Opposition to the Academy’s plan to award eight Oscars prior to the live telecast continues to grow, with more than 350 new names — including more than a dozen Oscar-winning editors, cinematographers and production designers — added to the petition sent last week to Academy president David Rubin urging a reversal of the plan.
Among the industry professionals signing are Oscar-winning cinematographers John Seale (“The English Patient”), John Toll (“Braveheart”) and Dean Semler (“Dances With Wolves”), and Oscar-winning editors Richard Chew and Paul Hirsch (“Star Wars”), Mikkel Neilsen (“The Sound of Metal”), Pietro Scalia (“JFK”) and Zach Staenberg (“The Matrix”).
Oscar-winning production designers Hannah Beachler (“Black Panther”), Barbara Ling (“Once Upon a Time in Hollywood”), Adam Stockhausen (“Grand Budapest Hotel”) and David and Sandy Wasco (“La La Land”) also signed on.
Cinematography will be presented during the live show, but editing and production design are among the eight awards to be presented during the 4 p.
Among the industry professionals signing are Oscar-winning cinematographers John Seale (“The English Patient”), John Toll (“Braveheart”) and Dean Semler (“Dances With Wolves”), and Oscar-winning editors Richard Chew and Paul Hirsch (“Star Wars”), Mikkel Neilsen (“The Sound of Metal”), Pietro Scalia (“JFK”) and Zach Staenberg (“The Matrix”).
Oscar-winning production designers Hannah Beachler (“Black Panther”), Barbara Ling (“Once Upon a Time in Hollywood”), Adam Stockhausen (“Grand Budapest Hotel”) and David and Sandy Wasco (“La La Land”) also signed on.
Cinematography will be presented during the live show, but editing and production design are among the eight awards to be presented during the 4 p.
- 3/17/2022
- by Jon Burlingame
- Variety Film + TV
Some of Hollywood’s top filmmakers and former Oscar winners are calling on the Academy to rethink its decision to pre-record eight categories ahead of the March 27 telecast.
James Cameron, Guillermo del Toro, John Williams, Kathleen Kennedy, and more than six dozen others signed an open letter addressed to Academy President David Rubin slamming the decision to record the wins for best documentary short, film editing, makeup and hairstyling, original score, production design, animated short, live-action short, and sound outside of the live Dolby Theatre ceremony.
The letter explained that such a decision would “demean” those categories and “relegate [them] to the status of second-class citizens,” as shared with Variety. Though the eight categories taking place prior to the 5 p.m. start time will be integrated into the broadcast, these artists are pushing the Academy to reverse its decision and present all 23 Oscar categories live.
“To diminish any of those individual...
James Cameron, Guillermo del Toro, John Williams, Kathleen Kennedy, and more than six dozen others signed an open letter addressed to Academy President David Rubin slamming the decision to record the wins for best documentary short, film editing, makeup and hairstyling, original score, production design, animated short, live-action short, and sound outside of the live Dolby Theatre ceremony.
The letter explained that such a decision would “demean” those categories and “relegate [them] to the status of second-class citizens,” as shared with Variety. Though the eight categories taking place prior to the 5 p.m. start time will be integrated into the broadcast, these artists are pushing the Academy to reverse its decision and present all 23 Oscar categories live.
“To diminish any of those individual...
- 3/9/2022
- by Samantha Bergeson
- Indiewire
Some of Hollywood’s most high-profile filmmakers, including director James Cameron, producers Kathleen Kennedy and Lili Fini Zanuck and composer John Williams have joined the growing chorus of voices asking the Academy to reverse course and present all 23 Oscars on the live March 27 telecast.
In a letter sent today to Academy President David Rubin and obtained by Variety, more than six dozen film professionals, including multiple Academy Award winners, contend that the plan to present eight awards during the pre-telecast hour will “demean” these crafts and “relegate [them] to the status of second-class citizens.”
The eight are original score, film editing, production design, makeup and hairstyling, sound, documentary short, live-action short and animated short. The Academy continues to insist that the nominees in those categories will be announced, and the winner’s acceptance speech aired, in edited form and aired as part of the three-hour ABC show.
That’s not good enough for these artists.
In a letter sent today to Academy President David Rubin and obtained by Variety, more than six dozen film professionals, including multiple Academy Award winners, contend that the plan to present eight awards during the pre-telecast hour will “demean” these crafts and “relegate [them] to the status of second-class citizens.”
The eight are original score, film editing, production design, makeup and hairstyling, sound, documentary short, live-action short and animated short. The Academy continues to insist that the nominees in those categories will be announced, and the winner’s acceptance speech aired, in edited form and aired as part of the three-hour ABC show.
That’s not good enough for these artists.
- 3/9/2022
- by Jon Burlingame
- Variety Film + TV
Musicals have been tap dancing their way into moviegoers' hearts since the invention of cinema sound itself. From Oliver! to Singin' in the Rain, here are the Guardian and Observer critics' picks of the 10 best
• Top 10 documentaries
• Top 10 movie adaptations
• Top 10 animated movies
• Top 10 silent movies
• Top 10 sports movies
• Top 10 film noir
• More Guardian and Observer critics' top 10s
10. Oliver!
Historically, the British musical has been intertwined with British music, drawing on music hall in the 1940s and the pop charts in the 50s – low-budget films of provincial interest and nothing to trouble the bosses at MGM. In the late 60s, however, the genre enjoyed a brief, high-profile heyday, and between Tommy Steele in Half a Sixpence (1967) and Richard Attenborough's star-studded Oh! What A Lovely War (1969) came the biggest of them all: Oliver! (1968), Carol Reed's adaptation of Lionel Bart's 1960 stage hit and the recipient of six Academy awards.
• Top 10 documentaries
• Top 10 movie adaptations
• Top 10 animated movies
• Top 10 silent movies
• Top 10 sports movies
• Top 10 film noir
• More Guardian and Observer critics' top 10s
10. Oliver!
Historically, the British musical has been intertwined with British music, drawing on music hall in the 1940s and the pop charts in the 50s – low-budget films of provincial interest and nothing to trouble the bosses at MGM. In the late 60s, however, the genre enjoyed a brief, high-profile heyday, and between Tommy Steele in Half a Sixpence (1967) and Richard Attenborough's star-studded Oh! What A Lovely War (1969) came the biggest of them all: Oliver! (1968), Carol Reed's adaptation of Lionel Bart's 1960 stage hit and the recipient of six Academy awards.
- 12/3/2013
- The Guardian - Film News
Bond, Pi, and Anna Karenina were the big winners at the 17th Annual Excellence in Production Design Awards given by the Art Directors Guild. "Skyfall" won the Contemporary category, "Life of Pi" under Fantasy, and "Anna Karenina" for the Period title.
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies, click here:
17th Annual Excellence In Production Design Awards
Period Film
(winner) Anna Karenina
Production Designer: Sarah Greenwood
Argo
Production Designer: Sharon Seymour
Django Unchained
Production Designer: J. Michael Riva
Les MISÉRABLES
Production Designer: Eve Stewart
Lincoln
Production Designer: Rick Carter
Fantasy Film
Cloud Atlas
Production Designer: Uli Hanisch, Hugh Bateup
(winner) Life Of Pi
Production Designer: David Gropman
Prometheus
Production Designer: Arthur Max
The Dark Knight Rises
Production Designers: Nathan Crowley, Kevin Kavanaugh
The Hobbit: An Unexpected Journey
Production Designer: Dan Hannah
Contemporary Film
Flight
Production Designer: Nelson Coates
(winner) Skyfall
Production Designer: Dennis Gassner...
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies, click here:
17th Annual Excellence In Production Design Awards
Period Film
(winner) Anna Karenina
Production Designer: Sarah Greenwood
Argo
Production Designer: Sharon Seymour
Django Unchained
Production Designer: J. Michael Riva
Les MISÉRABLES
Production Designer: Eve Stewart
Lincoln
Production Designer: Rick Carter
Fantasy Film
Cloud Atlas
Production Designer: Uli Hanisch, Hugh Bateup
(winner) Life Of Pi
Production Designer: David Gropman
Prometheus
Production Designer: Arthur Max
The Dark Knight Rises
Production Designers: Nathan Crowley, Kevin Kavanaugh
The Hobbit: An Unexpected Journey
Production Designer: Dan Hannah
Contemporary Film
Flight
Production Designer: Nelson Coates
(winner) Skyfall
Production Designer: Dennis Gassner...
- 2/3/2013
- by Manny
- Manny the Movie Guy
They're not the Oscars, but it's still good that there are awards for the people who make our television and film experiences so visually stunning. The Art Directors Guild has just announced the nominees for its 2012 awards.
The Guild honors production designers in television, film and advertising, dividing each medium into distinct categories. The result is that some productions not used to getting a lot of awards love do in fact get mentioned.
Take "Community" for example. While you'd be hard-pressed to find a TV critic who doesn't think this is one of TV's best comedies, the show gets nominated for virtually zero awards. The Art Directors Guild, however, took notice when appropriate -- the bizarre, visually interesting and incredible "Pillows and Blankets" episode (a Zap2It pick for one of the best episodes of the year) is nominated.
Of course, lots of the usual suspects make the list as...
The Guild honors production designers in television, film and advertising, dividing each medium into distinct categories. The result is that some productions not used to getting a lot of awards love do in fact get mentioned.
Take "Community" for example. While you'd be hard-pressed to find a TV critic who doesn't think this is one of TV's best comedies, the show gets nominated for virtually zero awards. The Art Directors Guild, however, took notice when appropriate -- the bizarre, visually interesting and incredible "Pillows and Blankets" episode (a Zap2It pick for one of the best episodes of the year) is nominated.
Of course, lots of the usual suspects make the list as...
- 1/4/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
The Art Directors Guild has announced the nominees for the 17th Annual Art Directors Guild Excellence in Production Design Awards. Winners will be announced on February 2nd at the Beverly Hilton.
Here's the complete list of nominees including television; for winners/nominees of other award-giving bodies, click here:
Nominees For Excellence In Production Design For A Feature Film In 2012
Period Film
Anna Karenina
Production Designer: Sarah Greenwood
Argo
Production Designer: Sharon Seymour
Django Unchained
Production Designer: J. Michael Riva
Les MISÉRABLES
Production Designer: Eve Stewart
Lincoln
Production Designer: Rick Carter
Fantasy Film
Cloud Atlas
Production Designer: Uli Hanisch, Hugh Bateup
Life Of Pi
Production Designer: David Gropman
Prometheus
Production Designer: Arthur Max
The Dark Knight Rises
Production Designers: Nathan Crowley, Kevin Kavanaugh
The Hobbit: An Unexpected Journey
Production Designer: Dan Hannah
Contemporary Film
Flight
Production Designer: Nelson Coates
Skyfall
Production Designer: Dennis Gassner
The Best Exotic Marigold Hotel
Production Designer:...
Here's the complete list of nominees including television; for winners/nominees of other award-giving bodies, click here:
Nominees For Excellence In Production Design For A Feature Film In 2012
Period Film
Anna Karenina
Production Designer: Sarah Greenwood
Argo
Production Designer: Sharon Seymour
Django Unchained
Production Designer: J. Michael Riva
Les MISÉRABLES
Production Designer: Eve Stewart
Lincoln
Production Designer: Rick Carter
Fantasy Film
Cloud Atlas
Production Designer: Uli Hanisch, Hugh Bateup
Life Of Pi
Production Designer: David Gropman
Prometheus
Production Designer: Arthur Max
The Dark Knight Rises
Production Designers: Nathan Crowley, Kevin Kavanaugh
The Hobbit: An Unexpected Journey
Production Designer: Dan Hannah
Contemporary Film
Flight
Production Designer: Nelson Coates
Skyfall
Production Designer: Dennis Gassner
The Best Exotic Marigold Hotel
Production Designer:...
- 1/3/2013
- by Manny
- Manny the Movie Guy
The Art Directors Guild (Adg) today announced nominations in nine categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the Adg’s 17th Annual Excellence in Production Design Awards Presented by BMW for 2012. The nominations were announced by Adg Council Chair John Shaffner and Awards co-producers Greg Grande and Raf Lydon. Deadline for final voting, which is done online, is January 31. The black-tie ceremony announcing winners will take place Saturday, February 2, 2013, from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with Paula Poundstone serving as host for the fourth consecutive year. Production Designer Herman Zimmerman will be the recipient of the Guild’s Lifetime Achievement Award. Hall of Fame inductees are Preston Ames, Richard MacDonald, and Edward S. Stephenson. The Production Designers behind the James Bond franchise, Sir Ken Adam, Allan Cameron, Dennis Gassner, and Peter Lamont will be honored for Outstanding Contribution to Cinematic Imagery.
- 1/3/2013
- by vmblog@hollywoodnews.com (Vitale Morum)
- Hollywoodnews.com
Tom Hooper's "The King's Speech," Christopher Nolan's "Inception," and Darren Aronofsky's "Black Swan" were the big winners of the Art Directors Guild's 15th annual Excellent in Production Design Awards.
"The King's Speech" took home the Period Film prize, "Inception" received the Fantasy Film trophy, and "Black Swan" danced to the top of Contemporary Film category.
Here's the complete list of winners (bolded) and nominees of the Art Directors Guild's 15th annual Excellence in Production Design Awards (Check out my Awards Avenue for your complete pre-Oscar preparations)
Period Film
True Grit -- Jess Gonchor
The King's Speech -- Eve Stewart
Shutter Island -- Dante Ferretti
Robin Hood -- Arthur Max
Get Low -- Geoffrey Kirkland
Fantasy Film
Alice In Wonderland -- Robert Stromberg
Harry Potter And The Deathly Hallows Part 1 -- Stuart Craig
Inception -- Guy Hendrix Dyas
Tron: Legacy -- Darren Gilford
The Chronicles Of Narnia: The Voyage Of The Dawn Treader...
"The King's Speech" took home the Period Film prize, "Inception" received the Fantasy Film trophy, and "Black Swan" danced to the top of Contemporary Film category.
Here's the complete list of winners (bolded) and nominees of the Art Directors Guild's 15th annual Excellence in Production Design Awards (Check out my Awards Avenue for your complete pre-Oscar preparations)
Period Film
True Grit -- Jess Gonchor
The King's Speech -- Eve Stewart
Shutter Island -- Dante Ferretti
Robin Hood -- Arthur Max
Get Low -- Geoffrey Kirkland
Fantasy Film
Alice In Wonderland -- Robert Stromberg
Harry Potter And The Deathly Hallows Part 1 -- Stuart Craig
Inception -- Guy Hendrix Dyas
Tron: Legacy -- Darren Gilford
The Chronicles Of Narnia: The Voyage Of The Dawn Treader...
- 2/7/2011
- by Manny
- Manny the Movie Guy
The Art Directors Guild has announced nominees for its 15th Annual Excellence in Production Design Awards! Winners will be revealed on Feb. 5.
Here's the complete list of nominees (Check our Awards Avenue for complete winners/nominees for all award-giving bodies):
Nominees For Excellence In Production Design For A Feature Film In 2010
Period Film
True Grit -- Jess Gonchor
The King's Speech -- Eve Stewart
Shutter Island -- Dante Ferretti
Robin Hood -- Arthur Max
Get Low -- Geoffrey Kirkland
Fantasy Film
Alice In Wonderland -- Robert Stromberg
Harry Potter And The Deathly Hallows Part 1 -- Stuart Craig
Inception -- Guy Hendrix Dyas
Tron: Legacy -- Darren Gilford
The Chronicles Of Narnia: The Voyage Of The Dawn Treader -- Barry Robison
Contemporary Film
Black Swan -- Therese DePrez
The Social Network -- Donald Graham Burt
The Fighter -- Judy Becker
The Town -- Sharon Seymour
127 Hours -- Suttirat Larlarb
Nominees...
Here's the complete list of nominees (Check our Awards Avenue for complete winners/nominees for all award-giving bodies):
Nominees For Excellence In Production Design For A Feature Film In 2010
Period Film
True Grit -- Jess Gonchor
The King's Speech -- Eve Stewart
Shutter Island -- Dante Ferretti
Robin Hood -- Arthur Max
Get Low -- Geoffrey Kirkland
Fantasy Film
Alice In Wonderland -- Robert Stromberg
Harry Potter And The Deathly Hallows Part 1 -- Stuart Craig
Inception -- Guy Hendrix Dyas
Tron: Legacy -- Darren Gilford
The Chronicles Of Narnia: The Voyage Of The Dawn Treader -- Barry Robison
Contemporary Film
Black Swan -- Therese DePrez
The Social Network -- Donald Graham Burt
The Fighter -- Judy Becker
The Town -- Sharon Seymour
127 Hours -- Suttirat Larlarb
Nominees...
- 1/6/2011
- by Manny
- Manny the Movie Guy
The Art Directors Guild has announced the nominees for its 15th annual awards fest on Feb. 5 which will be hosted by Paula Poundstone at the Beverly Hilton. Over the first 14 years of these kudos, the eventual Oscar champ could be found among the nominees in the various categories of the Adg. The period pictures in contention are: "Get Low" (Geoffrey Kirkland), "The King's Speech" (Eve Stewart), "Robin Hood" (Arthur Max), "True Grit" (Jess Gonchor) and "Shutter Island" (Dante Ferretti). Fantasy film nominees are: "Alice in Wonderland" (Robert Stromberg), "The Chronicles of Narnia: The Voyage of the Dawn Treader" (Barry Robison), "Harry Potter and the Deathly Hallows: Part I" (Stuart Craig), "Inception" (Guy Hendrix Dyas) and "Tron: Legacy" (Darren Gilford). And the contemporary film contenders are: "127 Hours" (Suttirat Larlab), "Black ...
- 1/5/2011
- Gold Derby
The power of eye candy at the movies is greatly underestimated. Whole star turns can be elevated with the right costuming choices and entire films can be propped up with meaning, beauty, authenticity or imagination with the right production design decisions and set creation and decoration.
love the dilapidated dioramas of The King's Speech
So congratulations to the nominees. The Adg chooses them in three separate categories.
Period
Jess Gonchor for True Grit
Eve Stewart for The King's Speech
Dante Ferretti for Shutter Island
Arthur Max for Robin Hood
Geoffrey Kirkland for Get Low
Most of these will probably show up on Oscar's list. They don't have separate categories so they tend to favor period work.
Disappointed to see Eugenio Caballero's fine work on the 70s rock biopic The Runaways (pictured left) snubbed here. We knew it wouldn't figure in (see griping at the end of this post for why) but still.
love the dilapidated dioramas of The King's Speech
So congratulations to the nominees. The Adg chooses them in three separate categories.
Period
Jess Gonchor for True Grit
Eve Stewart for The King's Speech
Dante Ferretti for Shutter Island
Arthur Max for Robin Hood
Geoffrey Kirkland for Get Low
Most of these will probably show up on Oscar's list. They don't have separate categories so they tend to favor period work.
Disappointed to see Eugenio Caballero's fine work on the 70s rock biopic The Runaways (pictured left) snubbed here. We knew it wouldn't figure in (see griping at the end of this post for why) but still.
- 1/5/2011
- by NATHANIEL R
- FilmExperience
hollywoodnews.com: The Art Directors Guild (Adg) today announced nominations in nine categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the Adg’s 15th Annual Excellence in Production Design Awards for 2010. The nominations were announced by Adg Council President Tom Walsh and Awards co-producers Dawn Snyder and Tom Wilkins. Deadline for final voting, which is done online, is February 3. The black-tie ceremony announcing winners will take place Saturday, February 5, 2010 from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with Paula Poundstone serving as host for the second consecutive year.
Theme of this year’s awards ceremony is “Designs on Film” as a tribute to Cathy Whitlock’s new HarperCollins book that traces 100 years of Hollywood Art Direction. Walsh will introduce the event,
A Lifetime Achievement Award will go to Academy Award® winning Production Designer Patricia Norris with director David Lynch set to present to her.
Theme of this year’s awards ceremony is “Designs on Film” as a tribute to Cathy Whitlock’s new HarperCollins book that traces 100 years of Hollywood Art Direction. Walsh will introduce the event,
A Lifetime Achievement Award will go to Academy Award® winning Production Designer Patricia Norris with director David Lynch set to present to her.
- 1/5/2011
- by HollywoodNews.com
- Hollywoodnews.com
Mia Wasikowska in Alice in Wonderland; Production Designer: Robert Stromberg
Photo: Walt Disney Pictures Now we start getting into a few of the more interesting guild nominations rather than those where we pretty much know exactly what films will be nominated. This morning the Art Directors Guild (Adg) announced nominations for the Adg'?s 15th Annual Excellence in Production Design Awards for 2010.
The guild breaks out their noms distinguishing films as Period, Fantasy or Contemporary.
Of the nominees all five of my current Oscar predictions for the Art Direction category found their way into the mix, which includes the work done on Alice in Wonderland, Inception, True Grit, Harry Potter and the Deathly Hallows: Part 1 and The King's Speech. However, a couple of my bubble predictions didn't make the Adg's cut, including The Wolfman and Secretariat, but then again, only five films can be nominated in the period category...
Photo: Walt Disney Pictures Now we start getting into a few of the more interesting guild nominations rather than those where we pretty much know exactly what films will be nominated. This morning the Art Directors Guild (Adg) announced nominations for the Adg'?s 15th Annual Excellence in Production Design Awards for 2010.
The guild breaks out their noms distinguishing films as Period, Fantasy or Contemporary.
Of the nominees all five of my current Oscar predictions for the Art Direction category found their way into the mix, which includes the work done on Alice in Wonderland, Inception, True Grit, Harry Potter and the Deathly Hallows: Part 1 and The King's Speech. However, a couple of my bubble predictions didn't make the Adg's cut, including The Wolfman and Secretariat, but then again, only five films can be nominated in the period category...
- 1/5/2011
- by Brad Brevet
- Rope of Silicon
Mark Ruffalo, Leonardo DiCaprio in Martin Scorsese's Shutter Island Nominees For Excellence In Production Design For A Feature Film In 2010: Period Film True Grit Production Designer: Jess Gonchor The King's Speech Production Designer: Eve Stewart Shutter Island Production Designer: Dante Ferretti Robin Hood Production Designer: Arthur Max Get Low Production Designer: Geoffrey Kirkland Fantasy Film Alice In Wonderland Production Designer: Robert Stromberg Harry Potter And The Deathly Hallows Part 1 Production Designer: Stuart Craig Inception Production Designer: Guy Hendrix Dyas Tron: Legacy Production Designer: Darren Gilford The Chronicles Of Narnia: The Voyage Of The Dawn Treader Production Designer: Barry Robison Contemporary Film Black Swan Production Designer: Therese DePrez The Social Network Production Designer: Donald Graham Burt The Fighter Production Designer: Judy Becker The Town Production Desinger: Sharon Seymour 127 Hours Production Designer: Suttirat Larlarb Nominees For Excellence In Production Design In Television For 2010: Single Camera Television Series [...]...
- 1/5/2011
- by Andre Soares
- Alt Film Guide
The long list of deeply and realistically flawed characters legendary actor Robert Duvall has portrayed now has one, more name added to it. Felix Bush, the character at the center of Get Low, has a mystery about him, a deep-seeded kernel down within that drives him away from civilization and towards the backwoods of 1930’s Tennessee.
When the film opens, after an absolutely amazing first shot that heightens the sense of the mystery, we see children throwing rocks at Felix’s house, busting out a window. Felix runs out of the house bearing rifle and chases one of the children into his barn. The child, terrified at the prospect of what may come about him, vomits, and Felix, only wanting to scare the children (and seeing he has done just that), steps aside, allowing the child to run along.
Felix just wants to be left alone, and, so, it’s...
When the film opens, after an absolutely amazing first shot that heightens the sense of the mystery, we see children throwing rocks at Felix’s house, busting out a window. Felix runs out of the house bearing rifle and chases one of the children into his barn. The child, terrified at the prospect of what may come about him, vomits, and Felix, only wanting to scare the children (and seeing he has done just that), steps aside, allowing the child to run along.
Felix just wants to be left alone, and, so, it’s...
- 1/23/2010
- by Kirk
- WeAreMovieGeeks.com
It's been ten years since we crossed into the seemingly futuristic "Year 2000." While we didn't get moon colonies or hovercars, we did get a collection of amazing science fiction films, both blockbusters and indies. The staff of Sci-Fi Squad has compiled their top ten (okay, eleven) favorite films of the decade, a list that will allow you to nod your head in agreement or spit venom at us in the comments. So now, in alphabetical order...
Children of Men (2006, Dir. Alfonso Cuarón)
The opening scenes of Children of Men plunge the viewer neck-deep into an icy future with an expiration date firmly set. The human race faces extinction because women all over the world have become infertile: no children have been born for a generation. The British government endeavors to stave off chaos by deporting all foreigners, but many of its citizens have already succumbed to hopelessness and despair. Theo...
Children of Men (2006, Dir. Alfonso Cuarón)
The opening scenes of Children of Men plunge the viewer neck-deep into an icy future with an expiration date firmly set. The human race faces extinction because women all over the world have become infertile: no children have been born for a generation. The British government endeavors to stave off chaos by deporting all foreigners, but many of its citizens have already succumbed to hopelessness and despair. Theo...
- 12/13/2009
- by Cinematical staff
- Cinematical
- Quick Links Letters From Iwo Jima The Queen Children of Men The Los Angeles Critics Association picked their winners for 2006, and like the previously announced picks by the National Board of Review, it appears that this yearâ.s clear fav is Letters From Iwo Jima. Also amongst the populist vote was The Queen â. it picked up a no brainer best actress win for Helen Mirren, but also gave best supporting actor to Michael Sheen who did a great job at playing Tony Blair and a best screenplay for Peter Morgan â. who manages to captivate the audiencesâ. attention from first act to last fade out. Some other worthy mentions that may not be the consensus with other associations are the nods to the production value for the upcoming Children of Men and a big cred goes to L.A Critics for having the balls to pick Sacha Baron Cohen
- 12/11/2006
- IONCINEMA.com
This review was written for the Venice Film Festival screening of "Children of Men". VENICE, Italy -- In his gripping new thriller "Children of Men", director Alfonso Cuaron takes the classic movie formula of a cynical tough guy required to see an innocent party to safe harbor, and shoots it to pieces.
Based on a novel by British mystery writer P.D. James, the film works both as a thriller and as a satisfying political and social drama. It should prove a winner at the boxoffice in all territories.
Set in 2027, with the world gone to hell in a handbasket, the film paints a bleak portrait of a future in which complete global human infertility has meant that no babies have been born anywhere in 18 years. Disease is rampant and military governments everywhere are out of control even in the U.K.
Former activist Theo (Clive Owen, in top form), now a bored civil servant, finds himself in the thick of the resistance when his former lover, rebel leader Julian (Julianne Moore), persuades him to obtain transit papers for a young woman, Kee (Clare-Hope Ashitey) who must flee the country.
With vivid imagination, Cuaron plunges the reluctant hero and the girl into a terrifying chase that takes them from the fearful squalor of a terrorized London to a nightmarish refugee camp with both soldiers and rebels trying to kill them.
According to Cuaron, and his exemplary cinematographer Emmanuel Lubezki and production designers, Geoffrey Kirkland and Jim Clay, the London of 2027 will be a far cry from the city seen in recent films by Richard Curtis and Woody Allen. Dressing real locations to look as awful as possible, the English capital has never appeared so grim.
When a Fleet Street cafeteria is blown up just after he's walked out the door, Theo is reminded of just how bad things are. A fan who only wanted an autograph has just assassinated the world's youngest person, an 18-year-old, and the dead boy is mourned just like Princess Diana.
Julian's request that Theo use his connections to obtain a travel pass for the young woman comes with a chunk of cash but it's clear he has other motives, and so does she. When things go wrong, Theo takes the girl to the country hideaway of his only real friend, a retired newspaper cartoonist named Jasper (Michael Caine, having a great time), who looks after his invalid wife and smokes a lot of dope. Trouble soon arrives, however, and after that there's barely a pause for breath.
Cuaron and his co-screenwriters do the important little things that help make characters believable and take sufficient time to register the deeper impact of things that are troubling the world. They make a place without children's laughter truly a place of horror.
The sign over the refugee camp saying Homeland Security is a sly touch and there's a splendid sequence in which Theo goes to visit a wealthy contact at the revamped Battersea Power Station to the sound of King Crimson.
Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down.
Cuaron and Owen may have created the first believable 21st-century movie hero.
Based on a novel by British mystery writer P.D. James, the film works both as a thriller and as a satisfying political and social drama. It should prove a winner at the boxoffice in all territories.
Set in 2027, with the world gone to hell in a handbasket, the film paints a bleak portrait of a future in which complete global human infertility has meant that no babies have been born anywhere in 18 years. Disease is rampant and military governments everywhere are out of control even in the U.K.
Former activist Theo (Clive Owen, in top form), now a bored civil servant, finds himself in the thick of the resistance when his former lover, rebel leader Julian (Julianne Moore), persuades him to obtain transit papers for a young woman, Kee (Clare-Hope Ashitey) who must flee the country.
With vivid imagination, Cuaron plunges the reluctant hero and the girl into a terrifying chase that takes them from the fearful squalor of a terrorized London to a nightmarish refugee camp with both soldiers and rebels trying to kill them.
According to Cuaron, and his exemplary cinematographer Emmanuel Lubezki and production designers, Geoffrey Kirkland and Jim Clay, the London of 2027 will be a far cry from the city seen in recent films by Richard Curtis and Woody Allen. Dressing real locations to look as awful as possible, the English capital has never appeared so grim.
When a Fleet Street cafeteria is blown up just after he's walked out the door, Theo is reminded of just how bad things are. A fan who only wanted an autograph has just assassinated the world's youngest person, an 18-year-old, and the dead boy is mourned just like Princess Diana.
Julian's request that Theo use his connections to obtain a travel pass for the young woman comes with a chunk of cash but it's clear he has other motives, and so does she. When things go wrong, Theo takes the girl to the country hideaway of his only real friend, a retired newspaper cartoonist named Jasper (Michael Caine, having a great time), who looks after his invalid wife and smokes a lot of dope. Trouble soon arrives, however, and after that there's barely a pause for breath.
Cuaron and his co-screenwriters do the important little things that help make characters believable and take sufficient time to register the deeper impact of things that are troubling the world. They make a place without children's laughter truly a place of horror.
The sign over the refugee camp saying Homeland Security is a sly touch and there's a splendid sequence in which Theo goes to visit a wealthy contact at the revamped Battersea Power Station to the sound of King Crimson.
Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down.
Cuaron and Owen may have created the first believable 21st-century movie hero.
VENICE, Italy -- In his gripping new thriller "Children of Men", director Alfonso Cuaron takes the classic movie formula of a cynical tough guy required to see an innocent party to safe harbor, and shoots it to pieces.
Based on a novel by British mystery writer P.D. James, the film works both as a thriller and as a satisfying political and social drama. It should prove a winner at the boxoffice in all territories.
Set in 2027, with the world gone to hell in a handbasket, the film paints a bleak portrait of a future in which complete global human infertility has meant that no babies have been born anywhere in 18 years. Disease is rampant and military governments everywhere are out of control even in the U.K.
Former activist Theo (Clive Owen, in top form), now a bored civil servant, finds himself in the thick of the resistance when his former lover, rebel leader Julian (Julianne Moore), persuades him to obtain transit papers for a young woman, Kee (Clare-Hope Ashitey) who must flee the country.
With vivid imagination, Cuaron plunges the reluctant hero and the girl into a terrifying chase that takes them from the fearful squalor of a terrorized London to a nightmarish refugee camp with both soldiers and rebels trying to kill them.
According to Cuaron, and his exemplary cinematographer Emmanuel Lubezki and production designers, Geoffrey Kirkland and Jim Clay, the London of 2027 will be a far cry from the city seen in recent films by Richard Curtis and Woody Allen. Dressing real locations to look as awful as possible, the English capital has never appeared so grim.
When a Fleet Street cafeteria is blown up just after he's walked out the door, Theo is reminded of just how bad things are. A fan who only wanted an autograph has just assassinated the world's youngest person, an 18-year-old, and the dead boy is mourned just like Princess Diana.
Julian's request that Theo use his connections to obtain a travel pass for the young woman comes with a chunk of cash but it's clear he has other motives, and so does she. When things go wrong, Theo takes the girl to the country hideaway of his only real friend, a retired newspaper cartoonist named Jasper (Michael Caine, having a great time), who looks after his invalid wife and smokes a lot of dope. Trouble soon arrives, however, and after that there's barely a pause for breath.
Cuaron and his co-screenwriters do the important little things that help make characters believable and take sufficient time to register the deeper impact of things that are troubling the world. They make a place without children's laughter truly a place of horror.
The sign over the refugee camp saying Homeland Security is a sly touch and there's a splendid sequence in which Theo goes to visit a wealthy contact at the revamped Battersea Power Station to the sound of King Crimson.
Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down.
Cuaron and Owen may have created the first believable 21st-century movie hero.
CHILDREN OF MEN
Universal Pictures
Strike Entertainment in association with Hit and Run Productions
Credits:
Director: Alfonso Cuaron
Writers: Alfonso Cuaron & Timothy J. Sexton and David Arata and Mark Fergus & Hawk Ostby
Based on the novel by: P.D. James
Producers: Marc Abraham, Eric Newman, Hilary Shor, Tony Smith, Iain Smith
Executive producers: Thomas A. Bliss, Armyan Bernstein
Director of photography: Emmanuel Lubezki
Production designers: Geoffrey Kirkland, Jim Clay
Editors: Alex Rodriguez, Alfonso Cuaron
Music: John Taverner
Cast:
Theo: Clive Owen
Julian: Julianne Moore
Jasper: Michael Caine
Kee: Clare-Hope Ashitey
Luke: Chiwetel Ejiofor
Patric: Charlie Hunnam
Nigel: Danny Huston
Marichka: Oana Pella
Syd: Peter Mullan
MPAA rating: R
Running time -- 114 minutes...
Based on a novel by British mystery writer P.D. James, the film works both as a thriller and as a satisfying political and social drama. It should prove a winner at the boxoffice in all territories.
Set in 2027, with the world gone to hell in a handbasket, the film paints a bleak portrait of a future in which complete global human infertility has meant that no babies have been born anywhere in 18 years. Disease is rampant and military governments everywhere are out of control even in the U.K.
Former activist Theo (Clive Owen, in top form), now a bored civil servant, finds himself in the thick of the resistance when his former lover, rebel leader Julian (Julianne Moore), persuades him to obtain transit papers for a young woman, Kee (Clare-Hope Ashitey) who must flee the country.
With vivid imagination, Cuaron plunges the reluctant hero and the girl into a terrifying chase that takes them from the fearful squalor of a terrorized London to a nightmarish refugee camp with both soldiers and rebels trying to kill them.
According to Cuaron, and his exemplary cinematographer Emmanuel Lubezki and production designers, Geoffrey Kirkland and Jim Clay, the London of 2027 will be a far cry from the city seen in recent films by Richard Curtis and Woody Allen. Dressing real locations to look as awful as possible, the English capital has never appeared so grim.
When a Fleet Street cafeteria is blown up just after he's walked out the door, Theo is reminded of just how bad things are. A fan who only wanted an autograph has just assassinated the world's youngest person, an 18-year-old, and the dead boy is mourned just like Princess Diana.
Julian's request that Theo use his connections to obtain a travel pass for the young woman comes with a chunk of cash but it's clear he has other motives, and so does she. When things go wrong, Theo takes the girl to the country hideaway of his only real friend, a retired newspaper cartoonist named Jasper (Michael Caine, having a great time), who looks after his invalid wife and smokes a lot of dope. Trouble soon arrives, however, and after that there's barely a pause for breath.
Cuaron and his co-screenwriters do the important little things that help make characters believable and take sufficient time to register the deeper impact of things that are troubling the world. They make a place without children's laughter truly a place of horror.
The sign over the refugee camp saying Homeland Security is a sly touch and there's a splendid sequence in which Theo goes to visit a wealthy contact at the revamped Battersea Power Station to the sound of King Crimson.
Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down.
Cuaron and Owen may have created the first believable 21st-century movie hero.
CHILDREN OF MEN
Universal Pictures
Strike Entertainment in association with Hit and Run Productions
Credits:
Director: Alfonso Cuaron
Writers: Alfonso Cuaron & Timothy J. Sexton and David Arata and Mark Fergus & Hawk Ostby
Based on the novel by: P.D. James
Producers: Marc Abraham, Eric Newman, Hilary Shor, Tony Smith, Iain Smith
Executive producers: Thomas A. Bliss, Armyan Bernstein
Director of photography: Emmanuel Lubezki
Production designers: Geoffrey Kirkland, Jim Clay
Editors: Alex Rodriguez, Alfonso Cuaron
Music: John Taverner
Cast:
Theo: Clive Owen
Julian: Julianne Moore
Jasper: Michael Caine
Kee: Clare-Hope Ashitey
Luke: Chiwetel Ejiofor
Patric: Charlie Hunnam
Nigel: Danny Huston
Marichka: Oana Pella
Syd: Peter Mullan
MPAA rating: R
Running time -- 114 minutes...
"Glory Road" is an appealing story about a basketball coach who almost accidentally engages in social engineering in his quest to win games. This is the mostly true story of the 1966 Texas Western Miners, who won the NCAA championship with an all-black lineup against the all-white University of Kentucky Wildcats. That win not only broke an unspoken barrier and transformed the college game itself but arguably helped fuel the desegregation movement in this country. The coach, Don Haskins, played with energy and dedication by Josh Lucas, was no political activist but did realize that recruiting black players was a shortcut to winning in all-white Southern conferences.
This Jerry Bruckheimer production, directed by commercial director James Gartner in a solid feature debut, should please male fans as well as those who don't mind a dose of social commentary with their sports heroics. "Glory Road" will get the new year off to a fine start for the Walt Disney Co., which no doubt is aware that another basketball movie, "Coach Carter", racked up more than $67 million in boxoffice grosses playing at the same time last year.
With so much story to tell, the movie, written by Christopher Cleveland and Bettina Gilois, gets under way in a rush so it's hard to tell if Haskins is aware of the implications of his basketball revolution. The movie never quite explores whether he realizes the amount of hatred and abuse he is exposing his athletes to and how he prepares them to face those challenges.
Instead the movie sticks to a rags-to-riches tale of a high school girls basketball coach who gets an out-of-nowhere offer to coach at Texas Western University (now the University of Texas at El Paso). With virtually no budget for recruiting and a program he can't sell to talented white athletes, Haskins travels through northern cities to offer scholarships to black standouts.
To position a deserved halo even more prominently above Haskins' head, the movie stretches the truth in two ways. Haskins won the championship in his sixth season, not his first as the movie has it. And even before Haskins' arrival, Texas Western was the first college in a Southern state to integrate its athletic teams. Indeed, the coach inherited three black players from a previous coach.
While the film doesn't soft-peddle ugly incidents of overt racism, it treats most off-court conflicts with humor instead of studied seriousness. The film views its characters as college youngsters, engaging in good-natured byplay and looking for fun.
The actors do fine jobs of capturing aspects of each player's personality that underscore his contribution on the court. Derek Luke stars as Bobby Joe Hill, the agile backcourt artist whose resentment of racism feeds his athletic prowess. Schin A.S. Kerr has a glowering presence as the formidable center David Lattin.
Damaine Radcliffe is a determined Willie "Scoops" Cager, fighting to overcome a heart ailment to get back on the court. Sam Jones III makes pint-size Willie Worsley a spark plug at guard. Mehcad Brooks as forward Harry Flournoy must battle scholastic problems to stay in the lineup. And Austin Nichols has serious and humorous moments as Jerry Armstrong, a white player forced to adjust his game and social attitudes.
Jon Voight plays legendary Kentucky coach Adolph Rupp with a face that alternates between a scowl and a look of astonishment. The film does a delicate balancing act of making Rupp the nominal villain while giving him his due as a shrewd strategist who simply meets his match in a younger and hungrier rival coach.
All the game footage is well shot and edited. The cinematography by John Toon and Jeffrey Kimball is outstanding, though Trevor Rabin's music is conventional, even at times overbearing. Designer Geoffrey Kirkland makes the gyms and locker rooms all but reek of stale sweat.
GLORY ROAD
Buena Vista Pictures
Walt Disney Pictures in association with Jerry Bruckheimer Films
Credits:
Director: James Gartner
Screenwriters: Christopher Cleveland, Bettina Gilois
Producer: Jerry Bruckheimer
Executive producers: Mike Stenson, Chad Oman, Andy Given
Directors of photography: John Toon, Jeffrey Kimball
Production designer: Geoffrey Kirkland
Music: Trevor Rabin
Costumes: Alix Friedberg
Editor: John Wright
Cast:
Don Haskins: Josh Lucas
Bobby Joe Hill: Derek Luke
Jerry Armstrong: Austin Nichols
Adolph Rupp: Jon Voight
Moe Iba: Evan Jones
David Lattin: Schin A.S. Kerr
Orsten Artis: Alphonso McAuley
Harry Flournoy: Mehcad Brooks
Willie Worsley: Sam Jones III
Willie "Scoops" Cager: Damaine Radcliffe
Mary Haskins: Emily Deschanel
MPAA rating PG
Running time -- 114 minutes...
This Jerry Bruckheimer production, directed by commercial director James Gartner in a solid feature debut, should please male fans as well as those who don't mind a dose of social commentary with their sports heroics. "Glory Road" will get the new year off to a fine start for the Walt Disney Co., which no doubt is aware that another basketball movie, "Coach Carter", racked up more than $67 million in boxoffice grosses playing at the same time last year.
With so much story to tell, the movie, written by Christopher Cleveland and Bettina Gilois, gets under way in a rush so it's hard to tell if Haskins is aware of the implications of his basketball revolution. The movie never quite explores whether he realizes the amount of hatred and abuse he is exposing his athletes to and how he prepares them to face those challenges.
Instead the movie sticks to a rags-to-riches tale of a high school girls basketball coach who gets an out-of-nowhere offer to coach at Texas Western University (now the University of Texas at El Paso). With virtually no budget for recruiting and a program he can't sell to talented white athletes, Haskins travels through northern cities to offer scholarships to black standouts.
To position a deserved halo even more prominently above Haskins' head, the movie stretches the truth in two ways. Haskins won the championship in his sixth season, not his first as the movie has it. And even before Haskins' arrival, Texas Western was the first college in a Southern state to integrate its athletic teams. Indeed, the coach inherited three black players from a previous coach.
While the film doesn't soft-peddle ugly incidents of overt racism, it treats most off-court conflicts with humor instead of studied seriousness. The film views its characters as college youngsters, engaging in good-natured byplay and looking for fun.
The actors do fine jobs of capturing aspects of each player's personality that underscore his contribution on the court. Derek Luke stars as Bobby Joe Hill, the agile backcourt artist whose resentment of racism feeds his athletic prowess. Schin A.S. Kerr has a glowering presence as the formidable center David Lattin.
Damaine Radcliffe is a determined Willie "Scoops" Cager, fighting to overcome a heart ailment to get back on the court. Sam Jones III makes pint-size Willie Worsley a spark plug at guard. Mehcad Brooks as forward Harry Flournoy must battle scholastic problems to stay in the lineup. And Austin Nichols has serious and humorous moments as Jerry Armstrong, a white player forced to adjust his game and social attitudes.
Jon Voight plays legendary Kentucky coach Adolph Rupp with a face that alternates between a scowl and a look of astonishment. The film does a delicate balancing act of making Rupp the nominal villain while giving him his due as a shrewd strategist who simply meets his match in a younger and hungrier rival coach.
All the game footage is well shot and edited. The cinematography by John Toon and Jeffrey Kimball is outstanding, though Trevor Rabin's music is conventional, even at times overbearing. Designer Geoffrey Kirkland makes the gyms and locker rooms all but reek of stale sweat.
GLORY ROAD
Buena Vista Pictures
Walt Disney Pictures in association with Jerry Bruckheimer Films
Credits:
Director: James Gartner
Screenwriters: Christopher Cleveland, Bettina Gilois
Producer: Jerry Bruckheimer
Executive producers: Mike Stenson, Chad Oman, Andy Given
Directors of photography: John Toon, Jeffrey Kimball
Production designer: Geoffrey Kirkland
Music: Trevor Rabin
Costumes: Alix Friedberg
Editor: John Wright
Cast:
Don Haskins: Josh Lucas
Bobby Joe Hill: Derek Luke
Jerry Armstrong: Austin Nichols
Adolph Rupp: Jon Voight
Moe Iba: Evan Jones
David Lattin: Schin A.S. Kerr
Orsten Artis: Alphonso McAuley
Harry Flournoy: Mehcad Brooks
Willie Worsley: Sam Jones III
Willie "Scoops" Cager: Damaine Radcliffe
Mary Haskins: Emily Deschanel
MPAA rating PG
Running time -- 114 minutes...
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