An Interview by Phil Calabro, 10.15.06
As A-list superstars, Matt Damon and Leonardo DiCaprio never seem phased by this coinage. They've been through their share of Oscar nominations and wins through the past, both still in their mid-30s. They've got press clutching their legs at every waking moments, plenty of contracts of fill out, and too many movies being shoved in their faces. Now their latest film together, Martin Scorcese's The Departed, is being released with plenty of rave reviews already hitting newsstands. And how are they handling it? Just fine, actually.
"It always cracks me up when they talk about Oscar buzz and stuff like that. We have a joke that there’s Oscar buzz on this conversation that we’re having right now," says Damon. "There’s Oscar buzz over just about anything and generally, that’s the marketing machines behind all the movies just all talking to each other. It’s definitely, I can say, speaking for myself and at the risk of speaking for Leo, not something that we set out to do, ever."
The Departed, which is adapted from the Hong Kong thriller Infernal Affairs, offered Matt and Leo the opportunity to counteract with one another, especially on different sides of the law. When given the characters, both seem to have opposing ways of absorbing the role. Leo calmly explains, "As an actor, you’re going through your own personal traumatic experiences as a character, but you’ve also got to not relay that information to the people around you in the movie, but you want to get the audience involved in the process. It's a real challenge. Definitely." DiCaprio then recalls his first thought of the script, "I said, 'Wow. There's a lot I can do.'"
For Damon, the experience is rooted throughout events in life. "When you’re our age and you’re making movies about people our age, identity issues are really what people are struggling with," Matt explains, "coming out of college and who am I and what am I going to do and who am I going to be, you’ve already reinvented yourself 50 times already, from the time you’re in junior high. Crazy, huh?" Delving into his character Colin Sullivan, "You’re dealing with all of these characters who are not telling each other who they really are and who are dealing with certain levels of deception...so you have all these issues of who we are and who we’re pretending to be."
The new film marks Leo's third film with legendary director Scorcese. "I think anyone - not just me - getting the opportunity to work with him really brings their A-Game. There’s such a respect level for him, the films that he’s done in the past, and his knowledge of cinema and almost everyone that works with him really looks at him as a mentor, I believe." Does Marty still find new challenges for him? "Constantly, constantly," quips Leo. "I know Matt and I both felt extremely petrified as our characters, walking on to the set and not knowing what was going to happen next."
Boston, where Oliver Wendell Holmes called the 'Hub of the Universe', also has a special place in Matt's heart. Growing up in Cambridge all his life, the opportunity to film back home (partially) was a joy. "Leo was at a distinct disadvantage from me and Mark, because we’re from there. And so a lot of the general stuff, kind of just an understanding of how things are in Boston, the accent, which is, I think, the hardest accent to do in any city in the country," says Damon, "Leo did a great job with it. And he’s on a very short list of actors who have actually pulled it off."
Leo amusingly quips back. "Thank you, good sir."
"Any time, any time," laughs Matt.
"For me," describes Leo, "it was a guy from Los Angeles that I got to spend a lot of time with who was Southie [South Boston]. He knew that sort of crime underworld, had all the stories. And that place is kind of a microcosm for storytelling in a lot of ways; everyone knows each other’s business. It’s unbelievable; I’ve never quite been in a city like that."
Damon's fond memories of his Harvard days and other Boston moments stay strong, as noted by his obvious nostalgia - and city pride. "I have a lot of memories, too many to cover..." says Damon, who reminisces of his understudy work at Brattle Street's American Repertory Theater. “I really am indebted to David Wheeler. He let me understudy productions, and did a student production and directed it and I was in it, and it was Icarus’ Mother, Sam Shepard’s play. So that was a big — you know I left there with a lot of experience. That's where I started Good Will Hunting with Ben [Affleck]."
As far as Leo's adventures through Boston, they were positive. "As far becoming a Red Sox fan, I’ve given up on all professional sports after the Lakers sort of dismantled." He continues, "Following that red line and seeing the Americana that’s behind every single building and really getting an education about American history, I would love to go back to Boston again. Definitely."
And of course, there's Jack Nicholson, who makes his triumphant return to playing a villain. Both Leo and Matt had their share to say about Jack, no matter how crazy it was. "I think Leo can tell you, working next to him, it’s a bit of a high-wire act, because he’s massively unpredictable," says Damon. "So I go to work and there was Jack in this trench coat and hat, with this giant dildo and he just looked at me and he’s like, 'I just thought the whole thing would be better if I had the dildo on.' At that point I was kind of like, 'Alright, well, I guess I’m along for this great ride.'" Matt and Leo chuckle simultaneously. Damon continues, "That’s ultimately why he’s been so great in so many movies for so many years. It’s because you never get the same thing from him."
What's in the future for Matt and Leo? Damon is appearing in Robert DeNiro's directorial debut Good Shepherd this winter, followed by filming for Ocean's 13 and Bourne Ultimatum. Leo is finishing off the season with a role in Ed Zwick's new thriller The Blood Diamond. Still with movies ready to release later this year, you'd be surprised they're not exhausted.
Edging their 40s and extending their resumes, what do they really have to say about their success? "We just try to make the right choices," Damon explains. "It’s hard enough to just try to keep your career, kind of keep the drive alive and keep your career on track. It’s such a fragile thing. So trying to make decisions that keep you with great directors and in roles that are interesting and scripts and stories that are good, that in itself is enough of a challenge."
10-05-2006
An Interview by Phil Calabro, 10.18.06
The Ritz-Carlton on Tremont Street is one of Boston's few hidden castles. Tucked away in a corner of the city's theater district, the glimmer of its marble flooring and mahogany clerk kiosks is shaded from the sunlight. It took me a good 30 minutes to arrive, but the wait seemed to be worth it. Walking through the hallways, a rushed Kyra Sedgwick flew past as if she missed her plane. Who knew Boston was so chock-full of celebrities?
Johnny and Jeff's suite was quite the campsite. M&M's and Reese's Peanut Butter Cups are strewn across the coffee table, lava lamps set up on each side of the couch, and other various items were scattered on the floor. For this group of college students interviewing these fratboys, it was already a pleasant welcoming. We were amongst our own.
"We were on the air for 9 months, and then we quit, and up until that point we were the highest rated show on MTV," Johnny explains. "We quit doing the show, we only made [27] epsiodes of Jackass - and Jackass: The Movie was the end of Jackass in our minds. Then came Wildboyz and Viva La Bam," Tremaine continues. "I wished they'd take those reruns off the f-ckin' air already! We only made 27 and they can only show 13 on television," exclaims Knoxville.
So how did the sequel surface? Tremaine recalls, "we were doing the Wildboyz show - me, Chris [Pontius], and Steve-O - and [Knoxville] came with us to Russia, and was pretty much willing to kill himself in front of the camera. And I figured we'd just get the band back together."
"I figured I'd just skip the emergency room this time around," Knoxville quips, "and just head straight for the mortuary." But Johnny remained unscathed by the sequels, as he rattles off the injury list: "there were some back, shoulder, and pinky finger [injuries], and we had three cries." Tremaine continues, "We made Bam cry twice and Ehren once."
Of course, the show has had the reputation of running along the edge of law, so it's no surprise when the cast has to deal with the authorities every now and then. Knoxville and Tremaine described themselves as handling the situations with ease, which proves to be quite a surprise considering their personalities. "We deal with cops a lot, we have a production team that has to deal with all the legal [work]. We tried to get smarter about our stunts, like 'Alright, we'll call the cops and let them know we're gonna shoot things," says Tremaine. "I've had four carloads of cops all with their guns out, having me at gunpoint," adds Knoxville.
While roaming across the world, things can get a little edgy for the gang. Competition overwhelms them once some good footage starts to roll. "It wasn't on the first film, the guys were really competitive. You know, someone gets great footage, and the next guy starts pushing each other out of the way to get better. This movie just blows the first one out of the water," says Knoxville.
Take Knoxville and the gang's prevalent fame from the show - does this affect the competition? "It has nothing to do with it, really," says Knoxville. "That would work against you, you know," says Tremaine, "the fact that the show was such a success, it makes it so much more difficult for us to go out in public. We started to sabotage the guys, and made their life a living hell, really."
"About 90 percent of our ideas come from us just hanging around thinking up ideas, and then the other 10 percent from [cartoons]...[Knoxville] and I were watching Tom and Jerry one day, just captivated by it. And there's one scene where [Tom] is running through the kitchen, stops, ties on a blindfold, lights a cigarette, and a bull just smokes him. And Knoxville just looks at me, and says, 'we should do that," Tremaine says.
Jeff continues, "There's never been regret [about what we do]. It's always just like, 'man I can't believe that worked out like that.'" Knoxville continues, "we overshot this movie so much, but we cut out much that was similar to other skits we did earlier."
They're a pretty fearless group of guys, but where do they draw the line? "Yeah, I don't like cold weather, cold water, or filming at night. But there are a bunch of them who will do that," says Knoxville.
Even off-camera, the gang is up to their same antics. "The guys act worse when the cameras are off than when the cameras are on," Knoxville says. Tremaine reminisces: "The first night we started shooting, and we were at a bar in Orlando, all getting loaded. I looked down, and my leg is just an inferno. I look at Ryan [Dunn], and he just poured a shot of [Bacardi] 151 on it, and lit it on fire. And next to Ryan is Wee-Man, pissing out the fire."
"We never say never to creating another Jackass movie [because of the gang's antics], but we still don't have it in the plans," explains Tremaine. "We said we weren't going to make Jackass 2," Knoxville adds.
And as always, the ubiquitous topic rises on Jackass' bad reputation on audience members, and the amateur stuntmen who imitate them. What's their stance? "Tell your children not to go see R-rated movies," Tremaine snaps back. "And tell your children not to do the dumb sh-t we do," says Knoxville. "We take the warning seriously. It was one of the problems that just kept coming up, and MTV was facing a lot of pressure. They were facing so much pressure, and they asked for us to tone it down, so then we decided to make an R-rated movie," Tremaine adds.
What's the best prank that the gang has ever pulled? "It's in the new movie. It's called 'Terror Taxi', and it's the best prank, I think, ever pulled," Tremaine tells the group.
Despite the negative press and conservative front fighting against it, Jackass won't go away for awhile. They keep running around, kicking each other, and setting up a new prank each day. "It's hard to think too far down the road, none of this was really planned. Jackass has a life of its own. We didn't think we were gonna do another one, and here we are, so we'll have to see," Tremaine somberly replies.
And what deeper motivation do the gang keep fueling themselves on? "Mining for giggles out of our cast and crew," says Tremaine. "We're just trying to make ourselves laugh," Knoxville adds, "if they're all crackin' up, we're all good."
09-21-2006
An Interview by Phil Calabro, 08.07.06
As I strolled through the streets of Dupont Circle, it made me realize what a gorgeous August afternoon it was. The sunlight glimmered through the trees across all the bookstores and convenience stores, making me long for some time to sit near a fountain and relax. But I wasn't going to. Rather, I was headed for the bar.
The Brickskeller on 22nd St NW isn't your ordinary saloon. In its basement, collected cans graze each wall, with a glass-covered exhibit of unlimited world brews. It's a drinker's heaven, to say the least. In the corner of the room above the pub-style Pac-Man machine stood a plaque from Guinness World Records, awarding the bar for the largest beer list...and most beer served. Now that's a mouthful.
I waited downstairs with a group of Washingtonian critics, looking forward to meet with two members of the Broken Lizard troupe - Erik Stolhanske and Steve Lemme. They made me laugh hysterically watching them in college, but my only wonder was how they were in person. As it turns out, the bar's beer collection wasn't the only surprise.
The critical roundtable shuffled upstairs and gathered around the two middle-aged comedians, encompassed by a buffet of Budweiser and grocery-store sushi. Lemme leans over, having offered us their lunch, and whispers: "Let's talk about what we're really here for. To talk about chicks."
Their new movie, Beerfest, which opens in wide release on August 25th, was thought up nearly two projects ago. Lemme explains: "After the thrashing we took on Club Dread, we said let's go with [Beerfest]...The original concept of the movie was it was gonna be guys who go to Oktoberfest, get embarassed, come to the States and are determined to bring Oktoberfest to its knees by creating their own competing Oktoberfest in the US, and the hook they were gonna take was to allow underage drinking. To have it on an Indian reservation. Strangely, Warner Brothers didn't go for that."
Stolhanske describes the movie as a "team of lovable losers who exact their revenge" on a group of Germans they meet an international beer-drinking competition. "Real kumite....Van Damme stuff," Lemme continues.
I asked how their experiences filming entirely in Albuquerque, New Mexico turned out to be, and Lemme argued, "you don't know they call Albuquerque Munichquerque, because it's the next best thing to Munich in the states." (Pause) I didn't know that. "Not true. I'm yanking your chain."
Erik had quite the experience filming Albuquerque, Steve continues, as he "spent the first twenty minutes of the movie soaking wet, covered in beer, below 0 every night."
"A lot of it got cut out, but originally Paul [Soter] and I find this huge keg and we end up tapping it and dancing in it, and actually drinking it...and the Beer Baron comes in - and you're not supposed to spill a drop of beer before the Baron ceremonially taps the keg at Oktoberfest, and we ruined it...and we were running throughout the streets drenched," Erik explains. "You're a man today," as Steve high-fives Erik.
The story of Beerfest was based off the Lizards' tour in Australia for Super Troopers in 2001, where a group of drunken Ozzies charged the stage challenging them to a drink-off. “What? These Yanks think they can outdrink us?” Steve impersonates in a dead-on accent, "they barely beat us."
"Adam Sandler was pretty instrumental in developing Beerfest with us," Lemme explains, "we brought it to Sony, and began to produce with Happy Madison, Adam's company." But how did the picture gets the switch to Warner Brothers? "Deuce Bigalow 2," Erik answers, "Sony was wary of selling the R-Rated comedy, and Warner Brothers was willing to take a chance."
And now 'Beerfest' is the first installment in a long series of films that Broken Lizard has been allowed by WB to film in the studios. Other works the group has in store is The Greek Road, their next piece based around ancient days of gods and goddesses, The Nutcracker about a football player becoming a ballerina, and plenty more.
And what about the beer?
"O'Doul's in the morning, and in the afternoon, Guinness and Rotterberger," says Erik. "We couldn't get an American sponsor, but the European companies were more than happy to sell us their beer." I curiously ask, "Who can drink the fastest?"
"I can," Erik and Steve say simultaneously. "We get that question all the time, especially when it's the five of us, and everytime all five hands go up."
You'd figure these guys must have some good drinking stories. "Recently, we were playing quarters before the movie, and Kevin [Heffernan...Farva] accidently swallowed the quarter. We were going to sell the quarter on eBay, but...we could never find it."
So, how do the Lizards feel about their success so far. Lemme explains, "When we made Puddle Cruiser [during college], the only thing we ever wanted was it to be in one theater. In New York, or LA, or whatever. And then Super Troopers came, and it was like a dream come true. But throughout the whole thing, it's just to make another movie."
08-19-2006
Ah, Oscar season! Another time in the year when Hollywood can put away the commercialization and hype of Sunset Strip's finest, and recognize the...commercialization...and hype. Again.
As you can see, I'm not a fan whatsoever of the Oscars - or any awards show for that matter. There's nothing more aggravating than watching the acknowledgment of quality film being ignored over the glitzy fashion and overlayered makeup of divas and dudes on the Red Carpet. If there was one person I could blame, I'd lock whoever it is in a large crate and throw it into the Pacific. But I can't.
But the Oscars simply can't be ignored, so I must go forth with my predictions. I suppose I could use the Golden Globes as a predicting factor, but who can trust the Hollywood Foreign Press. Who is the Hollywood Foreign Press anyway?
Best Picture of the Year
Brokeback Mountain (2005) - Diana Ossana, James Schamus
Capote (2005) - Caroline Baron, William Vince, Michael Ohoven
Crash (2004) - Paul Haggis, Cathy Schulman
Good Night, and Good Luck. (2005) - Grant Heslov
Munich (2005) - Steven Spielberg, Kathleen Kennedy, Barry Mendel
Any discussion needed? This year's eye of storm is impossible to ignore - "the gay cowboy movie" has pretty much garnered as much as attention as possible, much to the chagrin of the religious right. 'Brokeback' is supposedly a breakthrough for Hollywood, so there's no surprise there. My personal favorite is 'Crash', but there's very little hope for Paul Haggis' two-year run. 'Capote' is the runner-up, especially due to Philip Seymour Hoffman's celebrated performance.
Best Performance by an Actor in a Leading Role
Philip Seymour Hoffman - Capote (2005)
Terrence Howard - Hustle & Flow (2005)
Heath Ledger - Brokeback Mountain (2005)
Joaquin Phoenix - Walk the Line (2005)
David Strathairn - Good Night, and Good Luck. (2005)
I still have not seen 'Capote', so my judgment of Hoffman's role is completely moot. But the consensus seems to be relative, that he will scoop up the role with his haunting and intrusive performance as the famed writer. The easy runner-up is Heath Ledger, with his tearjerking role of Ennis Del Mar - but my personal favorite would be Terrence Howard in an instant.
Best Performance by an Actress in a Leading Role
Judi Dench - Mrs. Henderson Presents (2005)
Felicity Huffman - Transamerica (2005)
Keira Knightley - Pride & Prejudice (2005)
Charlize Theron - North Country (2005)
Reese Witherspoon - Walk the Line (2005)
I'm afraid it won't be another winning year for Ms. Theron, as the box office failure of 'North Country' may sink any chances of the gold. 'Mrs. Henderson Presents', which I did not see, has not ruptured enough attention for Judi Dench to pick up another Oscar, and I feel it's going to be a longshot for Keira as 'Pride & Prejudice' also did not make a wide release run. Reese Witherspoon is bound to win the Oscar for her amazing job as June Carter Cash in 'Walk the Line', but if there's any other chance, it's going to be Huffman for her role as Bree in 'Transamerica'.
Best Performance by an Actor in a Supporting Role
George Clooney - Syriana (2005)
Matt Dillon - Crash (2004)
Paul Giamatti - Cinderella Man (2005)
Jake Gyllenhaal - Brokeback Mountain (2005)
William Hurt - A History of Violence (2005)
Talk about a toughie. To begin with, we can factor out William Hurt, because his role in 'History of Violence' was way too insignificant to note. However ecstatic I am about his first genuine nomination, I have a strong hunch that Paul Giamatti is not going to pick up the Oscar for his role as Joe Gould in 'Cinderella Man'. George Clooney, despite his directorial debut being flashed about through the ceremony, will probably not go home with Oscar due to lack of publicity of 'Syriana' - no matter how good the film was. That leaves us between Dillon and Gyllenhaal, but I feel Jake is going to be the victor in this case. A low-budget and taking in less hype and controversy, Matt's 'Crash' character will lose out to Jack Twist from 'Brokeback Mountain'.
Best Performance by an Actress in a Supporting Role
Amy Adams - Junebug (2005)
Catherine Keener - Capote (2005)
Frances McDormand - North Country (2005)
Rachel Weisz - The Constant Gardener (2005)
Michelle Williams - Brokeback Mountain (2005)
Adams, too small and independent. Keener, too ignored over Hollywood. McDormand, movie was too big of a failure to be noticed. Weisz, too overplayed and insignificant. Williams? Just right.
Best Achievement in Directing
George Clooney - Good Night, and Good Luck. (2005)
Paul Haggis - Crash (2004)
Ang Lee - Brokeback Mountain (2005)
Bennett Miller - Capote (2005)
Steven Spielberg - Munich (2005)
It's a deadlock between Ang Lee and Paul Haggis, but it's pretty apparent that Lee will rise as the winner here. George Clooney, who has been celebrated as a great new director, will not have his time in the limelight just yet - it took Clint Eastwood years to get there. 'Brokeback' is gold in this year's awards.
Best Writing, Screenplay Written Directly for the Screen
Crash (2004) - Paul Haggis, Robert Moresco
Good Night, and Good Luck. (2005) - George Clooney, Grant Heslov
Match Point (2005) - Woody Allen
The Squid and the Whale (2005) - Noah Baumbach
Syriana (2005) - Stephen Gaghan
Although Woody has a 1Up, Paul Haggis is unbreakable when it comes to screenwriting. First Million Dollar Baby, then Crash...next up - Casino Royale. He's another amazing New Age writer that can't be messed with.
Best Writing, Screenplay Written Directly for the Screen
Brokeback Mountain (2005) - Larry McMurtry, Diana Ossana
Capote (2005) - Dan Futterman
The Constant Gardener (2005) - Jeffrey Caine
A History of Violence (2005) - Josh Olson
Munich (2005) - Tony Kushner, Eric Roth
No questions here. 'Brokeback' is a winning script in Hollywood right now, and to execs it's a metaphorical Holy Grail. So I don't have any doubt that it's going away with the gold.
It's pretty obvious who the real victor is this year, but thanks to media sources and news, there's no other reason why. Still, enjoy the awards show, as I will probably be watching CSI or something anyway. Have a nice night!
Link: 78th Annual Academy Awards
02-07-2006
Ah, 2005 - the year known to Hollywood as the biggest slump in history. After a 7% drop in audience attendance rates at cinemas across the country, there's no reason why Sunset Strip had to be so fussy. True, this was not a gigantic pull-in like 2004 - but let's take a look at this.
2004 witnessed some huge historical changes in film. First reason of 04's success were the releases of 'Passion of the Christ' and 'Fahrenheit 9/11'. It was an election year in an already polarized nation: whichever side of the political spectrum you sat upon (perhaps neither at all), you had something to rally behind. Whether it was the religious conservative right's backing of Mel Gibson's overly zealous production of Jesus Christ's death, or Michael Moore's furious diatribe against the wrongings of the Bush administration, these were two wholely different POVs to go about watching.
Passion of the Christ, 3400 theaters: 370 million.
Fahrenheit 9/11, 2000 theaters: 23 million.
The problem with 2005 was its reliance in rabble-rousers like these. But the election was over, and the ballots were in. There was no longer a reason to polarize audiences.
But somehow the studios tried to find a way. Disney and Walden Media tried their hardest (and succeeded modestly) with 'Chronicles of Narnia' and its religious subtexts that would hopefully pull in the religious crowd once more - even advertising to screen in worldwide churches and what-not. Universal shot out plenty of publicity to their potential political blockbuster 'Jarhead', as did their subsidary Focus Features did with 'The Constant Gardener' and WB's 'Syriana'.
Chronicles of Narnia, 3850 theaters: 272 million.
Jarhead, 2440: 62 million.
It's not the same, true. But there's nobody to blame but the American people - the alienating political spirit in the audiences has all but died. There's nothing to rouse and rant about, so the audience numbers are simply kaput. Was the drop due to disappointment in election results? Or just a simple laissez-faire attitude? The world may never know.
2005 still rolled out the big hits, regardless. George Lucas dominated the yearly box office payroll with 'Episode III', cashing in at 380 million, followed by the ubiquitous 'Harry Potter' saga at 285 million. And no matter what the frantic Drudge Report mentions, 'King Kong' itself was a prize winner of the year - despite over-predictions. The gargantuan ape made a little over 200 million, which still garnered plenty of amazing reviews from critics worldwide.
Steven Spielberg also seemed to enjoy a great year with his double feature: the much acclaimed 'Munich' - which did not cash in nearly as well as his Tom Cruise driven 'War of the Worlds', estimated to be one of 2005's biggest cash cows at 235 million dollars. However, I can't say the same for the movies themselves: with 'Munich', I felt I need refunds from both movies just to cover my general disappointment.
Who is the winner of best studio of the year? My choice is simple: Lions Gate Films. The Canada-based studio has proven itself a worthy player in Hollywood, attributing its success to the axiom "more bang for your buck." The greatest success was 'Saw 2', the horror followup whose 4 million budget produced a result that came out to make 87 million. With other hits like 'Lord of War', 'Crash', and its sleeper hit 'Diary of a Mad Black Woman', Lionsgate (its newly bestowed name) is the real prizewinner in 2005.
And of course, the biggest feather-ruffler of 2005 is unanimous. 'Brokeback Mountain', Focus Features' drama directed by Ang Lee, may just be known in history as "that gay cowboy movie" by many. It's far from that description, and far from the positive hype that many seem to be smothering it with. 'Brokeback' is a good movie, but has proved to be either a punching bag or a pillow depending on how one sides with that film's story. The love story between two random Midwesterner men, Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger), has become a vile posterboy for American homosexuality for the conservative audiences - while liberal audiences (which also include the generalized majority of Hollywood) have praised it for its open nature and romance. This is a polarized picture, but not a bad one in the least. It is simply a good film - no more, no less.
For me, the year 2005 has been wonderful. Correction, it was wonderful - considering I'm writing this in late January 2006. College life came over, but I can't exactly cite the same reasons that my colleague Jack Moore (of MooreMovies.com) gave for his website's absence - regardless, I give him major props for his newfound romance. Awww, how sentimental. Now back to film!
The Best Performances of 2005
Best Male Performance of 2005
Best Female Performance of 2005
1. Downfall
Like last year, a foreign film dominates my top 10 list. The subtle nuances and quirks of Hitler and his associates showcase center stage for the audience, as art houses exhibited one of the most distressing yet detailed psychological breakdowns in Western history. Bruno Ganz's performance as the Fuhrer and supporting cast is worth every single clap of the hand.
2. Broken Flowers
Bill Murray's quiet candor is acceptable in any season or time, as his deadpan expressions and Jim Jarmusch's impressionist backdrops create a sense of questioning and mystery for the protagonist Don Johnston, a casanova on a mission to find his estranged son.
3. Crash
A collision course on the road of racism and intolerance, Paul Haggis' masterpiece is the modernized D.W. Griffith masterpiece that should have existed. Set on the stage of dingy Los Angeles, Haggis throws tension carefully around, never scattering, always resolving, and pressuring the audience as if it were acupuncture.
4. Star Wars - Episode III: Revenge of the Sith
Conclusive, energetic, and straight to the point, George Lucas has finished his magnum opus with a bang. One of the greatest finales in film history, 'Episode 3' ties every knot tightly and securely. It is a blockbuster no one should have missed to see in theaters.
5. Lord of War
'Truman Show' writer Andrew Niccol pens the slumming and depressing tale of Yuri Orlov, a weapons trader played by Nic Cage who questions his job and its motives. His life becomes a lie and a sell, stemming from the bullet to the gun to his family. It is smart, snappy, and tragic.
6. Wallace & Gromit: Curse of the Were-Rabbit
A joy for any age, the charm of Aardman's hit animation duo doesn't lie in the slapstick or nonchalantness of Wallace and Gromit's actions, but in Nick Park's lifelong dedication to making a more positive environment for cartoons. This is a smile festival, and 2005's best animated film.
7. Syriana
Where 'The Constant Gardener' preached and diluted our senses with bad editing, 'Syriana' asks questions and finds respective answers. This requires our full-bound attention and interest in the conflicts arisen. From the greedy Genevan stock researcher to the honest Potomac CIA spy, Steve Gaghan's political drama and thriller is top notch on questioning the actions and judgments of international business and politics.
8. Dear Frankie
Shona Auerbach's beautiful tale of familial loss and its deliberate retribution is 2005's prime tearjerker. A lovely story with an amazing performance from Gerard Butler as a spiritual father made this one of the most wholehearted movies I remember from the year.
9. King Kong
The ape returns in full form, through Peter Jackson's amazing rendition of the classic tale. Recreated in every generation, this is the perfect tribute. Amazing effects, pathos oozing out of every simian pore on Serkis' CGI Kong, and action that can dazzle the eyes of any boring human, King Kong is a spectacle.
10. March of the Penguins
Criticize all you'd like, but March of the Penguins is not just a National Geographic special. It is the focus of familial love, from an avian point of view. There's something magical in its bones. Morgan Freeman's narrative is warm and matches the same dedication that these silly little birds share with their new arrivals.
1. Are We There Yet
Bad movies come and go in the box office, but very few can I truly despise. Every film, no matter how dense or predictable it can get, has some redeeming features to look upon. 'Are We There Yet' has nothing - it is the most sickening film in recent history, a hateful and cruel diatribe against the film industry altogether. What kind of message is Hollywood trying to sell to kids? Kill your babysitter?
2. Yes
How about no. This foreign failure is as stuffy as the most cushiest pillow you've slept upon, abandoning clever narrative and instinctive human emotions for a rude rant against democracy and bad poetry. One of the most aggrevating trips I've taken to the art house in the last five years.
3. The Ring Two
Burn this video once you see it. Lock it in a well for goodness sake. Dry, boring, and unmotivated sequel to one of the decade's best horrors.
4. Deuce Bigalow: European Gigolo
Is this is a surprise? There's nothing more depressing than watching Rob Schneider dancing around in a diaper, and then throwing a midget out the window. This makes one evaluate their purpose in life.
5. Bewitched
Will Ferrell's biggest disappointment - a colossal flop on every possible account. Elvis was right. Just shoot your TV. Then Hollywood won't have to remake it.
6. Elektra
This is called an action movie. Where's the action? In fact, where's the movie? Oh right. It ran out along with Jennifer Garner's career.
7. Coach Carter
Simple-minded, predictable, and ineffective sports drama where nothing seems to be resolved. And they don't win the final game. Isn't it sad that even that's predictable too?
8. Hide and Seek
Now watch me close my eyes, count to 100, and hope this movie never appears again.
9. Supercross
Vroom, vroom, crash.
10. High Tension
I'll give anyone 100 dollars who can make sense of the plot twist. Anybody? Anybody? Bueller? Ah, I figured no one could.
Again, thanks for visiting the site, and let's hope for better in 2006!
01-27-2006
Hello, readers!
First off, I'd like to apologize for my absence from the website. No, I haven't gone on hiatus, but merely suffering from the tragedies known as "Bad College Weekend Planning" and "The Hell of Finals Week". Eegad!
But no, really.
TheCineman.com is not dead. Far from it. The last three or so weeks have been incredibly hectic, so I might as well go all 'film nerd blog' on you readers. I've had commitments for the past month, so my weekends have been completely shot. This is annoying me because I still haven't seen so many movies.
Walk the Line? I've been waiting months.
Rent? Who doesn't want to catch up on the hype?
Harry Potter 4? I'm officially a social outcast.
Aeon Flux? Wait a tic...why did I mention that? Oh, just forget it.
Fact of the matter is, folks, my trips to NYC and friends here in Boston have been eating away at my theater times. But, don't be afeared, as the Cineman still lives in glory.
In 2006, the site will be getting a fairly nice revamp, as well as much more prompt reviews. Apparently my press credentials fell through, unless I get further notification.
But everybody, just a note. Don't abandon the site. I am still alive. Let the reviews continue!
01-04-2006
Ugh, remakes. It's about time I see a long thread of original ideas churning out of Hollywood, because every turn you take leads you to either a remake, a rehash, or an adaptation of a television show. What happened to originality? What happened to...wait a tic, I'm getting off track.
In honor of the $101 million dollar opening, I decided to review the 1953 edition of 'War of the Worlds', to perhaps draw some social contrast between the new and old. And with 'Charlie and the Chocolate Factory' whipping its way out next week, time to review one of my not-so-guilty pleasures.
The War of the Worlds (1953) - 3 Stars - "It captures the paranoia and fear of obseletism against the Russian opposition that floated amongst American households, deep in the guise of enormous spaceships and tarsier-esque creatures."
Willy Wonka and the Chocolate Factory (1971) - 4 Stars - "Wilder sings with an effervescent nonchalantness, almost haunting in a way, but just lets our minds simmer on the idea of making what you want out of life."
07-08-2005
Finally, Miramax has released 'Prozac Nation' this weekend after four years of production hell...or whatever they want to call it. I call it 'ignorance' and 'laziness', but suit yourself. The only problem is that it's being premiered on The Starz Channel at 8PM, so it's still limited.
Prozac Nation (2001) - 4 Stars - "One of the most emotionally exasperating and well-made films made in the last five years. It is a total shame to see such an amazing film left to rot on the cutting floor, when so many depression patients have been waiting to see the truest form of the illness expressed on the silver screen."
03-21-2005
It's been a long time since I've written a report for the site, and I'm very sorry these predictions have come in so late - so it makes enough sense that no one has been able to read these.
I've personally never been a fan of any award show, much less the Oscars. Award shows may have all the glitz and glamour of the stars, but I always end up questioning whether it is at all advancing the progress of modern cinema. Ok, that's a bit too deep of a question, but I still wonder how honest the Academy is these days. Especially when they pick a host like Chris Rock.
2004 was a great year in film, by far - we had our handful of half-star movies, but we also had a couple of credible winners. But the fault of the Academy lies in their nominations - why are lackluster Oscar-bait features like 'Aviator' lying in favor of the award, while phenomenal actors like Paul Giamatti are left in the dust without a nomination? There have been several disappointments in their choices, but at least they made one good one - no Michael Moore whatsoever.
A little bit of an explanation on the title to this report: 'Average Man's'. Everybody's a critic today, and the majority of us (including myself) have not had the time or money to see every single film nominated. Although I have not seen 'Million Dollar Baby', which I have been smacking myself with a brick for, I can still make educated judgements about the possibilities of it winning due to the general consensus of critics and audience members. We can all make office pools for the winners, so everybody's entitled to their predictions - and I'm an average guy who sees movies, so these are my official 2005 possibilities.
Best Picture Nominees
Best Actor: Jamie Foxx - Ray
Best Actress: Hilary Swank - Million Dollar Baby
Best Supporting Actor: Clive Owen - Closer
Best Supporting Actress: Virginia Madsen - Sideways
Best Director: Clint Eastwood - Million Dollar Baby
Best Screenplay: Eternal Sunshine of the Spotless Mind - Charlie Kaufman
Best Adapted Screenplay: Alexander Payne - Sideways
Best Cinematography: Xiaoding Zhao - House of Flying Daggers
Best Animated Feature: The Incredibles
Am I actually going to watch the Oscars? Absolutely not, but I sure hope that for the sake of the Academy, nobody exposes any breasts, deeply offends anyone, and that 'The Aviator' doesn't win. Happy Oscars Day!
02-27-2005
Well, I wasn't too far gone from my predictions, I was 70% correct. You can read a full list of the winners right here.
02-28-2005
It's been a rather interesting year in film, from gigantic controversies to the little flicks who got steamrolled over by blockbusters and forgotten forever. In comparison with last year, I feel plenty more bombs came my way in the theater. Sure, last year you had your '2 Fast 2 Furious' and 'Dumb and Dumberer' - but they pale in comparison with the large amount of half-star farters I saw this year.
I won't be afraid to say that this year was remarkable because of two highly controversial films - 'Fahrenheit 9/11' and 'Passion of the Christ'. It's interesting to see how each side of the political spectrum reacted to the opposing film. The religious right took quite a liking to the 'Passion', but the fiery 'Fahrenheit' became the PSA of the ruly leftwingers who wanted Bush out. In the end, it became a battle for whichever side the critics took politically - making it very hard for some films to garner attention. 'Fahrenheit' was praised by most liberal newspapers, which also panned 'Passion' - but in the end, it was the audiences, not the media, that triumphed. The great crowds that turned out for each showed the intuition of most people, who just wanted to see what interested them. I write my reviews not necessarily to turn people away or toward certain films, but to give them a second opinion if they need it.
Then we have the triumph of foreign films, most remarkably from Asia - three of which made my coveted top 10 list, seen below. People have begun to recognize independent film as a new medium - and not necessarily as the venue when nothing good is playing at the local multiplex. More attention to being drawn towards smaller directors and their little works, something I'm rather happy for. You can't believe how many times I bang my head against the wall when people would rather see Paul Walker time-travelling than something provoking.
A three-way battle of the studios took place - for the best computer animation. This year, we had Dreamworks helming 'Shrek 2' and 'Shark Tale', Pixar dominating the fall box office with 'The Incredibles', and Warner Brothers producing the magical 'Polar Express'. All films (with the minor exception of Shark Tale) did a spectacular job at racking in families to see them. 'Shrek 2' mastered a mix of adult-and-child humor, 'Polar Express' sparked nostalgic memories of Christmas past, and 'Incredibles' really put a whole new definition of family life. In my opinion, there is no winner - all of these films did a great job.
And then there were the MIA-POW films - what ever happened to 'Alfie'? And 'Raising Helen'? And even the recent 'Flight of the Phoenix'? The age of blockbusters are coming to a dominating mode, cause even big stars like Jude Law and Kate Hudson can't save some of these movies all by themselves.
And now, with my Top 10 of 2004.
1. Spring, Summer, Fall, Winter...and Spring
Director Ki-Duk Kim has triumphed both visually and spiritually through this movie. It is the most peaceful film you'll watch in a long time, as well as one that carries a universal message for its audience.
2. Hero
Ok, this usually wouldn't count as a film from 2004, since it was made two year ago, but its unique cinematography and twisting storyline make this an epic that's a must-see for the year anyway. It's a shame that no American had seen this before 2004, since it was nominated for a Best Foreign Film Oscar a year ago.
3. Garden State
My first impression of Zach Braff's 'Garden State' would be a misfire at a Gen-Y romantic drama, but of course I find my foot in my mouth when I exit loving the film to bits. Braff and Portman have chemistry like chocolate and vanilla, and with an unforgettable soundtrack, this is one of the best movies of the new generation.
4. Sideways
The favorite of film festivals and the Golden Globes, it's no wonder Alexander Payne's new comedy/drama has gotten so much attention. It's got a heart, a soul, and an amazing sense of comical and heartfelt humor. Paul Giamatti needs an Oscar in the next decade. Or else.
5. Hotel Rwanda
The year's 'Schindler's List' (I think I'm the 102nd person to say that), but it's a real tearjerker - which will make you realize that its first motive was not to make you cry, but to show you the depths some people will make to save the people they love. For wealthy Paul Rusesabagina, played by Don Cheadle, there aren't enough people to love. One of the year's best acting jobs comes from Cheadle.
6. Sky Captain and the World of Tomorrow
My biggest surprise of this year, 'Sky Captain' proves to be not a homage to pictures of the 20s or 30s, but of the cinema entirely. It's thrilling, funny, and stylistic - its use of sepia color is a hint of genius. It's a good thing that this originally 6-minute short got its chance to be a movie.
7. Finding Neverland
Another win for the biography genre, this dramatized account of how J.M. Barrie (Johnny Depp) got inspiration for the story of 'Peter Pan' wins over the hearts of all audience members. Depp is soft-spoken and warming as the imaginative Barrie, as he learns that true magic comes from the minds of children.
8. Kill Bill Vol. 2
I never thought I'd see the day when Tarantino is recognized on my top 10 list - especially with his style-laden series of 'Kill Bill'. But there's something deeper about the character of the Bride which wins me over this time around. The way that she jumps across every obstacle just to follow her heart manages to amaze me.
9. De-Lovely
I hardly knew anything about Cole Porter before I walked into 'De-Lovely', and even though it was not the most truthful depiction (what film biography is), it had me humming 'Love for Sale' on the way out. Kevin Kline wowwed me over the overly suave and closet homosexual Porter, as did the great Ashley Judd.
10. Napoleon Dynamite
This may be odd for most people, but I came out of 'Napoleon' with tears of laughter welling in my eyes. It's one of those movies that doesn't have a single joke with a punchline, but its offbeat nature and subtle humor will have audiences in a similar position as myself. Jon Heder has started a new trend in nerdism through his lanky depiction of the title hero.
And what would the year be without the nominations for the farters of 2004? Absolutely nothing, that's right.
1. Torque
I went to see 'Torque' with a couple of friends, just because its horrible-looking nature could provide a few laughs. But I was proved wrong - it was so bad, it wasn't even funny. It's times like this that I wonder what goes through certain studios' minds when they see a dumper like this coming around. If I was the WB executive, I would've got an instant migrane just reading the script.
2. The Forgotten
Following 'Dumb and Dumberer', this wins the year's title of 'Movie of 2004 that Perfectly Fits the Title'. Everything about this movie just descends into an embarassing mix of stupidity, conspiracy, and aliens. Julianne Moore is so laughable it makes wonder what really happened after 'Boogie Nights'.
3. Envy
Barry Levinson, with Ben Stiller and Jack Black. What a perfect combination for....a complete utter failure. It's times like these when I wonder if Ben Stiller's only learned to play two characters in life - himself and Zoolander.
4. Catwoman
More like 'Scatwoman'. Like a rotting, dripping hairball, this film was one of the most promising this year, but then falls on its face (not legs). Halle Berry needs a break, or a new agent.
5. The Village
Do you hate twist endings? If so, spare your sanity and not see this disappointing "horror". Oh wait a tic, there isn't scary about it? Ugh.
6. Princess Diaries 2
Your royal highness was just hit a new low. Sure, it's not a movie made for every audience, but there was something about this movie that even the stupidest little girl would find annoying. Maybe it was those damn maids.
7. Birth
A mix of nothing substantial, a naked child in a bathtub, and Nicole Kidman's face. Not recommended for those with an attention span of an hour and a half.
8. Darkness
Seeing as this film was laying in the dark for over two years, couldn't they realize that if they released it, it would come across as a total ripoff of every horror movie in...the past two years? Nope, the Weinsteins were eaten by the darkness before they could produce a statement.
9. Godsend
Rosemary's Baby meets the director of 'Breakin' 2'. Cameron Bright, who plays the obligatory evil child who knows more than the parents, should never act again. Ever. Two movies with him on the worst of 2004 is a sign.
10. The Chronicles of Riddick
I can't remember what I thought about this movie in detail, I had just been released from the hospital after I grew conscious. It was like watching the opening credits of 'The Twilight Zone', except flashing. Really really brightly.
I have my fingers crossed now, hopefully 2005 will be an even better year. And the Cineman is signing out.
[Editor's Note: This list was edited after going through some movies not listed on the archives. It amazes me how I could overlook 'Envy', one of the year's worst. But don't kill me for it.]
01-02-2005
Erghh...It was my idea before Roger Ebert decided to dupe it, but I can deal with it. With the release of the big-budgeted production of 'Phantom of the Opera', I thought it would be interesting to review the classic monster movie in order to draw some contrasts to the Webber musical.
The Phantom of the Opera (1925) - 4 Stars - "Certainly, you're bound to deal with the conflicting relationships of Phantom and Christine and Raoul, but when the infamous unmasking of the Phantom takes place, so does a change of heart."
12-26-2004
National Treasure proved to be a huge successful for producer Jerry Bruckheimer, who's infamous set of production values have become very influential in the movie business. He's defined a whole genre himself, thanks to his choices of offbeat actors, lots of explosions, and the rest of the works. I took a look into his mid-1990s streak of box office hits.
Crimson Tide (1995) - 3 Stars - "Tony Scott has a great knack for directing actions films with a moral mindset - by this I mean a full-blown tension thrill ride that gives the audience somethink to think about after they leave the theater."
The Rock (1996) - 3.5 Stars - "Can you blame the average audience for wanting a crazy premise and lots of action instead of a serious film that would provoke a bit of thought? I certainly wouldn't."
Con Air (1997) - 3.5 Stars - "It goes the full mile in mindless glory action films, and does a great job at getting everyone's attention and interest. No stupid subplots, no dragging storyline - five minutes into the movie and it cuts to the chase."
12-22-2004
With the premiere of 'Ocean's Twelve' on Friday, I figured it might be interesting to look back on the 2001 flick that hit big and urged Steve Soderbergh to give it the old college try again.
Ocean's Eleven (2001) - 3 Stars - "Some people say it's the epitomy of cool, some say it's the antithesis because it tries to hard. It's planted somewhere in between, but it's enough to make this moviegoer smile."
12-08-2004
As some may have read, Dutch filmmaker Theo Van Gogh was murdered by a radical Muslim after his short about the cruel treatment of Islamic women was aired publicly. Was his film a good reason for his death, for merely an expression of his free speech?
Submission - 2 Stars - "Although [Theo] Van Gogh himself is a rather strong critic on Muslims, I feel this film is more of a argument against intolerance more than on the faith of Islam. However, the director and writer did not use enough tact in distinguishing the two, but rather left it up to the audience to make their own decisions."
11-25-2004
In lieu of the upcoming elections, I have taken the time to review two movies of opposite ends of the political spectrum. Since a great deal of documentaries have dealth with the flaws or favors of the Bush administration, it's interesting to see the different perspectives of the president's Democratic opponent. The first documentary is a basic biography with detailed accounts of Sen. Kerry's tour of duty, and the second has been the controversial short aired by the Sinclair network about the treatment of Vietnam POWs.
Going Upriver: The Long War on John Kerry - 3 Stars - "Butler, a legendary documentarian who made 'Pumping Iron' with Arnold Schwarzenegger, has made a very effective documentary on John Kerry, which will both move and interest the audience on this smart young man's rise from a student to a political activist to politics."
Stolen Honor - 3 Stars - "As director Carlton Sherwood narrates precisely, the typical Vietnam vet has been stereotyped as the mentally unstable and trigger-happy war criminal that John Kerry generalized them as in 1974. 'Stolen Honor's prime goal is to clear up that myth and get their pride back from the American people."
10-29-2004
With the release (ugh) of 'Anacondas' approaching, I've taken the liberties of rewatching the original that spawned the unnecessary sequel.
Anaconda - 0.5 Star - "Anaconda is a pathetic attempt at a horror flick, one of the many that employ terrible acting, writing, and directing just to make a few bucks watching some moviegoing saps scream a bit."
08-20-2004
'The Manchurian Candidate' by Jonathan Demme is being released this week, so I figured I would take a look into the original, which is one of my all-time favorites. A tale a misery, suspense, and brainwashing all in one. It's an amazing watch any day.
The Manchurian Candidate (1962) - 4 Stars - "Two movies hold great light to the paranoia released by the Cold War, those would be Dr. Strangelove and The Manchurian Candidate. The Manchurian Candidate, however, was quite possible, and set out to be more thrilling then enlightening - and it does just that."
