Sandra Laing (Okonedo, Hotel Rwanda, The Secret Life of Bees) was born a black child in the 1950s to white Afrikaners unaware of their black ancestry. Her parents,rural shopkeepers serving the local black community, lovingly raise her as their ‘white’ little girl. But at the age of ten, facing prejudice from her community due to her dark skin and African features, Sandra is driven out of society. The powerful, inspirational SKIN follows Sandra’s extraordinary 30-year journey from rejection to acceptance, betrayal to reconciliation, as she struggles to define her place in a changing world – and triumphs against all odds. Based on an incredible true story of family, forgiveness and the celebration of the human spirit, SKIN – winner of more than ten film festival awards, including “Best Feature” – makes it DVD debut on February 1 following its 30 market national theatrical release.
As a girl, Sandra is sent to a boarding school in the nearby town of Piet Retief, but when parents and teachers complain that she doesn’t belong, she is examined by state officials, reclassified as ‘Coloured,’ and expelled from the school. Sandra’s parents are shocked, but her father, Abraham (Neill), fights through the courts to have the classification reversed. The story becomes an international scandal and media pressure forces the law to change, so that Sandra becomes officially ‘White’ again.
By the time she is 17, Sandra realizes she is never going to be accepted by the white community. She falls in love with Petrus — a black man, and begins an illicit love affair. When Sandra elopes with Petrus, Abraham has them arrested and put in prison. Told by the local magistrate to go home, she refuses, and now she must live her life, for the first time, as a black woman in South Africa — with no running water, no sanitation, and little income. Although she feels more at home in this community, she desperately misses her parents and yearns for a reunion, the chances of which seem ever more remote as each year of hardship and struggle wears on. But Sandra carries her father's advice with her wherever she goes: “Never give up!” in this ultimately uplifting true story based on the best-selling book by Judith Stone.
An ordinary man is forced to return to his former violent past to protect his beloved community and daughter from a con man seeking to destroy everything he holds sacred in Carmen Madden’s EVERYDAY BLACK MAN. Timed for Black History Month, this festival favorite makes its DVD debut on February 1 for $19.98SRP. Extras include deleted scenes and a behind-the-scenes featurette.
Since closing the door on a criminal past, quiet and thoughtful Moses Stanton (Brown, Lethal Weapon, Lethal Weapon III, Scrooged) spends his days running a small neighborhood store, and watching over his daughter Claire (Thompson, “Grey’s Anatomy,” “Heroes,” “Veronica Mars”). When a young man, Malik (Hardwick, Kick-Ass, The A-Team, For Colored Girls), arrives claiming to be a black Muslim that wants to do good for the neighborhood, Moses takes him on as a partner and Claire is instantly swept off her feet by this charming young spiritual leader. But Moses soon realizes that Malik is nothing but a drug dealer seeking to destroy the neighborhood and Claire. Now, Moses must again become the violent man he used to be in order to save his beloved community and his daughter.
William Friedkin Discusses The Development Of The "French Connection" Car Chase (reported by Ben Kenber)
William Friedkin’s “The French Connection” was recently shown as part of American Cinematheque’s tribute to him, and he went into great detail about how the famous car chase came together. It is still one of the best chases in cinema alongside “Bullitt,” and it’s the kind
Actually, it turns out there was never a car chase in the original script for “The French Connection,” but Friedkin felt it needed one as this was a police procedural, and the audience would need a temporary release from it. Also, Friedkin didn’t do any storyboards to prepare for it. In fact, he has never done storyboards for any of his movies because he feels that he has to see it in his mind. The shots captured on film come together from he sees at the time, and to that effect he doesn’t even use a second unit to shoot any footage. All that you see on screen in “The French Connection” comes from life as it happened in front of William Friedkin.
In coming up with the chase, he and some crew members walked down 50 blocks of
The first thing to figure out was how fast these trains go. Friedkin said if they went over 100 mph, they couldn’t do the chase as it would be impossible for Popeye Doyle to follow it by car. The train supervisor he talked to said the trains go at 50 mph, so what seemed impractical suddenly became possible. Not only did Friedkin want to have a car chase the train, he also wanted to crash the train for the chase’s climax. But the train supervisor he talked to said it would be too difficult because they had never had an elevated train crash or even heisted. Having heard all this did not deter Friedkin and he announced that he planned to steal the scene if the transit authority’s cooperation was not going to be granted.
As Friedkin and his crew headed for the exit, the train supervisor suddenly said:
“Wait a second. I told you it would be difficult. I never said it would be impossible!”
He told Friedkin that if he were to help him with this, then he would need $40,000 and a one-way ticket to
In filming the chase, the shots were picked up just as they happened in real life. There’s no way they would ever be able to film a chase like that today without prior approval from the city, but Friedkin and his crew were young and reckless, and they unleashed mayhem New York never saw coming. There were not supposed to be any accidents while filming it, but there ended up being many of them which forced the crew to fix the car after each take. I’m pretty sure they ended up using more than one as a result. Friedkin ended up saying that they did a number of things they he would never even think about doing today, and that they were very fortunate no one got hurt.
Taking all this information into account, this car chase feels even more thrilling than when I first saw it. The way it was filmed was completely insane, and that they pulled it off at all was a miracle. When Gene Hackman finally pulls that 1971 Pontiac LeMans to its final stop, the sold out audience at the Aero Theatre applauded loudly which shows how powerful the sequence remains today. “The French Connection” is now at its 40th anniversary, and like many of Friedkin’s movies, it has deservedly stood the test of time.
“I used to think the worst thing in life was to end up all alone. It's not. The worst thing in life is ending up with people who make you feel all alone.”
-Robin Williams from “World’s Greatest Dad”
“Somewhere” opens with Stephen Dorff’s character of Johnny Marco driving his Ferrari around in circles in some far off place. It goes on for awhile to the point where some in the audience might say:
“ALRIGHT ENOUGH ALREADY!!!”
However, the length of the scene defines the state Johnny’s life is in. He’s a movie star with adoring fans, and getting women to sleep with him is easy as cake. But aside from being a successful actor, he looks like lost compared to everyone else around him. Johnny has no direction in life and emotion looks like a luxury that he really can’t afford. Even those beautiful female twins pole dancing in his hotel room at the Chateau Marmont can’t excite or arouse him, and they succeed in making him fall asleep more than anything else. We see him surrounded by so many people who profess to adore him, but all they do is make him feel more isolated from the world around him.
But then Johnny wakes up in the morning to find his 11-year old daughter Cleo signing the cast on his arm. From there, we see him come alive as he gets to spend time with the one person who loves him in a way no one else can. With his daughter, he gains some idea of adult responsibility, and a better sense of who he is and what he wants.
Now that may make “Somewhere” sound like a sitcom more than a movie; father gets closer to daughter and changes his perspective and all, but it is anything but that. This is Sofia Coppola’s first movie since “Marie Antoinette,” and she makes this one anything but sentimental and manipulative. Its more like she captures moments between Johnny and Cleo more than she films then, and it makes “Somewhere” feel all the more real.
Many have said that “Somewhere” feels like a European film in how slowly it moves, and it is never in a rush to get to the next moment. This is correct, but I like the fact that this it that takes its time. Today’s movies are always rushing from one moment to the next to where we never have enough time to digest everything we witnessed. That Sofia Coppola goes against this trend is very welcome, and it makes for a far more involving movie.
Seeing Cleo accompany her father to
As played by Elle Fanning, Cleo comes across as far more adult that her father and it’s a kick to see her prepare breakfast for him, showing that she is more of an adult than Johnny Marco . She also makes what looks like a sumptuous Eggs Benedict, which anyone who knows me best is aware of that I order it whenever my parents are in town and take me out to breakfast. Of course, I’m on a diet now, so that may not be a good idea, but seeing her cook it so successfully makes me want to head out to the nearest restaurant that serves breakfast all day.
Elle has been in the shadow of her older sister Dakota who has given strong performances in movies like Steven Spielberg’s “War Of The Worlds” and “The Runaways.” I haven’t seen Elle in anything since “The Door In The Floor” where she acted opposite Jeff Bridges and Kim Basinger, but she really comes into her own here with this character who is oh so charming. I’ve been saying this a lot about performances in other movies, but you never catch her acting here. She just inhabits her character with what seems like relative ease, and watching her come to life as Cleo is a joy.
Stephen Dorff is an interesting choice to play Johnny Marco. Best known for his roles in “Backbeat,” “Blade,” and “Cecil B. Demented” among other movies, Stephen does seem to have that “bad boy” image, though not necessarily to Charlie Sheen’s level. In “Somewhere,” he manages to find the right balance between being a nice guy and a thoughtless prick to where we empathize with him more than we decry his irresponsibly selfish ways. Like Elle, Stephen becomes his character more than plays him, and he keeps him from becoming a caricature of a movie star. We find ourselves wanting him to do right by his daughter even if he doesn’t always do so.
The other big character in “Somewhere” is the Chateau Marmont, a hotel on Sunset Boulevard in
Granted, this film does share similarities to
Directors in general deal with similar themes throughout all their movies, and
If there is anything that bothered me about “Somewhere,” it’s that the conclusion is a little too open-ended. I left the theater with questions over what happened from there, and while change is coming for the characters, it’s not entirely clear what direction that change is going to take. Then again, there’s a lot going on that we don’t have all the details on. We never learn why Johnny split with Cleo’s mother, and we are only left with an idea of how it happened. Looking into Cleo’s eyes, she may have a better idea than anybody else of what went down.
Regardless of that, “Somewhere” is a well thought-out film that shows Sofia Coppola to be an excellent director who is confident of her abilities behind the camera. Looking back, I think it will have more of an effect long after you’ve seen it as it’s not the kind of movie that leaves your consciousness all that quickly.
***½ out of ****
Welcome to the 272nd edition of my long-running series. This week I feature three animated selections which is pretty rare for me. I also pay tribute to the late actress Susannah York who recently left us. Next week will be the first edition in February and most know February is Black History Month so some of my selections will be reflecting that month but not all. I looked to see what I have in Netflix to see what is good for that month. Tomorrow night I will likely be hitting the Anderson Buffalo Wild Wings to see the ROYAL RUMBLE PPV. Don't forget that on February 12th, I will be in a Murder Mystery Dinner Theater comedy called THE DUMB AND THE DESPERATE at the Muncie Amvets which I will be playing the host and my mom is directing and will be co-starring as well. There are limited seats so reserve your tickets at 765-287-9054 and tickets are $20 which includes the show and dinner.
The Loveless (1982): This is the 12th link on The Chain and this link goes to the director of the film Kathryn Bigelow which is the first link so far that goes to a director. Willem Dafoe stars in this film as Vance who is part of a biker gang who stops in a small southern town on their way to a Daytona race and makes trouble in that town while they are there waiting for one of the motorcycles to get fixed. This is compared a lot to Brando's biker film THE WILD ONE but this has its own image and should not be considered a "remake" or "rip-off". Dafoe makes his debut in this film which was a good performance in a start to a good career. This is also Bigelow's feature directorial debut who directed along with Monty Montgomery. They are the only two in this that went onto have a big film career to my knowledge. Next week, the chain will continue with another Kathryn Bigelow film. This is available on Instant Netflix.
Play it Again, Charlie Brown (1971): This would by my short film for the week which was really just a tv special but I reserve the right to put this into a movie blog. The title does not make any reference to Bogart or CASABLANCA which some may lead into. Charlie Brown is not really focused on very much in this one. This one puts the focus more on Schroeder and Lucy. Lucy is continuing to try to win over Schroeder's affections so takes the advice of Peppermint Patty and advises him to perform his music for the school talent show. Schroeder accepts at first but then learns that only rock music will be played and that he cannot play his idol Beethoven. Schroeder must then consider his friends in the show and his own values. This one does have a pretty good message about staying true to one's self. The only problem I had with this one was Pamelyn Ferdin's voice as Lucy. I guess I thought her voice was a little too deep for the character and just was not the same to me. I see Ferdin has done a few movies and tv shows and I'm sure she is good at her job but I felt she was miscast here. Otherwise a very enjoyable Peanuts special.
Thunder on the Hill (1951): This is another selection from the Douglas Sirk boxed set my dad got me for Christmas. Sirk was the director for this movie which stars Claudette Colbert as Sister Mary who is a nurse at a convent hospital in Norwich. Ann Blyth co-stars as a convicted murderess named Valerie Carns who is being transported there with her guards but stranded by the big storm. As Sister Mary gets to know Valerie, she becomes convinced that she is innocent of the crime that she is accused of committing and sets out to find the truth of what happened. People in the convent including Mother Superior do not want her trying to prove what they feel is a long shot. Colbert and Blyth are great in the roles and the film is very moving and even suspenseful at times, especially at the climax.
Toy Story 2 (1999): This is my Pixar film for the week and quite possibly one of the greatest sequels in the best animated trilogy of all time. Believe it or not, this was the first time I had ever seen this movie. I had seen part one and part three but kind of missed this one but it was worth it. Part of why I never saw it was because when I was that age, I guess I just was not into animation like I am now thinking it is "just for kids" but then I grew up and realized it's for everyone. Tom Hanks and Tim Allen both reprise their roles as toys Woody and Buzz Lightyear. In this one, their owner Andy goes off to summer camp where he cannot bring his toys. Andy's mom was soon having a rummage sale and the noble toy Woody went down to make sure his friend did not get sold but in the process is stolen by a greedy collector named Al who owns "Al's Toy Barn". Once Al gets Woody, he then gets his collection complete that includes Jessie the Cowgirl, Stinky Pete and the horse Bullseye where Woody learns he was the character on a short-lived cartoon. Al then intends to sell them to a museum in Japan. On the homefront, Buzz and friends set out to rescue Woody. Randy Newman writes some great music for the film. Many actors have voices here including Joan Cusack, CHEERS and FRAZIER alum Kelsey Grammar, Don Rickles, Wallace Shawn, CHEERS alum John Ratzenberger, Annie Potts, SEINFELD alum Wayne Knight, and many others. This sequel matched what was already a great part one in a film that really teaches loyalty. It also teaches us to respect our toys even when grown up. A Disney sequel done right for a change.
Tom Jones (1963): This is my tribute to Susannah York who co-stars in this film and recently left us. No, this is not that singer we all know. Albert Finney plays the title character here who was abandoned and brought up by a British country squire. When grown up he becomes quite the ladie's man which leads into a lot of trouble for him. Susannah York plays his love interest Sophie but her father does not approve of their relationship. This movie takes place in the 18th century and has a lot of very funny moments. Finney is great in the title role. This is available on Instant Netflix.
The Place Promised in Our Early Days (2004): This is my anime, aka Japanese animation, selection for the week. This film is rather complicated but quite beautiful. This film takes place in an alternate postwar 1996 Japan where it is divided. Three people set out to unravel the big secret but their project is put on hold when the girl becomes mysteriously ill and transferred to Tokyo. Years later, they bring the project back on and set out to find her. It is very difficult to explain but it was a very moving film with a great narrative. Everything works in this film with the narrative, story, and music. This is available on instant Netflix.
Scarface (1932): Yes, the year for this is correct. The one that stars Al Pacino in 1983 is a remake but it's a pretty loose remake as you will not see much of the same things. Obvious differences are things like the F-word is not used at all with the year it is in unlike the 1983 version. Another difference is that in this film, the main character is named Tony Camonte and in 1983, he was Tony Montana. In this film, Tony is a bootlegger on the rise with the Chicago mob and in the remake, Tony is a murderous Cuban drug lord. Similarities include the things between Tony and his sister and mother as well as the phrase of "The World is Yours". With all that being said, I'll get to this movie now. Howard Hawks directed this movie which stars Paul Muni as Tony Camonte who starts out as a common gangster during the prohibition era who then works his way up to the top of the mob and hurting many that get into his way. George Raft plays his friend Guino who is equivalent to the Manny character in the 1983 version. Boris Karloff has a supporting part as Tony's rival Gaffney. There are also some interesting moments where he is overprotective of his younger sister and pretty much deems any guy as not right for her and also has a mother who does not like what he has become and fears the sister will be exactly like him. Paul Muni gives a great performance and as I have said many times is the most underrated actor from that era in my opinion. Like many gangster films from this era, they have a disclaimer that the activity must be stopped and looks to turn people off from admiring that lifestyle. This was a very daring film to make as this is loosely based on Al Capone during Capone's biggest rise as there are some obvious scenes like the recreation of St. Valentine's Day Massacre. Ben Hecht wrote the screenplay of the novel written by Armitage Trail and had some of Capone's gangsters questioning him but was able to smooth talk his way to get them to like what he was doing and even included them as advisers. The real Al Capone is actually said to have really liked this film and even obtained his own illegal copy which was something that was not nearly as easy to do as it is today.
Julie and Julia (2009): Nora Ephron directed and wrote the screenplay on this film which is based on Julie Powell's book of the title and Julia Child's MY LIFE IN FRANCE. There are two parallel stories where Amy Adams plays Julie Powell who moves to Bronx, New York and feels she is going nowhere and through suggestions of her husband starts a blog where she intends to go through lots of Child's recipes in so many days where she gets a lot of publicity eventually. Meryl Streep plays Julia Child where it takes a look at her rise as a cook where she starts out in a cooking school in France. The more popular segment is the one of Julia Child and many reviews I have seen really liked Julia Child's segment but finding Amy Adams' story as Julie to be much weaker. I guess Adams had a lot of pressure to have to be against a segment like that but I thought she did pretty good. Also, though the Julie stuff was not as interesting, I found myself relating to that being a fellow blogger. She started this blog knowing that she had a lot of other things to do like her own job and a husband but still was very determined to get it out as soon as possible. I have wrote this blog on a weekly basis for over five years now and I always get it out on a Saturday or Sunday and work on it throughout the week even though I have my job, I do a lot of theater shows, among other things because it is what I enjoy. Julie had many people, especially her mother, question why she does it and I have had people questions me as well, though my parents have always been pretty supportive, but I guess this is just a way of life for me now as I enjoy putting these together each week even though I may rack my brain like crazy. Stanley Tucci, Chris Messina, and Jane Lynch co-star. Streep was great as the famous chef. Bon appetit everyone and just enjoy the film.
The Flaming Urge (1953): I found this on my Pub-D-Hub app on my Roku player which shows public domain material including movies. This would be mostly to watch for certain historical reasons and curiosity reasons. Harold Lloyd Jr. stars in this B-movie as a clerk who cannot resist temptation to chase fire truck and observe the fire. However, lots of unexplained fires are taking place in this small Michigan town leaving people to believe he started them. As many may know and some may not know, Harold Lloyd Sr. was one of the best silent film comedians in that era and my favorite of the silent comedians and is referred to a lot as "the third genius" meaning the other two are Charlie Chaplin and Buster Keaton. This can put a lot of pressure for a child wanting to follow in the footsteps of their fathers, especially a junior. Harold Jr. was also a homosexual which in those days was not as accepted as it was today though his father was very supportive of him but in what I read was about his only supporter. Lloyd Jr. had a very short career and life as he became an alcoholic and even suffered a stroke at the young age of 34 and died at 39 years old, shortly after his father died. I guess this is really more of an education on him but that is what made me take interest when I came upon this film. This can probably be found at many public domain movie sites.
Be Here to Love Me (2004): This is my documentary for the week which focuses on the late singer/songwriter Townes Van Zandt. This film reflects on his life and people like Willie Nelson and Kris Kristofferson get interviewed. Van Zandt really had a cult following but never really made it into the mainstream but is considered by many of his peers to be one of the best musical artists of all time. Many people including Willie Nelson, Kris Kristofferson, Merle Haggard, the Meat Puppets, Norah Jones, Bob Dylan, and Steve Earle. This movie also has reflections from his kids in some of their moments with their father. It also talks about his drug and alcohol addiction that was likely what killed him at an early age. His most known song is most likely PANCHO AND LEFTY which was made famous by Willie Nelson and Merle Haggard. This was a very informative documentary on someone I really did not know anything about until now. Much of his music can probably be found on youtube so I encourage people to look into his music and get this on dvd which is available on Netflix.
Well, that is it for this week. Tell me what you like and what you do not like and stay tuned for next week which so far includes more Kathryn Bigelow, Mo'nique, Bette Midler, and many others. This week I return with my Fun Little Facts segment so keep on reading.
FUN LITTLE FACTS
Willem Dafoe (The Loveless) plays our savior Jesus Christ in the 1988 film THE LAST TEMPTATION OF CHRIST. My Facebook friend Michael played Jesus years ago at the Muncie Civic Theater in the popular musical GODSPELL.
Claudette Colbert (Thunder on the Hill) plays Cleopatra in the 1934 film of the title name. Lynn Redgrave (Tom Jones) plays the part in the 1983 tv movie ANTONY AND CLEOPATRA.
Howard Hughes (Scarface producer) bought Ann Blyth (Thunder on the Hill) a Cadillac and swimming pool in 1951.
Tom Hanks (Toy Story 2) and Amy Adams (Julie and Julia) worked together in the 2002 film CATCH ME IF YOU CAN.
Kelsey Grammar (Toy Story 2) will be playing the Tin Man in the upcoming 2012 film DOROTHY OF OZ. My Facebook friend Ryan played the part in a production at the Muncie Civic Theater.
Kelsey Grammar (Toy Story 2) plays Ebenezer Scrooge in 2004 tv movie musical version of A CHRISTMAS CAROL of which I was in the Muncie Civic Production during my theater "comeback". Albert Finney (Tom Jones) plays Scrooge in the 1970 film SCROOGE which is also a musical but probably the better one of the two. Susannah York played Mrs. Cratchit in the 1984 tv movie A CHRISTMAS CAROL.
Albert Finney (Tom Jones) played Daddy Warbucks in the 1982 musical ANNIE. My Facebook friends Bill, Michael, and Marty have played the part in various productions through the years in Muncie and Anderson.
Boris Karloff (Scarface) voiced the Grinch in the 1966 tv special HOW THE GRINCH STOLE CHRISTMAS. My Facebook friends Eric and Joe have played the part in various versions of SEUSSICAL: THE MUSICAL.
Boris Karloff (Scarface) played Mortimer Brewster in the original stage play of ARSENIC AND OLD LACE. My Facebook friend Elmore played the part last October in the Anderson Mainstage Theatre version of which I was in as Lieutenant Rooney.
Boris Karloff (Scarface) played Dr. Jekyll and Mr. Hyde in the 1953 film ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE. My Facebook friend Matt played the part in a Muncie Civic Theater production of JEKYLL AND HYDE: THE MUSICAL.
Boris Karloff (Scarface) played Captain Hook in a Broadway production of PETER PAN. My Facebook friend Kayla played the part in a production at Lee's Theatrical Productions.
Stanley Tucci (Julie and Julia) played Puck in the 1999 adaptation of the Shakespeare play A MIDSUMMER NIGHT'S DREAM. My Facebook friend Corey played the part in a production at the Muncie Civic Theater years ago.
Chris Messina (Julie and Julia) worked for Tom Hanks' (Toy Story 2) book store in the 1998 film YOU'VE GOT MAIL. Messina had a small role and the director was Nora Ephron who directed him in this week's feature JULIE AND JULIA.
Focus Features has acquired worldwide rights to the contemporary drama Pariah, the debut feature from writer/director Dee Rees. Pariah world-premiered In Competition this past week at the 2011 Sundance Film Festival. Spike Lee is among the feature’s executive producers. Pariah is produced by Nekisa Cooper.
In tandem with the Pariah acquisition, Focus has engaged Ms. Rees to write a screenplay. The script deal is for a new feature-length film that the writer/director would conceive.
Pariah is one of the Festival’s most acclaimed entries this year; Kyle Smith of The New York Post wrote that Pariah is “emotionally satisfying…with a likeable and believable heroine at its core.” Andrew Barker of Variety wrote that actress Adepero Oduye gives “a wonderful lead performance.”
The feature is an expansion of Ms. Rees’ short film of the same name, which screened at the 2008 Sundance Film Festival. Ms. Oduye, who had starred in the short film, portrays Alike (pronounced “ah-lee-kay”), a 17-year-old African-American woman who lives with her parents (Kim Wayans and Charles Parnell) and younger sister (Sahra Mallesse) in Brooklyn’s Fort Greene neighborhood. Alike is quietly but firmly embracing her identity as a lesbian. With the support of her best friend Laura (Pernell Walker), she is especially eager to find a girlfriend. Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor, and tenacity – sometimes succeeding, sometimes not, but always moving forward.
Focus Features CEO James Schamus said, “Dee Rees has made a debut film that celebrates with astonishing artistry the journey of a young woman who simply never gives up on the power of love. We’re thrilled to join her on this next step of a remarkable journey.”
“We’re thrilled to be working with Focus Features. They’re such smart marketers and they love movies, so that we knew Focus was the perfect home for Pariah. We are excited for the film to reach the broadest audience possible,” said Ms. Rees.
New York - Now Playing
Detroit, MI - 2/4
Chicago, IL - 2/11
Columbus, OH - 2/11
Hartford, CT - 3/4
"Tetsuo III: The Bullet Man" Clip 1
"Tetsuo III: The Bullet Man" Clip 2
The second film that be spotlighted today in our Sundance coverage is "Septien".
Film Synopsis:
Eighteen years after disappearing without a trace, Cornelius Rawlings returns to his family’s farm. While his parents are long deceased, Cornelius's brothers continue to live in isolation on this forgotten piece of land. Ezra is a freak for two things: cleanliness and Jesus. Amos is a self-taught artist who fetishizes sports and Satan. Although back home, Cornelius is still distant. In between challenging strangers to one-on-one games, he huffs and drinks the days away. The family’s high-school sports demons show up one day in the guise of a plumber and a pretty girl. Only a mysterious drifter can redeem their souls on 4th and goal.
Triple-threat actor/writer/director (and disturbingly gifted athlete) Michael Tully creates a backwoods world that’s only a few trees away from our own, complete with characters on the edge of sanity that we can actually relate to. A hero tale gone wrong, Septien is funny when it’s inappropriate to laugh, and realistic when it should be psychotic. Goooaaaaaaaaal!
"Septien": Official Trailer
"Septien" is also available On Demand thought Sundance Selects as part of "Direct from the Sundance Film Festival".
"Direct from the Sundance Film Festival" will be available for approximately 30 days on each cable system's main movies-on-demand channel in a special "Sundance Film Festival" branded section.
As the Sundance Film Festival is winding down, I have not one but two films that I'm going spotlight today. The first film is "Mad Bastards".
Film Synopsis:
TJ is a mad bastard, and his estranged 13-year-old son Bullet is on the fast track to becoming one, too. After being turned away from his mother’s house, TJ sets off across the country to the Kimberly region of northwestern Australia to make things right with his son. Grandpa Tex has lived a tough life, and now, as a local cop, he wants to change things for the men in his community.
Crosscutting between three generations, Mad Bastards is a raw look at the journey to becoming a man and the personal transformation one must make. Developed with local Aboriginal communities and fueled by a local cast, Mad Bastards draws from the rich tradition of storytelling inherent in Indigenous life. Using music from legendary Broome musicians the Pigram Brothers, writer/director Brendan Fletcher poetically fuses the harsh realities of violence, healing, and family.
Screenings:
Saturday January 29th. 4:30 PM Redstone Cinemas 7
"Mad Bastard" is also available On Demand thought Sundance Selects as part of "Direct from the Sundance Film Festival".
"Direct from the Sundance Film Festival" will be available for approximately 30 days on each cable system's main movies-on-demand channel in a special "Sundance Film Festival" branded section.
A remote, rural monastery houses the young repressed monks of the Order of Pathicus, and their dark secrets. Tainted by the severe murder of a young acolyte after a rebuked advance, the monks further retreat from a society they crave to join. After a quarter century of silence the house’s violent past yearns for awakening. Animals are found eviscerated, odd sounds breathe in the night air, and an evil presence is felt throughout.
When an unconscious young drifter is discovered near the monastery, his sexual presence unsettles the young novices, as well as the resident priests. The man’s dark charisma ensnares the attentions of the young novices as they are unraveled by their tense obsessions, except for the monk Rafael, who resist’s the stranger’s temptations and seeks escape from the doomed cage of the crumbling monastery.
Director Patrick McGuinn (Sun Kissed) and screenwriter André Salas (Latin Boys Go To Hell) create an erotic homage to Dark Shadows, Hammer films, and 1970s Italian tales, percolating with a sexual pulse, a menacing tone, a tinge of sly camp, and supernatural evocations. Eulogy for a Vampire was filmed in an atmospheric 19th-century manse in historic Philmont, New York, owned by Eleanor Ambos, the celebrated New York City antique dealer.
"Operatic B-horror! Scarred flesh, ripped bloodlines, and vampire rituals!" – Village Voice
"Provocative and atmospheric. A suitably moody sensation."– Chelsea Now
Special Features:
• Theatrical Trailer
• Evidence Remains - a music video
• Behind the scenes footage
• Deleted Scenes montage
• Actors screen tests
Sony Pictures recently send us over the DVD Trailer for "Welcome to the Riley's, which hits DVD and Blu-Ray, this Tuesday.
Film Synopsis:
Golden Globe® winner James Gandolfini, (“The Sopranos”) is Doug Riley, a man at the crossroads. Ever since the tragic death of his teenage daughter, he's led a life of quiet desperation... and now, something has to give. On a business trip to New Orleans, he encounters Mallory (Kristen Stewart, the Twilight films) -- a raw, angry runaway living a dangerous life as a stripper. Moved by emotions he barely understands, Riley abandons his old life to save hers. The tenuous balance is threatened when his wife Lois (Academy Award® nominee Melissa Leo, Best Actress, Frozen River, 2008) shakes off the fears that have kept her homebound for years. Now three lost souls seek hope and forgiveness in each other... and together, they discover a rare gift of connection that feels like family.
Creating the Rileys
Hallmark Movie Channel, will feature the WORLD PREMIER of Goodnight for Justice. The film is directed by Jason Priestly and stars Luke Perry. This release marks the first time these two veterans have worked together in any capacity since Beverly Hills 90210.
An hour before the premier on Jan 29 (7pm EST) Jason and Luke will be doing a live chat directly with their fans, which is also a first! This event will take place on facebook.com/hallmarkmoviechannel.
Film Synopsis:
John Goodnight has a crystal clear memory of the day that his family fell victim to ruthless outlaws. He and the wife of Circuit Judge Aldous Shaw were the only survivors of the attack; she would become his foster mother. Goodnight cannot forget the corrupt man who destroyed his family and he lives for a second chance encounter with the outlaw.
After Goodnight has a rocky start as a solicitor, the Governor swears him in as the Western Territories next Circuit Judge. Goodnight travels the West seeking protection for the innocent, until one fateful day, when his journey takes him to a place that is all too familiar. Starring Luke Perry, directed by Jason Priestly.
"Goodnight for Justice" premiers on this saturday at 8PM.
Solomon said, "The original reason we made these films was to give filmmakers a chance to shine while participating in the “Originals” film festival. By making a great film they open the door giving that film a chance to be released on a wider basis. It's only a good thing for everyone if this happens".
Re-Kill, from Producer Courtney Solomon, and Executive Producers Stephanie Caleb, Allan Zeman and Moshe Diamont was shot in Bulgaria and is currently in post-production. The remaining After Dark Originals Films, Prowl, Seconds Apart, Fertile Ground, The Task and Husk will all be released theatrically on Friday January 28th in the following cities and theatres:
Atlas Cinemas Diamond Center 16
9555 Diamond Center Dr., Mentor, OH 44060
Showtimes: (440) 352-8822
Website: http://boxoffice.printtixusa.com/atlas/movies?v=2681
Map: http://mapq.st/dQT4qI
Eastern Shore Premiere Cinemas 14
30500 State Hwy 181, Spanish Fort, AL 36532
Website: http://www.pccmovies.com/theater.php?rtsID=26992
Map: http://mapq.st/elVLdm
Laemmle Sunset 5 8000 Sunset Blvd, West Hollywood, CA 90046
Website: http://www.laemmle.com/viewtheatre.php?thid=2
Map: http://mapq.st/eYPyMd
AMC Loews Jersey Gardens 20
651 Kapkowski Rd, Elizabeth, NJ 07201-490
Website: http://www.amctheatres.com/JerseyGardens/
Map: http://mapq.st/dZ0hHw
AMC South Barrington 30
175 Studio Drive, South Barrington, IL 60010
Website: http://www.amctheatres.com/SouthBarrington/
Map: http://mapq.st/fdAr2F
AMC Barrett Commons 24
2600 Cobb Place Lane, NW, Kennesaw, GA 30144
Website: http://www.amctheatres.com/BarrettCommons/
Map: http://mapq.st/ePH6m5
AMC Grapevine Mills 30 3150 Grapevine Mills Parkway, Grapevine, TX 76051
Website: http://www.amctheatres.com/grapevine/
Map: http://mapq.st/hUDDMr
Entertainment Cinemas-Fresh Pond 168 Alewife Brook Pkwy, Cambridge, MA 02138
Website: http://www.entertainmentcinemas.com/EMCFreshpond/freshpondshowtimes.htm
Map: http://mapq.st/hUbHk2
Westbrook Cinemagic 16 183 Country Rd., Westbrook, ME 04092
Website: http://www.cinemagicmovies.com/Loc_westbrook.html
Map: http://mapq.st/hNPKxo
Frank Theaters Montgomeryville Stadium 750 Montgomery Glen Drive, Lansdale, PA 19446
Website:https://frank.tstickets.com/%28S%28v2ulo0rylbwulu453vrrblqf%29%29/ticketing.a
spx?theatreid=123
Map: http://mapq.st/glbrGt
After Dark Films made an unprecedented commitment to the production of eight original horror films under the After Dark Originals label, continuing the Company’s mantra of supporting first time independent film writers and directors. The creation of the After Dark Originals slate is just another example of the Company’s commitment to the Indie film industry.
Unlike After Dark’s “8 Films To Die For®”, After Dark Originals (www.afterdarkoriginals.com) are wholly financed and produced by After Dark Films. The ADO slate runs the gamut of the genre, from paranormal phenomena, black magic, space aliens and vengeful ghosts to psychological trauma, murderous psychopaths, vampires and the undead. After Dark polled its fans and is delivering the kinds of movies they asked for!
Matthew Scott Krentz -Director
Matthew Scott Krentz Writer
Anthony E. Cabral ... co-producer
Matthew Scott Krentz ... producer
Patrick Rooney ... producer
Craig Thomas ... producer
Geoffrey Tippit ... line producer
Vernon Whitlock III ... producer
Cast - in credits order
Jimmy McKinney ... Jacob
Matt Krentz ... John
Adrieanne Perez ... Sarah
Eric Fletcher ... Terry
Craig Thomas ... Damon
Patrick Rooney ... Michael
Justin Tatum ... Dante
Caitlin Howley ... Caiti
MaryBeth Scherr ... Kat
Jordan Ward ... Ty
Peggy Neely-Harris ... Auntie Rose
Counterhound Productions- Production Company
Monarch Home Video and Warner Home Video-Distributors
“American Streetballers tries to be for basketball, what Field of Dreams was for baseball. Trying to define street basketball as America's new favorite pastime, it is a story driven by passion, faith, and achieving goals. A story that attempts to capture the poetic nature of street basketball, highlighting the struggles endured on and off the court by the purest of athletes.
Constantly searching for sanity in the midst of alcoholism, racism, and drugs, John Hogan (Matt Krentz) and Jacob Whitmore (Jimmy McKinney), two junior college basketball players, find release and therapy while competing at a competitive Boston street court. Both young men must spend an entire summer helping one another overcome their adversities. Their dedication and love for the game of basketball transcends from the playground courts into each of their dysfunctional households where the two boys play the constant role of the father figure.
Slogging through life one day at a time, Jacob feels he has no choice but to play in an underground league, constantly fighting to keep his cousin Damon(Craig Thomas) out of debt, and possible death. John's overpowering guilt and family trauma erupt into a state of confusion and beauty with each spiritual intervention of Terry Gibson (Eric Fletcher), a neighborhood boy killed by John's older brother Michael (Patrick Rooney) in a drunk driving accident. Together, Jacob and John paint a sad and delightful portrait with their innocence, concerns, and faith in the unknown.
Matt Krentz who produced, directed ,co-stared in and wrote the underdeveloped screenplay for American Streetballers, also wrote some of the description above. I am sympathetic to his wanting to get a project made and off the ground; however the story, while ambitious for an independent low budget film is a perfect example of why film needs to be collaborative, especially in the important creative positions, and about why “ it ain’t about writing a script, it’s about rewriting, rewriting, rewriting”. It also is an example of a number of young up and comers looking for a vehicle to move to the next professional level. The great majority of the cast and crew on this film have at best only one or two credits other than American Streetballers.
Ezra Hubbard’s editing is uneven and distracting. The pacing jerked forward from smash cut to smash cut to blackouts to inspirational quote-cards that succeeded in only taking me out of the story. With the notable exception of Eric Fletcher’s Terry, there is not a believable dramatic acting job in the cast. The script is stilted and ‘on the nose’ relying on stereotypes, that at times made me uncomfortable, and predictable outcomes that ruined any sense of dramatic tension . It is hardly Field of Dreams or White Men Can’t Jump, for that matter. The musical score breaks no new ground and frequently feels like a throwback to urban films of the 1990’s. Most of the hiphop-music-video- style- basketball- scenes did not deliver dramatically.
And yet with all of these blemishes, the film would be ok and within acceptable limits for direct to video fare if it were not for the sound. I cannot tell if the fault is the sound team or the fact that many of the actors, especially most of the African-American ones, sound like they have marbles in their mouths. Part of this is due, no doubt to the urban slang that is used throughout the film to good effect. But mostly is has to do with the actors lack of training and ability to elucidate on camera. In other words, I had no idea what they were saying. Spike Lee, John Singleton and other great makers of American urban genre films make sure their characters can be comprehended by all audiences. Matt Krentz should have too. If you like sport films rent or download a copy.
Paramount Pictures and Indian Paintbrush announced recently the worldwide acquisition of LIKE CRAZY for Paramount Pictures to release in 2011. The Super Crispy Entertainment production from co-writer and director Drake Doremus ("Douchebag"), producers Jonathan Schwartz ("The Way Back," "Douchebag," "Funny Games") and Andrea Sperling ("Kaboom," "Sympathy For Delicious") of Super Crispy Entertainment, and executive producers Audrey and Zygi Wilf had its world premiere at the Sundance Film Festival on Saturday.
Starring Anton Yelchin ("Star Trek," and "Terminator Salvation"), Felicity Jones ("The Tempest") and Jennifer Lawrence ("Winters Bone"), LIKE CRAZY was written by Doremus and Ben York Jones ("Douchebag"). The story follows a British college student who falls for an American student, only to be separated from him when she's banned from the U.S. after overstaying her visa. Entertainment Weekly's Lisa Schwarzbaum said of the movie "Young love has rarely been so palpable or looked so real," while Kenneth Turan of the Los Angeles Times said "LIKE CRAZY" brings a compelling intimacy and heart-stopping delicacy to showing the push and pull of love, longing and regret."
Adam Goodman, President of Paramount's Film Group and Matt Brodlie, Senior VP of Productions and Acquisitions for Paramount, along with Indian Paintbrush's President of Production Mark Roybal negotiated for the rights with the film's reps Rich Klubeck and David Flynn from UTA, along with Schwartz and Doremus' attorney Lawrence Kopeikin from Morris Yorn.
Said Goodman, "Along with our partners at Indian Paintbrush, we are extremely pleased to be a part of such a great movie, and look forward to working with Drake, Jonathan, Andrea and a tremendous cast of actors."
A spokesperson for Indian Paintbrush added, "Drake is a brilliant filmmaker, who has crafted a fresh, iconic film. With Paramount's unrivaled production and marketing teams, Drake, Jonathan, Andrea and their amazing cast are in great hands to share this jewel of a film with the world."
"Paramount and Indian Paintbrush's passion and commitment towards the film is incredibly exciting," said Super Crispy Entertainment President and producer Jonathan Schwartz.
"Kaboom" is also available On Demand thought Sundance Selects as part of "Direct from the Sundance Film Festival".
"Direct from the Sundance Film Festival" will be available for approximately 30 days on each cable system's main movies-on-demand channel in a special "Sundance Film Festival" branded section.
"Kaboom": Official Trailer
Uncle Kent is a sexed-up, achingly true-to-life modern comedy about aging, loneliness, desire, and the awkward intimacies of online friendship.
Kent (Kent Osborne, Hannah Takes the Stairs) is an unmarried children’s-show writer living alone with his cat in Los Angeles. He spends his days sketching gag cartoons and bouncing ideas off his hyperactive friend, Kev (Kevin Bewersdorf), a composer for the show. At night, Kent is a habitué of Internet chat rooms, staving off loneliness by drinking a beer, smoking a bowl, and dialoguing with remote strangers. One of his online acquaintances is pretty environmental journalist Kate (exciting newcomer Jennifer Prediger), who crashes at Kent’s house for the weekend while she’s in town for a conference.
Though they’ve only previously met online, Kent and Kate are instantly at ease with each other in person—shopping, talking, goofing off—and as their dynamic begins to mimic a romantic couple’s, a palpable sexual tension grows alongside their chummy rapport. The only problem is, Kate has a boyfriend. Initially, Kent respects that boundary, even though he isn’t above surreptitiously swiping some naked photos from her digital camera. Then, as an expression of solidarity in their unacknowledged sexual frustration, the flirtatious twosome arrange a three-way with online swinger Josephine (Josephine Decker), further confusing Kent—a middle-aged guy just beginning to sense the emptiness of his collegiate lifestyle—about their chaste friendship.
Screenings:
Wed, January 26th 11:59 PM Egyptian Theatre
Fri, January 28th 5:30PM Library Center Theatre
Sat, January 29 9:00 PM Tower Theatre
"Uncle Kent is also available On Demand thought Sundance Selects as part of "Direct from the Sundance Film Festival".
"Direct from the Sundance Film Festival" will be available for approximately 30 days on each cable system's main movies-on-demand channel in a special "Sundance Film Festival" branded section.
"Uncle Kent": Official Trailer
Viewers worldwide are invited to tune into the live stream on youtube.com/lifeinaday for their only chance to see the film before it’s available in select theaters, on demand and permanently online later in 2011. Following the premiere, festival director John Cooper will moderate a global Q&A with Macdonald and the 26 filmmakers. For viewers who will be unable to tune in at 6:00pm MT, the film will be re-broadcast on youtube.com/lifeinaday on January 28th at 7pm in their local time zone, closed captioned and subtitled on YouTube in 25 languages, and will provide an additional option for audio description (AD) in English.
The 26 contributors invited to attend the premiere span the globe from Egypt to the Ukraine. Their film clips capture a wide array of life experiences, including a Korean man who has been cycling the world for nine years, a young mother battling cancer, and a Russian free-runner making Moscow his playground.
Executive producer Ridley Scott says, “I am delighted that we're bringing together contributors from all over the globe in such a unique way. I believe Life In A Day will inspire more people to pick up a camera and tell their stories.”
“The process of making Life In A Day has been such an inspiring one for me and my team who helped view and log all 4,500 hours of footage we received. Everyday we felt like we were seeing 20 different possible films as we got insights into so many people's lives,” says Macdonald. “It is a testament to the skill, insight and generosity of so many contributors that we have ended up with such a powerful, cohesive and emotionally engaging film - which really gives you a flavour of what it was like to be alive on 24th July 2010.”
The contributors (either filmmakers or subjects of the submitted clip) invited to the Sundance premiere of Life In A Day are:
Contributor - Shoot location
Massoud Hossaini - Kabul, Afghanistan
Cristina Bocchialini | Ayman El Sayed Hassan - Cairo, Egypt
Soma Helmi - Bali, Indonesia
Hiroaki Aikawa | Taiji Aikawa - Tokyo, Japan
Marek Mackovic | Okhwan Yoon - Kathmandu, Nepal
Alberto Rauizo Gonzalez | Cain Abel Tapia Chavez | Aveliro Tapia - Arequipa, Peru
Renat Ardilanov | Alexander Bayturin - Moscow, Russia
Patricia Marinez del Hoyo | Toniu Xou | Virginia Salvado Segu | Araceli Segu Muste - Barcelona, Spain
Boris Grishkevich - Zakarpatska, Ukraine
Harvey Glen - Dubai, United Arab Emirates
Caryn Waechter - New York, NY - United States
Christoper Brian Heerdt - Naperville, IL - United States
David Jacques - Woonsocket, RI - United States
Betsy DelValley - Urbana, IL - United States
Bob Liginski, Jr. | Bobby Liginski III | Catherine Anne Liginsky - Grayslake, IL - United States
Ultramarines: A Warhammers 40,000 Movie
Year: 2011
Director: Martyn Pick
Stars: Sean Pertwee, Terrance Stamp and John Hurt
MPAA Rating: R
Studio: Codex Pictures
Running Time: 76 Mins
Adult CGI films tend to more geared to the fan boys, so I usually I don’t review these types for film. But I couldn’t resist taking a look at this film, after hearing that such great character actors like Terence Stamp and John Hurt were involved with this project. Good thing, I decided to take a look at this film as this was an entertaining and action packed film.
“Ultramarines: A Warhammers 40,000 Movie” is an action packed journey, from start to finish. Director Martyn Pick does a very good job with the direction. What makes the direction good was the fact that I was to caught up with the film’s universe. I was caught up n that universe because the way the animation was handled. The animation was video game like, from the way that the characters move to the gory effects that were used during the kill sequences. It makes the film’s universal more effective . I don’t think the film would’ve had the same result, if it was an live action film. Another thing that Pick does very well, the way that he gets the vocal performances down. Everything is synced with the character’s movements, which doesn’t make it distracting. That’s important in making an animation film work. He also does a very good job getting his actors to make the vocals work with the tone of the film. It’s very important for a film like this, because if the vocals don’t fit the tone then the film’s tone doesn’t work and leads to various problems.
The screenplay also did a good job in making this film entertaining. Screenwriter, Dan Abnett does his best in making this an entertaining film. I liked how, he’s able draw you into this universe with the storytelling. Abnett does that, by focusing on the characters journey, as they find out what happened on the planet and making the film‘s tone, very dark. It gets you interested in the story. But what makes this film entertaining, the way that the action sequences were thought out, especially with the death scenes. It brought some intensity into the film that was needed due to the film’s dark tone.
The only thing that I didn’t like about this film was that it felt like it was too short. I wished that Abnett added more stuff into the screenplay, like a backstory or some character development. It could’ve make it more special, but that’s the only grip that I have with this film.
“Ultramarines: A Warhammers 40,000 Movie” is an action packed film that’s filled with good CGI animation and action sequences that rock.
For more information on this film and how you can purchase this film in a
Special Edition 2 DVD set. You can visit the film’s website at: http://ultramarinesthemovie.com/
Review Rating: 3.5 Stars.
Best motion picture of the year:
Mike Medavoy, Brian Oliver and Scott Franklin, Producers
David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
Emma Thomas and Christopher Nolan, Producers)
Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
Iain Canning, Emile Sherman and Gareth Unwin, Producers
Christian Colson, Danny Boyle and John Smithson, Producers
Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin, Producers
Darla K. Anderson, Producer
Scott Rudin, Ethan Coen and Joel Coen, Producers
Anne Rosellini and Alix Madigan-Yorkin, Producers
Best Performance by an actor in a leading role:
Best Performance by an actor in a supporting role:
Best Performance by an actress in a leading role:
Annette Bening in "The Kids Are All Right" (Focus Features)
Best Performance by an actress in a supporting role:
Amy Adams in "The Fighter" (Paramount)
Helena Bonham Carter in "The King's Speech" (The Weinstein Company)
Melissa Leo in "The Fighter" (Paramount)
Hailee Steinfeld in "True Grit" (Paramount)
Jacki Weaver in "Animal Kingdom" (Sony Pictures Classics)
Best animated feature film of the year:
How to Train Your Dragon (Paramount) Chris Sanders and Dean DeBlois
The Illusionist (Sony Pictures Classics) Sylvain Chomet
Toy Story 3 (Walt Disney) Lee Unkrich
Best Art Direction:
Alice in Wonderland (Walt Disney), Robert Stromberg (Production Design), Karen O'Hara (Set Decoration)
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.), Stuart Craig (Production Design), Stephenie McMillan (Set Decoration)
Inception (Warner Bros.), Guy Hendrix Dyas (Production Design), Larry Dias and Doug Mowat (Set Decoration)
The King's Speech (Paramount), Eve Stewart (Production Design), Judy Farr (Set Decoration)
True Grit (Paramount), Jess Gonchor (Production Design), Nancy Haigh (Set Decoration)
Best Achievement in Cinematography:
Black Swan (Fox Searchlight) Matthew Libatique
Inception (Warner Bros.) Wally Pfister
The King's Speech (The Weinstein Company) Danny Cohen
The Social Network (Sony Pictures Releasing) Jeff Cronenweth
True Grit (Paramount) Roger Deakins
Achievement in costume design:
Alice in Wonderland (Walt Disney) Colleen Atwood
I Am Love (Magnolia Pictures) Antonella Cannarozzi
The King's Speech (The Weinstein Company) Jenny Beavan
The Tempest (Miramax) Sandy Powell
True Grit (Paramount) Mary Zophres
Achievement in directing:
Black Swan (Fox Searchlight), Darren Aronofsky
The Fighter (Paramount), David O. Russell
The King's Speech (The Weinstein Company), Tom Hooper
The Social Network (Sony Pictures Releasing), David Fincher
True Grit (Paramount), Joel Coen and Ethan Coen
Best Documentary Feature:
Exit through the Gift Shop (Producers Distribution Agency) Banksy and Jaimie D'Cruz A Paranoid Pictures Production
Gasland Josh Fox and Trish Adlesic A Gasland Production
Inside Job (Sony Pictures Classics) Charles Ferguson and Audrey Marrs A
Representational Pictures Production
Restrepo (National Geographic Entertainment) Tim Hetherington and Sebastian Junger An Outpost Films Production
Waste Land Lucy Walker and Angus Aynsley (Arthouse Films) An Almega Projects Production
Best documentary short subject:
Killing in the Name Nominees to be determined A Moxie Firecracker Films Production
Poster Girl Nominees to be determined A Portrayal Films Production
Strangers No More Karen Goodman and Kirk Simon A Simon & Goodman Picture Company Production
Sun Come Up Jennifer Redfearn and Tim Metzger A Sun Come Up Production
The Warriors of Qiugang Ruby Yang and Thomas Lennon A Thomas Lennon Films Production
Achievement in film editing:
Black Swan (Fox Searchlight) Andrew Weisblum
The Fighter Paramount Pamela Martin
The King's Speech (The Weinstein Company) Tariq Anwar
127 Hours (Fox Searchlight) Jon Harris
The Social Network (Sony Pictures Releasing) Angus Wall and Kirk Baxter
Best foreign language film of the year:
Biutiful Mexico
Dogtooth Greece
In a Better World Denmark
Incendies Canada
Outside the Law (Hors-la-loi) Algeria
Achievement in makeup:
Barney's Version (Sony Pictures Classics) Adrien Morot
The Way Back (Newmarket Films in association with Wrekin Hill Entertainment and Image
Entertainment) Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
The Wolfman (Universal) Rick Baker and Dave Elsey
Achievement in music written for motion pictures (Original score):
How to Train Your Dragon (Paramount) John Powell
Inception (Warner Bros.) Hans Zimmer
The King's Speech (The Weinstein Company) Alexandre Desplat
127 Hours (Fox Searchlight) A.R. Rahman
The Social Network (Sony Pictures Releasing) Trent Reznor and Atticus Ross
Achievement in music written for motion pictures (Original song):
Coming Home from Country Strong (Sony Pictures Releasing (Screen Gems)) Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
I See the Light from Tangled (Walt Disney) Music by Alan Menken Lyric by Glenn Slater
If I Rise from 127 Hours (Fox Searchlight) Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
We Belong Together from Toy Story 3 (Walt Disney) Music and Lyric by Randy Newman
Best animated short film:
Day & Night (Walt Disney) A Pixar Animation Studios Production Teddy Newton
The Gruffalo A Magic Light Pictures Production Jakob Schuh and Max Lang
Let's Pollute A Geefwee Boedoe Production Geefwee Boedoe
The Lost Thing (Nick Batzias for Madman Entertainment) A Passion Pictures Australia
Production Shaun Tan and Andrew Ruhemann
Madagascar, carnet de voyage (Madagascar, a Journey Diary) A Sacrebleu Production Bastien Dubois
Best live action short film:
The Confession (National Film and Television School) A National Film and Television School Production Tanel Toom
The Crush (Network Ireland Television) A Purdy Pictures Production Michael Creagh
God of Love A Luke Matheny Production Luke Matheny
Na Wewe (Premium Films) A CUT! Production Ivan Goldschmidt
Wish 143 A Swing and Shift Films/Union Pictures Production Ian Barnes and Samantha Waite
Achievement in sound editing:
Inception (Warner Bros.) Richard King
Toy Story 3 (Walt Disney) Tom Myers and Michael Silvers
Tron: Legacy (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
True Grit (Paramount) Skip Lievsay and Craig Berkey
Unstoppable (20th Century Fox) Mark P. Stoeckinger
Achievement in sound mixing:
Inception (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick
The King's Speech (The Weinstein Company) Paul Hamblin, Martin Jensen and John Midgley
Salt (Sony Pictures Releasing) Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
The Social Network (Sony Pictures Releasing) Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
True Grit (Paramount) Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
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Achievement in visual effects:
Alice in Wonderland (Walt Disney) Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.) Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
Hereafter (Warner Bros.) Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
Inception (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Iron Man 2 (Paramount and Marvel Entertainment, Distributed by Paramount) Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
Best Adapted screenplay:
127 Hours (Fox Searchlight), Screenplay by Danny Boyle & Simon Beaufoy
The Social Network (Sony Pictures Releasing), Screenplay by Aaron Sorkin
Toy Story 3 (Walt Disney), Screenplay by Michael Arndt. Story by John Lasseter,
Andrew Stanton and Lee Unkrich
True Grit (Paramount), Written for the screen by Joel Coen & Ethan Coen
Winter's Bone (Roadside Attractions), Adapted for the screen by Debra Granik & Anne Rosellini
Best Original screenplay:
Another Year (Sony Pictures Classics), Written by Mike Leigh
The Fighter (Paramount), Screenplay by Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception (Warner Bros.), Written by Christopher Nolan
The Kids Are All Right (Focus Features), Written by Lisa Cholodenko & Stuart Blumberg
The King's Speech (The Weinstein Company), Screenplay by David Seidler
