10 Contenders For The Best Picture Oscar

Wednesday, November 19th, 2008

Some naysayers wonder if winning an Academy Award really has that much impact in terms of box office, prestige or even being remembered a few months later, but no one at the studios seems to be listening, since the battle for Oscar gold continues to be a frenzied, all-consuming process, littering multiplex battlefields with also-rans and subjecting audiences to a year’s worth of “prestige” movies in a six-week period.

Yes, after months of mediocre and uninteresting Hollywood product, here comes the tidal wave of Oscar bait some of it will be mediocre and not worth the trouble, yes, but many of these titles will wind up being the most ambitious and challenging non-indie American movies of the year.

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Obama’s Uniquely Awful Veep Prospect

Saturday, August 2nd, 2008

What the Obama camp is doing is clear enough. They are signaling that the candidate might consider a bipartisan “unity” ticket. That’s reasonable, as long as the Republican has some record of taking stands that might by some reasonable stretch of the imagination be considered breaks with Republican orthodoxy. Of course, Nebraska Senator Chuck Hagel, an edgier critic of the Bush administration’s foreign policies than most Democrats who recently traveled with Obama to Afghanistan and Iraq, tops most lists of cross-over contenders.

Maybe someone like former Rhode Island Senator Lincoln Chafee, a steadfast Iraq War foe who has endorsed Obama, would find a place on a list of possible running mates.

Perhaps former U.S. Ambassador to the United Nations John Danforth, who was no liberal when he served as a senator from Missouri but who is universally recognized as an honorable and realistic political player, would fit the bill.

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Henk ten Cate exits Chelsea as search continues to find Avram Grant successor

Friday, May 30th, 2008

The Dutchman had a contract until 2010 but he follows in the footsteps of Avram Grant, who was dismissed last weekend.

A statement on Chelsea’s confirmed ten Cate’s exit following a meeting this morning.

“As a result of the team management changes at Chelsea FC, and in the light of any forthcoming appointment, it was clear this was the correct decision for all parties, ” it said.

“Everybody at Chelsea would like to thank Henk for his contribution since coming to the club last year.”

Earlier this week, ten Cate dismissed fears that he would be leaving Chelsea.

“He informed me that the departure of Grant will not affect me. I’d rather go on that than all those newspaper reports.”

However, the club’s Champions League final defeat in Roman Abramovich’s home city has clearly left a mark on Chelsea’s owner.

Ten Cate joined Chelsea from Ajax in October last year when he was released by mutual consent.

The Dutchman’s sacking now raises questions as to the future of Steve Clarke, Chelsea’s former player and current assistant coach.

Grant was dismissed just three days after the Champions League final defeat to Manchester United and reports soon after suggested whether Ten Cate and fellow assistant Clarke would survive a summer of change at Stamford Bridge.

Meanwhile, the contenders to replace Grant continues with Luiz Felipe Scolari heading a long list in the race to take over at Stamford Bridge.

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Expert: U.S. presidency contenders all back missile shield

Thursday, March 6th, 2008

PRAGUE, March 6 (Xinhua) — Bell is deputy chairman of the Science Applications International Corporation (SAIC), former senior official in the then U.S. President Bill Clinton’s administration and former deputy NATO secretary general in charge of defense spending.

Obama advocates the system that is set to protect the USA and its allies, Bell said.

Clinton, in her capacity as a senator, has repeatedly supported pieces of legislation concerning anti-missile defense, according to Bell.

McCain strongly supports the project and warns against the U.S. allowing itself to be influenced by the position of Russia that sharply opposed to the anti-missile shield, Bell added.

He said that if the planned radar base is built on Czech soil and a base with interceptor missiles in Poland, both Obama and Clinton want to involve Russia in a broad discussion on the role that missile defense plays in the strategic balance of forces in the world.

Obama and Clinton put a stronger emphasis on the control of arms systems than McCain, he added.

At the summit in Bucharest in April, NATO member states will probably recognize that the threat caused by the missile systems spreading has intensified, Bell said.

It will also be stated at the Bucharest summit that the shield elements in the two countries cannot protect the whole of Europe, he added.

The United States initiated the plan to deploy an anti-missile radar base in the Czech Republic and a missile interceptor base in Poland. Its negotiations with Warsaw and Prague are ongoing.

The Czech centre-right government favors the U.S. project, while some 70 percent of Czech citizens reject it.

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Why is Hollywood going for bloke?

Thursday, March 6th, 2008

Casting your eyes over this year’s roster of film
award contenders, you would be forgiven for wondering why
women, more than ever, have been relegated to the margins. The
stories Hollywood wanted to tell last year were about fathers and
sons, the American west and machismo run amok.
This is generalising, but look at the roles played by women in
these pictures - sweet but disposable Kelly Macdonald in No
Country For Old Men, barely there Mary-Louise Parker in
The
Assassination Of Jesse James By The Coward Robert Ford, and
a handful of silent female extras in There
Will Be Blood - and a pattern begins to emerge.
Where are this year’s The Queen, Erin Brockovich,
Far From Heaven, The Hours? Oscar-watchers can only
point to the best-picture nominees Atonement
and Juno
as examples of female-led cinema, and neither of these will quite
do.
Admittedly, in the best actress category, some genuine “women’s
films” are in the running: Julie Christie (Away
From Her) and Laura Linney (The Savages) are
nominated for films by female directors, and Marion Cotillard
(La
Vie En Rose) owns her starring vehicle like no one else
this year except Daniel Day-Lewis. But the less said about Cate
Blanchett and the atrocious Elizabeth:
The Golden Age the better. Suffice it to say that none of
these films, save Juno
starring Ellen Page, are heavy-hitters in the awards race.
The marginalisation pattern rears its head again in best
supporting actress. Ruby Dee gets nominated for a scene slapping
Denzel Washington in the phallocentric American
Gangster. Blanchett is in for playing a man. Tilda Swinton,
superb in Michael
Clayton, makes a virtue of being the only gal in her
male-dominated ensemble. Her performance as the morally decentred
lawyer Karen Crowder is a brilliant reproach to a wretched part:
the role is tinged with misogyny, but Swinton makes Karen seem like
the victim of a man’s world. Having Blanchett play Bob Dylan in
I’m
Not There is admittedly a feminist gesture - the kind you’d
expect from Far From Heaven director Todd Haynes - but it’s
one of dismayingly few.
It seems Hollywood has been working out maleness issues, rather
than feminine ones - whether it’s rampant capitalism (There Will
Be Blood, Michael Clayton) or essays on violence (No
Country For Old Men, Jesse James) or paeans to male
solitude (Into
The Wild).
The odds so often seem stacked against women’s pictures at the
multiplexes, not to mention the careers of any number of female
directors, who manage to have one break-out success (Boys Don’t
Cry, Girlfight, Monster) and then struggle for years to get
their next film funded.
There’s an imbalance, all right - and it’s particularly blatant
in this year of gunfights, oil derricks and blood.
Telegraph, London

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Winner Cate remembers Heath in Spirit

Thursday, March 6th, 2008

The pregnancy comedy Juno was chosen as the year’s best
independent film and won two other honours Saturday at the Spirit
Awards, including best actress for Ellen Page.
The ceremony, in which tributes were paid to Australian actor
Heath Ledger, was a warmup for Hollywood’s big show, Sunday’s
Academy Awards, where Juno and Page are in the running for
the same categories.
Page gushed thanks for Juno director Jason Reitman and
writer Diablo Cody.
“This is so, so special, but this is pretty much all Diablo
Cody’s fault,” said Page, who played a whipsmart pregnant teen
giving the baby up for adoption in “Juno.”
“She wrote one of the best screenplays I have ever read and
created a teenage female lead I feel like we’ve never seen
before.”
Moments of the ceremony were a tribute to Ledger, who died of an
accidental prescription drug overdose on January 22 at his
Manhattan apartment.
One of six actors playing incarnations of Bob Dylan in director
Todd Haynes’ I’m Not There, Ledger was remembered as
“probably one of the most beautiful independent spirits of all” by
Cate Blanchett, winner of the supporting-actress prize for
portraying Dylan in his transition from folk icon to electric
rocker, a role that also earned her an Oscar nomination.
“We all loved him so dearly,” Haynes said of Ledger, recalling
that the actor had started making music videos and intended to go
into directing himself. “I have no doubt he would have made an
astounding director.”
Ledger was a Spirit Award best-actor nominee two years ago for
Brokeback Mountain, the best picture winner.
Diablo Cody won the award for best first screenplay and is up
for original screenplay at the Oscars.
“This is the coolest award in the coolest category. There is
nothing like writing a first screenplay,” Cody said.
Reitman missed out on the directing award, which went to Julian
Schnabel for The Diving Bell and the Butterfly, based on
the memoir of French Elle editor Jean-Dominique Bauby, who suffered
a paralysing stroke. The film also won the cinematography prize for
Janusz Kaminski.
Both Reitman and Schnabel are nominated for best director at the
Oscars. Most key Spirit Award recipients had Oscar nominations.
Philip Seymour Hoffman, who won best actor for the sibling drama
The Savages, is nominated for supporting actor at the
Oscars for Charlie Wilson’s War.
Co-star Laura Linney missed out on a Spirit Awards nomination
but is up for best actress at the Oscars for The Savages.
The film’s writer-director Tamara Jenkins won the screenplay award
for The Savages, which also earned her an Oscar slot.
Also nominated for best picture at the Spirit Awards, I’m
Not There received the first-ever Robert Altman Award
honouring Haynes, Ledger, Blanchett and co-stars including
Christian Bale and Richard Gere, who were among the performers
taking on personifications of Dylan.
The Altman award was created after the filmmaker’s death in
2006, the prize going to a filmmaker, casting director and acting
ensemble, a nod to Altman’s gift for big casts and overlapping
story lines. Altman was nominated a year ago as best director for
his final film, A Prairie Home Companion.
Chiwetel Ejiofor won supporting actor as a radio station manager
signing up an ex-con who becomes an outspoken on-air activist amid
the 1960s civil-rights movement in Talk to Me.
While most Spirit Award winners are unknown to general
audiences, Juno followed last year’s top winner,
Little Miss Sunshine, as an independent film that has
soared into the mainstream. Juno is closing in on $US130
million ($A141.6 million) at the domestic box office, the biggest
commercial hit among the best-picture contenders at the Oscars.
Spirit Awards host Rainn Wilson, who has a small role in
Juno, wisecracked that the film managed to avoid the fate
of obscurity “like every single other movie we’re honouring
today.”
The Irish music romance Once, whose stars Glen Hansard
and Marketa Irglova have a best-song Oscar nomination, was named
best foreign film.
“This is amazing to start making little films for a hundred
grand with your mates in Dublin and not have any permits,” said
Once writer-director John Carney. “I guess that’s
independent filmmaking.”
Other Spirit Award winners were:
Documentary: Crazy Love.
First feature: The Lookout,
directed by Scott Frank.
John Cassavetes Award, given to a film
made for less than $US500,000 ($A544,000: August
Evening.
Presented by the cinema group Film Independent, the Spirit
Awards honour movies that cost less than $US20 million ($A21.8
million) to make, with a significant part of their budget
originating from outside the Hollywood studio system.
Other criteria for nominations include films’ originality and
provocative subject matter.

AP

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Winner Cate remembers Heath in Spirit

Thursday, March 6th, 2008

The pregnancy comedy Juno was chosen as the year’s best
independent film and won two other honours Saturday at the Spirit
Awards, including best actress for Ellen Page.
The ceremony, in which tributes were paid to Australian actor
Heath Ledger, was a warmup for Hollywood’s big show, Sunday’s
Academy Awards, where Juno and Page are in the running for
the same categories.
Page gushed thanks for Juno director Jason Reitman and
writer Diablo Cody.
“This is so, so special, but this is pretty much all Diablo
Cody’s fault,” said Page, who played a whipsmart pregnant teen
giving the baby up for adoption in “Juno.”
“She wrote one of the best screenplays I have ever read and
created a teenage female lead I feel like we’ve never seen
before.”
Moments of the ceremony were a tribute to Ledger, who died of an
accidental prescription drug overdose on January 22 at his
Manhattan apartment.
One of six actors playing incarnations of Bob Dylan in director
Todd Haynes’ I’m Not There, Ledger was remembered as
“probably one of the most beautiful independent spirits of all” by
Cate Blanchett, winner of the supporting-actress prize for
portraying Dylan in his transition from folk icon to electric
rocker, a role that also earned her an Oscar nomination.
“We all loved him so dearly,” Haynes said of Ledger, recalling
that the actor had started making music videos and intended to go
into directing himself. “I have no doubt he would have made an
astounding director.”
Ledger was a Spirit Award best-actor nominee two years ago for
Brokeback Mountain, the best picture winner.
Diablo Cody won the award for best first screenplay and is up
for original screenplay at the Oscars.
“This is the coolest award in the coolest category. There is
nothing like writing a first screenplay,” Cody said.
Reitman missed out on the directing award, which went to Julian
Schnabel for The Diving Bell and the Butterfly, based on
the memoir of French Elle editor Jean-Dominique Bauby, who suffered
a paralysing stroke. The film also won the cinematography prize for
Janusz Kaminski.
Both Reitman and Schnabel are nominated for best director at the
Oscars. Most key Spirit Award recipients had Oscar nominations.
Philip Seymour Hoffman, who won best actor for the sibling drama
The Savages, is nominated for supporting actor at the
Oscars for Charlie Wilson’s War.
Co-star Laura Linney missed out on a Spirit Awards nomination
but is up for best actress at the Oscars for The Savages.
The film’s writer-director Tamara Jenkins won the screenplay award
for The Savages, which also earned her an Oscar slot.
Also nominated for best picture at the Spirit Awards, I’m
Not There received the first-ever Robert Altman Award
honouring Haynes, Ledger, Blanchett and co-stars including
Christian Bale and Richard Gere, who were among the performers
taking on personifications of Dylan.
The Altman award was created after the filmmaker’s death in
2006, the prize going to a filmmaker, casting director and acting
ensemble, a nod to Altman’s gift for big casts and overlapping
story lines. Altman was nominated a year ago as best director for
his final film, A Prairie Home Companion.
Chiwetel Ejiofor won supporting actor as a radio station manager
signing up an ex-con who becomes an outspoken on-air activist amid
the 1960s civil-rights movement in Talk to Me.
While most Spirit Award winners are unknown to general
audiences, Juno followed last year’s top winner,
Little Miss Sunshine, as an independent film that has
soared into the mainstream. Juno is closing in on $US130
million ($A141.6 million) at the domestic box office, the biggest
commercial hit among the best-picture contenders at the Oscars.
Spirit Awards host Rainn Wilson, who has a small role in
Juno, wisecracked that the film managed to avoid the fate
of obscurity “like every single other movie we’re honouring
today.”
The Irish music romance Once, whose stars Glen Hansard
and Marketa Irglova have a best-song Oscar nomination, was named
best foreign film.
“This is amazing to start making little films for a hundred
grand with your mates in Dublin and not have any permits,” said
Once writer-director John Carney. “I guess that’s
independent filmmaking.”
Other Spirit Award winners were:
Documentary: Crazy Love.
First feature: The Lookout,
directed by Scott Frank.
John Cassavetes Award, given to a film
made for less than $US500,000 ($A544,000: August
Evening.
Presented by the cinema group Film Independent, the Spirit
Awards honour movies that cost less than $US20 million ($A21.8
million) to make, with a significant part of their budget
originating from outside the Hollywood studio system.
Other criteria for nominations include films’ originality and
provocative subject matter.

AP

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Cate’s double nod for Globes

Friday, February 22nd, 2008

ONE Aussie gets a double shot at a Golden Globe and another co-stars in a film expected to attract at least one award.

Cate Blanchett gets a nomination for her reprisal role of England’s virgin queen in Elizabeth: The Golden Age and best supporting actress for playing Bob Dylan in Todd Haynes’s I’m Not There. American Gangster, co-starring Russell Crowe is in the running for best film and a Golden Globe best actor award for star Denzel Washington. Two movies set against different wars, Atonement and Charlie Wilson’s War, dominated the nominations with Atonement earning seven nods, including a bid for best drama, to lead all film contenders. The World War II saga also earned best dramatic actor and actress nominations, respectively, for Scottish performer James McAvoy and his English-born leading lady, Keira Knightley, for their roles as lovers torn apart by a family lie and the conflict in Europe. The filmmaker behind Atonement, Joe Wright, was nominated for best director, and 13-year-old Saoirse Ronan earned a nod for her supporting role as the younger sister who betrays Knightley’s character. Other nominations came for best screenplay and musical score. In a first for the Golden Globe awards, given out by some 90 members of the Hollywood Foreign Press Association (HFPA), the top category of best film drama was shared by seven nominees instead of the usual five. %26quot;That tells us it was a very good year for dramas, and it was very difficult for us to pick the nominees,%26quot; HFPA president Jorge Camara said. He said that three movies tied for the fifth position among dramas, leading to the seven nominees. Three of the remaining five were crime dramas - American Gangster, Eastern Promises and the latest from Joel and Ethan Coen, No Country for Old Men. Rounding out the category were the George Clooney legal thriller Michael Clayton and two period pieces - There Will Be Blood, about the rise of an oil baron in the early 1900s, and The Great Debaters, a Depression-era story of race relations and hope. Charlie Wilson’s War, a wry tale of political intrigue starring Tom Hanks, was the second-most nominated film with five nods overall, including a bid in the category for best comedy or musical. Hanks was nominated as best comic actor for his role as a US congressman raising funds to fight the 1980s-era Soviet invasion of Afghanistan, while co-stars Julia Roberts and Philip Seymour Hoffman earned bids for their supporting parts. Aaron Sorkin was nominated for his screenplay. Hoffman also picked up a nomination as best actor in a comedy for his role opposite Laura Linney in The Savages. Three movies clinched four nominations each: Michael Clayton, No Country for Old Men, and the musical Sweeney Todd. The Golden Globe Awards are an important stop on the road to Hollywood’s top film honours, the Oscars. But unlike the Academy of Motion Picture Arts and Sciences’ awards, the HFPA film honours are divided into dramas and musicals/comedies. Separate awards are also given to television shows. In acting categories, Atonement’s McAvoy is joined among drama nominees by George Clooney in Michael Clayton, Daniel Day-Lewis in There Will Be Blood, Denzel Washington in American Gangster and Viggo Mortensen in Eastern Promises. Competing with Knightley for best dramatic actress are Cate Blanchett in Elizabeth: The Golden Age, Julie Christie for Away From Her, Angelina Jolie in A Mighty Heart and Jodie Foster for The Brave One. The 2008 Golden Globe Awards will be given out on January 13 in Beverly Hills in a ceremony set to air on US television network NBC. But the show could be threatened by the writers strike. Camara said the HFPA had requested a waiver from the Writers Guild of America to produce the show, and he was %26quot;hoping everything will work out.%26quot;

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Why is Hollywood going for bloke?

Friday, February 22nd, 2008

Casting your eyes over this year’s roster of film
award contenders, you would be forgiven for wondering why
women, more than ever, have been relegated to the margins. The
stories Hollywood wanted to tell last year were about fathers and
sons, the American west and machismo run amok.
This is generalising, but look at the roles played by women in
these pictures - sweet but disposable Kelly Macdonald in No
Country For Old Men, barely there Mary-Louise Parker in
The
Assassination Of Jesse James By The Coward Robert Ford, and
a handful of silent female extras in There
Will Be Blood - and a pattern begins to emerge.
Where are this year’s The Queen, Erin Brockovich,
Far From Heaven, The Hours? Oscar-watchers can only
point to the best-picture nominees Atonement
and Juno
as examples of female-led cinema, and neither of these will quite
do.
Admittedly, in the best actress category, some genuine “women’s
films” are in the running: Julie Christie (Away
From Her) and Laura Linney (The Savages) are
nominated for films by female directors, and Marion Cotillard
(La
Vie En Rose) owns her starring vehicle like no one else
this year except Daniel Day-Lewis. But the less said about Cate
Blanchett and the atrocious Elizabeth:
The Golden Age the better. Suffice it to say that none of
these films, save Juno
starring Ellen Page, are heavy-hitters in the awards race.
The marginalisation pattern rears its head again in best
supporting actress. Ruby Dee gets nominated for a scene slapping
Denzel Washington in the phallocentric American
Gangster. Blanchett is in for playing a man. Tilda Swinton,
superb in Michael
Clayton, makes a virtue of being the only gal in her
male-dominated ensemble. Her performance as the morally decentred
lawyer Karen Crowder is a brilliant reproach to a wretched part:
the role is tinged with misogyny, but Swinton makes Karen seem like
the victim of a man’s world. Having Blanchett play Bob Dylan in
I’m
Not There is admittedly a feminist gesture - the kind you’d
expect from Far From Heaven director Todd Haynes - but it’s
one of dismayingly few.
It seems Hollywood has been working out maleness issues, rather
than feminine ones - whether it’s rampant capitalism (There Will
Be Blood, Michael Clayton) or essays on violence (No
Country For Old Men, Jesse James) or paeans to male
solitude (Into
The Wild).
The odds so often seem stacked against women’s pictures at the
multiplexes, not to mention the careers of any number of female
directors, who manage to have one break-out success (Boys Don’t
Cry, Girlfight, Monster) and then struggle for years to get
their next film funded.
There’s an imbalance, all right - and it’s particularly blatant
in this year of gunfights, oil derricks and blood.
Telegraph, London

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Why is Hollywood going for bloke?

Friday, February 22nd, 2008

Casting your eyes over this year’s roster of film
award contenders, you would be forgiven for wondering why
women, more than ever, have been relegated to the margins. The
stories Hollywood wanted to tell last year were about fathers and
sons, the American west and machismo run amok.
This is generalising, but look at the roles played by women in
these pictures - sweet but disposable Kelly Macdonald in No
Country For Old Men, barely there Mary-Louise Parker in
The
Assassination Of Jesse James By The Coward Robert Ford, and
a handful of silent female extras in There
Will Be Blood - and a pattern begins to emerge.
Where are this year’s The Queen, Erin Brockovich,
Far From Heaven, The Hours? Oscar-watchers can only
point to the best-picture nominees Atonement
and Juno
as examples of female-led cinema, and neither of these will quite
do.
Admittedly, in the best actress category, some genuine “women’s
films” are in the running: Julie Christie (Away
From Her) and Laura Linney (The Savages) are
nominated for films by female directors, and Marion Cotillard
(La
Vie En Rose) owns her starring vehicle like no one else
this year except Daniel Day-Lewis. But the less said about Cate
Blanchett and the atrocious Elizabeth:
The Golden Age the better. Suffice it to say that none of
these films, save Juno
starring Ellen Page, are heavy-hitters in the awards race.
The marginalisation pattern rears its head again in best
supporting actress. Ruby Dee gets nominated for a scene slapping
Denzel Washington in the phallocentric American
Gangster. Blanchett is in for playing a man. Tilda Swinton,
superb in Michael
Clayton, makes a virtue of being the only gal in her
male-dominated ensemble. Her performance as the morally decentred
lawyer Karen Crowder is a brilliant reproach to a wretched part:
the role is tinged with misogyny, but Swinton makes Karen seem like
the victim of a man’s world. Having Blanchett play Bob Dylan in
I’m
Not There is admittedly a feminist gesture - the kind you’d
expect from Far From Heaven director Todd Haynes - but it’s
one of dismayingly few.
It seems Hollywood has been working out maleness issues, rather
than feminine ones - whether it’s rampant capitalism (There Will
Be Blood, Michael Clayton) or essays on violence (No
Country For Old Men, Jesse James) or paeans to male
solitude (Into
The Wild).
The odds so often seem stacked against women’s pictures at the
multiplexes, not to mention the careers of any number of female
directors, who manage to have one break-out success (Boys Don’t
Cry, Girlfight, Monster) and then struggle for years to get
their next film funded.
There’s an imbalance, all right - and it’s particularly blatant
in this year of gunfights, oil derricks and blood.
Telegraph, London

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