, Julia Lambert - that would be an under-statement. Based on the 1937 W. Somerset Maugham novel (originally titled "Theatre") and adapted for the screen by Ronald Harwood (The Dresser 83, The Pianist 02), Being Julia is more than just a period film about the theatre. It's a showcase for it's central performance and leading lady: Mrs. Benning. Equal parts All About Eve, Bullets Over Broadway (94) and Sunset Blvd. (50), Benning shows how well she can handle the big moments in the film, as well as the minor keys. It very well may be the performance of the year, but will she take home the gold?

Imelda Staunton Vera Drake

Who the hell is Imelda Staunton? I was prepared for you to ask that question. Born Imelda Mary Philomena Bernadette Staunton, she has evolved as one of the most respected and prolific stage actresses that the world has ever known. She was awarded the Laurence Olivier Theatre Award in 1986 and 1991, the 1985 London Critics Circle Theatre Award, in addition to already recieving the "Coppa Volpi" award at the 2004 Venice Film Festvial for Vera Drake. And now, it's Oscar time. She's also been acting in film and television since the mid-eighties. Say what you will about the controversial film (it was after all directed by fellow-Brit Mike Leigh) but Staunton is a force of nature as the indomitable (and very gentle) Vera, and this will no doubt become her signature role for years to come. A shoe-in for the nomination and a top contender for the crown.

Hilary Swank Million Dollar Baby

Did you know that Clint Eastwood is one of my all-time favorite actors, directors and movie stars? If not, check out the half a dozen or so posts I've done on him and his films on this very blog. I wont say much else about Million Dollar Baby - mainly because I've said all there is to say (so far) but I will mention once again that Hilary Swank deserves the nomination. If not for the intense and extreme physical aspects of the performance, than for her sheer excellence as an actress in the film. Even if she does not win - let's hope they show her the respect she deserves by giving her the nomination. And I think it would be amazing if she topped Julia Roberts by winning a second Oscar. Here is a woman who truly deserves it, Julia. That's it, the gloves are coming off...Incidentally, if Swank and Benning both get nominations this year - it will be the second time they will have squared off against each other in the Best Actress category. In 1999, Swank won for Boys Don't Cry, beating Benning in American Beauty.

Catalina Sandino Moreno Maria Full of Grace

This film may be the biggest sleeper of the year. 23 year old Moreno plays Maria, a bright 17 year old living in rural Colombia who takes a lucrative job as a drug "mule" and is thrust into the dangerous and ruthless world of international drug trafficking. More of a story about survival than anything else, the stubborn seventeen year old Colombian girl must swallow sixty three pellets of heroin and then not get caught as she crosses the border to get to New York. Defintely one of the more original films of the year - if not the most unforgettable. Moreno is a wonder to behold - and watching her find her "grace" is truly rewarding. One of the taglines for this film was "based on 1000 true stories." Scary. If enough voters see the film - she will more than likey win the nomination. Let's keep our fingers crossed.

Kate Winslet Eternal Sunshine of the Spotless Mind

Winslet was good in the film - don't get me wrong - but was it Oscar-worthy? I don't think so - but then I don't pick these things (officialy). Still, they will more than likely nominate her for her "zany" and "eccentric" multi-hair-colored performance in this slightly over-rated fantasy love-story. There are moments of pure brilliance in the film, but most of it is due to the writing (Charlie Kaufman strikes again). If it weren't such a lean year in the Best Actress category - I'd say pass on her - and since she's probably more deserving for Finding Neverland in the Supporting Actress category - you may just see her get the nom for one or the other. My vote: Finding Neverland. Winslet has done better work than this, namely: Heavenly Creatures (94), Sense and Sensibility (95), Jude (96), Hamlet (96), Quills (00) and Iris (01) - all Oscar worthy performances. Incidentally, Winslet and Gloria Stewart are the only actresses to ever be nominated for playing the same character in the same film (1997's dismal, Titanic). They both lost. Go figure.

Paz Vega Spanglish

Okay, I only have one problem with this movie. Why does the Hispanic house-keeper have to be an impossibly beautiful woman (like Paz Vega) who would only have to walk past one Hollywood casting agent on the street and she would be on a box of Tide in like three seconds? Still, Vega is beautiful (maybe the most attractive woman up for a nomination this year) and she's also a very talented actress to boot. She's been acting in film since the late 90s and Spanglish marks her American film debut.

Meryl Streep The Manchurian Candidate

Did I ever tell you that I love Meryl Streep? No, really. I love her. Not only is she arguably the single greatest living actress working in film today, but she's also a smart, funny, sexy and totally cool person behind the camera as well. She has already won two Oscars in her long career (Best Supporting Actress for Kramer v. Kramer, 79 and Best Actress for the still heart-breaking Sophie's Choice, 82). She was most recently nominated for Supporting Actress in The Hours (02). Here she takes a stab at the role that made Angela Lansbury (from the original and far superior film) a cult icon and house-hold name. Streep is a different kind of "Mother" in this film, but the results are the same: chilling (can you say "Eee-vil?") She's a serious contender for the nomination, and did I mention how sexy I think Mrs. Streep is? My favorite Meryl Streep role: Julia in Albert Brook's hysterical and poignant Defending Your Life (91). Up next for Streep: Prime, Dark Matter, Conquistadora, Chaos, Flora Plum and A Prairie Home Companion.

Laura Dern We Don't Live Here Anymore

Laura Dern has always been an under-rated actress. The daughter of Bruce Dern and Diane Ladd (herself an under-rated actress) Dern has starred in some of the most over-looked films of the late twentieth century. Films like: Smooth Talk (85), Blue Velvet (86, for David Lynch), Wild at Heart (90, also for Lynch), Rambling Rose (91), A Perfect World (93, for Clint Eastwood), Citizen Ruth (96, for Sideways director Alexander Payne) and now We Don't Live Here Anymore. Here she plays a damaged woman and the victim of an adulterous husband. It's one of the most complex and demanding performances of the year. Let's just hope Oscar doesn't forget to see it.

Audrey Tautou A Very Long Engagement

She was so well recieved after Jean-Pierre Jeunet's Le Fabuleux destin d'Amélie Poulain (aka: Amelie, 01) - that her "face" has nearly become a household name - or at least her incredibly expressive eyes have. Not since Tatyana Samojlova in The Cranes Are Flying (57) has an actress been more known for her expressive eyes. Tautou again stars for director Jeunet in this tale of love and loss amidst the trenches of Wold War I France. Alternately touching and chilling, this film will rake in the praise from critics around the world. It may also rake in a nom for the girl with the saucer eyes that we have all come to love so well (even if her cuteness borders on annoying). This film is the proof that she can carry a film without relying completely on the cute-factor. Also check her out in Stephen Frear's under-rated Dirty Pretty Things (02).

Ziyi Zhang House of Flying Daggers

This is her third film for director Zhang Yimou, following The Road Home (99) and his masterpiece, Hero (02). It's hard to believe that she made her film debut in The Road Home. She already seems like she's been a movie star her whole life. That's probably because she's so good at playing the diva. I wont go into her personal politics (okay, she's a red communist!) but other than that - she's one of the biggest box-office draws in Asia and ever since her break-through in Ang Lee's immortal Crouching Tiger, Hidden Dragon (00) she has become an instantly recognizable commodity in the West. Check out the mostly never-heard-of but brilliant Korean film, Musa (Musa the Warrior 01) if you want to see her in something a little different. She is filming Memoirs of a Geisha (guess what - she's not Japanese, guys!) as we speak. Then it's on to Good Cook, Likes Music for director Wayne Wang. It will be hard for the Academy to not notice her in this year's kick-ass (literally) House of Flying Daggers, mainly because it's also a front runner for the Best Foriegn Film Award. I'll make you a bet - if she doesn't at least get a nomination this year for Best Actress - they will make up for it next year with Memoirs of a Geisha (whether she deserves it or not). Mark my words.

Supporting Players
The Best Male and Female Supporting Performances of the Year - Oscar nominees (my favorite category and by far the most fierce)

The Men

Thomas Haden Church Sideways

Church is the front-runner this year and the sure-fire audience favorite. He is also that rare thing in Academy Award nomination categories these days - an actor who deserves the award.

Morgan Freeman Million Dollar Baby

Freeman has never won an Academy Award. I think that violates about 17 First Ammendment rights. He is not the star of this film - but that's what this category is all about - not to mention he deserved the Best Actor award for The Shawshank Redemption (94) - and now it's payback time.

Jaime Foxx Collateral

If voters sway away from Foxx in the Lead Actor category for Ray, they may more than likely cast their vote for him in Michael Mann's brilliant hit-man film. Foxx just drives the cab, but he steals the whole picture.

Freddie Highmore Finding Neverland

What can I say? This little man deserves the nomination. Not just for keeping Kleenex tissues in business for the season, but also for being a brilliant actor despite not being old enough to drive, buy cigarettes or run for President - no small feat indeed.

Peter Sarsgaard Kinsey

They screwed him for Boys Don't Cry (99) and Shattered Glass (03, which I will never forgive them for) so here we are yet again. The man is easy to over-look sometimes because he's so good at blending into a role - but enough is enough. He turned heads yet again in Kinsey and now it's time he turned some votes. Up next: Jarhead (05) for Academy Award-winning director, Sam Mendes (American Beauty, 99).

James Garner The Notebook

He was so good in Murphy's Romance (85), that they couldn't not nominate him. It was his first (and to date - his last) nomination. He deserves another for playing an old man reading a story to an old woman in a nursing home. There's much more to his performance in (the under-rated) The Notebook - and this could be Garner's at-long-last career Oscar.

Clive Owen Closer

Clive Owen. He recieved little to no publicity for his brilliant conflicted criminal in Mike Hodges' I'll Sleep When I'm Dead (03) - but he will not slip by again for Mike Nichols' Closer. It's an ensemble, so it would be appropriate for him to be nominated in this category - and it would be justice if he actually wins.

Phil Davis Vera Drake

Mike Leigh's film has been building steam for Imelda Staunton in her triumphant title role, but voters are not likely to forget Phil Davis' "Stan" from the same film. He's been acting in film since the mid seventies, and up until now he's just been one of those faces you may recognize from many British films - but not for long.

Rupert Everett Stage Beauty

News flash - Rupert Everett is a great actor. Here are just a few of the films he's given us: Another Country (84), Dance with a Stranger (85), The Madness of King George (94), My Best Friend's Wedding (97), An Ideal Husband (99, for which he deserved an Oscar), The Importance of Being Earnest (02) and now Jeffrey Hatcher and Richard Eyre's Stage Beauty in which he plays King Charles II. Bow to him.

Val Kilmer Alexander

Go buy the David Mamet movie Spartan (04) right now on DVD. Kilmer will not get a nomination for it. He was too good in it and the film is a bit controversial given the nature of the current political climate. Still, he may be over the top in Alexander, but he does get the Kirk Douglas award for having the best "missing eye" in the history of film (next to Douglas in The Vikings, 58). See the film for the battle scenes, Colin Farrell's uninhibited Irish accent and that darn eye (or lack there of).

Topher Grace In Good Company

Dennis Quaid plays a middle-aged ad exec faced with a new boss who's nearly half his age, and who also happens to be sleeping with his daughter. Grace plays the boss. He's quite effective (and memorable) here in this, his first important role. He's a longshot for the nomination - but effective nonetheless. This one will have more of a life on cable and video. He's also currently appearing in the Dylan Kidd film P.S. with Laura Linney, Gabriel Byrne and Oscar-winner Marcia Gay Harden. It sounds a little like Chances Are (89) - but it's destined to be one of the year's best sleepers. Due in no small part to Grace.

Rodrigo de la Serna The Motorcycle Diaries

Another one of my personal favorites for the win. De la Serna plays the real life Alberto Granado, who along with friend Ernesto "Che" Guevara (played brilliantly by Gael García Bernal) are just a couple of typical college students in the early 1950s. They are seeking fun and adventure before graduation and decide to travel across Argentina, Chile, Brazil and Peru in order to do their medical residency at a leper colony. It's really about "two lives running parallel for a while" (as said in the film) and should bring both stars nominations this year.

Peter O'Toole Troy

Okay. He's Peter fucking O'Toole. Let's do the math: 7 nominations - no wins. One lifetime achievement award from the Academy. Did I mention that he's never won in a competitive category before? If anyone deserves the "career-Oscar" it's him. And, he's Peter fucking O'Toole - forgetaboutit.

The Ladies

Laura Linney Kinsey

Linney lost to Julia Roberts in 2000 for Erin Brockovich. I haven't gotten over that one yet. She deserved the Oscar for You Can Count On Me - it's one of the best films of that year and a personal favorite of mine. It's also her best performance to date - that is if you're not counting Kinsey. Voters will no doubt take notice of another great performance she's given this year: P.S. - in which she plays a divorced woman in her late 30s, who gets to live out the ultimate fairy-tale when she is reunited with a high school sweetheart who had died previously and is reincarnated in the body of a 20 year-old (played by Topher Grace). It's directed by Dylan Kidd, the man who gave us the brilliant Roger Dodger (02, Campbell Scott should have been nominated for this) so expect greatness. She's the popular choice for the award this year and completely deserving of it. Go Laura.

Virginia Madsen Sideways

If there's another front-runner, it's the surprising return of Virginia Madsen. It's not as if she went anywhere - but it was unexpected when she turned out a career-defining performance in this remarkable film. She's been around longer than Eric Roberts has been making crappy movies and this is her moment of glory. Even if she doesn't win - she's still looking at a long awaited A-list career thanks to Sideways and she gets dubbed this year's official "come-back kid."

Gena Rowlands The Notebook

A two-time Oscar nominee (A Woman Under the Influence, 74 and Gloria, 80 - one of my favorite films - both directed by her life partner, the late great John Cassavettes) Rowlands has slam-dunked another one. She plays a woman with Alzheimer's and is without a doubt the sentimental choice in the category. She's also one of our generation's greatest living actresses - so give her the damn statue already!

Kate Winslet Finding Neverland

She may not get a Lead Actress nomination for this year's Eternal Sunshine of the Spotless Mind (but who knows, it was a lean year for Actresses) but she's pretty much guaranteed the nom for Neverland. In the film, she fights consumption - and in the Supporting Actress category, she'll be fighting with the rest of the heavy-weights.

Cloris Leachman Spanglish

I love Cloris Leachman. She won in this category once before, in 1971's The Last Picture Show (one of my favorite winning performances for Supporting Actress). With films like: Young Frankenstein (74, playing the unforgettable Frau Blücher - cue horse squeal) and High Anxiety (77) both for director Mel Brooks, many people forget that she can be an incredible dramatic actress. For director James L. Brooks, in Spanglish she gets to do both: comedy and drama (a marriage made in heaven).

Julie Christie Finding Neverland

The still-beautiful-after-all-these-years Christie plays the mother of the character played by Kate Winslet in this film. She's also so extraordinary in her role of the controlling Mother that she may also get nominated alongside the deserving Winslet. Will they cancel each other out? Not likely. It's quite possible that one or the other may win. A tie perhaps? Now that's stretching.

Cate Blanchett The Aviator and The Life Aquatic with Steve Zissou


Cate Blanchett as Katharine Hepburn. What can I say? When I first heard about this I thought it would be a disaster. But, not only did they pull off the impossible by making her look like the greatest Actress that ever lived - but her impersonation is uncanny. Blanchett is also a great actress, and the Academy will have to take notice of her commanding presence in the film. They will also have to throw her another nom (like they did for her in Elizabeth, 98 - for Best Actress). She also appears in this year's highly anticipated The Life Aquatic with Steve Zissou, the fourth film from director Wes Anderson. She's already getting excellent reviews for that one too. Nominating her for one is like honoring her for both. The real Hepburn won a staggering 4 Oscars for Lead Actress (she's still the all-time record holder for most wins for an Actor or Actress).

Tea Leoni Spanglish

Before she started filming Fun with Dick and Jane (05) with Jim Carrey, she made this little gem with Adam Sandler. She plays his wife in the film. It's a complex role that doesn't always leave you on her character's side of things. Leoni gets criticized quite often for seeming "cold" in her films. This is not an unfair observation. But, I do think that she's a very talented woman (see Flirting with Disaster, 96 if you don't believe me) and she may very well get the nom for her memorable work here.

Eileen Atkins Vanity Fair

Atkins plays Miss Matilda Crawley in the film based on the famous William Makepeace Thackeray novel. She's the quitessential Victorian snob and one of the true assests of the film. A scene stealer in every sense of the word, she's also funny and completely deserving of the nomination. A veteren of stage, television and film, this 70 year old actress is more of a dark horse in the running, but with smaller roles in Wit (01), Gosford Park (01), The Hours (02), What a Girl Wants (03) and Cold Mountain (03) this woman doesn't show signs of aging. She has three new films in the works including Mission: Impossible III (06).

Natalie Portman Closer

One thing is for sure - she eclipses Julia Roberts in the film. Actually, the wallpaper eclipses Julia Roberts in the film. In any case, I do not dislike Portman. I just think it was unfortunate that George Lucas got his grubby little no-talent hands all over her, but I'm willing to give her a chance in just about anything. As a stripper? The Academy will take notice, and I will happily enjoy my 5 day rental of this high-brow relationship drama from my local Hollywood Video. And no doubt wear out the pause button when she does her thing. Portman was also fine in this year's Garden State (also with potential Supporting Actor nominee, Peter Sarsgaard).

Angelina Jolie Alexander

Jolie-polie. She probably deserves a nomination for this year's under-rated Sky Captain and the World of Tomorrow, but if she gets a nomination at all - it will be for Alexander. She's set to star in Mr. and Mrs. Smith (05) which is about to start filming any day now - and then she will play Catherine the Great in Randall Wallace's Love and Honor. As long as there's not another Lara Croft in her immediate future - I'm down with anything. But what the hell was up with the accent in Alexander?

Best Films of the Year
Bring on the Oscar Nominations

The Aviator

Has Scorsese produced another masterpiece (like his Raging Bull 80, or Goodfellas 90) or has he waddled into the interesting dud territory yet again (New York, New York 77, and Gangs of New York 02). I think that this will prove to be his best big budget studio film yet, and may just be the one that takes home the gold. Hollywood loves films about the biz. Next up for Scorsese: The Departed (06) based on a trilogy of Chinese-language gangster movies. Set to star is Matt Damon and Leonardo DiCaprio (in a hat trick performance for the Director).

Sideways

Miles Faymond, a failed writer and divorcé who teaches junior high school english takes his best friend, former hot actor Jack on a weeklong drive up to California's wine country. There they explore the nature of their failures and question their relationships. Doesn't exactly sound like Oscar-caliber material - but wait, this just might actually be the best film of the year (despite ticket sales) and Hollywood has a jones for director Alexander Payne (About Schmidt 02) so we shall see. Up next for Payne: Nebraska (05) about a father who coerces his begrudging son into driving him from Montana to Nebraska, thinking that he's won the lottery, so he can claim his winnings.

Finding Neverland

Don't confuse this with the equally exciting and well-done Peter Pan (03) that was filmed at about the same time. Director Marc Forster (Monster's Ball 01) has fashioned an old-school epic of drama, tragedy and fantasy that details the experiences of "Peter Pan" author J.M. Barrie, which lead him to write the children's classic. He got to know four children who have no fathers. Drawing from his time with the kids, he writes a story about children who don't want to grow up. Don't foget to bring your hanky. Up next for Forster: Stay (05) with Ewan McGregor, Naomi Watts and Ryan Gosling and Stranger Than Fiction (05) about an IRS auditor who suddenly finds himself the subject of narration only he can hear: narration that begins to effect his entire life, from his work, to his love-interest, to his death.

Kinsey

I'm secretly rooting for this one to win. Well, I guess it's not a secret anymore. Writer/director Bill Condon (Gods and Monsters 98) strikes gold again with the story of Alfred Kinsey, a pioneer in the area of human sexuality research, whose 1948 publication "Sexual Behavior in the Human Male" was one of the first recorded works that saw science address sexual behavior. Liam Neeson plays Kinsey like a man who deserves an Oscar. This represents the best qualities of the "biopic" and will surely be a film that has a life beyond it's Oscar-nomination fame (unlike Ron Howard's similar but strangely forgettable A Beautiful Mind 01). Laura Linney, Peter Sarsgaard, Timothy Hutton, John Lithgow (brilliant), Tim Curry, Oliver Platt, Dylan Baker, Chris O'Donnell, William Sadler and Veronica Cartwright round out the top-flight cast.

Ray

Taylor Hackford turns in his best film since An Officer and a Gentleman (82) - although The Idolmaker (80), Bound by Honor (Blood In, Blood Out 93), Dolores Claiborne (95) and Proof of Life (00) were not too shabby. They just weren't particularly Oscar-worthy. Now, we all know Jaime Foxx is a force of nature in this film, but is that all there is to it? One great performance? You be the judge - but just don't be surprised if you see this film listed amongst the nominees this year. No studio was interested in backing the film. The film was then shot independently and once it was completed, Universal stepped in to distribute it. Part of the reason Universal released it was because one of the executives of the studio used to hitchhike to Hollywood to watch Ray Charles concerts. Does that make this sort of the under-dog of the Oscar rush? You bet-cha.

Alexander

Screw the critics. This is still an Oliver Stone film. It also features the music of Vangelis (Chariots of Fire 81, Blade Runner 82, The Year of Living Dangerously 82, The Bounty 84). Those are two reasons alone to see it. Forget the negative reviews, forget the box office, forget the accents and blonde highlights - and just remember that heavy-weight cast: Anthony Hopkins, Christopher Plummer, Brian Blessed, Val Kilmer (doing his best work in years, next to the under-rated Spartan 04) Tim Pigott-Smith, Jonathan Rhys-Meyers, Jared Leto and of course Colin Farrell - who can carry a film all on his own. Angelina Jolie's in it too - but she's just window dressing. Maybe that's all the film is too - but at least it looked damn good. Count on many technical nods this year from the Academy and maybe the big one to boot (the nom that is).

Closer

Am I the only one who thinks Mike Nichols is over-rated? Okay, okay, I know - with films like: Who's Afraid of Virginia Woolf? (66), The Graduate (67), Carnal Knowledge (71), Silkwood (83), Working Girl (88) and Angels in America (TV 03) under his belt - he's earned his reputation. But Closer just looks like one of those films populated with "pretty people" who have problems that makes me want to go put on my Stanley Kowalski 'wife-beater' and start screaming into the night. A story of passion, drama, love, and abandonment involving two couples, which only gets more complicated when the man from the first couple gets acquainted with the woman from the second couple. Incidentally, this project bares a striking resemblance to another (lesser-known, smaller profile) film released this year called: We Don't Live Here Anymore. Natalie Portman (who couldn't pass as a stripper even if you were blind), Jude Law (is he over yet? Alfie sure is), Julia Roberts (a word hasn't been invented yet to describe how she makes me want to gouge my own eyes out with a spoon) and Clive Owen (the saving grace of the ensemble) round out the cast. Nichols is on a roll (especially after Angels) and this will no doubt be on everyone's top films of the year list. But will Oscar listen? Of course he will. Up next for Nichols: 1001 Nights (06) with Jeffrey Wright.

Spanglish

Adam Sandler and James L. Brooks - a marraige made in heaven. This could prove to be the first big-boy movie for Sandler - as he plays an ordinary guy. There's nothing "ordinary" about his character Barry Egan in Paul Thomas Anderson's amazing Punch-Drunk Love, but it was a "serious" departure for Sandler. Brooks is the master of the dramedy. Terms of Endearment (83), Broadcast News (87), I'll Do Anything (under-rated gem 94) and of course, As Good as It Gets (97) are all excellent films. Spanglish may prove to be their equal in grace, humor and intelligence. Cloris Leachman may also get another Supporting Actress Award for her work here (her first was for Peter Bogdanovich's early masterpiece, The Last Picture Show, 71). A woman emigrates to Los Angeles from Mexico in hopes of finding a better life for her and her daughter, Cristina. Hired by John and Deborah Clasky (Adam Sandler and Tea Leoni) as their housekeeper, Flor contends with the language barrier, Cristina's budding femininity, and the eccentric Clasky's way of life. Sounds warm and funny. Let's all hope we don't throw up.

Hotel Rwanda

Director Terry George wrote the screenplay to, In the Name of the Father (93) and Hart's War (02). Not to mention the excellent cable film, A Bright Shining Lie (98 which he also directed) about the controversial Col. John Paul Vann and his experiences during the early stages of American involvememnt in the Vietnam War. He also wrote the screenplay for Hotel Rwanda. Rwanda tells the true story of Paul Rusesabagina, a hotel manager who housed over a thousand Tutsis refugees during their struggle against the Hutu militia in Rwanda. Don Cheadle stars as Rusesabagina in the role of a lifetime. Nick Nolte is also along for the ride and until the Toronto Film Festival this year, little to nothing has been printed about this extraordinary little film. Actually, there's nothing little about it - and if this weren't such a "political" year, I'd say it stood a good chance to win Best Film. It probably deserves to. But, the least they can do is nominate it. There is so much to be said about the events that take place in this moving film - but it's probably best if you wait to see it for yourself.

Fahrenheit 9/11

Does Michael Moore's film still actually stand a chance of being nominated for Best Film? Sure. And monkey's might fly out of my butt. But seriously, it's more social commentary than documentary - but whether you believe the film or not - it's still probably the most entertaining film of the entire year. And it contains Moore's brilliant depiction of the World Trade Center attack on that tragic September morning. I don't care if you like Moore or not - the way he approaches it in the film is expert, riveting and unforgettable. It's worth the price of admission alone. The rest of the film is questionable, but ya know what - I'm glad somebody is out there asking these questions. It's the answers that really frighten me. A bold, personal and important work. One that gets my approval for the Oscar nomination. It was nearly disqualified for Oscar consideration because of a July 2004 airing on Cuban television. After this was revealed to be an illegal broadcast from a bootleg disk, the Academy cleared it for eligibility. Moore decided not to submit the film for consideration for the Best Feature Documentary Oscar because he wanted to attempt to have it broadcast prior to the US Presidential Election on 2 November 2004 and the rules for that Oscar dictate a longer waiting time for an eligible film to be broadcast. In addition, since he already won an Oscar in that category, he felt the above reason took precedence and he might as well let other documentarians have a fair chance at the award. Instead, Moore announced his intention to have his film compete in the Best Picture category which has less strict submission rules. With all his "political" maneuvering with the film, I think Michael Moore is more the Diva than he lets on. "Fair chance at the award?" With that kind of confidence you'd think he could predict who would win for President.

The Passion of the Christ

Oy vey. Here we go. A film detailing the final hours and crucifixion of Jesus Christ. Sounds like a knee-slapper. In any case, Gibson's most audacious film to date, is certainly not his best. That distinction should probably go to his Oscar-winning Braveheart (95) or even the under-rated The Man Without a Face (93, his first film in the director's chair). Everyone has their opinion about this film - but you know what they say about opinions? They're like assholes - eveybody's got one. Gibson clearly had an "agenda" in making this controversial film. But is the film good enough for the nomination - or worth all the debating? My answer, in all honesty is, no - on both parts. It's all hype. The film is a deeply personal statement about it's director's own faith. That's it. That faith is also quite skewed and possibly harmful to other people's beliefs. But hey - it's just a movie, remember? I believe that films have the power to heal, as well as the power to harm. Whether this one heals or harms you - one thing's for sure - it made me yearn for another Martin Riggs/Roger Murtaugh teaming. And, it looks like the on again/off again Mad Max: Fury Road (05) might not be such a distant dream afterall. If Gibson's smart, he'll put alot of miles between him and his Passion - if he expects to remain a movie-star. Which, I suspect he does.

also likely to gain momentum come nomination time:

The Motorcycle Diaries, A Very Long Engagement (which cannot be submitted for Best Foreign Film because it was co-produced by a U.S. studio - Warner), Vera Drake, Being Julia, The Woodsman, The Door in the Floor and We Don't Live Here Anymore...

John Curran's We Don't Live Here Anymore, a film about an indiscretion between two close friends that tears down their respective marriages. With Mark Ruffalo, Naomi Watts, Peter Krause and Laura Dern

No More

Well, I do not know if it is the be-all/end-all of superhero movies - there are people that are far better qualified to decide that than me - but I do know that it is one hell of a genre film. That genre of course being the superhero film. There is much to compare Sam Raimi's Spider-Man 2 (04) with Superman II (80). For starters, both feature the men behind the masks (or in Superman's case - the cape) as real people. Their pain, their frustrations, their normalcy. Raimi's film is equal parts drama as well as action. I knew that there would be an ample supply of brooding (especially with James Franco's tortured Harry Osborn character, Harry Osborn: "He humiliated me by touching me") but what I did not expect was an intelligent, sincere and almost penetrating look at not only major life decision-making, but the complexities of the human heart. I'm not over-exaggerating. It goes beyond the Peter Parker/M.J. ga-ga love stuff - it goes into the realm of basic human emotion. The relationship scenes between Maguire and Dunst were adult and penetrating. Check out some of this dialogue from the film:

Mary Jane Watson: "I know you think we can't be together, but can't you respect me enough to let me make my own decision? I know there'll be risks but I want to face them with you. It's wrong that we should be only half alive... half of ourselves. I love you. So here I am - standing in your doorway. I have always been standing in your doorway. Isn't it about time somebody saved your life?"

The complex characterization of Doc Ock/Dr. Otto Octavius (as played by the always competent Alfred Molina) was one of the true high-lights of the film. Molina rose to the occasion and really made it his own. It's hard now to imagine anyone else in the part (Robert De Niro, Sam Neill, Ed Harris, and Chris Cooper were all considered for the role). Veteren TV and film actress Rosemary Harris (reprising her role from the first Spider-Man 02) was given enough material to truly shine and provided the film with several of it's most emotionally fulfilling moments. Her scene with Maguire at the kitchen table was outstanding:

Peter Parker: "Uncle Ben was killed that night for being the only one who did the right thing. I held his hand when he died... I've tried to tell you so many times..."

The scene in the subway car in particular (after one of the best CGI-enhanced action scenes I've ever seen in a mainstream film), when the nameless passengers put themselves in front of the wounded (and unmasked) Spider-Man in order to protect him as he protected them moments before - it succeeds on many levels. The man who tells the others that "he's just a kid" and how he looks no older than the man's own son. This was a skilled and powerful moment for genre film-making. At it's most basic level - it was about acceptance. This is the true theme of the film. Parker must do more than decide if he will continue to don the webbed tights and fight crime - he must determine what his true nature is and if he will follow it or carve out a new existance. I call it - going with or against the grain. Someone else said it best: you know, "to be or not to be?" There are times in life when we are put on the line, and it's only up to our basic nature to tell us what to do. Call it that little voice inside if you will (call it the force) - but the truth is in us all if we only listen hard enough. There are times in this film where I could see these ideas being enforced in the writing, and in the acting - in a place where it was not so obvious. This leads me to believe that the film was alot smarter than one might expect - and alot more trusting and respectful to it's audience.

You can get out of it what you want: if you want action - the film will not disappoint; if you want romance - there's plenty on display; there was even a fair amount of nods to older Hollywood films - the most obvious being Butch Cassidy and the Sundance Kid (69, with the wonderful incorporation of the Burt Bacharach/B.J. Thomas theme, Raindrops Keep Falling On My Head) as well as maybe a little bit of The Graduate (67) at the end - but all in all, this film has something for everyone (the Bruce Campbell bit is priceless). I call that great film-making. I can't remember the last time I saw a big budget studio film that catered to a wide audience and still took this many risks. It's a little loose here and there, but it holds it's pace well. The plot is very believeable (for a film of this nature). I can't tell you what lines like: "Enlarge the containment field" have to do with anything in the real world of science but it sounded pretty good.

Peter Parker: "Did Bernoulli sleep before he found the curves of quickest descent?"
Dr. Otto Octavius: "Ahhh, Rosie, I love this boy."

If you haven't already guessed, I think that it's one of the best written scripts I have ever read (of any genre). Alvin Sargent, Michael Chabon, Miles Millar and Alfred Gough deserve Oscars for their writing. I will be seriously upset if they do not get nominated (which they probably wont - because it's all based on a comic book). I love the little twist at the end with the Harry Osborn character, and the development of the J. Jonah Jameson character (played marvelously again by the under-rated J.K. Simmons) was also surprising. I also think that this is a better film than it's predecessor, simply because it can sustain itself all on it's own. It didn't need any build-up. There is a very emotional moment that eludes to the first film (in flashback form) where Peter and Uncle Ben (played wonderfully by Oscar-winner Cliff Robertson) are sitting in the car (from the first film) and Peter finally gets to say what he could never say before.

Ben Parker: "Of all the times we talked of honesty, fairness, justice. A lot of those times I counted on you to have the courage, to take those dreams out into the world."
Spider-Man: "I can't live your dreams anymore. I want a life of my own."
Ben Parker: "You've been given a gift Peter, with great power, comes great responsibility."
[gives his hand to Peter]
Ben Parker: "Take my hand son."
Spider-Man: [backs away] "No Uncle Ben. I'm just Peter Parker. I'm Spider-Man no more. No more..."

If you don't get caught up in this moment than you need to start the whole movie over. I think that the best film to compare it to is Bryan Singer's excellent X-2 (03) - another sequel that holds up on it's own particular assets. It was not, in my opinion a better film than Spider-Man 2. The fact that Parker's inability to 'get it up' (if you will - concerning his powers) was completely left to one's own determination was, shall I say it: brilliant. The only thing I didn't quite get in the film was the annoying Asian woman with the fiddle. That little bit of strange comedy was a bit distracting. I would have preferred a street choir or some other type of troubadouring. A minor discomfort. I hope it just had something to do with the comics. Hal Spark's cameo was also a bit unnecessary. Well, that and Kirsten Dunst. Whoa, she's pretty bad. But hey, it works in it's own way, and it's really hard to screw up this writing. Maguire more than makes up for her high school theatrics. He is so quintessentially Peter Parker that it's a little scary.

You are sure to be entertained by this great comic-book/super-hero film, and it is probably the closest the genre has come to transcending it's origins. I will look forward to the third (and maybe last) installment, that's set up quite nicely at the end of the film, and would encourage anyone to be enthralled by this vastlty enjoyable film. Although I suspect that this one will be hard to top. Perhaps they should have gone with the working title - Spider-Man: No More. Either way, this is what "movie-movies" are meant to be. If ya catch my drift. Now, is it true (as some have said) that this film is the comic-book film equivalent of The Godfather II (74)? In terms of it standing on it's own and not needing a prior film to enrich it - yes. Is it as great a film as The Godfather II? It's in a completely different genre - and I wouldn't ever say that Spider-Man 2 is the Godftaher II of comic-book films. But ya know, in it's own modern Hollywood myth-making kinda way - it is. 4 1/2 out of 5 stars.

Spider-Man: "...and it rides up in the crotch a little bit, too."

Busted

I knew it. I knew they ripped it off...
From slccglobelink.com: "Monday, October 4th 2004 ended a six-year dispute involving Sophia Stewart, the Wachowski Brothers, Joel Silver and Warner Brothers. Stewart's allegations, involving copyright infringement and racketeering, were received and acknowledged by the Central District of California, Judge Margaret Morrow residing. Stewart, a New Yorker who has resided in Salt Lake City for the past five years, will recover damages from the films, The Matrix I, II and III, as well as The Terminator and its sequels. She will soon receive one of the biggest payoffs in the history of Hollywood, as the gross receipts of both films and their sequels total over 2.5 billion dollars. Stewart filed her case in 1999, after viewing the Matrix, which she felt had been based on her manuscript, "The Third Eye," copyrighted in 1981. In the mid-eighties Stewart had submitted her manuscript to an ad placed by the Wachowski Brothers, requesting new sci-fi works." Those fucking cocksuckers.

"According to court documentation, an FBI investigation discovered that more than thirty minutes had been edited from the original film, in attempt to avoid penalties for copyright infringement. The investigation also stated that "credible witnesses employed at Warner Brothers came forward, claiming that the executives and lawyers had full knowledge that the work in question did not belong to the Wachowski Brothers." These witnesses claimed to have seen Stewart's original work and that it had been "often used during preparation of the motion pictures." The defendants tried, on several occasions, to have Stewart's case dismissed, without success."

"Stewart has confronted skepticism on all sides, much of which comes from Matrix fans, who are strangely loyal to the Wachowski Brothers. One on-line forum, entitled Matrix Explained has an entire section devoted to Stewart. Some who have researched her history and writings are open to her story. Others are suspicious and mocking. "It doesn't bother me," said Stewart in a phone interview last week, "I always knew what was true." Some fans, are unaware of the case or they question its legitimacy, due to the fact that it has received little to no media coverage. Though the case was not made public until October of 2003, Stewart has her own explanation, as quoted at daghettotymz.com: "The reason you have not seen any of this in the media is because Warner Brothers parent company is AOL-Time Warner... this GIANT owns 95 percent of the media... let me give you a clue as to what they own in the media business... New York Times papers/magazines, LA Times papers/magazines, People Magazine, CNN news, Extra, Celebrity Justice, Entertainment Tonight, HBO, New Line Cinema, Dreamworks, Newsweek, Village Roadshow... many, many more!... They are not going to report on themselves. They have been surpressing my case for years..."

Hey, the Wachowski Brothers look a little like Jay and Silent Bob, no?
Fuck Joel Silver. Fuck the Wachowski Brothers (hacks) and fuck Warner Brothers. They should be drug out into the streets and hung from the gallows. These films were always bullshit anyway. Go ahead and purchase the beautifully packaged 10 disc DVD box-set of The Matrix films tomorrow. At least now we know who the proceeds will be going to. Merry Christmas Ms. Stewart...

The Chronicles of Riddick (04)

Shit sandwich.
1 out of 5 stars (it gets the 1 for Vin Diesel's beard at the beginning. Skip this piece of crap and watch the superior animated film, The Chronicles of Riddick: Dark Fury 04, or the now elevated-to-near-classic-status thanks to this film, Pitch Black 00 - or better yet, go watch Walking Tall 04, instead. Vin Diesel makes The Rock look like Laurence fucking Olivier). Director David Twohy isn't even qualified to work the drive-thru at Wendy's. Yes, it's true, nearly every science fiction/fantasy film you've ever seen (and some you haven't) have been ripped off here from Dune (84) to The Dark Crystal (82), Star Wars (77) to Stargate (94), and a special nod at the end to Conan the Barbarian (82). This film even makes Battlefield Earth (00) look original. The dialogue was so fucking bad in this movie, it made me want to go commit to memory anything George Lucas has written post-Revenge of the Jedi (83). The special effects were uninspired, the CGI over-used and when I could make out what was supposed to be going on I realized it just didn't matter. I wont get into the story-line - I have to go brush my teeth. To sum up, I expect this kind of crap from Diesel, but Colm Feore, Thandie Newton, Karl Urban, Linus Roache, Keith David, Nick Chinlund and Judi Dench get 10 demerits each. Shame on them. Even Soldier (98) with Kurt Russell (which also gets ripped-off here) was a better film. Yikes. What were they thinking? From imdb: "After the original Pitch Black (00) proved a success on DVD, Universal became interested in making a sequel. Writer/director David Twohy wrote the screenplays for not one, but three sequels. He and Vin Diesel put them into separate leather binders and presented them to Universal, along with the key for the first binder." O-kay. I think I need to go watch Silence of the Hams (94) with Billy Zane, Bubba Smith, Phyllis Diller and Rip Taylor now. Just to clear my mind. Incidentally, this review refers to the "Director's Cut" version of the film. As if it mattered.

Uncanny, isn't it?

Imaginary Crimes

I watched The Life and Death of Peter Sellers on HBO last night, and the verdict is: Rush was a great Sellers. He gives a highly entertaining and skilled performance as the gifted and damaged actor. The film deserved a better director than Stephen Hopkins. It is a little skimpy on Seller's early film career (which is actually more interesting than some of his better known later films) and the balance between behind-the-scenes "real life" and the movies he made was a little uneven. One of the other draw-backs was that we never really saw deeply enough into Seller's extremely complex head. The film spends a great deal of time examining his personal life (quite excellently I might add) but fails to get into the man's personal pain and bizarre thinking patterns - it only teases us with some interesting asides to the camera by Rush (as Sellers) playing some of the other characters in the film (doing spot-on impersonations of the other actor's playing the parts). It does however succeed in showing Seller's as the complicated man he was (unable to accept his own criticism and frustrated with those who only wanted him to be funny). Still, over-all, I give the film a solid 4 out of 5 stars. Geoffrey Rush will no doubt win top honors at this years Golden Globe and Emmy awards. At least, he should. Charlize Theron and Emily Watson were both excellent, although Watson had the more meatier part. John Lithgow made a lively Blake Edwards, Sonia Aquino an attractive (but only somewhat believeable) Sophia Loren, and Miriam Margolyes was exceptional as Peg, Seller's mother whom he always called by first name. There is a remarkable scene where he eats lunch with his mother on the set of Dr. Strangelove, in full "Dr. Strangelove" make-up and costume (complete with cigarette and wheel-chair). It is both funny and scary. The real treat was watching Stanley Tucci in a small but wonderful supporting part as Stanley Kubrick. Man, I really thought that was going to blow, but Tucci not only made me forget that he looks nothing like Kubrick (even in make-up and wig) but he actually convinced me that he was the man. He used an incredible facsimilie of Kubrick's speaking voice - that if you've ever heard the real Kubrick talk, you will immediately forget once Tucci opens his mouth. He not only more than impressed me in this cable movie, but he was actually one of the best things about Spielberg's lackluster, The Terminal (04). He was the true star of this film.

Two of Seller's Best Director's: Being There's Hal Ashby and Dr. Strangelove and Lolita's Stanley Kubrick
James Bentley was also top-notch as Seller's young son Michael. His scene with Rush and Seller's car is unforgettable. Eliza Darby made a good (if a bit under-used) Sarah Sellers, Peter's only daughter. I was a little let-down that they chose not to focus more on Seller's greatest late-life film, Hal Ashby's Being There (79, one of my all-time favorite films). In fact, Ashby is not even mentioned at all. If you watch the scene at the end when they're filming the garden scene from Being There, and the actress playing Lousie walks off camera and is held by sort of a hippie-looking man with long hair and a head-band - this was supposed to be director Hal Ashby. At least they threw that in there. I loved the fantasy sequences, especially the one that occurs right after Seller's break-up with wife Anne (played by Watson). There is a dream sequence that happens as Sellers is lying dead on a hospital bed as the doctors are trying to re-vive his expired heart. What he experiences during this harrowing moment is priceless. There is a great scene where Seller's supernatural advisor Maurice Woodruff (played by the always excellent Stephen Fry) gives the weary Sellers advice on his next project (a political move by the savy Woodruff to get Sellers to do yet another Pink Panther sequel for director Blake Edwards). He tells Sellers that the initials of the person he is to have a long and fruitful relationship with are "B.E." Thinking Sellers has got the point, Sellers later reads the name of the hottest new starlet on the front page of the newspaper: Britt Ekland (B.E. - played by Theron) as her intials rise off the front page (cartoon-like) and the smitten Sellers begins to dance down the starlet's hotel corridor to the strains of Tom Jones' It's Not Unusual. Brilliant. There's also an excellent scene toward the end set to a Clash song that I especially liked as well. The ending is also quite stunning (and not the least bit haunting) but I wouldn't dare spoil it for you. It's also probably the most Peter Sellers-like thing in the whole film. Okay, here's what happens: Sellers takes out a shotgun and...just kidding. For more info on this film and on Peter Sellers in general, check out my post under archives.

Blake is back

Blake Allen: [sings] "Call me daddy. Call me daddy. Bend over and squeal like the pig that you are for offering me this job."

Robert Downey Jr. as Blake Allen in James Toback's under-rated Two Girls and a Guy (97)

Downey gave a tour-de-force performance in this under-seen gem from director Toback (Fingers 78). He virtually gives a one-man-show as most of his scenes are either played completely alone (singing into a microphone, on a piano, in front of a mirror) or on the telephone. It isn't until he confronts the "girls" that the plot of the film (if there is one) starts to take shape - but it's the incredible acting talent of Robert Downey Jr. that gives the whole picture it's unique voice. His "death" scene in front of a mirror should have been played as an Oscar clip. Everyone saw this movie for the sex scenes (and they do not disappoint) but there is alot more on display here than just Natasha Gregson Wagner and Heather Graham's flesh (but that would have been fine if that's all there was). Don't let the 84 minute running length fool you - Toback packs alot into this lean little character study - and it is unnervingly funny. The NC-17 version has still not been made available on DVD, only the R-rated theatrical version. Don't worry, you can rent the un-cut version on VHS from most video stores, and it's worth it to see the explicit sex scenes (you know, strictly from an artistic view). Most of the film was actually improvised. Writer/director James Toback wrote the screenplay in four days with Robert Downey Jr. in mind. It shows, this film is one of Downey's best, and should be studied as a model for film acting. No shit.

Downey taking direction from James Toback (they would work together on Toback's shaky Black and White, 99)

Blake Allen: "I have lied about nothing except sexual fidelity."