Author(s): D.W. Dillon (NV) & Chris M. (NJ)
After The Fall
Produced by Frank Marshall
Directed by John Boorman
Written by Scott Frank
Music by Explosions in the Sky
Cinematography by Caleb Deshanel
Edited by Stephen Mirrione
Art/Set Direction by Dennis Gassner
Costumes by Patricia Field
Sound by Bob Beemer
Sound Effects Editing by Richard Hymns
Special Effects by Robert Lagato & Mark Lasoff
Original Music by Dolores O'Riordan
Principal Cast
Jack Nicholson as Adam Garrity
Sigourney Weaver as Vivian Faulkner
Hugh O'Conor as Liam O'Rielly
Nora-Jane Noone as Nessa O'Reilly
Sophie Okenedo as Evelyn Harvey
Robert John Burke as President Hennigan
Tagline: "We all fall down."
Synopsis: Caldera de Tuberiente, the plain-leveled volcanic cauldron is the notorious fixture of La Palma Island in the Canary's, off the coast of Spain. When it erupted, causing a mega-tsunami, nobody thought it could reach Ireland. The hundreds of thousands of Irish in seaside towns were now buried in a watery grave. Not even President Hennigan (Robert John Burke) survived the onslaught. With the country bleeding under an economic upheaval, vice president Vivian Faulkner (Sigourney Weaver) sought to bandage the gaping wound of what was once the proud Emerald Island that is Ireland, now the lawless land of old.
To see them come out of the woodwork from all directions would make any photo journalist's camera shake. To see street hooligans overwhelming local law enforcement, with more than half the military devoting all it’s resources to rebuilding major cities. The pickings were ripe to take over an ailing country. And that was when I, Liam O'Rielly (Hugh O'Conor), took my first picture of Mr. Adam Garrity (Jack Nicholson). After losing his wife and child in the tsunami, the excommunicated Catholic priest turned pub owner preacher spoke not the word of god, but of repent and re-order. His charismatic preaching reached the masses quickly, from propping himself a-top a milk carton in the middle of a town, then onto radio and television. He reminded me of my rebellious youth as a punk rocker protesting whatever society had to offer. His demand for the sinners and government conspirators to pay for the country's suffering as well as his own was his only goal, and I followed. Accompanied by his enigmatic associate, Evelyn Harvey (Sophie Okenedo), he would strike fear into the fearful, and uplift the weak into carrying out subtle acts of terror that would mirror the IRA and KKK of old. Evelyn had too, lost her family. Her hooded sweater covered her pain and anger, with only the darkness in her eyes piercing the lens of my camera. The only picture I would ever capture of Miss Evelyn would also be the most infamous.
When mass let out at the newly built St. Patrick's Cathedral in the rubble capital of Dublin, President Faulkner's speech to the public at the steps of the grand new church was to be a symbol of hope for the country. President Faulkner imagined an entire country that was truly green, in her heart and on earth. To my mentor, it was futile scientific nonsense that he deemed costly and irresponsible; to watch unsheltered people starve while the president took her time building recycling centers. But she spoke proud and we listened, and we took pictures, and the world had changed in an instant at the snap of my Canon 7 55mm lens as it caught Evelyn Harvey, dressed in religious garb, placing the barrel of her Luger to the head of a now proven leader.
The life I had lead through a camera that captured a dying nation came with a price. My darling wife Nessa (Nora-Jane Noone) now rested in the arms of the same man I had worshipped. A country lost another great leader, and my accomplishments, while rewarding, ailed me so. Now on the dole with nothing but painful and regretful memories, compiling the photos of all the atrocities at the behest of Adam Garrity opened my eyes; from the hangings, bombings, and assassinations to the brainwashing and manipulation of a nation... A man once so displaced with government now looked to run for President of Ireland as if he were their savior. But the public will come to know this man as I did, see as I saw...Not as my mentor, but as a true monster after the fall.
What the Press Will Say?:
The Round Table with Richard Schickel from Time Magazine: Featuring screenwriter Scott Frank, director John Boorman, actors Jack Nicholson and Sigourney Weaver, of "After the Fall"
Richard Schickel: Let us start with Scott Frank, what led you to write this devastating film about a volcanic eruption that causes a mega-tsunami that hits Ireland?
Frank: It was a combination of things; I caught this doomsday scenario on National Geographic and thought, "How would a country bounce back...", and the different variables that would encompass such an event. From society's behavior to the government's actions - It's more society vs. government than anything. They rebel in the form of Jack's character Adam Garrity, as he uses religion to influence the people, while the government attempts to pick up the pieces. Ireland's a proud country, who had great leaders like Eamon de Valera, and I think Sigourney's character embodies his vision of Ireland. Her character goes through a lot and she really is the backbone of the film.
Schickel: Sigourney Weaver, welcome, tell me about President Vivian Faulkner?
Weaver: She is one of those strong female characters that don't come along very often. The president and government's back-story before the mega-tsunami was pretty status quo. Her character breaks new ground, goes against the grain, ditches the advisors and begins an ambitious, yet dangerous journey. You got a nut in Jack's character who's become a growing threat, her cabinet looking to replace her, as well as the people not believing in her. Jack's character leads the bunch and let me tell you, I only have a few scenes with him; One in particular where we debate each other in the middle of a small town, we got so aggravated with one another in the scene, I believed we truly hated each other for a moment. I remember when John yelled cut my fists were clenched, I was ready to deck him. (Laughs)
*Jack Nicholson interjects*
Jack Nicholson: Richard, there's something to be said about a woman with that kind of a conviction. Really it's a brilliant scene between Sigourney and I - I'm there to stir the pot, up everyone's game and if that means hitting where it hurts, then I'm going for the gut.
Schickel: Your character Adam Garrity is a mixture of Hoffa and Daniel-Day Lewis' Bill the Butcher from Gangs of New York. Were you inspired by any characters, fiction or otherwise?
Nicholson: (Laughs), funny you should ask that, I ran into Liam Neeson who visited the set, and told him about the role. He of course, played the famous Irish rebel Michael Collins and he more or less tells me I'm playing an evil Michael Collins. But Bobby Duvall's performance in The Apostle stayed with me, yeah...
Schickel: John Boorman, director of such classic and diverse films such as Deliverance, Excalibur and Hope & Glory, tell me, what drew you to this project?
Boorman: This film felt urgent – even though it’s completely fictional it read like it had happened, or could happen... If you’re looking for politics it has it. If you’re looking for religion it has it. The movie is done in such a way it doesn’t point fingers and is not judgmental, you, the audience is allowed to do all of that. As for shooting the film in Ireland and staying authentic and true to the culture, I mean, it's easy when you got the likes of great Irish actors who are a staple in their cinema with Hugh O'Conor who I first noticed playing a long Daniel-Day Lewis in My Left Foot. He is a fearless actor who takes chances and loves to battle the heavyweights on screen – and least we forget the talent that is Sophie Okenedo, who I must say gives that raw, brutally powerful performance. I think she surprised me most, you see when you meet her, she’s so soft spoken, you think she’s this delicate girl, then you watch her as Evelyn Harvey, and you are mesmerized.
*Jack Nicholson and Sigourney Weaver both nod in agreement.*
Schickel: The film has gotten some scathing attacks from religious groups such as the 700 club and the Evangelicals, and from Feminist groups, particularly with the controversial scene involving President Faulkner.
Boorman: I knew going into this that would stir the pot – but at the end of the day it’s just a movie. The movie has millions of meanings and if they want to focus on particular scenes and issue then let them. But at the end of the day, the movie must have been effective, if it’s creating this type of passion, then I guess we have done something right. Art is dangerous, it needs to challenge us, because if it's not making you think, its not art. There's a lot of trivia to this film from being inspired by the tornado that wrecked Greensburg, Kansas, where the community is now rebuilding an almost completely environmental friendly city, to Ireland's rebellious past and all those great disaster genre pictures like George Seaton's Airport.
Schickel: But it's much, much more. It starts out as a tragedy and ends bittersweet, but on the way it's a very politically charged period piece drama in the sense that the scenery is undeveloped because of the tsunami. The debates are held in places like a town center and over the radio, as if Abraham Lincoln and Stephen Douglas were campaigning for President.
Boorman: I think Scott Frank and I wanted to strip the nation and show the struggle to rebuild it.
Schickel Well, I think you succeeded and look forward to seeing it again. We are out of time, so I want to thank the stars of "After the Fall" for joining us, Jack Nicholson and Sigourney Weaver, writer Scott Frank and director John Boorman. Take care.
For Your Consideration
Best Picture
Best Director - John Boorman
Best Actor - Jack Nicholson
Best Actress - Sigourney Weaver
Best Supporting Actor - Hugh O'Conor
Best Supporting Actress - Sophie Okenedo
Best Original Screenplay - Scott Frank
Saturday, August 2, 2008
The Aftermath
Author(s): Chris P. (IL)
The Aftermath
Directed by Antoine Fuqua
Written by Michael Schiffer
Produced by Edward Zwick and Marshall Herskovitz
Distributed by Warner Bro. Pictures
Music by Mark Isham
Edited by Conrad Buff IV
Cinematography by Philippe Rousselot
Main Cast
Christian Bale as Officer Kyle Mitchell
Taraji P. Henson as Yvette Charles
Kevin Zegers as Officer Frank Waters
Ginnifer Goodwin as Michelle Mitchell
Loretta Devine as Shirley Charles
Anthony Mackie as Anthony Smith
James Garner as Harold Mitchell
Delroy Lindo as Lt. Jackson
William Fitchner as Bruce Waters
Brandon Mychal Smith as Demetrius Smith
Tagline: "Death is at the Center of Life."
Synopsis: An interconnecting story, set in the crime riddled and dangerous austral streets of post-Katrina New Orleans , surrounds the dysfunctional individuals linked to the accidental murder of a corrupt teenager, the events that led to this incident, and the affects this has on their lives.
OFFICER KYLE MITCHELL (Bale), an embittered and hot tempered southern cop, was never a man who was prone to giving or showing much compassion (which is why he's so proficient at his job). This, however, is causing a major riff between him and his exasperated wife of nearly twelve years, MICHELLE(Goodwin), a high school English teacher, and building an even substantial grudge between him and his crippled, alcoholic, and bed ridden father, HAROLD (Garner), who he blames for his unpleasant childhood and hateful attitude towards others. But after his novice partner shoots a teenager, in the heat of the moment, during an attempted store robbery, it changes his perception on life and his career forever...
YVETTE CHARLES (Henson), a spiteful, eight month pregnant, mother figure, is facing the future pressures of motherhood, constant confrontations with her god fearing and very critical mother, SHIRLEY (Devine), coping with the damage of her home and neighborhood after the hurricane, and the resistance of her lover's, ANTHONY (Mackie), the incarcerated father of Yvette's unborn child, deeply troubled younger brother, DEMETRIUS (Smith), who lives his life on the streets as a criminal. When Demetrius is gunned down by a cop, Yvette must tell her boyfriend that his brother is dead and that she has also suffered an unfortunate miscarriage...
OFFICER FRANK WATERS (Zegers), a rookie cop, grew up around immorality. His father, BRUCE WATERS (Fitchner), a death row inmate, was charged and convicted of killing Frank's mother during a violent argument. This is the reason Frank wanted to become a cop. LIEUTENANT JACKSON (Lindo), Officers Waters' and Mitchell's shift aid, becomes a mentor to Frank and guides him through many tough and challenging obstacles. When Frank accidentally shoots a getaway teenage delinquent, it sets off a media storm of bad publicity for his unit, exposes his reckless and out of control past, and ruins his reputation as a cop...
"The Aftermath" is a hard hitting and powerful crime drama about the affects of death and murder, disconnected families, and the professional and personal consequences tragedies bring onto people.
What the Press Would Say:
"The Aftermath", a deep, thought provoking, emotionally involved, and character driven drama, is about the unintentional shooting of a teenager in New Orleans and the characters connected to this murder.
"Training Day" director, Antoine Fuqua, and screenwriter, Michael Schiffer ("Colors"), have created a very unique, compelling, and gritty story about life struggles, death, and the burdens brought on by private and professional set backs. Fuqua brings a slick yet poignantly complex atmosphere into the lives of various characters and the incredibly difficult paths they must cross in order to sustain any sense of humanism within their tough surroundings. He also perfectly captures an authentic landscape of post-Katrina New Orleans life and the struggles some of its residents have to face up against the growing number of homicides and corruption in their communities. Schiffer's screenplay, though uses familiar material, ignores cliches and gives us fantastic and interesting characters with a natural sense of their environment. The depth Schiffer conveys into his script only enhances the extremely profound direction and astonishing performances.
The ensemble cast is universally excellent. The ever diverse, Christian Bale, turns in yet another powerful and understated performance as Officer Kyle Mitchell, a virulent cop with little respect for his marriage, his father, the citizens he's supposed to protect, and himself. Bale's portrayal of this extremely bitter and sorrowful soul is painfully harsh yet heartbreaking, honest, and realistic. The underrated, Taraji P. Henson, plays Yvette Charles, a volatile pregnant woman who looks after her imprisoned paramour's younger brother. Henson's performance is beyond outstanding. The scene where she reveals to her boyfriend that his brother and their unborn child is dead is probably the most affective and gut wrenching things you'll see all year.
The supporting performances are equally as memorable. Ginnifer Goodwin stars as Michelle Mitchell, the aggravated wife of an impassive cop and the teacher of a dead student. Goodwin shows this woman as lonely, afraid, and disturbed by her crumbling marriage and by her husband's constant lack of love and admiration. Loretta Devine portrays Shirley Charles, a very religious and overprotective mother. Devine's performance is simply brilliant. She exposes this character's care and affection for her daughter's afflicted life through her severe stances. Finally, James Garner delivers a meaty and truly remarkable performance as Harold Mitchell, an alcoholic and disabled father. Garner observes the true nature of this character and makes a man who is depressed but expresses his emotions through excessive drinking and by his cruel resentment towards his son.
"The Aftermath" is an enthralling, gripping, and carefully crafted piece. This isn't a film about race, class, Hurricane Katrina, injustice, or the law. But simply a movie about the way life and death result in the internal pain we all must face and which makes this film even more remarkable. A definite must see.
Awards Consideration
Best Picture
Best Director - Antoine Fuqua
Best Actor - Christian Bale
Best Actress - Taraji P. Henson
Best Supporting Actor - James Garner
Best Supporting Actress - Ginnifer Goodwin
Best Supporting Actress - Loretta Devine
Best Original Screenplay
The Architects of Fear
Author(s): Tony (PA)
The Architects of Fear
Directed by David Cronenberg
Written by David Cronenberg and Josh Olson
Based on the Outer Limits episode "The Architects of Fear"
Music by Philip Glass
Principal Cast:
Viggo Mortensen as Allen Leighton
Jennifer Connelly as Yvette Leighton
William Hurt as Dr. Phillip Gainer
Danny Huston as Dr. Hal Herschel
Tagline: "To stop fear, we must unite. To unite, we must fear"
Synopsis:
Eleven of the most credible scientists in the country sit at the round table. The room is dark with the glare of cigarette smoke hovering over the table. Years have gone by since the war has started and fear is among every household. With multiple threats of attack over the years, the last resort is to unite. If humanity itself is threatened, men will stop fighting each other and work together. At the head of the table is Dr. Phillip Gainer, the chairman of the Advanced Biological Studies Group. He gives this insightful speech and proposes an idea, that if they were able to create an outside being, something the world has never seen, proof that we are not alone, nations will bond. The idea to use genetic alteration by using a mysterious life form not publicly discovered yet. The studies and surgical procedures are perfected, they only need a participant. After a drawing, Allen Leighton was chosen.
Allen Leighton lives a normal life for a scientist. He's quiet, down to earth, and has been married to his wife, Yvette, for twelve years. Yvette is as good hearted as her husband. Her kindness and love she devotes to Allen only makes his situation more unfortunate. He must give it all away to go through with the experiment, including his unborn child, Yvette being three months pregnant.
The process begins with a single shot, followed by holding Allen in a cell, exposing the alteration inside him. After the painful ordeal, Allen must arrange his death preparations. He informs Yvette that he's traveling out of town for a seminar across the country, his last goodbye. Weeks go by and Phillip must tell Yvette the tragic news, that Allens private jet never made its destination. The news hits hard for Yvette, but deep down she refuses to believe it. With the help of acclaimed scientist Hal Herschel, the transformation begins. Days go by as Allen's skin begins to crack as he feels his organs slowly change every day. The more he misses Yvette, the more hostile and hopeless he becomes. An outraged Gainer must keep Allen's spirits high while comforting Yvette. While dealing with her pain, Yvette questions the words around her and begins to search the truth to what really happened to her husband.
The change worsens as Allen begins to have violent tantrums and schizophrenic episodes. He barges out of his restraints with angry tendencies. He attempts to call the one thing he remembers in his life, Yvette, only for her to hear the desperate screams that strikingly sound like her husband as Gainer and Herschel struggle to contain him. Months go by and the experiment is complete. An emotionless creature is confined, unlike anything anyone has ever seen before. Their plan is to fly him out of the country at a designated target for the world to see and have the idea more will come. It is too late, the creature is so overpowering he manages to kill his way out of the laboratory. His remaining instinct is to go home. He enters his home as Yvette stares in fright. The creature struggles to breath and reaches out to her as he crumbles to the floor. Gainer and the remaining scientists enter the room to see their creation die in front of them. The change was too much for him to handle. Yvette knees to the ground and puts the pieces together. Her cry is screaming, her last goodbye.
What the press would say:
The public have been striving for a film like "The Architects of Fear", one that captivates the essence of horror blended in with remarkable storytelling, beautiful imagery, stunning acting, and a cerebral emotional experience. What was once shown as an hour long episode on The Outer Limits is now remastered, retold, and redone in such spectacular fashion. David Cronenberg signed his name as the director and writer of the film, bringing his legendary horror elements to the screen, along with screenplay writer of History of Violence, Josh Olson. Together, the two clash and blend their own respectful styles into one gem. Olson masters the home life scenes, the hidden tension between the characters that we can only assume is going through their mind. Meanwhile, Cronenberg also covers traumatizing human nature into a graphic, unforgettable fantasy. Cronenberg overwhelms us with a sublime mixture drama and misery. Beyond all that lies a tragic love story about a husband and wife that we feel absolutely hopeless for that we ourselves feel hopeless. A beautifully illustrated romance between Allen and Yvette is so staggering that we eagerly, yet painfully wait for the unhappy ending to follow. An ending to which there is a great suspense created through the entire film that builds up to that one scene where our main characters are together one more time.
Viggo Mortensen is our lead guy. He plays the humble scientist Allen Leighton. Leighton reminds us all of the ideal husband. Loyal, mild mannered, intelligent, a hard worker, but has time to cook his wife dinner and watch a movie together. Although his job is demanding, his smile never disappears when he's with his love. Mortensen is shockingly excellent in a difficult role that must connect with us viewers so we can feel his pain as his transformation continues throughout the film. As it worsens, no longer do we see his understated charm. We can see the torment and helplessness through this astonishing performance that is worthy of Academy attention. Jennifer Connelly plays his wife, Yvette. Connelly's acting is undeniably convincing that along with her chemistry with Viggo, it makes the film into what it is. Her performance can be compared to Viggos, as far as character developments. Connelly shows great range from being emotionally destraut after hearing her husband is dead, but as the film goes on she becomes more suspicious and she can't believe anything she hears. She doesn't know why they would lie, but that sinking feeling in her gut that her husband isn't dead doesn't go away. Instead of feeling pain because of her deceased husband, she feels that he is alive and there's nothing she can do about it. A pure, unadulterated masterful performance. Finally, William Hurt joins the cast as a very interesting character in Dr. Phillip Gainer. Hurt is the wildcard that the viewers don't know how to look upon, which is a great feeling to have as an actor. He truly believes what he's doing is for the good of mankind, but guilt is inevitable. Although he cares for the two of them, he's a manipulator that looks at science as top priority. It's debatable whether his actions are justified, but one is for sure, Hurt is electrifying in his attempts.
"The Architects of Fear" is a film that cannot be taken lightly. From its haunting music cues to sinister outcomes, it never fails to disappoint. At times it may not be pleasant to look at, but every scene serves a purpose, even the graphic ones that aren't overly done but sophisticated. An intelligent, science fiction love story that pays tribute to the 1963 episode. Cronenberg takes his new found wits he gained from "History of Violence" and "Eastern Promises", and combines them with his intense atmosphere and uneasy vibes from his horror classics. Beneath the brilliant make-up effects and "yucks" there lies a strong core. It's the events that change our characters emotionally, not physically, that inspires the true horror. A horror none of us will forget anytime soon. That being said, it's a lesson of its own. One that says there is no magical substitute for mutual love.
FYC:
Best Picture
Best Director - David Cronenberg
Best Actor - Viggo Mortensen
Best Actress - Jennifer Connelly
Best Supporting Actor - William Hurt
Best Adapted Screenplay - David Cronenberg and Josh Olson
The Architects of Fear
Directed by David Cronenberg
Written by David Cronenberg and Josh Olson
Based on the Outer Limits episode "The Architects of Fear"
Music by Philip Glass
Principal Cast:
Viggo Mortensen as Allen Leighton
Jennifer Connelly as Yvette Leighton
William Hurt as Dr. Phillip Gainer
Danny Huston as Dr. Hal Herschel
Tagline: "To stop fear, we must unite. To unite, we must fear"
Synopsis:
Eleven of the most credible scientists in the country sit at the round table. The room is dark with the glare of cigarette smoke hovering over the table. Years have gone by since the war has started and fear is among every household. With multiple threats of attack over the years, the last resort is to unite. If humanity itself is threatened, men will stop fighting each other and work together. At the head of the table is Dr. Phillip Gainer, the chairman of the Advanced Biological Studies Group. He gives this insightful speech and proposes an idea, that if they were able to create an outside being, something the world has never seen, proof that we are not alone, nations will bond. The idea to use genetic alteration by using a mysterious life form not publicly discovered yet. The studies and surgical procedures are perfected, they only need a participant. After a drawing, Allen Leighton was chosen.
Allen Leighton lives a normal life for a scientist. He's quiet, down to earth, and has been married to his wife, Yvette, for twelve years. Yvette is as good hearted as her husband. Her kindness and love she devotes to Allen only makes his situation more unfortunate. He must give it all away to go through with the experiment, including his unborn child, Yvette being three months pregnant.
The process begins with a single shot, followed by holding Allen in a cell, exposing the alteration inside him. After the painful ordeal, Allen must arrange his death preparations. He informs Yvette that he's traveling out of town for a seminar across the country, his last goodbye. Weeks go by and Phillip must tell Yvette the tragic news, that Allens private jet never made its destination. The news hits hard for Yvette, but deep down she refuses to believe it. With the help of acclaimed scientist Hal Herschel, the transformation begins. Days go by as Allen's skin begins to crack as he feels his organs slowly change every day. The more he misses Yvette, the more hostile and hopeless he becomes. An outraged Gainer must keep Allen's spirits high while comforting Yvette. While dealing with her pain, Yvette questions the words around her and begins to search the truth to what really happened to her husband.
The change worsens as Allen begins to have violent tantrums and schizophrenic episodes. He barges out of his restraints with angry tendencies. He attempts to call the one thing he remembers in his life, Yvette, only for her to hear the desperate screams that strikingly sound like her husband as Gainer and Herschel struggle to contain him. Months go by and the experiment is complete. An emotionless creature is confined, unlike anything anyone has ever seen before. Their plan is to fly him out of the country at a designated target for the world to see and have the idea more will come. It is too late, the creature is so overpowering he manages to kill his way out of the laboratory. His remaining instinct is to go home. He enters his home as Yvette stares in fright. The creature struggles to breath and reaches out to her as he crumbles to the floor. Gainer and the remaining scientists enter the room to see their creation die in front of them. The change was too much for him to handle. Yvette knees to the ground and puts the pieces together. Her cry is screaming, her last goodbye.
What the press would say:
The public have been striving for a film like "The Architects of Fear", one that captivates the essence of horror blended in with remarkable storytelling, beautiful imagery, stunning acting, and a cerebral emotional experience. What was once shown as an hour long episode on The Outer Limits is now remastered, retold, and redone in such spectacular fashion. David Cronenberg signed his name as the director and writer of the film, bringing his legendary horror elements to the screen, along with screenplay writer of History of Violence, Josh Olson. Together, the two clash and blend their own respectful styles into one gem. Olson masters the home life scenes, the hidden tension between the characters that we can only assume is going through their mind. Meanwhile, Cronenberg also covers traumatizing human nature into a graphic, unforgettable fantasy. Cronenberg overwhelms us with a sublime mixture drama and misery. Beyond all that lies a tragic love story about a husband and wife that we feel absolutely hopeless for that we ourselves feel hopeless. A beautifully illustrated romance between Allen and Yvette is so staggering that we eagerly, yet painfully wait for the unhappy ending to follow. An ending to which there is a great suspense created through the entire film that builds up to that one scene where our main characters are together one more time.
Viggo Mortensen is our lead guy. He plays the humble scientist Allen Leighton. Leighton reminds us all of the ideal husband. Loyal, mild mannered, intelligent, a hard worker, but has time to cook his wife dinner and watch a movie together. Although his job is demanding, his smile never disappears when he's with his love. Mortensen is shockingly excellent in a difficult role that must connect with us viewers so we can feel his pain as his transformation continues throughout the film. As it worsens, no longer do we see his understated charm. We can see the torment and helplessness through this astonishing performance that is worthy of Academy attention. Jennifer Connelly plays his wife, Yvette. Connelly's acting is undeniably convincing that along with her chemistry with Viggo, it makes the film into what it is. Her performance can be compared to Viggos, as far as character developments. Connelly shows great range from being emotionally destraut after hearing her husband is dead, but as the film goes on she becomes more suspicious and she can't believe anything she hears. She doesn't know why they would lie, but that sinking feeling in her gut that her husband isn't dead doesn't go away. Instead of feeling pain because of her deceased husband, she feels that he is alive and there's nothing she can do about it. A pure, unadulterated masterful performance. Finally, William Hurt joins the cast as a very interesting character in Dr. Phillip Gainer. Hurt is the wildcard that the viewers don't know how to look upon, which is a great feeling to have as an actor. He truly believes what he's doing is for the good of mankind, but guilt is inevitable. Although he cares for the two of them, he's a manipulator that looks at science as top priority. It's debatable whether his actions are justified, but one is for sure, Hurt is electrifying in his attempts.
"The Architects of Fear" is a film that cannot be taken lightly. From its haunting music cues to sinister outcomes, it never fails to disappoint. At times it may not be pleasant to look at, but every scene serves a purpose, even the graphic ones that aren't overly done but sophisticated. An intelligent, science fiction love story that pays tribute to the 1963 episode. Cronenberg takes his new found wits he gained from "History of Violence" and "Eastern Promises", and combines them with his intense atmosphere and uneasy vibes from his horror classics. Beneath the brilliant make-up effects and "yucks" there lies a strong core. It's the events that change our characters emotionally, not physically, that inspires the true horror. A horror none of us will forget anytime soon. That being said, it's a lesson of its own. One that says there is no magical substitute for mutual love.
FYC:
Best Picture
Best Director - David Cronenberg
Best Actor - Viggo Mortensen
Best Actress - Jennifer Connelly
Best Supporting Actor - William Hurt
Best Adapted Screenplay - David Cronenberg and Josh Olson
Baked Alaska
Author(s): Brian (AZ)
Baked Alaska
Directed by Richard Linklater
Written by Tina Fey
Main Cast
Kristen Stewart (Erin Rothman)
Kevin Kline (Jerome Flanagan)
Joan Cusack (Deirdre Rothman)
Bette Midler (Rita Flanagan)
Alan Alda (Victor Rothman)
Tina Fey (Carrie Rothman)
Zooey Deschanel (Lily Flanagan)
Tagline: “A Celebration of Friendship, Dreams and Dessert.”
Synopsis:
Rothman’s Diner is the premier restaurant in Sitka, Alaska. The menu has just a little bit of everything: steaks, fish, salads, sandwiches—the usual. Everyone that goes in knows their servers’ names and is more than likely good friends with the owners. Rothman’s was opened 60 years ago by the deceased George Rothman, then was passed down to his now semi-retired, insult-spewing son Victor, and then to Victor’s eldest daughter, Deirdre, a self-pitying yet oddly lovable divorcee (a choice that came much to the dismay of his younger daughter, the neurotic, self-absorbed Carrie). And when Deirdre retires, she is prepared to hand the title of Manager down to her daughter, Erin. At least, that’s the plan. The last thing Erin wants is own the diner. What Erin really wants to do is move out to Hollywood and try to break in as an actress. But when she tells that to her family, no one takes her seriously or even considers allowing her to go. Erin, however, remains determined…for a while, at least. But this being the summer before her senior year, the odds of her dream coming true are looking increasingly miniscule by the day.
Risky Business is the fastest growing restaurant chain in the country. The menu is essentially the same as Rothman’s, but with a bit more selection and notably lower prices. The managers of this particular branch are Jerome and Rita Flanagan, a married couple who have been traveling across the nation for several years opening new establishments. Rita is convinced (and rightfully so) that, if she can make this branch a success, both she and her husband will finally be promoted to the stature of “Executive Expansion Supervisors.” She will stop at absolutely, positively nothing to reach that title. Their daughter, Lily, joined the family business when she graduated from college, and is equally as devoted to working her way up the ladder. Jerome, on the other hand, couldn’t possibly care less. Since he married Rita thirty years ago and began working for Risky Business, he’s essentially zoned out of life. After his attempts at being a writer failed miserably, Jerome has given up hope on ever truly being happy.
The two groups inherently hate one another. Carrie (in an act that showcases her over-the-top antics) goes as far as to egg Risky Business’ building, while Lily purchases a television ad stating that when she was having lunch at Rothman’s, her soup “smelled of rat poison.” One evening, Deirdre and Rita scheduled to have a “discussion” on a local news station; this being a huge issue for a small town. During the taping of the debate, Erin and Jerome bump into each other for the first time. Each of them expects the other to be passive aggressive or blatantly rude to them, as all of the other family members have been. This, however, is not the case. And so, the two are naturally intrigued by one another. After exchanging grievances to one another during the taping, Erin and Jerome agree to meet, in secrecy, in the wilderness, as both of them love the idea of having someone they can talk to that understands their strife. And from there, an unforgettable friendship forms. Over the next year, they would escape a bear attack, give each other recipes, race each other on a glacier and set up a camp inside a waterfall. Jerome would convince Erin to audition for the school play, Erin would be the first person to read a manuscript Jerome wrote thirty-five years ago, Jerome would write Erin a monologue and Erin would start calling Jerome “dad.”
What the Press Would Say:
“Baked Alaska” opens with a shot of the Alaska wilderness. This shot is immediately followed by a shot of a plate of food being served. Then the wilderness again. Then food. Wilderness. Food. And by the end of the montage, you realize that you are about to see the sweetest, most honest and most stomach-achingly hilarious film of the year. And that first impression is absolutely correct.
It is hard to talk about “Baked Alaska” without first talking about the cast. Kevin Kline, Kristen Stewart, Joan Cusack, Bette Midler, Alan Alda, Tina Fey (who also penned the screenplay) and Zooey Deschanel. Where can I even begin? I suppose with the two main supporting women. It is fairly rare for a film to pick up two Oscar nominations in one acting category, but I believe that “Baked Alaska” has the potential to do just that. Joan Cusack plays Deirdre, the frustrated, self-demeaning manager of Rothman’s Diner, the local hot spot in Sitka, Alaska. Cusack is certainly no stranger to playing these overwrought comedic characters, but she’s never been as on top of her game as she is here. She is quick to pick up on Fey’s subtexts and character development, and gives one of the most multi-layered performances of her career. Cusack, however, is topped by her co-star Bette Midler, who portrays a selfish bitch-on-wheels desperate to work her way up the corporate ladder. Midler incorporates the side-splitting humor she has become famous for into the role, but also adds emotional depth, as displayed in her final scene (I don’t want to spoil anything, but it involves her husband confronting her). The best scene for both of these ladies would have to be towards the beginning, where their characters are having a debate on local television. Again, it wouldn’t be as funny as it is if I were to tell you what happens, so I will just let you be (pleasantly) surprised. However, as I said, Midler and Cusack are the supporting players. The leads are Oscar winner Kevin Kline and the up-and-coming Kristen Stewart, who was last seen as Rachel Price in “The Poisonwood Bible.” I don’t know if I’ve ever seen such strong chemistry between people with such a large age gap. Stewart plays Erin Rothman, the daughter of Cusack’s character and heir apparent to owning the diner. Her character is a sarcastic, unhappy teenager who yearns to be an actress. Much like her co-stars, Stewart finds complexity in what is, on the surface, a relatively simple character. The character has become so used to taking care of herself that she doesn’t know what to do when Kline’s character offers a helping hand. This a difficult theme to reflect when it is never flat-out stated, but Stewart’s performance makes it all crystal clear. This theme is best amplified in a scene where Kline picks Stewart up from a party where she has clearly been drinking; a great scene for both of them. Kevin Kline is known to mix humor and drama into his performances, and his work in “Baked Alaska” is no exception. However, this is also unlike anything he ahs ever done, as this time his character is not eccentric or “wacky”, but downbeat and depressed. And if this is any indication of what he can do with these sorts of characters, then bring it on. Kline is understated and haunting (see: his first run-in with Stewart), but also hilarious and imaginative (see: the waterfall scene). I really do believe that each and every one of these performances have strong Oscar potential. This is one of the strongest ensemble casts I’ve seen in a while.
As with most dramdies, the real star of the film is the screenplay. From the moment it was announced that Tina Fey was the writer of this film, I, like most others, was quite intrigued. I was expecting another “Mean Girls.” The result was not quite that. It was actually better. When it wants to be, “Baked Alaska” is just as funny as Fey’s last feature project, but it also has strong dramatic heft in the more serious scenes. Fey has done more than prove to us that she is capable of comedy with her years on SNL and the current hit sitcom “30 Rock”, and has hinted to us that she is capable of drama in each of her endeavors as well. And “Baked Alaska” solidifies that theory. The script is also complimented by excellent direction from Richard Linklater who, like Fey, combines his hilarious comedic work (“Dazed and Confused”) with his thoughtful dramatic work (“Before Sunrise/Sunset”). All too often, the directors of comedies are overlooked at the Oscars. However, I can sense that this will not be the case for Linklater. He uses the Alaskan environment entirely to his advantage, with sweeping, practically epic shots of the wilderness. Hopefully that will be enough to solidify an Oscar nomination.
This is the most fun you will have at the movies this year, no matter who you are. “Baked Alaska” is a rare gift to moviegoers that I encourage you to accept as soon as possible.
FYC:
Best Picture
Best Director (Richard Linklater)
Best Actor (Kevin Kline)
Best Actress (Kristen Stewart)
Best Supporting Actress (Joan Cusack)
Best Supporting Actress (Bette Midler)
Best Original Screenplay
Baked Alaska
Directed by Richard Linklater
Written by Tina Fey
Main Cast
Kristen Stewart (Erin Rothman)
Kevin Kline (Jerome Flanagan)
Joan Cusack (Deirdre Rothman)
Bette Midler (Rita Flanagan)
Alan Alda (Victor Rothman)
Tina Fey (Carrie Rothman)
Zooey Deschanel (Lily Flanagan)
Tagline: “A Celebration of Friendship, Dreams and Dessert.”
Synopsis:
Rothman’s Diner is the premier restaurant in Sitka, Alaska. The menu has just a little bit of everything: steaks, fish, salads, sandwiches—the usual. Everyone that goes in knows their servers’ names and is more than likely good friends with the owners. Rothman’s was opened 60 years ago by the deceased George Rothman, then was passed down to his now semi-retired, insult-spewing son Victor, and then to Victor’s eldest daughter, Deirdre, a self-pitying yet oddly lovable divorcee (a choice that came much to the dismay of his younger daughter, the neurotic, self-absorbed Carrie). And when Deirdre retires, she is prepared to hand the title of Manager down to her daughter, Erin. At least, that’s the plan. The last thing Erin wants is own the diner. What Erin really wants to do is move out to Hollywood and try to break in as an actress. But when she tells that to her family, no one takes her seriously or even considers allowing her to go. Erin, however, remains determined…for a while, at least. But this being the summer before her senior year, the odds of her dream coming true are looking increasingly miniscule by the day.
Risky Business is the fastest growing restaurant chain in the country. The menu is essentially the same as Rothman’s, but with a bit more selection and notably lower prices. The managers of this particular branch are Jerome and Rita Flanagan, a married couple who have been traveling across the nation for several years opening new establishments. Rita is convinced (and rightfully so) that, if she can make this branch a success, both she and her husband will finally be promoted to the stature of “Executive Expansion Supervisors.” She will stop at absolutely, positively nothing to reach that title. Their daughter, Lily, joined the family business when she graduated from college, and is equally as devoted to working her way up the ladder. Jerome, on the other hand, couldn’t possibly care less. Since he married Rita thirty years ago and began working for Risky Business, he’s essentially zoned out of life. After his attempts at being a writer failed miserably, Jerome has given up hope on ever truly being happy.
The two groups inherently hate one another. Carrie (in an act that showcases her over-the-top antics) goes as far as to egg Risky Business’ building, while Lily purchases a television ad stating that when she was having lunch at Rothman’s, her soup “smelled of rat poison.” One evening, Deirdre and Rita scheduled to have a “discussion” on a local news station; this being a huge issue for a small town. During the taping of the debate, Erin and Jerome bump into each other for the first time. Each of them expects the other to be passive aggressive or blatantly rude to them, as all of the other family members have been. This, however, is not the case. And so, the two are naturally intrigued by one another. After exchanging grievances to one another during the taping, Erin and Jerome agree to meet, in secrecy, in the wilderness, as both of them love the idea of having someone they can talk to that understands their strife. And from there, an unforgettable friendship forms. Over the next year, they would escape a bear attack, give each other recipes, race each other on a glacier and set up a camp inside a waterfall. Jerome would convince Erin to audition for the school play, Erin would be the first person to read a manuscript Jerome wrote thirty-five years ago, Jerome would write Erin a monologue and Erin would start calling Jerome “dad.”
What the Press Would Say:
“Baked Alaska” opens with a shot of the Alaska wilderness. This shot is immediately followed by a shot of a plate of food being served. Then the wilderness again. Then food. Wilderness. Food. And by the end of the montage, you realize that you are about to see the sweetest, most honest and most stomach-achingly hilarious film of the year. And that first impression is absolutely correct.
It is hard to talk about “Baked Alaska” without first talking about the cast. Kevin Kline, Kristen Stewart, Joan Cusack, Bette Midler, Alan Alda, Tina Fey (who also penned the screenplay) and Zooey Deschanel. Where can I even begin? I suppose with the two main supporting women. It is fairly rare for a film to pick up two Oscar nominations in one acting category, but I believe that “Baked Alaska” has the potential to do just that. Joan Cusack plays Deirdre, the frustrated, self-demeaning manager of Rothman’s Diner, the local hot spot in Sitka, Alaska. Cusack is certainly no stranger to playing these overwrought comedic characters, but she’s never been as on top of her game as she is here. She is quick to pick up on Fey’s subtexts and character development, and gives one of the most multi-layered performances of her career. Cusack, however, is topped by her co-star Bette Midler, who portrays a selfish bitch-on-wheels desperate to work her way up the corporate ladder. Midler incorporates the side-splitting humor she has become famous for into the role, but also adds emotional depth, as displayed in her final scene (I don’t want to spoil anything, but it involves her husband confronting her). The best scene for both of these ladies would have to be towards the beginning, where their characters are having a debate on local television. Again, it wouldn’t be as funny as it is if I were to tell you what happens, so I will just let you be (pleasantly) surprised. However, as I said, Midler and Cusack are the supporting players. The leads are Oscar winner Kevin Kline and the up-and-coming Kristen Stewart, who was last seen as Rachel Price in “The Poisonwood Bible.” I don’t know if I’ve ever seen such strong chemistry between people with such a large age gap. Stewart plays Erin Rothman, the daughter of Cusack’s character and heir apparent to owning the diner. Her character is a sarcastic, unhappy teenager who yearns to be an actress. Much like her co-stars, Stewart finds complexity in what is, on the surface, a relatively simple character. The character has become so used to taking care of herself that she doesn’t know what to do when Kline’s character offers a helping hand. This a difficult theme to reflect when it is never flat-out stated, but Stewart’s performance makes it all crystal clear. This theme is best amplified in a scene where Kline picks Stewart up from a party where she has clearly been drinking; a great scene for both of them. Kevin Kline is known to mix humor and drama into his performances, and his work in “Baked Alaska” is no exception. However, this is also unlike anything he ahs ever done, as this time his character is not eccentric or “wacky”, but downbeat and depressed. And if this is any indication of what he can do with these sorts of characters, then bring it on. Kline is understated and haunting (see: his first run-in with Stewart), but also hilarious and imaginative (see: the waterfall scene). I really do believe that each and every one of these performances have strong Oscar potential. This is one of the strongest ensemble casts I’ve seen in a while.
As with most dramdies, the real star of the film is the screenplay. From the moment it was announced that Tina Fey was the writer of this film, I, like most others, was quite intrigued. I was expecting another “Mean Girls.” The result was not quite that. It was actually better. When it wants to be, “Baked Alaska” is just as funny as Fey’s last feature project, but it also has strong dramatic heft in the more serious scenes. Fey has done more than prove to us that she is capable of comedy with her years on SNL and the current hit sitcom “30 Rock”, and has hinted to us that she is capable of drama in each of her endeavors as well. And “Baked Alaska” solidifies that theory. The script is also complimented by excellent direction from Richard Linklater who, like Fey, combines his hilarious comedic work (“Dazed and Confused”) with his thoughtful dramatic work (“Before Sunrise/Sunset”). All too often, the directors of comedies are overlooked at the Oscars. However, I can sense that this will not be the case for Linklater. He uses the Alaskan environment entirely to his advantage, with sweeping, practically epic shots of the wilderness. Hopefully that will be enough to solidify an Oscar nomination.
This is the most fun you will have at the movies this year, no matter who you are. “Baked Alaska” is a rare gift to moviegoers that I encourage you to accept as soon as possible.
FYC:
Best Picture
Best Director (Richard Linklater)
Best Actor (Kevin Kline)
Best Actress (Kristen Stewart)
Best Supporting Actress (Joan Cusack)
Best Supporting Actress (Bette Midler)
Best Original Screenplay
Conviction
Author(s): Douglas Reese (MI)
Conviction
Written and Directed by Eli Roth
Produced by Eli Roth
Director of Photography: Milan Chadima
Edited by George Folsey, Jr.
Cast:
Jeremy Sisto ... Jackson Meiks
Maggie Gyllenhaal ... Helen Adams
Jordan Ladd ... Tiffany Leigh
Jacob Kogan ... Junior Meiks
Tagline: “One Only Sees Truth When They Have Faith”
Plot:
The car flipped four times before arriving at a halt. Due to the impact of the road and his head, Jackson suffers from a third degree brain hemorrhage. His son, Junior, dies in the hospital a few hours after the accident. Jackson leaves the hospital four months later only to dedicate the next three month after to Christianity. His friend Helen arrives every Sunday morning, giving Jackson a ride to church where Jackson spends his best time asking his Lord to forgive him. Jackson feels at fault for Junior's death. Helen, dedicating herself as much to helping Jackson as possible, offering him dinners after church and even allowing him to move into her house. Jackson, however, decides to remain in his apartment alone.
Jackson's younger sister Tiffany, a fractured woman that has carelessly lead her own life toward a commitment to heroin, breaks Jackson's self-isolation when she asks to stay a week. She tells him its because she is ready to get her life back on track, but Jackson can tell that its for a more dark, secretive reason. He does allow her to, feeling that its the right thing to do.
Tiffany keeps herself on a very destructive schedule. An emotionless vampire, she sleeps during the day, and disappears from the apartment during the night, and Jackson can only feel low for Tiffany. Tiffany returns home one night with a friend of hers. The two shoot up in Jackson's bathroom. Jackson acts as if he is clueless of what they were doing. And it is on this night, while Jackson prepares to go to bed, that he sees a man in his window. A man that eerily resembles Jesus Christ. The man just stares, and Jackson does as well. He walks away. Arriving and peering out the window to view his vacant snow-covered front yard.
The next day, after watching Tiffany and her girl pal sleep it away on his living room floor, he eats dinner with Helen and tells her of his visitation. Helen, sort of worried about her friend, goes along with Jackson's story and tells him that “its a turn of faith and a sign that God has your back. I feel there is no other solution to this situation than that.” Later that night, Tiffany leaves for the night. While remaining in his bedroom playing oldie records, Jackson is visited once again. Only this time, its not Jesus. It is his son Junior.
Junior tells Jackson that a dark and demonic force is moving in on him and his home. The dark force, as Junior explains, is an invisible predator and it lurks deep within Tiffany. And this force needs to be destroyed to not only help Jackson and his own soul, but to keep Tiffany from serving a terrible fate at the hands of Satan. And it is on this Saturday night that Tiffany comes home, emotionless and altered by drugs and alcohol. She curses at Jackson, hits him, and blames him for past family circumstances. With a simple appearance of Junior leading him to a kitchen knife, Jackson slashes and stabs at his baby sister, until she gasps her last breath on the kitchen floor.
Helen arrives the next morning, expecting Jackson to exit his apartment for church. Strangely, and unlike him, he doesn't come out. Helen knocks at the screen door, the main door remaining open for he to see the living room. Jackson doesn't arrive to the door, and Helen, decides to go in and see if he is alright. Walking through the living room and into the kitchen, Helen is terrified at the sight of blood. On the floor, the puddles enthrall an immediate reaction to her subconscious. She takes out her cell phone and calls the police. And it is not until after the phone call that Helen begins to hear a faint voice coming from the bedroom. Walking down the hallway she finds her way to the bedroom. A vague sight startles her as she makes a yelp and stares at Jackson, who sits on her bed, covered in blood, his little sister's head lying in his lap. He brushes her blood-stained blonde hair. He stares into space, slurring and mumbling the Lord's prayer. Helen becomes ached with terror. She slowly shuts the door.
What the Press Would Say:
Eli Roth, best known for his graphic holds-no-bars horror films, has bravely constructed a horror film of a different kind. Brilliantly constructing his character, Roth buries deep within sorrow and guilt as he fabricates Jackson Meiks, a tragically blistered soul who begins a rampant change toward personal weakness as he begins to fall into a depressive state. Roth is intelligent in his screenplay, structuring this character into a completely authentic and realistic situation, and Roth brings this character to brilliant depths by casting Jeremy Sisto as Jackson. Sisto is a completely deep actor who finds great emotional depths in his character. A greatly executed performance, Sisto never backs down from reaching into terrifying complexities of Jackson and in the end, gives the film an astounding sense of human weakness. In a scene when dead son Junior reappears to him, Sisto portrays so much emotion with a single tear drop and subtly creates a sense of love rediscovered. A truly great sequence showing an underrated actor in a fluently and authentically developed performance. In an unforgettably comfortable portrayal, Maggie Gyllenhaal portrays Jackson's friend Helen with a great deal of life. She seems like a down-to-earth woman that is there for her friend and in hopes of helping keep foot of him. In her scenes with Jackson she shows care. In the final scene in Jackson's apartment, she brings focus not only to terror, but of pity. The final shot of her expression as she realizes Jackson's mind has lost momentum and closing the bedroom door is exceptionally acted, with Gyllenhaal bringing so much to the screen in such little time. A true woman is brought to the screen through Gyllenhaal's portrayal. As for writer/director Eli Roth, it is clear that he is capable of creating a greater and more complex horror film, that doesn't rely only on its terror, but on its character, whose loss of conviction with himself brings him down to his mental unstableness at the film's climax. A truly masterful direction by a director who deftly understands his genre. A terrific, emotionally devastating, and ultimately saddening psychological horror story has finally been told – and to perfection.
For Your Consideration:
Best Picture
Best Director – Eli Roth
Best Original Screenplay
Best Actor – Jeremy Sisto
Best Supporting Actress – Maggie Gyllenhaal
Dirty Little Secret
Author(s): Evan (NY)
Dirty Little Secret
Director: Noah Baumbach
Writer: Noah Baumbach and Frank Warren
Cast
Dustin Hoffman – Frank Warren
Josh Brolin – Anonymous Man
Frances McDormand - Anonymous Woman
Randy Shelly - Anonymous Teen
Tagline: “Secrets are only safe in the most public of places.”
Synopsis:
Frank
The simple concept of the Post Secret project was that completely anonymous people decorate a postcard and portray a secret that they had never previously revealed. No restrictions are made on the content of the
secret; only that it must be completely truthful and must never have been spoken before…Frank Warren started the website on blogspot on January 1st, 2005. He receives thousands of postcards monthly and has to select a few every week to go on the site. Topics range from sexual misconduct and murder to secret phobias or lies. Each postcard tells a story, and Frank likes to play the stories out in his head the way he thinks they have gone. When three postcards come the same day, from the same post office, he looks them over and thinks out the story…
Anonymous Man
Postcard: “I don’t want him to turn out like me”
The man is a heavy drinker and has, on multiple occasions had to be taken to the hospital to have his stomach pumped. He loses his job and can no longer provide for his family. He is unaware of his wife’s anger, and completely ignores his son… unless he’s drunk. When he is drunk he gets crazy. He beats his wife and tells his son to perform obscene acts on him. When he turns sober and remembers what he has done he regrets it completely. A stake is driven through his stomach each time he wakes up and remembers what he has done. But he can’t talk to them about it. He pretends he doesn’t remember, that everything is OK.
Anonymous Woman
Postcard: “I saved the life of someone I truly hate. Nobody will ever know that it was me.”
The woman hated her husband not only was he irresponsible and lazy, he was mean. However loud she yelled, he would never do what she told him to. It was a waste of her life to stick around, but without a high school diploma, she couldn’t provide for her own son. Once, her son was out at a movie, alone, and her husband collapsed. She rushed over and felt for a pulse. Upon locating it, she performed CPR on him until a glob of something shot out of his mouth. She laid him on his bed and walks out of the room, to clean the kitchen.
Anonymous Teen
Postcard: “I want life to be simple and easy… again.”
The Teenager sat alone in movie theatres. He liked to watch other people’s lives, because his was plainly unbearable. Also, movies always had happy endings. His parents always fought, and when his father got drunk, he molested him. The teenager was also gay, but he couldn’t tell anyone. His father had made him want things that only homosexuals and women want. He wished he could just go back to when he was younger, when playing on his own was fun, when he could use his imagination without the rude interruptions that the real world presented. The teenager wants to be in that place again, a place where everything is simple and easy, and where his mother and father were still in love.
What The Press Would Say
Although many post-secret postcards are hilarious and cool, many that are sent to Frank Warren concern very serious issues in peoples lives, and “Dirty Little Secret,” Noah Baumbachs new film dives into where all the bad starts in people. Following a normal, three-person suburban family, Mr. Baumbach crafts an intensely vivid portrayal of guilt, grief, and the power that every person has to change themselves. In this film, the first story that is shown is that of Frank Warren, the creator of the post-secret art movement. Dustin Hoffman gives a surprisingly reserved performance as the mellow intellectual, and lover of art. What he imagines upon receiving three postcards from the same post-office is the tight story of a woman who has an abusive husband, an alcoholic husband who molests his son, and a teenage boy who struggles with his sexuality, and his family life. The entire cast does a great job at showing just how they distance themselves from each other, and how some are struggling to bet back. Frances McDormand, who plays the anonymous women, gives a stunning performance as the woman who has a hate for her husband, but doesn’t show it. She keeps her anger bottled up, making her completely oblivious to how her son is treated. Josh Brolin also gives a powerhouse performance as an alcoholic who refuses to seek help, even though he knows he abuses his son when he is drunk. Showing us every side of the complicated octagon of a man, Mr. Brolin proves once again that he is one of the best working actors today. The young Randy Shelly, though, gives the best performance in the film. As the last story told, I expected for it to be less powerful, as the third acts of other of Noah Baumbachs films have been. I was mistaken. Mr. Shelly gives a superb portrayal of a boy who is hurt by his father, but has learned to deal. Although he is dealing with normal teenage things as well, most of these are excluded from the film. Mr. Shelly transports us deep inside the mind of this nameless character with his heartbreaking performance, as we learn about his mixed feelings about his sexuality, the grief he feels about his parents, and the longing and hope that things will go back to the way they used to be, something only a child could ever sincerely believe. Digging deep into the psychology of humans, “Dirty Little Secret” is a must see film for anyone who has ever felt, well, alone.
Every Last Night
Author(s): CJ (CA)
Every Last Night
Directed by Shona Auerbach
Written by Naomi Foner
Music by Mychael Danna
Original Song: "Towards Your Arms" by Vienna Teng
Kate Mara as Jillian Cowry
Jensen Ackles as Danny McClellan
Christian Coulson as Scott McClellan
Genevieve Bujold as Annie McClellan
Ian Holm as Daniel McClellan
Tagline: What brought them together tore them apart.
Synopsis: Mechanic Danny McClellan (Ackles) is an ex-collegiate athlete brought down by an early injury who now supports his aging parents in their Massachusetts home. When Danny’s younger brother Scott (Coulson) comes home from college and brings his girlfriend Jillian (Mara) along to meet the family, she is accepted by the McClellans warmly. As their visit wears on, however, Danny begins to feel that he is falling in love with Jillian. One late night, Danny and Jillian share a kiss, but separately resolve to never speak of it.
The next afternoon, Scott proposes marriage to Jillian and she accepts. Months pass and Scott and Jillian’s wedding draws closer, as the interactions between Jillian and Danny grow more tenuous. Two weeks before the ceremony, Danny finally confronts Jillian with his feelings- that he is deeply in love with her. They share an impassioned night together, but afterwards Jillian tells Danny that she wants to move to California with Scott when they get married, because she loves Danny and fears driving a wedge between the close-knit family. Similarly, Danny is wracked with guilt at betraying his brother, as well as anguish at the thought of losing Jillian.
Danny flees to his garage, and is surprised when Scott comes to seek him out. Scott, unaware that the connection between his brother and his fiancée has evolved past platonic, asks Danny to be his best man. Danny, promising himself that this marks the end of his feelings for Jillian, accepts and wishes Scott well. Following a loud explosion, all goes black. Danny wakes up in a hospital bed, his parents at his side and Jillian nowhere to be found.
Danny’s parents tell him that there was an accident in the garage, and that he was injured. He has been in a coma for the past two weeks, making today the date planned for Jillian and Scott’s wedding. Danny demands to know his brother’s whereabouts, and his parents reveal that Scott, after lying comatose for three days, died without waking. After the funeral, Jillian left Massachusetts to return to California, and Danny's mother, Annie, knowingly tells him to let her do what she needs to.
That winter, when after a long period of recovery Danny has been allowed to leave the hospital, he visits Scott's grave, and expresses regret about keeping the truth from him. He leaves a letter from Jillian on Scott's grave, and the film closes with Jillian's voiceover reading its contents.
What the press says:
‘Every Last Night’ is no feel-good film. It is a story of fallible people who give into impulse as well as make thought-out decisions. There are no heroes- the characters left in the best light are the ones granted the least amount of attention, perhaps a commentary on how an individuals flaws become more prevalent the closer we become to them.
As Danny McClellan, Jensen Ackles carries the responsibility of a lead role well, hefting the weight of the drama on his shoulders with an accuracy that develops the predicament of his character into a third protagonist of the film. He is simultaneously drawn between the responsibilities of being the older brother, and a staunch refusal to hurt his younger brother, Scott (deftly if fleetingly played by Christian Coulson), even though he feels a growing passion for Scott’s girlfriend, later fiancée, the glitteringly unattainable Jillian.
Kate Mara ably portrays the difficult role of Jillian, an outsider being drawn into the closeknit McClellan family. Most of Jillian’s exposition is saved for the very last scene of the film, and so the audience knows very little about the woman who causes such discord in the lives of the winningly charming McClellan boys. Mara shows the guarded but delicate emotion in her character during a tender love scene, and once all is said and done at the film’s close, her portrayal is drawn together like a well-spun mystery novel.
‘Every Last Night’ fills itself up with complex themes, and admirably does not get bogged down with their weight in the second act. However, the execution of the film’s story does lean towards heavy-handed. It buzzes with questions and conclusions about the ideas of family, fate, the endurance of love, and most importantly, the fragile condition of hope. ‘Every Last Night’ unwinds its somewhat formulaic (and yet, most decidedly unconventional) plot with an urgency rarely seen in family dramas, placing incredible importance on each fleeting moment, which -for better or for worse-, bodily throws its audience into the thick of the characters’ lives.
FYC:
Best Picture
Best Original Screenplay: Naomi Foner
Best Original Score: Mychael Danna
Best Actor: Jensen Ackles
Best Actress: Kate Mara
Best Supporting Actress: Genevieve Bujold
Every Last Night
Directed by Shona Auerbach
Written by Naomi Foner
Music by Mychael Danna
Original Song: "Towards Your Arms" by Vienna Teng
Kate Mara as Jillian Cowry
Jensen Ackles as Danny McClellan
Christian Coulson as Scott McClellan
Genevieve Bujold as Annie McClellan
Ian Holm as Daniel McClellan
Tagline: What brought them together tore them apart.
Synopsis: Mechanic Danny McClellan (Ackles) is an ex-collegiate athlete brought down by an early injury who now supports his aging parents in their Massachusetts home. When Danny’s younger brother Scott (Coulson) comes home from college and brings his girlfriend Jillian (Mara) along to meet the family, she is accepted by the McClellans warmly. As their visit wears on, however, Danny begins to feel that he is falling in love with Jillian. One late night, Danny and Jillian share a kiss, but separately resolve to never speak of it.
The next afternoon, Scott proposes marriage to Jillian and she accepts. Months pass and Scott and Jillian’s wedding draws closer, as the interactions between Jillian and Danny grow more tenuous. Two weeks before the ceremony, Danny finally confronts Jillian with his feelings- that he is deeply in love with her. They share an impassioned night together, but afterwards Jillian tells Danny that she wants to move to California with Scott when they get married, because she loves Danny and fears driving a wedge between the close-knit family. Similarly, Danny is wracked with guilt at betraying his brother, as well as anguish at the thought of losing Jillian.
Danny flees to his garage, and is surprised when Scott comes to seek him out. Scott, unaware that the connection between his brother and his fiancée has evolved past platonic, asks Danny to be his best man. Danny, promising himself that this marks the end of his feelings for Jillian, accepts and wishes Scott well. Following a loud explosion, all goes black. Danny wakes up in a hospital bed, his parents at his side and Jillian nowhere to be found.
Danny’s parents tell him that there was an accident in the garage, and that he was injured. He has been in a coma for the past two weeks, making today the date planned for Jillian and Scott’s wedding. Danny demands to know his brother’s whereabouts, and his parents reveal that Scott, after lying comatose for three days, died without waking. After the funeral, Jillian left Massachusetts to return to California, and Danny's mother, Annie, knowingly tells him to let her do what she needs to.
That winter, when after a long period of recovery Danny has been allowed to leave the hospital, he visits Scott's grave, and expresses regret about keeping the truth from him. He leaves a letter from Jillian on Scott's grave, and the film closes with Jillian's voiceover reading its contents.
What the press says:
‘Every Last Night’ is no feel-good film. It is a story of fallible people who give into impulse as well as make thought-out decisions. There are no heroes- the characters left in the best light are the ones granted the least amount of attention, perhaps a commentary on how an individuals flaws become more prevalent the closer we become to them.
As Danny McClellan, Jensen Ackles carries the responsibility of a lead role well, hefting the weight of the drama on his shoulders with an accuracy that develops the predicament of his character into a third protagonist of the film. He is simultaneously drawn between the responsibilities of being the older brother, and a staunch refusal to hurt his younger brother, Scott (deftly if fleetingly played by Christian Coulson), even though he feels a growing passion for Scott’s girlfriend, later fiancée, the glitteringly unattainable Jillian.
Kate Mara ably portrays the difficult role of Jillian, an outsider being drawn into the closeknit McClellan family. Most of Jillian’s exposition is saved for the very last scene of the film, and so the audience knows very little about the woman who causes such discord in the lives of the winningly charming McClellan boys. Mara shows the guarded but delicate emotion in her character during a tender love scene, and once all is said and done at the film’s close, her portrayal is drawn together like a well-spun mystery novel.
‘Every Last Night’ fills itself up with complex themes, and admirably does not get bogged down with their weight in the second act. However, the execution of the film’s story does lean towards heavy-handed. It buzzes with questions and conclusions about the ideas of family, fate, the endurance of love, and most importantly, the fragile condition of hope. ‘Every Last Night’ unwinds its somewhat formulaic (and yet, most decidedly unconventional) plot with an urgency rarely seen in family dramas, placing incredible importance on each fleeting moment, which -for better or for worse-, bodily throws its audience into the thick of the characters’ lives.
FYC:
Best Picture
Best Original Screenplay: Naomi Foner
Best Original Score: Mychael Danna
Best Actor: Jensen Ackles
Best Actress: Kate Mara
Best Supporting Actress: Genevieve Bujold
A Good Man is Hard To Find
Author(s): K. Scarlett (GA)
A Good Man is Hard to Find
Directed by Bennett Miller
Written by Dan Futterman
Based Upon the short story by Flannery O'Connor
Main Cast
Shirley Maclaine as The Grandmother
Patrick Wilson as Bailey
Melanie Lynskey as The Mother
Michael Shannon as The Misfit
Ty Simpkins as John Wesley
Heidi Hayes as June Star
Jonah Hill as Hiram
Lukas Haas as Bobby Lee
Tagline: "The grandmother didn't want to go to Florida..."
Synopsis:
And with these simple words, our story begins. Bailey simply wants to take his family for a nice drive down to Florida for some sight seeing, despite the protests of his mother, who insists they go to Tennessee instead. Why? Because a violent criminal who goes by the name of "The Misfit" has just escaped from the Federal Penitentiary and is rumored to be heading down to Florida, according to the newspaper. "I wouldn't take my children in any direction with a criminal like that aloose in it. I couldn't answer to my conscience as it is..."
The family sets off on their trip. Bailey, the grandmother, the mother, the baby, and Bailey's spoiled, ill-mannered children John Wesley and June Star, who seem to take great pleasure in tormenting their ornery grandmother in the backseat. Meanwhile, the Misfit has in fact escaped from the Federal Penitentiary, meeting up with his misfit friends, Hiram and Bobby Lee, surely up to no good as they head down Florida way. Certainly no need for Bailey and his family to worry, though. After all, Florida's a very big state...right?
What starts off as a relaxing road trip for a Georgian family turns into a simple, quiet, yet profoundly meditative story about the role of destiny and circumstance in our lives. How one simple mistake can lead to a car accident accident. And how a few simple words, spoken without forethought, can seal our fate...
What the Press would say:
Director-writer team Bennett Miller and Dan Futterman follow-up their 2005 critically acclaimed Capote with yet another quiet examination of melancholy Americana. This time, they breathe new life into A Good Man is Hard to Find, Flannery O'Connor's classic short story about fate and consequences. Dan Futterman's expertly crafted screenplay expands upon O'Connor's effective, but terse narrative, adding just the right elements to flesh the piece into a feature length film of undeniable profundity. Much like in Capote, Gord Peterson's meticulously careful art direction expertly recreates the time and place. This time, it's a road trip through the sleepy south, aided by Adam Kimmel's beautiful cinematography. The imagery of Southern Gothic, captured so beautifully in the words of many of Flannery O'Connor's works are transferred perfectly from page to screen in this wonderful re-telling of a story that does not lend itself well to film adaptation. The film's final scenes mirror the bleakness and finality of that of the short story in a way that does the late O'Connor justice.
Patrick Wilson and Shirley Maclaine give incredibly nuanced and often times funny performances as the squabbling mother and son, arguing over every detail of the trip. But it is Michael Shannon who is the best in show here, giving a focused performance that is at once humorous and terrifying. In the film's final moments, there is an important, yet ambiguous interchange between the Misfit and the Grandmother—one whose meaning will be discussed for years to come. It is one of the singular scenes in American cinema this year—amazingly acted, and (if there's any justice) it will certainly earn Maclaine and Shannon Oscar nominations, if not wins. A Good Man is Hard to Find moves to the front and center for every single film award out there, and will leave even the most stone-faced viewers shaken, contemplative and justifiably haunted.
FYC:
Best Motion Picture
Best Achievement in Direction: Bennett Miller
Best Performance by an Actor in a Leading Role: Patrick Wilson
Best Performance by an Actress in a Leading Role: Shirley Maclaine
Best Performance by an Actor in a Supporting Role: Michael Shannon
Best Adapted Screenplay: Paul Thomas Anderson
A Good Man is Hard to Find
Directed by Bennett Miller
Written by Dan Futterman
Based Upon the short story by Flannery O'Connor
Main Cast
Shirley Maclaine as The Grandmother
Patrick Wilson as Bailey
Melanie Lynskey as The Mother
Michael Shannon as The Misfit
Ty Simpkins as John Wesley
Heidi Hayes as June Star
Jonah Hill as Hiram
Lukas Haas as Bobby Lee
Tagline: "The grandmother didn't want to go to Florida..."
Synopsis:
And with these simple words, our story begins. Bailey simply wants to take his family for a nice drive down to Florida for some sight seeing, despite the protests of his mother, who insists they go to Tennessee instead. Why? Because a violent criminal who goes by the name of "The Misfit" has just escaped from the Federal Penitentiary and is rumored to be heading down to Florida, according to the newspaper. "I wouldn't take my children in any direction with a criminal like that aloose in it. I couldn't answer to my conscience as it is..."
The family sets off on their trip. Bailey, the grandmother, the mother, the baby, and Bailey's spoiled, ill-mannered children John Wesley and June Star, who seem to take great pleasure in tormenting their ornery grandmother in the backseat. Meanwhile, the Misfit has in fact escaped from the Federal Penitentiary, meeting up with his misfit friends, Hiram and Bobby Lee, surely up to no good as they head down Florida way. Certainly no need for Bailey and his family to worry, though. After all, Florida's a very big state...right?
What starts off as a relaxing road trip for a Georgian family turns into a simple, quiet, yet profoundly meditative story about the role of destiny and circumstance in our lives. How one simple mistake can lead to a car accident accident. And how a few simple words, spoken without forethought, can seal our fate...
What the Press would say:
Director-writer team Bennett Miller and Dan Futterman follow-up their 2005 critically acclaimed Capote with yet another quiet examination of melancholy Americana. This time, they breathe new life into A Good Man is Hard to Find, Flannery O'Connor's classic short story about fate and consequences. Dan Futterman's expertly crafted screenplay expands upon O'Connor's effective, but terse narrative, adding just the right elements to flesh the piece into a feature length film of undeniable profundity. Much like in Capote, Gord Peterson's meticulously careful art direction expertly recreates the time and place. This time, it's a road trip through the sleepy south, aided by Adam Kimmel's beautiful cinematography. The imagery of Southern Gothic, captured so beautifully in the words of many of Flannery O'Connor's works are transferred perfectly from page to screen in this wonderful re-telling of a story that does not lend itself well to film adaptation. The film's final scenes mirror the bleakness and finality of that of the short story in a way that does the late O'Connor justice.
Patrick Wilson and Shirley Maclaine give incredibly nuanced and often times funny performances as the squabbling mother and son, arguing over every detail of the trip. But it is Michael Shannon who is the best in show here, giving a focused performance that is at once humorous and terrifying. In the film's final moments, there is an important, yet ambiguous interchange between the Misfit and the Grandmother—one whose meaning will be discussed for years to come. It is one of the singular scenes in American cinema this year—amazingly acted, and (if there's any justice) it will certainly earn Maclaine and Shannon Oscar nominations, if not wins. A Good Man is Hard to Find moves to the front and center for every single film award out there, and will leave even the most stone-faced viewers shaken, contemplative and justifiably haunted.
FYC:
Best Motion Picture
Best Achievement in Direction: Bennett Miller
Best Performance by an Actor in a Leading Role: Patrick Wilson
Best Performance by an Actress in a Leading Role: Shirley Maclaine
Best Performance by an Actor in a Supporting Role: Michael Shannon
Best Adapted Screenplay: Paul Thomas Anderson
Hale's Inferno
Author(s): Joshua (NY)
Hale's Inferno
Directed by Steven Soderbergh
Written by Stephen Gaghan
Produced by Scott Rudin & Steven Soderbergh
Executive Produced by Steven Spielberg
Distributed by Miramax Films
Film Editing by Dylan Tichenor
Cinematography by Robert Elswit
Costume Design by Anna B. Shepherd
Make-Up by Sian Grigg
Art Direction by Nazzareno Piana & Luca Tranchino
Original Score by John Williams
Principal Cast
Liam Neeson - Jefferson R. Hale
Ralph Fiennes - Gideon A. Hale
Ian McKellan - Charles Rafelson
John Malkovich - Mitch Howard
Paddy Considine - John Marcus
Charlotte Rampling - Lillian Rafelson
Jeremy Northam - Luther Malone
Tagline: "Justice will be Done"
Plot/Synopsis:
It's a different society here in England. We are just about entering the 20th century and I fear that by that time I will dissolve into thin air. I will lose the little I have. The reason to why I say this now is all due to the fact that years ago the use of man has been limited. These days technology has improved rapidly. Many men believe that the machines have taken over the work. I am nearly fifty-five years old and the world is not good to the elderly folk. My much younger brother Gideon and I have been estranged from each other for quite a long time, but ironically we both landed the same job here in Rafelson Factories. He too is suffering the same fate as well as all the other employees of Charles Rafelson; who are forced to feed loads of coal into the mouths of these small ovens so that the very machines that demote us function. It's an inferno for me.
I yearn to get out, but where will I head. Today the vicious demons that carry around wips and guns killed a close friend of mine. His name was John Marcus. Apparently he went mad and destroyed a couple of small machines in the factory and also tried to murder Rafelson. He was shot down by one of the demons I speak of, Mitch Howard; In front for all the employees to see. The bullet plunged his forehead. Rumors spread that he was denied money to help an ailing family member. He must have been very desperate to go to him. Everyone knows that Charles is not a loving man. His form of love can be seen in the bruises that his wife carries around on her face. The poor women goes threw embarassment when she is seen in public. One could see her efforts of trying to cover the marks. For me she's just one example of Rafelson's cruelty. John Marcus was a human being with a family and the thought that I could be on my knees one day knowing my fate always crosses my mind. So to a tragic event, my brother and I have been spreading the word around to the other men informing them to join forces and start a union. We will take charge of the factory and shut it down completely. We will strike, and in return we ask for justice. Justice that will allow us to have better pay and protection because in the this world, that's all I need to survive and I will survive this vicious place.
What Will The Press Say:
A stirring look at the life of a hard working human being, Hale's Inferno takes the audience on a visceral, astounding look at the power that can unfold when one is facing situations of life and death. During the late eighteen hudrends, men work side by side in cramped shafts, under terrible conditions. This scene opens the film and conveys efficiently to the audience as the film's lead Liam Neeson looks upon the fire with retaliation on his eyes. As Jefferson Hale, Neeson navigates the complex and difficult personalities of an unsatisfied employee of a large industry as he struggles to cope with the world that he now hates.
Tall, middle-aged, and misanthropic, Liam Neeson's Jefferson R. Hale stands and delivers a searing portrait of soul-rotting ambition. An ambition to break free of the man he is; a hard-working slave and poor. He would do anything to break free from the society of people who catch deadly diseases everyday and throw their waste right out the window without hesitation, and that means the film's spirit is as black as the underground inferno that guides Hale''s every movement. Muscularly directed by Steven Soderbergh & masterfully written by Stephen Gaghan, Hale's Inferno burns its imagery onto your brain and alters your state. It's an original, and what it has to say about the world is rarely pretty. Along with Neeson is his Schindler's List co-star Ralph Fiennes who portrays Jefferson's brother, Gideon. A great comeback for Fiennes, who delivers more than what we expect for this particular role. At times Gideon seems un-trustworthy and we can some what feel his hate for his brother. This alone brings a interesting edge to his character. It would be tough to see who succeeds if Fiennes finds himself battling veteran Ian McKellen if the two men are recognized for supporting actor consideration. McKellen's Charles Rafelson is one villian to remember as he rules Rafelson Industries and everyone around him with an iron fist. His actions are deadly in the end, and he goes to businessman Luther Malone (Jeremy Northam) who can provide a conveinent gang of men to fight off or kill any employee who get's in his way. This leads to an incredible showdown between Rafelson and Hale. Along for the vivid ride are John Malkovich who portrays one of Rafelson's vicious men who are appointed to keep watch of the workers, and Charlotte Rampling who seems to be the only women to appear more than once playing Rafelson's alarmed wife. She fears him like never before, but what will she do about it?.
The incomparable John Williams delivers his masterful original scores for the film. It is a film in which music was given so much responsibility for creating mood. Never leaving any questions un-answered, Hale's Inferno will leave the audience satisfied until the very shocking end.
For Your Consideration:
Best Picture
Best Director - Steven Soderbergh
Best Actor - Liam Neeson
Best Supporting Actor - Ralph Fiennes
Best Supporting Actor - Ian McKellan
Best Supporting Actress - Charlotte Rampling
Best Original Screenplay - Stephen Gaghan
Hale's Inferno
Directed by Steven Soderbergh
Written by Stephen Gaghan
Produced by Scott Rudin & Steven Soderbergh
Executive Produced by Steven Spielberg
Distributed by Miramax Films
Film Editing by Dylan Tichenor
Cinematography by Robert Elswit
Costume Design by Anna B. Shepherd
Make-Up by Sian Grigg
Art Direction by Nazzareno Piana & Luca Tranchino
Original Score by John Williams
Principal Cast
Liam Neeson - Jefferson R. Hale
Ralph Fiennes - Gideon A. Hale
Ian McKellan - Charles Rafelson
John Malkovich - Mitch Howard
Paddy Considine - John Marcus
Charlotte Rampling - Lillian Rafelson
Jeremy Northam - Luther Malone
Tagline: "Justice will be Done"
Plot/Synopsis:
It's a different society here in England. We are just about entering the 20th century and I fear that by that time I will dissolve into thin air. I will lose the little I have. The reason to why I say this now is all due to the fact that years ago the use of man has been limited. These days technology has improved rapidly. Many men believe that the machines have taken over the work. I am nearly fifty-five years old and the world is not good to the elderly folk. My much younger brother Gideon and I have been estranged from each other for quite a long time, but ironically we both landed the same job here in Rafelson Factories. He too is suffering the same fate as well as all the other employees of Charles Rafelson; who are forced to feed loads of coal into the mouths of these small ovens so that the very machines that demote us function. It's an inferno for me.
I yearn to get out, but where will I head. Today the vicious demons that carry around wips and guns killed a close friend of mine. His name was John Marcus. Apparently he went mad and destroyed a couple of small machines in the factory and also tried to murder Rafelson. He was shot down by one of the demons I speak of, Mitch Howard; In front for all the employees to see. The bullet plunged his forehead. Rumors spread that he was denied money to help an ailing family member. He must have been very desperate to go to him. Everyone knows that Charles is not a loving man. His form of love can be seen in the bruises that his wife carries around on her face. The poor women goes threw embarassment when she is seen in public. One could see her efforts of trying to cover the marks. For me she's just one example of Rafelson's cruelty. John Marcus was a human being with a family and the thought that I could be on my knees one day knowing my fate always crosses my mind. So to a tragic event, my brother and I have been spreading the word around to the other men informing them to join forces and start a union. We will take charge of the factory and shut it down completely. We will strike, and in return we ask for justice. Justice that will allow us to have better pay and protection because in the this world, that's all I need to survive and I will survive this vicious place.
What Will The Press Say:
A stirring look at the life of a hard working human being, Hale's Inferno takes the audience on a visceral, astounding look at the power that can unfold when one is facing situations of life and death. During the late eighteen hudrends, men work side by side in cramped shafts, under terrible conditions. This scene opens the film and conveys efficiently to the audience as the film's lead Liam Neeson looks upon the fire with retaliation on his eyes. As Jefferson Hale, Neeson navigates the complex and difficult personalities of an unsatisfied employee of a large industry as he struggles to cope with the world that he now hates.
Tall, middle-aged, and misanthropic, Liam Neeson's Jefferson R. Hale stands and delivers a searing portrait of soul-rotting ambition. An ambition to break free of the man he is; a hard-working slave and poor. He would do anything to break free from the society of people who catch deadly diseases everyday and throw their waste right out the window without hesitation, and that means the film's spirit is as black as the underground inferno that guides Hale''s every movement. Muscularly directed by Steven Soderbergh & masterfully written by Stephen Gaghan, Hale's Inferno burns its imagery onto your brain and alters your state. It's an original, and what it has to say about the world is rarely pretty. Along with Neeson is his Schindler's List co-star Ralph Fiennes who portrays Jefferson's brother, Gideon. A great comeback for Fiennes, who delivers more than what we expect for this particular role. At times Gideon seems un-trustworthy and we can some what feel his hate for his brother. This alone brings a interesting edge to his character. It would be tough to see who succeeds if Fiennes finds himself battling veteran Ian McKellen if the two men are recognized for supporting actor consideration. McKellen's Charles Rafelson is one villian to remember as he rules Rafelson Industries and everyone around him with an iron fist. His actions are deadly in the end, and he goes to businessman Luther Malone (Jeremy Northam) who can provide a conveinent gang of men to fight off or kill any employee who get's in his way. This leads to an incredible showdown between Rafelson and Hale. Along for the vivid ride are John Malkovich who portrays one of Rafelson's vicious men who are appointed to keep watch of the workers, and Charlotte Rampling who seems to be the only women to appear more than once playing Rafelson's alarmed wife. She fears him like never before, but what will she do about it?.
The incomparable John Williams delivers his masterful original scores for the film. It is a film in which music was given so much responsibility for creating mood. Never leaving any questions un-answered, Hale's Inferno will leave the audience satisfied until the very shocking end.
For Your Consideration:
Best Picture
Best Director - Steven Soderbergh
Best Actor - Liam Neeson
Best Supporting Actor - Ralph Fiennes
Best Supporting Actor - Ian McKellan
Best Supporting Actress - Charlotte Rampling
Best Original Screenplay - Stephen Gaghan
The House of Bernarda Alba
Author(s): Corey (SD)
The House of Bernarda Alba
Directed By: Mike Nichols
Written By: Tony Kushner
Based on the Play By: Federico Garcia Lorca
Produced By: Mike Nichols, John Calley, and Sarah Polley
Music By: James Newton Howard
Cast:
Bernarda Alba: Meryl Streep
Angustias: Cate Blanchett
Adela: Emily Blunt
La Poncia: Diane Venora
Magdalena: Amy Ryan
Amelia: Leah Curney
Martirio: Sarah Polley
Maria Josefa: Angela Lansbury
Synopsis:
After the death of her second husband, Bernarda Alba imposes a period of mourning on her household that is to last eight years. Such a period of mourning has been traditional in her family. Along with Bernarda, though, her five daughters are forced to mourn along with her.
Ranging from ages 20 to 39, the daughters have lived a life which has been controlled by their mother to an excessive degree. The period of mourning, though, isolates the daughters further and tension begins to mount within the household.
Angustias, the eldest daughter, has inherited a large sum of money from the death of her farther. The wealth, in turn, attracts the young and attractive Pepe Romano. The two are to be married.
Within the walls of the hot and confined house, though, it is revealed that Adela, the youngest of the daughters, has been conducting an illicit affair with Romano. Adela’s relationship with her mother and sisters becomes more strained as she struggles to keep everything a secret. Soon, Adela refuses to follow any of the instructions from her mother.
Adela’s secret, though, is held only by Poncia, the maid. Still, as the confines of the house begin to wear on the sisters, everything unravels and Adela’s biggest secret of all threatens to tear the family apart.
What the Press Would Say:
Director Mike Nichols once again proves that his best projects come while working with adapted material, especially that of the stage. His first work, Who’s Afraid of Virginia Woolf? was, of course, a stage adaptation and The House of Bernarda Alba is his best since then. He handles the material masterfully.
The cast has probably the biggest responsibility of making the movie work, and they do it. Interestingly, all of the actresses have had some stage presence at one time or another, and it shows. All deliver interesting, well fleshed passionate performances, but it’s the iconic pairing of Streep and Blanchett that makes much of the film work. Diane Venora is great though, and should receive the Oscar buzz the eluded her for her screen work in Heat.
The material is hard to handle, but Tony Kushner does wonders. The play itself explores themes of repression, passion, and conformity, and Kushner’s adaptation does a great job covering all points. Lorca’s play was originally a foreshadowing of Fransico Franco’s fascist regime, but still the material works good in the hands of such a master.
The film, itself, is not strictly a period piece, and not merely an adaptation. Rather, it stands as a stunning work for an immensely talented group of individuals. As a film, it helps show what repression does to individuals and helps to show that secrets and deception will, before long, begin to tear at all of us.
Awards Consideration:
Best Picture
Best Director: Mike Nichols
Best Actress: Meryl Streep
Best Supporting Actress: Cate Blanchett
Best Supporting Actress: Diane Venora
Best Adapted Screenplay: Tony Kushner
The House of Bernarda Alba
Directed By: Mike Nichols
Written By: Tony Kushner
Based on the Play By: Federico Garcia Lorca
Produced By: Mike Nichols, John Calley, and Sarah Polley
Music By: James Newton Howard
Cast:
Bernarda Alba: Meryl Streep
Angustias: Cate Blanchett
Adela: Emily Blunt
La Poncia: Diane Venora
Magdalena: Amy Ryan
Amelia: Leah Curney
Martirio: Sarah Polley
Maria Josefa: Angela Lansbury
Synopsis:
After the death of her second husband, Bernarda Alba imposes a period of mourning on her household that is to last eight years. Such a period of mourning has been traditional in her family. Along with Bernarda, though, her five daughters are forced to mourn along with her.
Ranging from ages 20 to 39, the daughters have lived a life which has been controlled by their mother to an excessive degree. The period of mourning, though, isolates the daughters further and tension begins to mount within the household.
Angustias, the eldest daughter, has inherited a large sum of money from the death of her farther. The wealth, in turn, attracts the young and attractive Pepe Romano. The two are to be married.
Within the walls of the hot and confined house, though, it is revealed that Adela, the youngest of the daughters, has been conducting an illicit affair with Romano. Adela’s relationship with her mother and sisters becomes more strained as she struggles to keep everything a secret. Soon, Adela refuses to follow any of the instructions from her mother.
Adela’s secret, though, is held only by Poncia, the maid. Still, as the confines of the house begin to wear on the sisters, everything unravels and Adela’s biggest secret of all threatens to tear the family apart.
What the Press Would Say:
Director Mike Nichols once again proves that his best projects come while working with adapted material, especially that of the stage. His first work, Who’s Afraid of Virginia Woolf? was, of course, a stage adaptation and The House of Bernarda Alba is his best since then. He handles the material masterfully.
The cast has probably the biggest responsibility of making the movie work, and they do it. Interestingly, all of the actresses have had some stage presence at one time or another, and it shows. All deliver interesting, well fleshed passionate performances, but it’s the iconic pairing of Streep and Blanchett that makes much of the film work. Diane Venora is great though, and should receive the Oscar buzz the eluded her for her screen work in Heat.
The material is hard to handle, but Tony Kushner does wonders. The play itself explores themes of repression, passion, and conformity, and Kushner’s adaptation does a great job covering all points. Lorca’s play was originally a foreshadowing of Fransico Franco’s fascist regime, but still the material works good in the hands of such a master.
The film, itself, is not strictly a period piece, and not merely an adaptation. Rather, it stands as a stunning work for an immensely talented group of individuals. As a film, it helps show what repression does to individuals and helps to show that secrets and deception will, before long, begin to tear at all of us.
Awards Consideration:
Best Picture
Best Director: Mike Nichols
Best Actress: Meryl Streep
Best Supporting Actress: Cate Blanchett
Best Supporting Actress: Diane Venora
Best Adapted Screenplay: Tony Kushner
I Am the Bat-Man
Author(s): George (GA)
I Am the Bat-Man
Directed by: Spike Jonze
Written by: Spike Jonze
Music by: Thomas Newman
Cast:
Jim Carrey as Tim Crawford/ The Bat-Man
Sam Elliott as Police Chief Colin Shickadance
Alison Lohman as Jill
Cary-Hiroyuki Tagawa as “Judo Master” Yakamura
Tim Blake Nelson as CNN reporter Mark Matheson
Sean Bean as Prosecutor Nathan Kelvin
And George Clooney as Defense Attorney Blake Johnson
Tagline: “He changed things… Forever.”
Synopsis:
Where do we begin?
Entrepreneur/inventor Tim Crawford was sitting in his one room apartment watching the evening news. He had just finished trying to sell his new invention “The Ninja Star” which he made all by himself. People laughed at him when he told them about his inventions (after all they were all from his favorite superhero Batman) but he never stopped trying. His neighbor Jill asked why he kept doing this line of “work”. Tim honestly didn’t know, but knew he could help people if he really tried.
Now, as he sat watching the horribly depressing evening news, he started to wonder. Why isn’t anyone actually trying to stop crime on their own? Sure, there was the police but no ONE single person ever went completely vigilante on crime, like Batman. Tim looked at all his inventions, and smiled. He had a black sweatshirt, black pants, and a batman mask he got on his twelfth birthday. Why couldn’t HE be that one guy who could stop crime…?
Police Chief Colin Shickadance was at his two story, three bedroom house where his wife was getting ready for bed and he was sitting on the bed drinking his fifth beer. He turned on his television and turned to the city’s local news. He was amazed to see that the top story was that of a man dressing up as comic book “hero” Batman. Apparently he had caught two robbers in the act of theft and tied them up after knocking them out. Shickadance was stunned. In his 27 years on the force he never saw anyone go solo against crime. No one was that stupid. That was the kind of stupidness that was like if someone meant to say Shickadance’s name wrong. That was the epitome of stupidness. He growled as he went to bed. He would deal with this in the morning.
Later in the week, Tim went to take Judo lessons from “Judo Master” Yakamura. He couldn’t expect to fight crime by just copying what he did in the movies. After two weeks he was ready, but “Judo Master” Yakamura had to settle for an I.O.U. instead of cash from Tim.
Soon, Tim, I mean “The Bat-Man”, was all over the news. It wasn’t a month later until CNN reporter Mark Matheson picked up the story and broadcasted it all over the US. Jill had been giving less and less money to Tim to pay his rent as he started to get a steady job at a local grocery store and Yakamura finally got his pay. Meanwhile, Shickadance was getting angrier and angrier. Not only were new recruits constantly mispronouncing name, but the whole “Bat-Man” thing was getting out of hand. No one citizen has the right to do the police’s work. No One! He had to stop this guy before they started calling him instead of the police for help. It was simple. Trap The Bat-Man.
On a routine night, Tim was out and about looking for criminals to stop and things like that, when all of a sudden he saw Jill in her apartment with a gun to her head. He sped over there to see if she was all right, but when he got there he saw Police Chef Shickarance (or –mance , or –lance or something like that) and was immediately knocked out.
Two days later, Tim was exposed to the world as “The Bat-Man” and was the center of a new media sensation. When Mark Matheson received the news he was horrified and became the center of the “Free The Bat-Man” club dedicated to getting this citizen out of jail. The country fell in love with Tim/The Bat-Man because he genuinely was trying to do something good in the world. Web sites and books were written about him and he was soon put on trial. Shickadance was able to hire high-powered prosecutor Nathan Kelvin and get him to come all the way from Britain to make sure that this nut job would stay at an asylum for the rest of his life. Matheson was able to get into contact with smooth talking defense attorney Blake Johnson and got him to take Tim’s case. Kelvin had given Tim a slew of charges, and he and Johnson had to figure out how to make the jury believe they weren’t true.
After a grueling three weeks Tim is finally put on the stand. He and Johnson had gone through a lot to prove his innocence, but Kelvin had gotten Jill to testify against him and claimed that she didn’t know he was “The Bat-Man”. Johnson had done all he could and so had Tim. Tim finally is able to speak for himself and says that he had only done good for the city and had not made any innocent people endangered or injured. What he did was to try and help his decaying city and country stop the crime that was suffocating the people around him. The jury was ready to reach a decision. The whole country was tuning in. Tim was ready for his fate. The verdict came out: NOT GUILTY!
What the Press Would Say:
Spike Jonze’s new comedy takes weirdness and the effect of public opinion to another level. “I Am the Bat-Man” is funny, and occasionally gut-wrenching look, at the effect of how one man can send this nation into a downright frenzy. The film also has many references to new Batman film, The Dark Knight and pokes fun at some of its trailer’s most used lines (the tagline is an obvious example). Jim Carrey leads this all-star cast as the multi-dimensional and lovable Tim Crawford aka “The Bat-Man”. Sam Elliott pulls out a downright mean and gutsy performance as the ill-tempered and oddly named Police Chief Shickadance. He gives a comedic edge to the film (the mere saying of his name can cause you to laugh) and is never boring on screen. Alison Lohman gives a believable and emotional performance, as Cary-Hiroyuki Tagawa gives a funny and sometimes silly performance as “Judo Master” Yakamura. Tim Blake Nelson also gives a good performance for what he is given, but it is Sean Bean and George Clooney who give two of the best performances in the film. Bean excels as the cold and seemingly heartless prosecutor Nathan Kelvin. His many monologues gives him plenty of time to see how capable he really is and his presence alone gives a cold and dramatic tone the film. Clooney, on the other hand, brings comedy back into the film as the fast talking and suave defense attorney. He and Carrey have a very good cause and effect relationship that puts the film back on a light note. The cinematography gives some looks obviously taken from the previous batman films, and Carrey’s suit is actually less of a batman costume than ever. He has a tapped Batman symbol on his chest, which he cuts out of a magazine, and gets a black blanket he has as his cape. Overall, Jonze delivers his own touch and even make’ “the city” have no name just so it can have a slightly ominous touch. The last third of the film really makes you think of how many rights a citizen really has, and how they should be treated. A great script and performances also makes this a very witty, silly and sometimes very clever film that pokes fun at America, the media, and even the average superhero fan!
Nominations:
Best Picture
Best Actor (Jim Carrey)
Best Supporting Actor (Sean Bean)
Best Director (Spike Jonze)
Best Original Screenplay (Spike Jonze)
I Am the Bat-Man
Directed by: Spike Jonze
Written by: Spike Jonze
Music by: Thomas Newman
Cast:
Jim Carrey as Tim Crawford/ The Bat-Man
Sam Elliott as Police Chief Colin Shickadance
Alison Lohman as Jill
Cary-Hiroyuki Tagawa as “Judo Master” Yakamura
Tim Blake Nelson as CNN reporter Mark Matheson
Sean Bean as Prosecutor Nathan Kelvin
And George Clooney as Defense Attorney Blake Johnson
Tagline: “He changed things… Forever.”
Synopsis:
Where do we begin?
Entrepreneur/inventor Tim Crawford was sitting in his one room apartment watching the evening news. He had just finished trying to sell his new invention “The Ninja Star” which he made all by himself. People laughed at him when he told them about his inventions (after all they were all from his favorite superhero Batman) but he never stopped trying. His neighbor Jill asked why he kept doing this line of “work”. Tim honestly didn’t know, but knew he could help people if he really tried.
Now, as he sat watching the horribly depressing evening news, he started to wonder. Why isn’t anyone actually trying to stop crime on their own? Sure, there was the police but no ONE single person ever went completely vigilante on crime, like Batman. Tim looked at all his inventions, and smiled. He had a black sweatshirt, black pants, and a batman mask he got on his twelfth birthday. Why couldn’t HE be that one guy who could stop crime…?
Police Chief Colin Shickadance was at his two story, three bedroom house where his wife was getting ready for bed and he was sitting on the bed drinking his fifth beer. He turned on his television and turned to the city’s local news. He was amazed to see that the top story was that of a man dressing up as comic book “hero” Batman. Apparently he had caught two robbers in the act of theft and tied them up after knocking them out. Shickadance was stunned. In his 27 years on the force he never saw anyone go solo against crime. No one was that stupid. That was the kind of stupidness that was like if someone meant to say Shickadance’s name wrong. That was the epitome of stupidness. He growled as he went to bed. He would deal with this in the morning.
Later in the week, Tim went to take Judo lessons from “Judo Master” Yakamura. He couldn’t expect to fight crime by just copying what he did in the movies. After two weeks he was ready, but “Judo Master” Yakamura had to settle for an I.O.U. instead of cash from Tim.
Soon, Tim, I mean “The Bat-Man”, was all over the news. It wasn’t a month later until CNN reporter Mark Matheson picked up the story and broadcasted it all over the US. Jill had been giving less and less money to Tim to pay his rent as he started to get a steady job at a local grocery store and Yakamura finally got his pay. Meanwhile, Shickadance was getting angrier and angrier. Not only were new recruits constantly mispronouncing name, but the whole “Bat-Man” thing was getting out of hand. No one citizen has the right to do the police’s work. No One! He had to stop this guy before they started calling him instead of the police for help. It was simple. Trap The Bat-Man.
On a routine night, Tim was out and about looking for criminals to stop and things like that, when all of a sudden he saw Jill in her apartment with a gun to her head. He sped over there to see if she was all right, but when he got there he saw Police Chef Shickarance (or –mance , or –lance or something like that) and was immediately knocked out.
Two days later, Tim was exposed to the world as “The Bat-Man” and was the center of a new media sensation. When Mark Matheson received the news he was horrified and became the center of the “Free The Bat-Man” club dedicated to getting this citizen out of jail. The country fell in love with Tim/The Bat-Man because he genuinely was trying to do something good in the world. Web sites and books were written about him and he was soon put on trial. Shickadance was able to hire high-powered prosecutor Nathan Kelvin and get him to come all the way from Britain to make sure that this nut job would stay at an asylum for the rest of his life. Matheson was able to get into contact with smooth talking defense attorney Blake Johnson and got him to take Tim’s case. Kelvin had given Tim a slew of charges, and he and Johnson had to figure out how to make the jury believe they weren’t true.
After a grueling three weeks Tim is finally put on the stand. He and Johnson had gone through a lot to prove his innocence, but Kelvin had gotten Jill to testify against him and claimed that she didn’t know he was “The Bat-Man”. Johnson had done all he could and so had Tim. Tim finally is able to speak for himself and says that he had only done good for the city and had not made any innocent people endangered or injured. What he did was to try and help his decaying city and country stop the crime that was suffocating the people around him. The jury was ready to reach a decision. The whole country was tuning in. Tim was ready for his fate. The verdict came out: NOT GUILTY!
What the Press Would Say:
Spike Jonze’s new comedy takes weirdness and the effect of public opinion to another level. “I Am the Bat-Man” is funny, and occasionally gut-wrenching look, at the effect of how one man can send this nation into a downright frenzy. The film also has many references to new Batman film, The Dark Knight and pokes fun at some of its trailer’s most used lines (the tagline is an obvious example). Jim Carrey leads this all-star cast as the multi-dimensional and lovable Tim Crawford aka “The Bat-Man”. Sam Elliott pulls out a downright mean and gutsy performance as the ill-tempered and oddly named Police Chief Shickadance. He gives a comedic edge to the film (the mere saying of his name can cause you to laugh) and is never boring on screen. Alison Lohman gives a believable and emotional performance, as Cary-Hiroyuki Tagawa gives a funny and sometimes silly performance as “Judo Master” Yakamura. Tim Blake Nelson also gives a good performance for what he is given, but it is Sean Bean and George Clooney who give two of the best performances in the film. Bean excels as the cold and seemingly heartless prosecutor Nathan Kelvin. His many monologues gives him plenty of time to see how capable he really is and his presence alone gives a cold and dramatic tone the film. Clooney, on the other hand, brings comedy back into the film as the fast talking and suave defense attorney. He and Carrey have a very good cause and effect relationship that puts the film back on a light note. The cinematography gives some looks obviously taken from the previous batman films, and Carrey’s suit is actually less of a batman costume than ever. He has a tapped Batman symbol on his chest, which he cuts out of a magazine, and gets a black blanket he has as his cape. Overall, Jonze delivers his own touch and even make’ “the city” have no name just so it can have a slightly ominous touch. The last third of the film really makes you think of how many rights a citizen really has, and how they should be treated. A great script and performances also makes this a very witty, silly and sometimes very clever film that pokes fun at America, the media, and even the average superhero fan!
Nominations:
Best Picture
Best Actor (Jim Carrey)
Best Supporting Actor (Sean Bean)
Best Director (Spike Jonze)
Best Original Screenplay (Spike Jonze)
In The Land of Eden
Author(s): Ryne (OR)
In the Land of Eden
Directed by Brian DePalma
Written by Stephen Gaghan
Cast:
Ayelet Zurer as Safia Negara
Shohreh Aghdashloo as Nina Aghajan
Jonathan Ahdout as Rahman Negara
Aramis Knight as Hafeez Negara
Homayoun Ershadi as Fr. Rawand al-Maliki
Cliff Curtis as Hani Negara
Emile Hirsch as Charlie Rose
Jamie Foxx as Adam Mackie
Jackie Earle Haley as Timothy Wolcott
Jeremy Piven as Dean Novak
Tagline: "In the Birth Place of Faith, Differences Matter"
Synopsis:
Prologue: Once integrated peacefully under the rule of Saddam Hussein, Iraq's Christian population has been decimated since the U.S.-led invasion in 2003. Muslim extremists have murdered priests, burned churches, pillaged Christian-owned shops, and destroyed homes. Priests in Iraq estimate that fewer than 500,000 Christians remain, about a third of the number as before 2003.
Prior to the overthrowing of Saddam Hussein, the Negara family lived peacefully in the city of Balad running a local liquor store, a common practice for Christian families. Hani (Curtis) would wake up early every morning to open shop while Safia (Zurer) stayed home to take care of her aging mother Nina (Aghdashloo), and the couple's two children, 8 year old Hafeez (Knight) and 16 year old Rahman (Ahdout), went to school. Every Sunday, the family would attend church led by Fr. Rawand al-Maliki (Ershadi), who converted to Christianity during his teenage years. Life was good for the Negara's that was until April 9, 2003 when Baghdad fell and the rule Saddam Hussein ended.
In a matter of day, anti-Christian rioters began to take to the streets of Balad. They quickly moved through the city, setting fire to any Christian store they could find. The Negara's liquor store was no exception. They burned the store down calling it the work of Lblis, devil, and when Hani tried to stop them, they shot him several times in the head leaving him dead in the streets. When Hani did not come home that night, Safia and Rahman went to the store in search of him. Safia could not believe her eyes. They began to swell with tears while Rahman attempted to comfort his mother. Balad was no longer safe for the Negara family.
With no place else to turn to, Safia packs and takes her mother and boys to the church where they will stay until the riots die down. Once they die down, Safia hopes to try to flee to Syria to start a new life. Fr. al-Maliki welcomes them, but urges them to leave as soon as possible because of the growing threat to the church. In the middle of the second night, a loud noise rings from outside, waking Safia and Nina from their sleep. The two rush outside to find a fiery blaze coming from Fr. al-Maliki's home. A suicide bomber has driven his car into the house and blown it up.
Just as Safia and Nina turn around to go back to the church, lights aim at them from all around. This is sure to be the end. The lights begin to approach the women revealing the faces of four United States soldiers. Charlie Rose (Hirsch), the young idealist, Adam Mackie (Foxx), the cocky and arrogant rebel, Timothy Wolcott (Haley), who does what he is told and speaks very little, and Dean Novak (Piven), the sarcastic jokester. The soldiers have been trapped in the "hot zone" of Balad for several hours unable to get any help. Safia tells the soldiers the situation her family is in. The soldiers agree to take them to the air base right outside the city where they can be transported to safety. The problem is the dawn is rising and the riots will start again very soon. The soldiers and Negara must move quickly while remaining unnoticed to get out of Balad alive.
What the Press would say:
Brian DePalma's new film "In the Land of Eden" is a modern masterpiece that forces the audience to look past our prejudice of the Iraq War and to the people affected the most. It is a haunting movie that will suck its audience in and leave them shaken. In a Christian society, such as the US, it is difficult to think of a place where freedom of religion does not exist. Sadly, this is the case with Iraq where many consider to be the birthplace of religion. Brian DePalma's direction does a superb job at taking us to the horrors of Iraq and not apologizing for it. He asks each one of his actors to challenge themselves and they deliver magnificently starting with Ayelet Zurer. Zurer, one of Israel's most acclaimed actresses, gives a performance that will leave you stunned. It is very rare that a lead performance commands every scene, but Zurer's performance will leave your breathless. She transports you effortlessly through the heart-break and the joy; through life and death. It is simply a majestic performance that should be her breakout in the United States and for the Academy. Shohreh Aghdashloo gives an extremely powerful performance as Safia's aging mother Nina. Nina is a strong independent woman and it pains her to rely on others to help her as she grows old. Aghdashloo portrays these emotions superbly. She is able to do the subtle things that merit a great performance. The child actors, Jonathan Ahdout and Aramis Knight, give performances that are unbecoming of their age. They are mature and display a wide range of emotion. I see a bright future for each of them. The four US soldiers each give very solid performances that compliment each other perfectly. The best of them, however, comes from young Emile Hirsch who gives a ground breaking performance. Charlie Rose is everything a soldier should not be. He is unsure of himself, too emotional, some might say he cares too much about the people he fights. In a world where "macho" is everything, it is almost as if Hirsch is telling everyone that it is okay to be that way; that its "macho" to be brave enough to show your emotions and tell people how you feel. It is truly unbelievable. Jeremy Piven is also great in a role for the ages. He is sarcastic and witty as usual that acts as an excellent comic relief for the powerful last act. Overall, the strong performances and rich direction make In the Land of Eden one of the best movies of the year.
FYC:
Best Picture
Best Director (Brian DePalma)
Best Actress (Ayelet Zurer)
Best Supporting Actress (Shohreh Aghdashloo)
Best Supporting Actor (Emile Hirsch)
Best Supporting Actor (Jeremy Piven)
Best Original Screenplay
In the Land of Eden
Directed by Brian DePalma
Written by Stephen Gaghan
Cast:
Ayelet Zurer as Safia Negara
Shohreh Aghdashloo as Nina Aghajan
Jonathan Ahdout as Rahman Negara
Aramis Knight as Hafeez Negara
Homayoun Ershadi as Fr. Rawand al-Maliki
Cliff Curtis as Hani Negara
Emile Hirsch as Charlie Rose
Jamie Foxx as Adam Mackie
Jackie Earle Haley as Timothy Wolcott
Jeremy Piven as Dean Novak
Tagline: "In the Birth Place of Faith, Differences Matter"
Synopsis:
Prologue: Once integrated peacefully under the rule of Saddam Hussein, Iraq's Christian population has been decimated since the U.S.-led invasion in 2003. Muslim extremists have murdered priests, burned churches, pillaged Christian-owned shops, and destroyed homes. Priests in Iraq estimate that fewer than 500,000 Christians remain, about a third of the number as before 2003.
Prior to the overthrowing of Saddam Hussein, the Negara family lived peacefully in the city of Balad running a local liquor store, a common practice for Christian families. Hani (Curtis) would wake up early every morning to open shop while Safia (Zurer) stayed home to take care of her aging mother Nina (Aghdashloo), and the couple's two children, 8 year old Hafeez (Knight) and 16 year old Rahman (Ahdout), went to school. Every Sunday, the family would attend church led by Fr. Rawand al-Maliki (Ershadi), who converted to Christianity during his teenage years. Life was good for the Negara's that was until April 9, 2003 when Baghdad fell and the rule Saddam Hussein ended.
In a matter of day, anti-Christian rioters began to take to the streets of Balad. They quickly moved through the city, setting fire to any Christian store they could find. The Negara's liquor store was no exception. They burned the store down calling it the work of Lblis, devil, and when Hani tried to stop them, they shot him several times in the head leaving him dead in the streets. When Hani did not come home that night, Safia and Rahman went to the store in search of him. Safia could not believe her eyes. They began to swell with tears while Rahman attempted to comfort his mother. Balad was no longer safe for the Negara family.
With no place else to turn to, Safia packs and takes her mother and boys to the church where they will stay until the riots die down. Once they die down, Safia hopes to try to flee to Syria to start a new life. Fr. al-Maliki welcomes them, but urges them to leave as soon as possible because of the growing threat to the church. In the middle of the second night, a loud noise rings from outside, waking Safia and Nina from their sleep. The two rush outside to find a fiery blaze coming from Fr. al-Maliki's home. A suicide bomber has driven his car into the house and blown it up.
Just as Safia and Nina turn around to go back to the church, lights aim at them from all around. This is sure to be the end. The lights begin to approach the women revealing the faces of four United States soldiers. Charlie Rose (Hirsch), the young idealist, Adam Mackie (Foxx), the cocky and arrogant rebel, Timothy Wolcott (Haley), who does what he is told and speaks very little, and Dean Novak (Piven), the sarcastic jokester. The soldiers have been trapped in the "hot zone" of Balad for several hours unable to get any help. Safia tells the soldiers the situation her family is in. The soldiers agree to take them to the air base right outside the city where they can be transported to safety. The problem is the dawn is rising and the riots will start again very soon. The soldiers and Negara must move quickly while remaining unnoticed to get out of Balad alive.
What the Press would say:
Brian DePalma's new film "In the Land of Eden" is a modern masterpiece that forces the audience to look past our prejudice of the Iraq War and to the people affected the most. It is a haunting movie that will suck its audience in and leave them shaken. In a Christian society, such as the US, it is difficult to think of a place where freedom of religion does not exist. Sadly, this is the case with Iraq where many consider to be the birthplace of religion. Brian DePalma's direction does a superb job at taking us to the horrors of Iraq and not apologizing for it. He asks each one of his actors to challenge themselves and they deliver magnificently starting with Ayelet Zurer. Zurer, one of Israel's most acclaimed actresses, gives a performance that will leave you stunned. It is very rare that a lead performance commands every scene, but Zurer's performance will leave your breathless. She transports you effortlessly through the heart-break and the joy; through life and death. It is simply a majestic performance that should be her breakout in the United States and for the Academy. Shohreh Aghdashloo gives an extremely powerful performance as Safia's aging mother Nina. Nina is a strong independent woman and it pains her to rely on others to help her as she grows old. Aghdashloo portrays these emotions superbly. She is able to do the subtle things that merit a great performance. The child actors, Jonathan Ahdout and Aramis Knight, give performances that are unbecoming of their age. They are mature and display a wide range of emotion. I see a bright future for each of them. The four US soldiers each give very solid performances that compliment each other perfectly. The best of them, however, comes from young Emile Hirsch who gives a ground breaking performance. Charlie Rose is everything a soldier should not be. He is unsure of himself, too emotional, some might say he cares too much about the people he fights. In a world where "macho" is everything, it is almost as if Hirsch is telling everyone that it is okay to be that way; that its "macho" to be brave enough to show your emotions and tell people how you feel. It is truly unbelievable. Jeremy Piven is also great in a role for the ages. He is sarcastic and witty as usual that acts as an excellent comic relief for the powerful last act. Overall, the strong performances and rich direction make In the Land of Eden one of the best movies of the year.
FYC:
Best Picture
Best Director (Brian DePalma)
Best Actress (Ayelet Zurer)
Best Supporting Actress (Shohreh Aghdashloo)
Best Supporting Actor (Emile Hirsch)
Best Supporting Actor (Jeremy Piven)
Best Original Screenplay
The Monster of Florence
Author(s): Michael (OK)
The Monster of Florence
Directed by Jill Hillcoat
Adapted by Nick Cave
Original Score by Nick Cave
Art Direction by James D. Bissell and Jan Pascale
Costume Design by Jacqueline Durran
Principal Cast:
Adrien Brody-Mario Spezi
Richard Roxburgh- Douglas Preston
Christian Clemenson- The Monster
Melora Walters- Barbara Locci
Sacha Baron Cohen- Stefano Mele
Nicky Katt-Carmelo Cutrona
Jonah Bobo- Joshua Locci
Tagline: “Park with fear…”
Plot/Synopsis: 11:34 PM, August 21, 1968- A child on a farmer’s front porch in tears. As the farmer opens the door, all the child mutters is, “My mother and my uncle are dead.”
June 7, 1981- Mario Spezi is a rising journalist in Florence, Italy and happened to be covering the crime desk that day when a call came through. A couple had been killed on a hill in the Tuscan countryside in their parked car. When he arrived at the scene, Mario was surprised to find the woman completely naked and her vagina missing, along with a bullet in both of the victims’ temples. Upon further research, this killing had a striking similarity to a case back in the summer of 1968.
10:56 PM, August 21, 1968-
Things to Do:
1. Get Rubber Gloves
2. Load the Gun
3. Find a Car
4. Kill the Man
5. Kill the Woman
6. Screw Her
7. Remove It
July 22, 1981- Another homicide, yet again in a parked car, and with the same bullets used as in the last two killings, .22 calibers. After writing another article the now successful Mario met American writer, Douglas Preston, who soon became his partner in research involving The Monster of Florence (a name Mario had given the serial killer). They became very close friends as they looked for the Monster.
10:42, August 21, 1968- Barbara may have been having affair, but her husband Stefano didn’t need to know about it. For all he knew she was just going to the movies with her estranged brother Carmelo and their son Joshua. Joshua was under the same impression, but when he fell asleep in the car, the two lovers decided to have a quickie on a hill just off the road.
September 6, 1981- A fourth killing occurs and the two comrades finally figure out the pattern to the Monsters’ massacres. Pinpointing the next one in 45 days from now, October 20, in the meantime though, the pair interviews the widower of the first female victim, Stefano Mele. Throughout their investigation, everything has pointed to him as the killer…but their consultation with him goes smoothly, leaving the pair only one choice, to camp out and wait for the killer on October 20th.
11:16 PM, August 21, 1968- He was done. He’d done all he wanted with the corpse, but what to do with the child was the main question. Thankfully, the boy was still asleep, but what was he going to do if he woke up. Driving along, he discovered a nearby farm, the porch was well lit, and if looked as if there was someone awake at the house. He just had to be discreet, as to not get caught.
October 20, 1981- It was dark, which was obvious. The partners in crime could hardly see each other as they waiting in the car, pretending to be involved in some act that would attract the Monster to their car. It seemed like hours, where was he, he should have been their by now. They started hearing noises, but nothing was seen in all the darkness…
What the Press Would Say: Based partially on the book of the same name, The Monster of Florence is the enthralling tale of; yep you guessed it The Monster of Florence, Italy that is, a well sought after rapist/murderer. Directed by Jill Hillcoat, this thriller is Oscar bound for sure. Mr. Hillcoat has such an eye for direction that is displayed on numerous occasions throughout the film, filmed on location in Italy, the film is simply beautiful to look at. Adrien Brody is exquisite in his best performance since The Pianist. Brody brings so much to the role that you can’t help but enjoy his time on the screen. Richard Roxburgh is also especially good in the film and gives a strong supporting performance. Not outdone by his costars he holds his own on the screen, which is highly respectable in this all star ensemble. Sacha Baron Cohen is also splendid in his role, taking a turn for the dramatic this time; Borat proves he has acting skills. Melora Walters is deceivingly three-dimensional in her role as mother/wife/adulterer and gives the performance of her career. Not once this year have a seen such a female performance on the screen, the tears seem real, though it is apparent they are not, and the performance is something that seems to be from the heavens.
The absolute standout performer however is Christian Clemenson, who is brilliant as the creepy Monster. His performance is truly spellbinding in a character that rivals Hannibal Lector as far as villains are concerned. He is absolutely dazzling on screen, and at times you almost root for him over Brody. In any case, if he doesn’t win an Oscar, the system is rigged, excellenence is hard to come by these days but Mr. Clemenson’s performance is as close to perfection as one can get. With a spectacular story, mesmerizing performances, and astounding scenery, The Monster of Florence is a surprising must-see and the Best film of the year!
FYC:
Best Picture
Best Director- Jill Hillcoat
Best Actor- Adrien Brody
Best Supporting Actor- Sacha Baron Cohen
Best Supporting Actor- Christian Clemenson
Best Supporting Actor- Richard Roxburgh
Best Supporting Actress- Melora Walters
Best Adapted Screenplay
The Monster of Florence
Directed by Jill Hillcoat
Adapted by Nick Cave
Original Score by Nick Cave
Art Direction by James D. Bissell and Jan Pascale
Costume Design by Jacqueline Durran
Principal Cast:
Adrien Brody-Mario Spezi
Richard Roxburgh- Douglas Preston
Christian Clemenson- The Monster
Melora Walters- Barbara Locci
Sacha Baron Cohen- Stefano Mele
Nicky Katt-Carmelo Cutrona
Jonah Bobo- Joshua Locci
Tagline: “Park with fear…”
Plot/Synopsis: 11:34 PM, August 21, 1968- A child on a farmer’s front porch in tears. As the farmer opens the door, all the child mutters is, “My mother and my uncle are dead.”
June 7, 1981- Mario Spezi is a rising journalist in Florence, Italy and happened to be covering the crime desk that day when a call came through. A couple had been killed on a hill in the Tuscan countryside in their parked car. When he arrived at the scene, Mario was surprised to find the woman completely naked and her vagina missing, along with a bullet in both of the victims’ temples. Upon further research, this killing had a striking similarity to a case back in the summer of 1968.
10:56 PM, August 21, 1968-
Things to Do:
1. Get Rubber Gloves
2. Load the Gun
3. Find a Car
4. Kill the Man
5. Kill the Woman
6. Screw Her
7. Remove It
July 22, 1981- Another homicide, yet again in a parked car, and with the same bullets used as in the last two killings, .22 calibers. After writing another article the now successful Mario met American writer, Douglas Preston, who soon became his partner in research involving The Monster of Florence (a name Mario had given the serial killer). They became very close friends as they looked for the Monster.
10:42, August 21, 1968- Barbara may have been having affair, but her husband Stefano didn’t need to know about it. For all he knew she was just going to the movies with her estranged brother Carmelo and their son Joshua. Joshua was under the same impression, but when he fell asleep in the car, the two lovers decided to have a quickie on a hill just off the road.
September 6, 1981- A fourth killing occurs and the two comrades finally figure out the pattern to the Monsters’ massacres. Pinpointing the next one in 45 days from now, October 20, in the meantime though, the pair interviews the widower of the first female victim, Stefano Mele. Throughout their investigation, everything has pointed to him as the killer…but their consultation with him goes smoothly, leaving the pair only one choice, to camp out and wait for the killer on October 20th.
11:16 PM, August 21, 1968- He was done. He’d done all he wanted with the corpse, but what to do with the child was the main question. Thankfully, the boy was still asleep, but what was he going to do if he woke up. Driving along, he discovered a nearby farm, the porch was well lit, and if looked as if there was someone awake at the house. He just had to be discreet, as to not get caught.
October 20, 1981- It was dark, which was obvious. The partners in crime could hardly see each other as they waiting in the car, pretending to be involved in some act that would attract the Monster to their car. It seemed like hours, where was he, he should have been their by now. They started hearing noises, but nothing was seen in all the darkness…
What the Press Would Say: Based partially on the book of the same name, The Monster of Florence is the enthralling tale of; yep you guessed it The Monster of Florence, Italy that is, a well sought after rapist/murderer. Directed by Jill Hillcoat, this thriller is Oscar bound for sure. Mr. Hillcoat has such an eye for direction that is displayed on numerous occasions throughout the film, filmed on location in Italy, the film is simply beautiful to look at. Adrien Brody is exquisite in his best performance since The Pianist. Brody brings so much to the role that you can’t help but enjoy his time on the screen. Richard Roxburgh is also especially good in the film and gives a strong supporting performance. Not outdone by his costars he holds his own on the screen, which is highly respectable in this all star ensemble. Sacha Baron Cohen is also splendid in his role, taking a turn for the dramatic this time; Borat proves he has acting skills. Melora Walters is deceivingly three-dimensional in her role as mother/wife/adulterer and gives the performance of her career. Not once this year have a seen such a female performance on the screen, the tears seem real, though it is apparent they are not, and the performance is something that seems to be from the heavens.
The absolute standout performer however is Christian Clemenson, who is brilliant as the creepy Monster. His performance is truly spellbinding in a character that rivals Hannibal Lector as far as villains are concerned. He is absolutely dazzling on screen, and at times you almost root for him over Brody. In any case, if he doesn’t win an Oscar, the system is rigged, excellenence is hard to come by these days but Mr. Clemenson’s performance is as close to perfection as one can get. With a spectacular story, mesmerizing performances, and astounding scenery, The Monster of Florence is a surprising must-see and the Best film of the year!
FYC:
Best Picture
Best Director- Jill Hillcoat
Best Actor- Adrien Brody
Best Supporting Actor- Sacha Baron Cohen
Best Supporting Actor- Christian Clemenson
Best Supporting Actor- Richard Roxburgh
Best Supporting Actress- Melora Walters
Best Adapted Screenplay
Neighbors
Author(s): Alex C. (WA)
Neighbors
Directed by Mike Nichols
Written by Tony Kushner
Distributed by Paramount Vantage
Music by John Williams
Principal Cast:
Mandy Patinkin (Tobias Schwartz)
Julie Christie (Ilsa Lang)
Joel Grey (Sebastian Schwartz)
Emily Mortimer (Anna Lang)
Debra Winger (Sara Schwartz)
Daryl Sabara (Jacob Schwartz)
Tagline:
“She thought she ran away from her demons. Now they're right next door.”
Synopsis:
Larchmont, New York. 1985.
German immigrant Ilsa Lang has lived in Larchmont, a suburb of New York City, for about 40 years. Ever since her husband died, her daughter Anna has lived there. She has never liked being alone. But after meeting her new neighbors, all she wants is to be alone.
Tobias Schwartz has just moved into Ilsa’s neighborhood along with his wife Sara, his son, Jacob, and his elderly father Sebastian. Attempting a kind gesture towards her new neighbors, Anna invites them over for dinner. It is a fairly normal meal throughout, but something is different. You see, Ilsa recognizes Tobias and Sebastian. Now, Tobias doesn’t recognize the ageing woman but Sebastian does. One glance at an old photo on a windowsill confirms his suspicion. It has been 50 years since he last saw her, but he knows who she is. Ilsa Lang was the woman, then practically a girl, who turned his family in to the Nazis.
It was a chilly day in December, 1935. Sebastian had gone into hiding with his young son Toby and his wife Esther. They had been hiding in the local church basement for almost a month, being hidden by a priest and a young teacher. The teacher’s name was Ilsa Eckhart. He had learned later from the priest, with whom he had kept in touch after he was released, that Ilsa had been paid by the Gestapo to uncover and turn in any Jews he was hiding. Sebastian, Toby, and Esther were three of her many victims. They were shipped off to a small town in Germany known as Dachau, the site of Germany’s only extermination camp. It was here that Esther passed away, screaming for her child as showerheads above her spewed toxic gas. But that was a long time ago.
Ilsa now sits directly across from Tobias. She can tell he cannot recognize her as he carries on with ordinary conversation. Anna senses something is wrong. After the Schwartz family leaves, she asks her mother if there is anything wrong. Ilsa lies and says she simply has a bad headache.
Arriving home, Sebastian asks his son if he knows who the woman. Tobias says he does not. Sebastian tells him to forget he even asked. Later, rummaging through some old family photos he finds one of his father, a priest, and a young woman. The young woman looks familiar. He looks on the back of the photograph and sees his mother’s handwriting. It says, “Fr. Ruehl, Sebastian, Ilsa. October 1935.” He looks at the photo again and sure enough, it is the same woman we just had dinner with. He keeps looking through the stack of photos and sees one of the same woman playing with a small child. The back of the photo reads, “Ilsa and Toby.” Instead of confronting his father about it, he decides to take the photo next door tomorrow.
He knocks. Anna invites him in and he shows her the photograph. Anna is puzzled. Ilsa returns to find Tobias and Anna staring at the photograph. She realizes what’s happened. They ask Ilsa about the photograph. She starts to cry. Life as she knew it is over. She takes Tobias into the kitchen and tells him everything. She has her old neighbors back.
What the Press Would Say:
“Neighbors” is by far one of the most moving, thought provoking stories ever to be put on screen. Mike Nichols directs this film with more meaning and emotion than he has ever put into a film. Why? The answer is simple. He himself is a holocaust survivor, being Jewish in Berlin at the time of the Nazi’s takeover, he was able to escape Germany with his family. The film also has echoes of Nichols’ debut film, “Who’s Afraid of Virginia Woolf?” The acting is also some of the best put down in a story like this since “Schindler’s List,” not to mention one of the greatest ensembles since “The Big Chill.” Mandy Patinkin (Best Supporting Actor nominee, “Bee-Bee’s Funhouse”) brings the character of Tobias to life and has so much emotion invested in this piece that you can almost feel him reaching out and touching you. You completely forget that he is most well known for his portrayal as Inigo Montoya in “The Princess Bride.” Although some may ask why should we give Julie Christie another nomination so soon after “Away From Her,” watching her performance makes it obvious. She gives an absolutely gut-wrenching performance as Ilsa and not only deserves the nomination but also the win. When looking at today’s best character actresses, the name Emily Mortimer can be sure to pop up. She is brilliant as Christie’s oblivious daughter, Anna, and we can be sure to see her pick up her first Oscar nomination, maybe even a win. Her performance, although subtle, is absolutely electrifying. Although she turns in a more minor performance, it’s great to see Debra Winger back onscreen and her remarkable portrayal of Patinkin’s wife, Sara, who befriends Ilsa, is also worthy of a nomination. The best performance of the whole film, though, is given by Joel Grey. Having won an Oscar 35 years ago for his outstanding performance as the chilling Emcee in “Cabaret” (beating Al Pacino for “The Godfather”, mind you) Grey is back in a major role on film after focusing more on stage work. His performance as the Holocaust survivor, Sebastian, is one of the most awe-inspiring performances ever. Nichols also teams up with Tony Kushner, once again. The pair worked on HBO’s adaptation of Kushner’s Pulitzer Prize winning play “Angels in America” which swept the Emmy awards in 2003. One thing can definitely be said about “Neighbors.” There’s never been anything like it and there never will.
Best Picture
Best Director (Mike Nichols)
Best Actor (Mandy Patinkin)
Best Actress (Julie Christie)
Best Supporting Actor (Joel Grey)
Best Supporting Actress (Emily Mortimer)
Best Supporting Actress (Debra Winger)
Best Original Screenplay (Tony Kushner)
Neighbors
Directed by Mike Nichols
Written by Tony Kushner
Distributed by Paramount Vantage
Music by John Williams
Principal Cast:
Mandy Patinkin (Tobias Schwartz)
Julie Christie (Ilsa Lang)
Joel Grey (Sebastian Schwartz)
Emily Mortimer (Anna Lang)
Debra Winger (Sara Schwartz)
Daryl Sabara (Jacob Schwartz)
Tagline:
“She thought she ran away from her demons. Now they're right next door.”
Synopsis:
Larchmont, New York. 1985.
German immigrant Ilsa Lang has lived in Larchmont, a suburb of New York City, for about 40 years. Ever since her husband died, her daughter Anna has lived there. She has never liked being alone. But after meeting her new neighbors, all she wants is to be alone.
Tobias Schwartz has just moved into Ilsa’s neighborhood along with his wife Sara, his son, Jacob, and his elderly father Sebastian. Attempting a kind gesture towards her new neighbors, Anna invites them over for dinner. It is a fairly normal meal throughout, but something is different. You see, Ilsa recognizes Tobias and Sebastian. Now, Tobias doesn’t recognize the ageing woman but Sebastian does. One glance at an old photo on a windowsill confirms his suspicion. It has been 50 years since he last saw her, but he knows who she is. Ilsa Lang was the woman, then practically a girl, who turned his family in to the Nazis.
It was a chilly day in December, 1935. Sebastian had gone into hiding with his young son Toby and his wife Esther. They had been hiding in the local church basement for almost a month, being hidden by a priest and a young teacher. The teacher’s name was Ilsa Eckhart. He had learned later from the priest, with whom he had kept in touch after he was released, that Ilsa had been paid by the Gestapo to uncover and turn in any Jews he was hiding. Sebastian, Toby, and Esther were three of her many victims. They were shipped off to a small town in Germany known as Dachau, the site of Germany’s only extermination camp. It was here that Esther passed away, screaming for her child as showerheads above her spewed toxic gas. But that was a long time ago.
Ilsa now sits directly across from Tobias. She can tell he cannot recognize her as he carries on with ordinary conversation. Anna senses something is wrong. After the Schwartz family leaves, she asks her mother if there is anything wrong. Ilsa lies and says she simply has a bad headache.
Arriving home, Sebastian asks his son if he knows who the woman. Tobias says he does not. Sebastian tells him to forget he even asked. Later, rummaging through some old family photos he finds one of his father, a priest, and a young woman. The young woman looks familiar. He looks on the back of the photograph and sees his mother’s handwriting. It says, “Fr. Ruehl, Sebastian, Ilsa. October 1935.” He looks at the photo again and sure enough, it is the same woman we just had dinner with. He keeps looking through the stack of photos and sees one of the same woman playing with a small child. The back of the photo reads, “Ilsa and Toby.” Instead of confronting his father about it, he decides to take the photo next door tomorrow.
He knocks. Anna invites him in and he shows her the photograph. Anna is puzzled. Ilsa returns to find Tobias and Anna staring at the photograph. She realizes what’s happened. They ask Ilsa about the photograph. She starts to cry. Life as she knew it is over. She takes Tobias into the kitchen and tells him everything. She has her old neighbors back.
What the Press Would Say:
“Neighbors” is by far one of the most moving, thought provoking stories ever to be put on screen. Mike Nichols directs this film with more meaning and emotion than he has ever put into a film. Why? The answer is simple. He himself is a holocaust survivor, being Jewish in Berlin at the time of the Nazi’s takeover, he was able to escape Germany with his family. The film also has echoes of Nichols’ debut film, “Who’s Afraid of Virginia Woolf?” The acting is also some of the best put down in a story like this since “Schindler’s List,” not to mention one of the greatest ensembles since “The Big Chill.” Mandy Patinkin (Best Supporting Actor nominee, “Bee-Bee’s Funhouse”) brings the character of Tobias to life and has so much emotion invested in this piece that you can almost feel him reaching out and touching you. You completely forget that he is most well known for his portrayal as Inigo Montoya in “The Princess Bride.” Although some may ask why should we give Julie Christie another nomination so soon after “Away From Her,” watching her performance makes it obvious. She gives an absolutely gut-wrenching performance as Ilsa and not only deserves the nomination but also the win. When looking at today’s best character actresses, the name Emily Mortimer can be sure to pop up. She is brilliant as Christie’s oblivious daughter, Anna, and we can be sure to see her pick up her first Oscar nomination, maybe even a win. Her performance, although subtle, is absolutely electrifying. Although she turns in a more minor performance, it’s great to see Debra Winger back onscreen and her remarkable portrayal of Patinkin’s wife, Sara, who befriends Ilsa, is also worthy of a nomination. The best performance of the whole film, though, is given by Joel Grey. Having won an Oscar 35 years ago for his outstanding performance as the chilling Emcee in “Cabaret” (beating Al Pacino for “The Godfather”, mind you) Grey is back in a major role on film after focusing more on stage work. His performance as the Holocaust survivor, Sebastian, is one of the most awe-inspiring performances ever. Nichols also teams up with Tony Kushner, once again. The pair worked on HBO’s adaptation of Kushner’s Pulitzer Prize winning play “Angels in America” which swept the Emmy awards in 2003. One thing can definitely be said about “Neighbors.” There’s never been anything like it and there never will.
Best Picture
Best Director (Mike Nichols)
Best Actor (Mandy Patinkin)
Best Actress (Julie Christie)
Best Supporting Actor (Joel Grey)
Best Supporting Actress (Emily Mortimer)
Best Supporting Actress (Debra Winger)
Best Original Screenplay (Tony Kushner)
Parameters
Author(s): Connor C. (Texas)
Parameters
Directed by Bennett Miller
Written by Tony Gilroy
CAST
Maggie Gyllenhaal- Lisa Keller
John Malkovich- Strange Man
TAGLINE: “Lock your back door, you idiot”
PLOT/SYNOPSIS:
“33 years go by and not once do you come home to find a man sitting in your bedroom. That is, a man you don’t know who’s come a long way to deliver one very specific message; lock your back door, you idiot. However invincible you imagine yourself to be, you are wrong.”
Lisa Keller could be described as normal. 33, single, a working girl who seems too preoccupied with work to take a man seriously. She doesn’t mind being alone, perhaps because she wouldn’t notice if she weren’t. She lives in the safest neighborhood of the safest suburb, surrounded by families and schools. But what she doesn’t know and what she can’t see is fear. It waits for her patiently, in the dark. It waits for her in the form of a strange man idling in his car not far from her home. He waits patiently for all her lights to turn off and enter her small home that is quiet, except the occasional clanking pipe, creaking branch, footfalls of a cat and possibly the swishing of this intruder’s coat.
But would Lisa ever give in to this fear? Would she recognize and acknowledge it, or would she dismiss it? Alone in this small house that is still far too big for her, it would be easy for her to see this fear lurking in her home. It starts with seemingly normal sounds then followed by an unfamiliar car parked across the street. Then she starts noticing things out of place, maybe he moved them. She locks her doors, but maybe it’s too late now. Perhaps he’s had a key made. She might go to take a shower to find that it’s already wet. Did he take a shower? And it evolves from there. Suddenly she comes home to find her bed is no longer made and her bathtub full of water. Is this actually happening, or could this be something in her head? It doesn’t matter if it’s real or not, that only tortures her more.
When once she could stroll through her house without turning on lamps she now must have every lamp lit so she can see her way. He, or it, or whatever it is has started to rearrange her furniture. She has nobody to tell, nobody to show. She’s all alone. She collapses onto her bed to find a strange man sitting in her bedroom. He almost smiles when she finally sees him. He sits in her most uncomfortable chair, the one that nobody ever uses in the far right corner. Terrified she sits motionless on her bed. He leans in and says in a near whisper, “Lock your back door you idiot.” He stands up and walks away, never to harm this Lisa Keller ever again. She sits still on her bed until finally she rises to find her furniture back in order, her shower dry, the car gone and the house quiet. It must have been in her head, there was no strange man. But maybe there was. Maybe he was real and merely taught her not to get too comfortable in her routine. Because one day you might come home to find a man sitting in your bedroom. What will you do then?
AWARDS CAMPAIGN:
As we grow older, our fears get pushed to the wayside and start to get buried under the more important things in life. But occasionally, something will introduce itself to us and we are so unprepared for it that it floors us. “Parameters” explores this idea introducing us to a normal woman (Gyllenhaal) with a nameless job living alone in suburban America. Slowly, the arising minute differences in her life start to scare her and she creates this strange man (Malkovich) who terrorizes her in secret. What the audience is left to figure out is whether or not this man is real. Borrowing ideas from Ani Difranco’s song of the same name, Tony Gilroy, who has written such hits as Michael Clayton and the Bourne series creates this thriller which is among the most thrilling and haunting of it’s time. His screenplay relies heavily on visuals and seemingly normal sounds and lays off the dialogue. Bennett Miller, who broke on the scene in 2005 with Capote has assured himself a spot in film history. The camera often times follows Gyllenhaal into her nightmare as opposed to us leading her into it. Miller brilliantly portrays the fear that is felt by the character and creates suspense with almost no musical score. As opposed to being threatened with knives and bullets the audience is frightened by change, which is the theme of the film. Maggie Gyllenhaal portrays Lisa Keller with a certain naivety that elevates the fear felt by her character. In many ways a woman possessed, Gyllenhaal shows us the proper way to play a victim in a thriller. John Malkovich creates a villain we haven’t seen since Nurse Ratchet, playing the villain with a certain smugness and silence. This character is a mystery which makes it so much harder to play. Malkovich captures this character through his movements and actions and the few times he does speak he delivers his lines very matter-of-factly which seems fitting for his character. His character is determined to teach the victim a lesson. Malkovich is officially back with the best performance of the year. Parameters is one of the few films that just might change you. A Masterpiece and a must see. ****/****
FYC
Best Picture
Best Director- Bennett Miller
Best Actress- Maggie Gyllenhaal
Best Actor- John Malkovich
Best Adapted Screenplay- Tony Gilroy
Parameters
Directed by Bennett Miller
Written by Tony Gilroy
CAST
Maggie Gyllenhaal- Lisa Keller
John Malkovich- Strange Man
TAGLINE: “Lock your back door, you idiot”
PLOT/SYNOPSIS:
“33 years go by and not once do you come home to find a man sitting in your bedroom. That is, a man you don’t know who’s come a long way to deliver one very specific message; lock your back door, you idiot. However invincible you imagine yourself to be, you are wrong.”
Lisa Keller could be described as normal. 33, single, a working girl who seems too preoccupied with work to take a man seriously. She doesn’t mind being alone, perhaps because she wouldn’t notice if she weren’t. She lives in the safest neighborhood of the safest suburb, surrounded by families and schools. But what she doesn’t know and what she can’t see is fear. It waits for her patiently, in the dark. It waits for her in the form of a strange man idling in his car not far from her home. He waits patiently for all her lights to turn off and enter her small home that is quiet, except the occasional clanking pipe, creaking branch, footfalls of a cat and possibly the swishing of this intruder’s coat.
But would Lisa ever give in to this fear? Would she recognize and acknowledge it, or would she dismiss it? Alone in this small house that is still far too big for her, it would be easy for her to see this fear lurking in her home. It starts with seemingly normal sounds then followed by an unfamiliar car parked across the street. Then she starts noticing things out of place, maybe he moved them. She locks her doors, but maybe it’s too late now. Perhaps he’s had a key made. She might go to take a shower to find that it’s already wet. Did he take a shower? And it evolves from there. Suddenly she comes home to find her bed is no longer made and her bathtub full of water. Is this actually happening, or could this be something in her head? It doesn’t matter if it’s real or not, that only tortures her more.
When once she could stroll through her house without turning on lamps she now must have every lamp lit so she can see her way. He, or it, or whatever it is has started to rearrange her furniture. She has nobody to tell, nobody to show. She’s all alone. She collapses onto her bed to find a strange man sitting in her bedroom. He almost smiles when she finally sees him. He sits in her most uncomfortable chair, the one that nobody ever uses in the far right corner. Terrified she sits motionless on her bed. He leans in and says in a near whisper, “Lock your back door you idiot.” He stands up and walks away, never to harm this Lisa Keller ever again. She sits still on her bed until finally she rises to find her furniture back in order, her shower dry, the car gone and the house quiet. It must have been in her head, there was no strange man. But maybe there was. Maybe he was real and merely taught her not to get too comfortable in her routine. Because one day you might come home to find a man sitting in your bedroom. What will you do then?
AWARDS CAMPAIGN:
As we grow older, our fears get pushed to the wayside and start to get buried under the more important things in life. But occasionally, something will introduce itself to us and we are so unprepared for it that it floors us. “Parameters” explores this idea introducing us to a normal woman (Gyllenhaal) with a nameless job living alone in suburban America. Slowly, the arising minute differences in her life start to scare her and she creates this strange man (Malkovich) who terrorizes her in secret. What the audience is left to figure out is whether or not this man is real. Borrowing ideas from Ani Difranco’s song of the same name, Tony Gilroy, who has written such hits as Michael Clayton and the Bourne series creates this thriller which is among the most thrilling and haunting of it’s time. His screenplay relies heavily on visuals and seemingly normal sounds and lays off the dialogue. Bennett Miller, who broke on the scene in 2005 with Capote has assured himself a spot in film history. The camera often times follows Gyllenhaal into her nightmare as opposed to us leading her into it. Miller brilliantly portrays the fear that is felt by the character and creates suspense with almost no musical score. As opposed to being threatened with knives and bullets the audience is frightened by change, which is the theme of the film. Maggie Gyllenhaal portrays Lisa Keller with a certain naivety that elevates the fear felt by her character. In many ways a woman possessed, Gyllenhaal shows us the proper way to play a victim in a thriller. John Malkovich creates a villain we haven’t seen since Nurse Ratchet, playing the villain with a certain smugness and silence. This character is a mystery which makes it so much harder to play. Malkovich captures this character through his movements and actions and the few times he does speak he delivers his lines very matter-of-factly which seems fitting for his character. His character is determined to teach the victim a lesson. Malkovich is officially back with the best performance of the year. Parameters is one of the few films that just might change you. A Masterpiece and a must see. ****/****
FYC
Best Picture
Best Director- Bennett Miller
Best Actress- Maggie Gyllenhaal
Best Actor- John Malkovich
Best Adapted Screenplay- Tony Gilroy
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