Month: December 2007 (Page 7 of 8)

It’s official: the Coens are back!

It might seem a bit early if you don’t live in New York or LA, but the 2007 awards season was kicked off today courtesy of the National Board of Review, and the Coen brothers’ “No Country For Old Men” got a head start in the Oscar race by nabbing top honors as Best Film, as well as taking home awards for Best Ensemble Cast and Best Adapted Screenplay. The film’s cinematographer, Roger Deakins, was also honored with an award for career achievement in his field.

Miramax’s good fortune continued with additional wins for Best Supporting Actress (Amy Ryan, “Gone Baby Gone”), Best Foreign Film (“The Diving Bell and the Butterfly”) and Best Directorial Debut (Ben Affleck, “Gone Baby Gone”), proving that the studio is just as much of an awards juggernaut without the Weinsteins.

Check out the rest of the winners after the break.

Best Director: TIM BURTON, Sweeney Todd
Best Actor: GEORGE CLOONEY, Michael Clayton
Best Actress: JULIE CHRISTIE, Away From Her
Best Supporting Actor: CASEY AFFLECK, The Assassination of Jesse James by the Coward Robert Ford
Best Documentary: BODY OF WAR
Best Animated Feature: RATATOUILLE
Breakthrough Performance by an Actor: EMILE HIRSCH, Into The Wild
Breakthrough Performance by an Actress: ELLEN PAGE, Juno
Best Original Screenplay (tie): DIABLO CODY, Juno and NANCY OLIVER, Lars and the Real Girl

Career Achievement – MICHAEL DOUGLAS
William K. Everson Film History Award – ROBERT OSBORNE
The BVLGARI Award for NBR Freedom of Expression – THE GREAT DEBATERS and PERSEPOLIS

Top Ten Films: (In alphabetical order)

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
ATONEMENT
THE BOURNE ULTIMATUM
THE BUCKET LIST
INTO THE WILD
JUNO
THE KITE RUNNER
LARS AND THE REAL GIRL
MICHAEL CLAYTON
SWEENEY TODD

Top Five Foreign Films: (In alphabetical order)

4 MONTHS, 3 WEEKS, 2 DAYS
THE BAND’S VISIT
THE COUNTERFEITERS
LA VIE EN ROSE
LUST, CAUTION

Top Five Documentary Films: (In alphabetical order)

DARFUR NOW
IN THE SHADOW OF THE MOON
NANKING
TAXI TO THE DARKSIDE
TOOTS

Top Independent Films: (In alphabetical order)

AWAY FROM HER
GREAT WORLD OF SOUND
HONEYDRIPPER
IN THE VALLEY OF ELAH
A MIGHTY HEART
THE NAMESAKE
ONCE
THE SAVAGES
STARTING OUT IN THE EVENING
WAITRESS

Carson Daly finds only acceptable excuse for crossing the picket lines

Given how supportive we are of the WGA writer’s strike here at Bullz-Eye, you’d think we’d be all up in arms about Carson Daly’s decision to return to work before a resolution has been reached, but as Roger Catlin mentioned in his discussion of Daly’s return to the airwaves, the guy had a really good excuse.

According to Catlin, Daly mentioned a monologue that reran on Friday about the band Creed, and “it dawned on me that people might think that Creed reunited. Then I thought, ‘Well, now I have to come back on the air. I cannot have people think that band is back together.'”

You got lucky, Daly.

“Tin Man”: Part Two

Part Two of “Tin Man” slowed down the pace a little bit and had that definite “we’re in the middle of this thing” sort of feel to it – until near the end, in which the entire thing spun around with a pretty clever plot twist.

After the seeming destruction of Cain (Neil McDonough), the capture of DG (Zooey Deschanel) and Raw (Raul Trujillo) by Azkedellia, and the battering of Glitch (Alan Cumming), the proceedings winded down for about the first hour. But once the team reformed (with some help from the duplicitous Toto), the group set off their journey to find the Emerald. Boy, the whole thing sure sounds cheesy as hell when it’s typed out, doesn’t it?

Another thing really noticeable in Part Two was a definite upswing in the humor department, thanks to Alan Cumming especially, who shone here. In fact, the whole thing became very character driven with each of the principals finding out more about themselves and what they’re capable of. Cain’s discovery that his wife was indeed dead was heartbreaking, yet it left the door open for a romance between him and DG, which I think is most sure to happen. Glitch’s finding out about his past – that he was an aid to the Queen – was another great moment. And what about the death of the Mystic Man (Richard Dreyfuss)? Surely the great and powerful cannot be toast?

Speaking of “the great and powerful”, this episode seemed to cram in more homages to the original “Oz.” For instance, the scene where Raw was being attacked and chased by the winged monkeys was so reminiscent of the scene from the Garland film where the Lion runs from Oz, down the hallway, that I couldn’t help but smile. Even the way they’ve got Raw dressed is a clear spin on Bert Lahr’s costume. Later in a flashback, when DG and Azkedellia are children, they speak of the time DG tricked a tree into throwing apples at them and then, as they continue their walk through the forest, they worry about lions, tigers and bears.

But everything came to a head when it was revealed to DG that Azkedellia is not who she says she is. Instead, she’s possessed by a witch whom the two girls accidentally freed – and it’s a situation for which DG blames herself.

I’ve no idea where this is all going to end up, but let’s hope it’s somewhere magical.

Heroes 2.11 – The End…For Now.

Tonight’s half-season finale – that’s as good a name for it as any, don’t you think? – was pretty impressive for the most part, providing plenty of reasons to continue tuning in whenever the second half of the season finally emerges.

The intertwined Peter / Adam / Hiro / Nathan / Parkman storylines proved to be the most effective of the episode. I still think it’s ridiculous that Peter wouldn’t give Hiro the benefit of the doubt about Adam, but their battle / discussion played well nonetheless, particularly the way it was capped off by Adam’s line as he swiped his sword back from the unconscious Hiro (“I believe this is mine, carp”). Actually, it was a night of great lines, what with Parkman’s comment after Nathan’s landing (“We don’t talk about that ever again”) and Nathan’s matter-of-fact reaction to Parkman’s revelation that he’d gotten advice from Mama Petrelli (“Listening to my mother has never led to anything good”). The twin-pronged attack from Peter and Adam as they walked down the hallway was pretty bad-ass, and the showdown between Adam and Hiro was well done as well; certainly, Adam’s final fate confirmed conclusively that it’s not wise to fuck with Hiro Nakamura. After those two made their departure, I really couldn’t believe that between Peter, Nathan, and Parkman, none of them noticed the blinking red light in the ventilation shaft. I was thinking that the collection of clips which aired over Nathan’s speech was the kind of thing that should’ve been used as a trailer for the Season 2 DVD, which left me completely blindsided by his assassination. I wasn’t all that shocked to find that Mama was behind her son’s death, given that she’d already “told” Parkman that he’d probably end up having to put a bullet through Peter’s head, but it was still a rough revelation.

As it has been throughout the season, the Micah / Monica subplot remained mostly tangential to everything else going on around it. I’m digging the way they’re finally delving deeper into Micah’s powers, and Nikki was actually pretty kick ass in her big scene saving Monica, but, obviously, the big moment with Nikki’s apparent demise in that huge fireball. I don’t really think she’s dead, but I reckon we’ll find out eventually.

The Mohinder / Molly / Maya / Sylar storyline only played out about halfway how I figured it would; I knew Maya would eventually figure out that Sylar had killed her brother (although, admittedly, it didn’t occur to me that Molly would play into the revelation) and that there’d be a big showdown over it. There were still a few surprises here and there, though. I loved Mohinder’s look after Maya let slip that Sylar didn’t have his powers, even if it totally telegraphed that he was about to do something like, say, grab for a knife. Sylar’s line, “Now look what you made me do,” was brilliant. My favorite part was Elle’s entrance into the fray. Earlier in the episode, she’d gotten that total smackdown from Bob. “When I think about all the hard work I put into raising you…” Ouch. (And, yet, how can you not love the guy after seeing that picture of him in fishing hat and waders, holding up his prize catch?) The battle between her and Sylar was good fun, as was her look when Mohinder assured her that she had indeed been helpful to them. Again, I say it: I love Kristen Bell. And I’m PSYCHED that both she and Bob made it out of the half-season alive.

Ultimately, I was least excited about the HRG / Claire / Wes saga. I’ve just become less and less enamored of Claire this season, and when she went into whiny bitch mode with Wes, I pretty much tuned out. I feel like HRG’s teaming with Bob is gonna prove to be the equivalent of selling one’s soul to the devil, though, so I am interested in seeing how that pans out.

Here’s my closing question: who would you say was the second of the two deaths that we were promised? Was it Maya, since she was pretty much dead after Sylar shot her, only to be brought back via the blood transfusion? Or was it Nikki? I’m leaning toward the former; that’s just the kind of trick you’d expect from the “Heroes” team.

So 2008 will bring us more “Heroes,” or so promised NBC at the end of the episode. Yes, but when in 2008? Well, as long as Sylar’s gonna have his powers back, we’ll be there…whenever it is.

“Tin Man”: Part One

Like most anyone over the age of 30, I grew up on a yearly diet of network showings of “The Wizard of Oz.” Loved the movie so much as a child that I read the book by L. Frank Baum when I was 11 or so. Someone who fits into such a category should instantly be wary of SciFi’s new miniseries “Tin Man,” right? Yet I’ve never viewed “Oz” as such a sacred cow that reworkings of the material are considered an outrage. If anything there’s a wealth of fantastic material that Baum created that hasn’t been adequately adapted into live action movies and/or TV. Yet as far back as the ‘70s musical “The Wiz,” the original story has been blatantly reworked into new forms. Even David Lynch took a bold, peculiar stab at it in 1990 with “Wild at Heart.” And “Tin Man” wants to have another go at it? Great, go for it – but count me as someone who’d still like to see a series of straightforward movie adaptations ala “Harry Potter” or “Narnia.” Indeed, 1985’s “Return to Oz” is probably more faithful to Baum’s vision than the classic Judy Garland film.

The producers of “Tin Man” certainly want to get on my good side by casting Zooey Deschanel (Trillian from “The Hitchhiker’s Guide” movie, amongst many other credits) as the lead character, DG. And bringing guys like Alan Cumming, Neal McDonough and Richard Dreyfuss onboard certainly doesn’t hurt. But casting aside, the story needed to be a good one.

Having only seen Part One of Three thus far, the results were mostly engaging. It’d be easy to write off “Tin Man” right away as having strayed too far from the source material, but as I viewed the first installment, it slowly seduced and pulled me in. It seems that one of its biggest strengths, in fact, is exactly how far it’s strayed from the original work. “Tin Man” seems to be less fantasy and more sci-fi. Rather than being an adaptation of Baum’s novel, it’s instead a piece that takes cues and iconography from the source material to set up its own brand new universe, referred to here as the O.Z. (the Outer Zone). Turns out that DG (Dorothy Gale) is actually the sister of Azkadellia (Kathleen Robertson), the O.Z.’s version of the Wicked Witch (although she seems to owe even more to “Narnia’s” White Witch). To protect DG from her sister, she was sent to live in our world under the care of a couple who were actually robots from the O.Z. As if her heritage isn’t enough of a departure, each other classic icon has been given a spin as well. McDonough’s Tin Man is actually a cop out for revenge for the killing of his family. The sequence where he’s released from an iron maiden of sorts – after having to endure years of viewing a repeated holographic depiction of the murder of his family – is chilling and effective. Cumming’s Glitch has a zipper on his head to mark the spot where valuable info was taken out (brains). Raw, the lion figure, is of a race that’s telepathic (this old school “Doctor Who” fan was reminded of the time sensitive Tharils from “Warriors’ Gate”). Dreyfuss’ drug-addled Mystic Man seemed even more of a clueless charlatan than anything out of the movies or books. The Munchkin city smacked of Endor and Ewoks. Yeah, “Tin Man” is getting its influence from material far outside of the work of L. Frank Baum.

The final half hour devolved into a lot of action and I’d need to give that section another once over before commenting. Truth be told, the first installment covered so much ground, that I can’t even begin to imagine where it’s all going if it keeps up at this pace. You know what “Tin Man’s” biggest disappointment thus far is? The winged monkeys, which just go to show that CGI can never replace little people in creepy makeup and costumes.

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