Really, Alfred's entire role in TDK was to keep telling Bruce to go out there and do whatever shit he needs to get the job done, even if it means not being such a good guy when doing it.  So not only are his morals somewhat shifted from BB, but he actually is now encouraging Bruce to dive head first into probable bodily harm and possible death.  And when he finally gives the "we burned the whole forrest" line in his final speech to Bruce, what was the point of it?  No symbolic action of the sort was taken by Batman at all that he wasn't already doing or hadn't already set in motion.  The symbolism of that ended up being meaningless.

The family was never a happy one and Wendy and Jon have both gone their separate ways and have not seen their abusive father for years when they are called upon to deal with his sudden homelessness (his aged girlfriend dies). Despite their unresolved anger toward their father for his earlier treatment, they take on the burden of care, which in this case is placing him in a nursing home.

I found one scene in the film particularly poignant. It takes place in a diner where Wendy and Jon are attempting to have a conversation with Lenny about an advance directive (living will). Wendy is struggling with the conversation and is confusing Lenny as she is reluctant to ask direct questions: what do you want us to do with your body when you die and do you want to be maintained on life support? Jon has much less trouble expressing himself, and when he sees Lenny does not understand Wendy’s approach he says something like Do you want us to pull the plug?

These are real issues for real people and through our work with clinical ethicist Dianne Godkin we are trying to help people deal with these emotional topics. While the University of Alberta Press was preparing to publish her book, Living Will, Living Well: Reflections on Preparing an Advance Directive, I sat with Dianne and we talked about her motivation for writing the book.

She said that one of the most difficult aspects of her work and those of other medical professionals is dealing with family when there have not been any conversations prior to either life-support decisions or death for a cherished family member. Everyone is in a highly emotional state and it is tough to make important decisions. Often, in addition to grief, there is anger and hurt feelings just when people need each other the most. However, there is a way to mitigate the stress: Communication among family members in advance can help to ensure a person’s wishes are honoured and those left behind can feel some solace in having eased the mind of their loved one.

There is no Hollywood happy ending in The Savages; however, there is some healing and closure. I recommend the film for its complexity, humanity, and truthfulness.

~ Linda

Direção: Shari Springer Berman, Robert Pulcini

Roteiro: Shari Springer Berman, Robert Pulcini

Elenco: Scarlett Johansson, Laura Linney, Nicholas Art, Paul Giamatti, Chris Evans, Alicia Keys

De uma forma geral, “O Diário de uma Babá” é um bom filme e contém boas críticas a alta sociedade de Nova York. Mas alguns elementos presentes são extremamente desnecessários e fazem com que ele caia no lugar comum, coisas para fazer o filme mais comercial.

A história é uma adaptação de um livro escrito por Nicola Kraus e Emma McLaughlin, duas ex-babás que não tiveram bons momentos com as famílias para quem trabalharam no Upper East Side em Nova York e resolveram relatar suas experiências. Quem assina o material cinematográfico é a dupla de diretores e roteiristas Shari Springer Berman e Robert Pulcini, que apareceram em 2003 com “Anti-Herói Americano”. Por mais que insistam em pecar como na hora de colocar um romance bobo e mal trabalhado e uma seqüência viajandona, a crítica presente nos relacionamentos entre as famílias e as babás é bem explorado pelo texto e pelas atuações de Scarlett Johansson, Paul Giamati, Nicholas Art e principalmente por Laura Linney, que é educada, psicótica e carente em momentos alternados do filme.

A história gira em torno de Annie Braddock (Scarlett Johansson), uma jovem que recém saída da universidade ainda tem muitas dúvidas sobre quem realmente é e o que pretende ser no futuro. O início de suas descobertas começa quando encontra o pequeno Grayer( Nicholas Art) e sua mãe (Laura Linney), a quem Annie chama de Senhora X e recebe uma oportunidade de emprego como babá do garoto. Achando uma boa solução para começar a resolver seus problemas, Annie aceita o convite e se muda para a casa da família, localizada no Upper East Side, que é uma das áreas mais valorizadas de Nova York.Como pretende ser antropóloga, Annie vê a chance de começar seus trabalhos analisando a vida da família e vai fazendo comentário em Off ao longo do filme.

O encanto inicial com a Senhora X e Grayer se rompe logo no primeiro dia e aos poucos ela vai percebendo que a família está em ruínas, o chefe da casa, o Senhor X (Paul Giamati) é um marido e pai ausente, que da mais atenção ao trabalho e fazendo tudo para estar viajando. Esse abandono faz com que a Senhora X seja uma mulher nitidamente problemática e que também não da muita atenção ao filho. As brigas constantes entre os pais afetam diretamente Grayer, que apesar de ser uma boa criança é muito mimado e todo fresquinho. Mesmo com todo ambiente desfavorável, Annie não larga o trabalho por que criou um elo forte com Grayer e sabe que o menino precisa de atenção, mas as coisa chegam a um ponto tão insuportável que Annie estoura e faz um monólogo para uma câmera escondida no quarto de Grayer.

O elenco ainda conta com Chris Evans e Alicia Keys, mas seus personagens não acrescentam em nada na história. “O Diário de uma Babá” presta, mesmo tendo uns momentos desnecessários.

You'd think I'd have noticed this because (a) I like spy stories, (b) I worked for several years in a building next door to the FBI headquarters in D.C. and have been in some of the less-secret places in that building, (c) I lived in Northern Virginia and went birdwatching in the same park that Hanssen used. As best I can figure, during some of the same years as well. Of course I wasn't looking for things taped up in trash bags, but still...

In any event, I just finished watching "Breach" on DVD. I stumbled across it while searching for some other movie and ran across the unlikely juxtaposition of Laura Linney and Ryan Phillippe. Throw in Chris Cooper (who plays Hanssen) and Dennis Haysbert and I'd have watched whatever movie it happened to be. Everybody knows how it turns out, but they still manage to create a great deal of tension and suspense. Eric O'Neill, the young agent who worked for Hanssen, consulted on the film and was I believe the one who suggested the story. He does some commentary on the DVD along with director Billy Ray.

Very well done. If you're at all interested in any of these subjects, check it out. And I'm afraid the unflattering portrait of daily life in the Bureau's bureaucracy may be more accurate than not.

We here at TV Bacon have some issues with the Emmy nominations. This is...not unusual. We remember with something less than glee 2002, when the Academy saw fit to honor Ray Romano for acting. Still, nominees tend to be bifurcated between glorious and ghastly--after all, 2002 was the same year they recognized John Spencer. Below we outline the most exciting moments and the most egregious omissions of the 2008 nominations.

The Horror! The Horror! 

Maybe They Think Masturbation Means Chewing Your Food: The exclusion of Pushing Daisies from the Best Comedy Series lineup is nigh unforgivable. Granted, we're not convinced this show belongs among comedy company either, but voters had no trouble nominating it for 12 other awards as a comedy. So, having some of the best writing, directing, actors, music, costumes, production design, editing, and hair and makeup means you aren't as good as Entourage. Nice. Also, where is the cinematography nod?

Game's The Same--Just Got More Fierce: The Wire got as many nominations as According to Jim. One of the greatest achievements in American television history ends with two total Emmy nominations. Two. Total. Across five stellar seasons. So...convince us the Emmys mean anything.

Kyle Chandler and Connie Britton Get Sacked: Yes, only five people watch Friday Night Lights. Yes, even people who don't watch the show heard the bad buzz surrounding this season's ludicrous murder plot. Chandler and Britton still turned in some of the most subtle, detailed, wrenching performances on TV. Thank goodness Boston Legal was there to provide James Spader's fantasia courtroom grandstanding and Candice Bergen's ninth nomination instead.

Bear McCreary Must Be in A Galaxy Far, Far Away: We love Battlestar Galactica, but even we'll acknoweldge that the episodes that fell within the eligibility period were perhaps not the strongest the show has ever put out (we'd hold out more hope that they might be recognized next year as they sign off, but...The Wire). Maybe we should celebrate that a show on the Sci Fi Channel about spaceships gets any nominations at all, let alone six, let alone one in a major category (Drama Writing). Even though it's a travesty that Mary McDonnell goes unnominated while the likes of Mariska Hargitay get in again, episodes focusing on her character fell outside of the eligibiity period. But no matter how hard we try, we can't understand how Bear McCreary's epic, innovative work scoring this show can go unrecognized. We threatened previously to unleash Katherine Heigel if this happened, so batten down the hatches and bar the door against Katie.

Thank Goodness Things Have Changed Since the 60s: Three acting nominations for Mad Men, and they're all for men, in spite of the complex, beautifully acted female characters on the show. It's not like television is overflowing with outstanding roles for women, leaving no room for the likes of Elisabeth Moss, January Jones, and Christina Hendricks.

Evacuate the Children!: Classical Baby: The Poetry Show. Hannah Montana. High School Musical 2. Nick News with Linda Ellerbee: The Untouchable Kids of India. The Suite Life of Zack and Cody. Even with a couple of classy entries, this might be the Emmy category with the lowest batting average. We weep for the future.

Lest We Forget: So much for the greatest generation. Ken Burns' epic, moving, historic documentary on World War II received nominations for writing, directing, sound, and editing, but is nowhere to be found in nonfiction series or special. Inside the Actors Studio, which was nominated, interviewed Charlie Sheen last year. Well, he is an Emmy nominee. As is his personal hairstylist.

Even A Stopped Clock Is Right Twice A Day: Kudos and Huzzahs

And This Award You Just Got? It's A Cookie: 17.5 nominations (including one for Kenneth's the Page's webpage) for 30 Rock...and they probably deserved more. Where's the recognition for costume design for Will Arnett's super-short robe? Shine a spotlight on Tina Fey and turn a wind machine on her--she might be on stage a lot come Emmy night.

Better Award Winning through Chemistry: Bryan Cranston was robbed during his time on Malcolm in the Middle, never winning for his warm, rubbery Hal. Here's hoping that his performance as a terminally ill teacher who becomes an quietly angry meth dealer garners him the Emmy he so deserves. Don't mess with him, voters--he can melt you in a bathtub.

Perhaps This Will Make Him Feel Warm and Safe and Loved: With a loaded Lead Comedy Actor category, we worried that Lee Pace's mild, sad, lovestruck piemaker would be overlooked. Finding his name on the list was better than than a cup-pie with urban honey baked into the crust.

He Knew Which Palms to Grease: It wasn't for his role as The Wire's corrupt ex-mayor, but Glynn Turman's nomination for In Treatment is a huge--and most welcome--surprise in a category that often recognizes movie stars regardless of the size or quality of the role they play. Frankly, we thought he'd lose out to Robin Williams. Now we just want to see Turman beat him.

No More Kings--Just A Bunch of Emmy Nominees: John Adams was uneven as all get-out, but the wide range of supporting actors breathing life into the architects of a new country took our breath away. From the always-brilliant Tom Wilkinson as an earthy Ben Franklin to a surprising David Morse as George Washington to Laura Linney as the backbone helping to hold a country together, the characters surrounding Adams outstrip the second president.

Because We Know Patty: FX's bold, beautifully shot Damages seemed to suffer from all the things that usually keep shows from being recognized by the Emmys. First, it's really good. Second, it's on basic cable--HBO's award-grubbing budget is probably bigger than FX's total budget. The intricate mystery doesn't lend itself to the Emmy screening process. And yet, quality wins out for a change. Let's hope the same holds true for the final victors.

At the peak of my television obsession (high school when I would record and keep episodes of various shows on VHS), I remember when I would wake up at 5 in the morning to watch the live feed on E! of the announcement of the Emmy nominations. Sadly, time passed and since premium cable never existed in my life and the popularity of TV shows on DVD was still something of the future, watching nominee after nominee from The Sopranos or Six Feet Under didn't mean anything to me.

However, in most recent years, proven with today's nomination list for the 60th Primetime Emmy Awards, major network and basic cable television shows are making their marks as places to find good television. HBO-style gratuitous sex, bloody murder, and f-bombs are out, cute piemakers are in. Well, perhaps the sex and murder aren't completely out (re: Cagney of Cagney and Lacey's guest starring role as the obsessed agent/teddy bear maker on Nip/Tuck).

Highlights of This Year's Nominations

Complete List of This Year's Nominations

Since all the nominations for Mad Men and 30 Rock are a given, I'd like to congratulate and highlight some of the surprises:

Lee Pace, Kristen Chenoweth, and Costume Designers Mary Vogt and Stephanie Fox-Kramer for Pushing Daisies - Ms. Vogt and Fox-Kramer, you two deserve that Emmy. I have never wanted a television character's wardrobe more than Anna Friel's.

Amy Poehler for Saturday Night Live - I don't even remember when someone was ever nominated for an emmy for their cast role on the sketch show

Sharon Gless on Nip/Tuck - You scared the beejeezus out of me.

Christina Applegate for Samantha Who? - Yay for first season nominees. You made me actually not hate the guy from 7th Heaven and Jennifer Esposito.

The nominees for lead actress in a miniseries or movie - the lineup looks better than the best actress nominees for the Oscars

And the nominees for Outstanding Original Music and Lyrics - Flight of the Conchords' "The Most Beautiful Girl (in the Room)" and "Inner City Pressure" plus Jimmy Kimmel Live's "I'm Fucking Matt Damon"

Flight of the Conchords - Inner City Pressure

[audio http://www.fileden.com/files/2008/6/20/1967807/02-flight_of_the_conchords-inner_city_pressure.mp3]

Flight of the Conchords - The Most Beautiful Girl (in the room)

[audio http://www.fileden.com/files/2008/6/20/1967807/12-flight_of_the_conchords-the_most_beautiful_girl_%28in_the_room%29.mp3]

Sarah Silverman - I'm Fucking Matt Damon

]]> http://moviecrackhouse.wordpress.com/?p=221 Tue, 15 Jul 2008 19:42:21 +0000 moviecrackhouse http://moviecrackhouse.wordpress.com/?p=221 I thought I'd try something new and pit two similar movies against each other in a sort of double-review. It happens every now and then, different studios get the same bright idea and then duke it out for who can get their version out first - it's happened a few times. For the first battle, I'm going for the Espionage/Drama genre with The Good Shepherd and Breach. Let's meet the contenders... 

The Good Shepherd

"Edward Wilson believed in America, and he would sacrifice everything he loved to protect it."

The Good Shepherd is basically a character study of what it took to be a spy in the early days of the CIA, when it was still known as the OSS. We follow the life and career of  Edward Wilson [Matt Damon]. How he was recruited, and how his job gets increasingly difficult as he tries to plug an information leak in the bureau, and is willing to sacrifice his ideals and his family to do it. Damon's 'Wilson' is so straight-edge and can completely detach emotionally from his work. Which is beneficial if you don't plan on having any sort of life outside of work, but he tries to - and as you can probably guess - he fails miserably. If this was based on a true story, I might cut it more slack, but it wasn't. So the fictional characters felt like just that - fictional. Watching them and their decisions became increasingly frustrating because they just didn't seem realistic. Maybe it's just me. Maybe I expect people working for the OSS or CIA to be smarter than these characters seemed to be... I will say that there was nothing wrong with the acting or cinematography - everything was perfectly true to the period [1940s]. And there was an amazing supporting cast with Alec Baldwin, William Hurt, Robert De Niro, Billy Crudup and Angelina Jolie. The pacing was slow, though, and this movie is very long. If you know that going in, it may not be so bad. This is a drama with some suspense thrown in. I wouldn't call it a thriller, though, even though that's what it's categorized as on IMDb... 

Add'l Info: Released: Dec 22, 2006 • 167 minutes • Rated R for some violence, sexuality and language • Genre[s]: Drama | thriller

Breach

"Inspired by the true story of the greatest security breach in U.S. history."

Breach is a more recent story that takes place in '01 about how the young CIA agent, Eric O'Neill [Ryan Phillipe] was instrumental in catching the 'worst spy in history', Robert Hanssen [Chris Cooper], the man who was convicted for selling secrets to the Soviet Union. Ironically, Hanssen was a very devout Catholic, and aroused suspicion initially based on his less-than-desirable sexual habits. O'Neill is sent in by his boss, Kate Burroughs [Laura Linney] to pose as a new employee of Hanssen to get closer to him and collect the evidence they need to arrest him. Breach is a fast-paced, cat-and-mouse style thriller with an amazing performance by Chris Cooper as Hanssen. Nobody plays righteous and deviant quite like Cooper. lol... 

Add'l Info: Released: Feb 17, 2007 • Runtime: 110 minutes • Rated PG-13 for violence, sexual content and language • Genre[s]: Crime | Drama | Mystery | Thriller

WINNER: Breach

Why? It wasn't 167 minutes. It went somewhere. It had suspense. It wasn't pointless. That tagline for The Good Shepherd pretty much sums up the movie. The main character was so one-dimensional that it was tough caring about him at all, so it was almost torture watching a movie about someone so seemingly insignificant in the grand scheme of things. We almost left at several points during this movie, but stuck it out - all 167 minutes of it - hoping for some kind of resolution. And there was none to be had. There are many people out there who seemed to enjoy this film. They are very patient people. lol... save yourself the 2 hours and 47 minutes and go for Breach if you're trying to decide between the two. 

Good Shepherd: 2 1/2 out of 5
Breach: 3 1/2 out of 5

OK, I have another confession: I'm a Revolutionary War nerd! That is because I grew up in Yorktown, VA, a place other Revolutionary War nerds will recognize as the place where Lord Cornwallis surrendered to George Washington, leading to the end of the war. I actually grew up within walking distance of the home where the treaty was signed (The Moore House), the field where they surrendered, and the battlements where the fighting took place. So needless to say, I am really enjoying the John Adams miniseries my hubby and I are watching on DVD this week. It's like synergy between many of my favorite things: period dramas, revolutionary war, Georgian England, pre-revolutionary France, great acting, Massachusetts (home of my ancestors), beer (Sam Adams is a major character), and much more.

Yes, this is a drawing of Laura Linney wearing a couch.  Why?  Because it LOOKS like what she wears in her film, The Exorcism of Emily Rose, during virtually every courtroom scene.  I advise everyone else to not make this comment in any way, shape, or form.

Be careful what you say because Laura Linney can and will take revenge.  It's like the story of "The Grither."  Basically, if you are unfamiliar with the Grither, it's from an episode of Tales From the Darkside.  It's about an evil monster who lives in the North Pole.  If you say its name, the monster's ears grow -- becoming wings, no less -- to hunt down the person who uttered its name.  Laura Linney = Grither.

To make a long story short, I started to watch and thoroughly enjoy tales other than Tales From the Darkside, namely Tales of the City (1993).  The show/miniseries is based off of the book by Armistead Maupin. I've watched four out of six episodes and now I cannot find the third disc with the last two episodes ANYWHERE.  I'm convinced Laura Linney has stolen it.  Due to this, I am unable to continue onto More Tales of the City and Further Tales of the City until I find and watch that disc.  To make matters worse, I started watching Twin Peaks (which doesn't even have to do anything with Ms. Linney), but the first disc isn't really the first disc!!! Laura Linneyyyyy! I will never make a statement about your couch-wearing ways again.

So far in the show, Laura Linney's character (Mary Ann Singleton), is no Carrie Bradshaw.  She isn't into Jimmy Choo's, she lives in San Francisco instead of New York, and she isn't completely annoying.  After being in San Francisco for five days on vacation, Singleton decides to leave her life in Cleveland behind and permanently brave the city, version 1976:

Drugs (everyone), gays (Marcus D'Amico), creepy married men (Thomas Gibson) , and old people love (Olympia Dukakis + Donald Moffat)!!!

I have to find that third disc.  Laura Linney, along with everyone else, are truly fantastic.  Right now, I love that unlike C Bradshaw, MA Singleton is a somewhat innocent being exposed to all walks of city life.  She is literally shaken by everything.  Just wait until you see Parker Posey.  Despite her judgments, she has an affair with the creepy, married man...

I NEED THAT THIRD DISC.

Until I get it, I'm going to relive "The Grither" and be completely paranoid about Laura Linney's next attack...

The Station Agent: Beautiful in it's simplicity and profound in it's depth.
Rating:

Be Kind Rewind: It was fun, and had a nice take on community, but there was something missing.
Rating:

Joe Versus the Volcano: Peculiarly fascinating. Meg Ryan was awesome in this as three characters.
Rating:

Fido: A Canadian zombie film with the tagline "Laugh your head off".
Rating:

The Savages: Brilliant performances from Philip Seymour Hoffman and Laura Linney.
Rating:

The Empire Strikes Back, 1981  

Rebel forces see Imperial All Terrain Armored Transport (AT-AT) Walkers approaching their base on Hoth.  

This key moment in the beautfully-shot first third of the film captures the central conflict of Star Wars.  The rebels are ill-equipped and low to the ground; the Empire is large, well-resourced, and ready to pound anything in its path.  But all it takes is a single pilot with a cable and detonator to turn things around.

You Can Count on Me, 2000

Sammy and Terry Prescott talk in the restaurant upon Terry's return home.

If ever a scene in a film has captured what it means to be disappointed or a disappointment, the "responsible one" or the "irresponsible one," and all the awkwardness associated with the convergence of the two, this is it.  Successful in equal parts due to Kenneth Lonergran's talky dialogue, Laura Linney's and Mark Ruffalo's nuanced performances, and the simple fact that the conversation takes place in public, this is my favorite scene in one of my favorite films.

Scenes from a Marriage, 1973

Marianne calls friends to confide that her husband Johan is having an affair; her friends tell her that they already know.

True, this is a mini-series and not a film per se, but chalk it up to Ingmar Bergman being ahead of his time.  He was making film-quality episodic television well before HBO and Showtime had the idea.

Scenes from a Marriage is all about small moments, big revelations, and impeccable acting (particularly from Liv Ullman as Marianne).  The shock and pain that this realization brings to her character comes at the middle of the series and represents emotional devastation at its most honest, powerful, and severe.

Unbelievable! And a fun factoid for everyone, today we are officially halfway through 2008--183 days down, 183 days to go.

Since it is July 1st, that can only mean July 4th is a few days away. Nothing makes me feel more American, and proud of it, than eating copious amounts of beef, drinking mass produced alcoholic beverages, and sending rockets into the air.

I'm really excited for this Fourth of July, though, because I've been watching John Adams over the past few days. John Adams is an incredible miniseries for several reasons and stoking the fires of patriotism in me for several reasons.

First off, Paul Giamatti and Laura Linney offer fascinating portrayals of John and Abigail Adams. I mean, Giamatti and Linney usually play oddball, insecure characters (Giamatti in Sideways and Linney in Love Actually), but not in John Adams--they are robust, intelligent, and enrapturing individuals, wonderful change of pace, and incredible American citizens! Okay, I suppose they technically weren't Americans at the onset of the American Revolution, but they were great prototypes.

Secondly, the opening music is some of the best since The Last of the Mohicans. I mean, what's more American than military drums? Well, I guess a lot of things, but The Last of the Mohicans and John Adams' scores are very patriotic.

Finally, if it wasn't for John Adams, we would never have children like the one below that make me so proud to be an American and fight for freedom.

USA, USA, USA!!!!

Who are your five favorite actors, and what's your favorite performance by each, and then who are your five favorite actresses, and what's your favorite performance by each?

(Sorry to double up, but we've got some big Whatevers coming up and I didn't want to spread this out over two weeks. Besides, you guys are you guys, and I know you can do it.)

ACTORS

1. Harrison Ford. It's got to be Indiana Jones in Indiana Jones and the Last Crusade. I like Ford because he's fearless in the sense that he's not afraid to show vulnerability, be it physical fear in a fist-fight or emotional fear like in the scene in Patriot Games when Jack Ryan comes apart while trying to tell his wife that their daughter's spleen has to be removed after they were almost killed by terrorists. For my money, he's the greatest actor of all time.

2. Bill Murray. From the man who made me laugh in What About Bob? to the man who made me cry in Lost in Translation, Murray delivers in everything he does. As brilliant as his work was in the Wes Anderson outings he's been in, including Rushmore, which is my favorite film of all time, I'm going to have to go back to the work he did in What About Bob? as a dazzling piece of sociopathic comic insanity.

3. Steve Martin. Like Murray, he can turn on a dime from hilarious to heartfelt. I loved him in Bowfinger but I'm going to have to go with Father of the Bride as his finest hour. My parents always let me watch his movies when I was little, and I thank them for that.

4. Denzel Washington. He's awesome in everything, but he's a man on fire in Man on Fire. Or that speech he lays down in The Siege: "Come on General! You've lost men! I've lost men! But you -- You! -- you can't do this! What if they don't even want the sheik? Have you considered that? What if what they really want is for us to herd our children into stadiums, like we're doing? And put soldiers on the street, and have Americans looking over their shoulders? Bend the law, shred the Constitution just a little bit? Because if we torture him, General ... we do that, and everything we have fought, and bled, and died for is over. And they've won. They've already won!" Whoa.

5. Christian Bale. This guy can do anything. And even though he showed us the heart of Bruce Wayne while still creating our most ferocious and powerful Batman, my favorite performance is his inspiring turn in Rescue Dawn, in which he plays a prisoner of war whose indomitable spirit brings so much hope to his fellow captives that they plan one of the craziest and most dangerous escapes in history. Bale brings total physical and emotional dedication to every role he takes on. Bravo, sir.

ACTRESSES

1. Cate Blanchett. She's ethereal, and versatile, and utterly amazing in everything she's in. But as much as I love all the characters she's created, her channeling of Katharine Hepburn in The Aviator is otherworldly.

2. Maggie Gyllenhaal. Like Christian Bale, Maggie's another entertainer who's gotten to the level she's at by being totally emotionally and physically fearless. That's why I've said before and I'll say again that it's hard to find a hotter case of the hots than the hots I've got for Maggie Gyllenhaal. She really grabbed me as Giselle in Mona Lisa Smile because I've known that kind of girl before and Maggie captured it perfectly. And one time, when I was in Chicago, I passed her on the street, and she is 11 times more beautiful in person than she is on screen. If that's even possible. And it is. I should have said something. Oh, well.

3. Laura Linney. Beautiful, earnest, capable Laura Linney. Put her in something and I immediately believe her. I particularly loved her as the small-town sheriff in The Mothman Prophecies, which scares me to death just thinking about it.

4. Lauren Graham. Like Laura Linney, I immediately believe everything that comes out of her mouth. Her body of work as Lorelai Gilmore -- in more ways than one, WHAMMY! -- is the most powerful proof on the planet that the Emmy Awards are a friggin' joke. And she makes me laugh. I love her.

5. Tina Fey. This girl came out of nowhere and has become one of the great comic actresses of all time, in a very short time. Though Baby Mama was beneath her, she was excellent in it. But as Liz Lemon on NBC's 30 Rock, she's as funny and as brilliant as they come. And sexy beyond all comprehension. "Chocolate! Chocolate! ACK!"

Your turn!

Hey everyone:)

So, I saw a really great movie the other day (or I finished a really good movie the other day, I have been so busy). Anyways, I started watching "The Exorcism of Emily Rose" thinking that it was going to be a horror film. To my surprise it really wasn't. That was definitely how they marketed it, but it turned out to be something entirely different. While it did have some scary moments in it, it turned out to be more of a court film and a very good one at that. I started watching the movie, because my brother happened to be watching it when I was over at his place. I found it very riveting.

I love Laura Linney. She was in this movie as the attorney that was defending the priest. For those of you that don't know the storyline it is about a girl named Emily Rose who dies in her house. The priest whom was performing the exorcism is being blamed for it. Now there are either one of two things going on here, either Emily Rose was actually possessed or she was severely sick in the head, died of nothing to eat, and the priest didn't get her medical attention when he should have.  So, anyways. Whatever Laura Linney is in she is usually very good. While we don't usually see her in bigger films, we get to see her in independence. She has an intense subtleness about her that was really nice in this movie.

The girl who played Emily Rose did very well as well. Her name was Jennifer Carpenter. It would be very hard to play someone who either is possessed or who thinks they're possessed and she seemed to do a very good job. Everything you could basically believe in performance. There were only a few times that I remember thinking was pretty silly.

I love the scene in which she sees Mother Mary. I thought that was a very pretty scene and really well done. I love the guy that plays the priest too. His name is Tom Wilkenson. I have seen him in something else as well, but I can't exactly remember what else he was in. He's a darn good actor. Terrific too!

I love the way that the film turned out and I love the court scenes as well as all the flashbacks. I think it is a definite must scene. Remember, although it does have a lot of scary elements, it is primarily a thriller, and courtroom drama. You have to love all that put in one!

Alright, I'm off to make my terrific day!

Have a great one:)

-me to a blank page.

(I won't be so bold or foolish to share the reason for the "why".)

•••

Entertainment -

John Adams (HBO miniseries) - Paul Giamatti, Laura Linney

Savages - Laura Linney, Philip Seymour Hoffman

American Experience - Eleanor Roosevelt (PBS)

Podcasts -

Garrison Keillor’s The Writer’s Almanac

Fresh Air (of course)

Music -

Evil Urges (My Morning Jackt)

Exile on Mainstreet, Beggar’s Banquet, assorted Stones…

Tim (The Replacements)

Books

Her Husband: Hughes and Plath--A Marraige
By Diane Middlebrook

Kafka Was the Rage
By Anatole Broyard

Exile on Mainstreeet (33 1/3 series)

by Bill Janovitz

•••

We bought a flat-screen 19”. Long live DTV: 4 PBS stations. While I still don't like the possibility of mindless consumption of advertising available in my home at the flip of a button, atleast there really is the chance of something good being on. It never occured to me until the other day, I can actually look up what's on PBS (or any station for that matter) and make an intelligent decision about what I'm going to watch before I even turn on the TV... but how to teach the kids this habit? Thats the real question.

❦

]]> http://dripdroplittlesparrow.wordpress.com/?p=206 Tue, 17 Jun 2008 03:48:58 +0000 Helen http://dripdroplittlesparrow.wordpress.com/?p=206 Yesterday I went to the Tony Awards dress rehearsal, which CBS hosted. I saw a bunch of famous people including:

Whoopie Goldberg

Brooke Shields

Glenn Close

Laura Linney

Liza Minnelli

John Lithgow

David Hyde Pierce

The Original cast of RENT performed as well as eight or nine performances by other musicals. Despite the fact that I'm not really into Broadway that much, I enjoyed seeing the performances. The actors are all so very talented. And they work so hard. I really want to go see In the Heights which is breaking ground on Broadway and won for best musical.

AND ....  Daniel Radcliffe!!!!!

I flashed my CBS ID and a $20 bill to a security guard to try to get back and see Harry Daniel, but she just laughed and said "four digits, honey, four digits." well. it was worth a try. and i would have kicked myself if I hadn't at least tried. or margie would kick me instead.

And may still be (feel free to weigh in here, Natasha), but admitting you think so will get you branded as old. Why? Because, as my daughter says, Liam Neeson is "crusty." Ew. Some male movie stars -- think Sean Connery -- can hold onto their sex appeal seemingly forever, but poor Liam doesn't seem to be one of them.

John and Wendy Savage (named – perhaps not by accident – after the John and Wendy who flew off to Neverland with Peter Pan) are your standard issue New Yorker movie-dysfunctional siblings. They are both skirting forty, unmarried, unhappy, smart but professionally unfulfilled, perpetually nervous but too proud to admit it, as incapable of not correcting others as they are of righting themselves, and, to sum up: children. Their father, Lenny Savage, was a cruel man who raised his kids to fear him and who is now in need of their help. Lenny has succumbed to Parkinson’s disease in old age, and it falls to John and Wendy to look after him. Fantastically reluctant as they are, the time has come to take act like grown ups.

Laura Linney (who plays Wendy Savage) is the patron saint of New Yorker movies. Even when she isn’t in them, even when it’s her slightly less good looking stand-in, Hope Davis – Laura’s presence is felt. With her anxious smile, her hard, kind eyes (that look that she perfected in You Can Count on Me; a little like “I understand you” with the emphasis on “But…”), she’s like every forty-something high school teacher you ever had a crush on; the one you knew was twenty years too old for you, but still, in the hazy sweat of a June Chemistry lesson…you kidded yourself. Linney’s appeal is the same as Meryl Streep’s; she’s smart but she doesn’t come off superior, she can act but still look good in a dress. Her character in The Savages needs be needy, but not brink-of-collapse needy (not under-30 needy). She’s someone who, while her boyfriend busies himself having sex with her, reaches out to touch his pet dog’s paw… the sort of woman who might not place a lonely hearts ad, but who doesn’t laugh at one either.

Philip Seymour Hoffman (still hoovering-up every leading man role in indie cinema after his Oscar nod) plays John Savage the way he plays most roles: like a bully with hurt feelings. Hoffman is brilliant at playing vulnerable assholes; men who attack the world preemptively. If he were thinner this might come off as unfounded, but there’s something in his contrast of highly developed intelligence and lardy physique that makes his stance appropriate. His bulk gives his anger backing too, in a way a scrawny guy with that much resentment might struggle to effectively replicate. If Linney is the Science teacher every boy had a crush on, Hoffman is the teacher who complains most in the staffroom. Liking him is tricky, but The Savages (like Capote) gives him reason to behave the way he does. I liked the scene where he cried over the eggs his girlfriend made him. It’s a small scene, but it tells a lot about a guy who thinks of betrayal every time he thinks of love. 

Watching Blade II the other night, I thought about how different New Yorker movies would be if a character like Blade (or anyone with a gun) showed up in them. There’d be a lot more explosions for one thing, markedly fewer references to Heidegger… Probably Laura Linney would be replaced by Jessica Biel. It wouldn’t work, of course; anymore than introducing a character like Wendy Savage to Blade II. New Yorker movies are as much a genre as action-adventure, like it or not. They have their set rules, their familiar faces. Some of these movies are great, but mostly, as with action movies, the best ones were made some time ago. The Savages isn’t Manhattan, but it upholds the tradition of Manhattan and Annie Hall.

Stop laughing . . .

Anyway, after the Magnum opus that was my last post, I thought I'd come back today with something a bit on the sunnier, fresh-air side of life.

I love movies. Always have. The peaceful moments of my existence are embodied best in a quite evening at home with a DVD in the Pioneer and the lights out. And while there's nothing wrong with the occasional lighthearted romantic comedy or a mindless blockbuster action movie, what I really enjoy are movies about interesting characters. Often called dramas, these presentations of honest people living real, complex lives in the midst of both the magnificent and the mundane turn my crank and drag me through the entire spectrum of emotions. I laugh. I cry. I escape for a couple hours and then slide reluctantly back into the real world, often having learned a thing or two about myself along the way. And making good character-driven movies take incredibly talented and versatile actors.

I got to thinking about all this last night while watching one such movie with my son, and our chat was still jogging upon the dewy grass track of my mind as I awoke this morning. So I decided to run with it and solidify a list of my favorite character actors to share with you, starting with the ladies. When I see any of these gals cast in a movie, it's almost always a must-see. So here they are, my leading ladies, in no particular order:

Patricia Clarkson

She oozes talent from every pore. While most may not consider her a leading lady, I find that she brightens nearly every movie I've had the pleasure of seeing her in. I fell for her in The Green Mile. To watch her transform from a diseased and bedridden bag of bones into a beacon of light and redemption moved me. She stole the show, even if only for a brief few minutes. She did almost the same thing in The Station Agent. And then she melted my heart completely in Lars and the Real Girl.

Joan Allen

She never plays a weak character, every one a strong woman with poise and intelligence. Consider her as Bonnie Waitzkin, the protective yet compassionate mother to a chess prodigy in Searching for Bobby Fischer, or as the no-nonsense senator in The Contender. And who really wants to mess with Pamela Landy, the hard-as-nails agent with a heart of gold in the last two installments of the Bourne trilogy? She's been in too many good movies to list here. As a leading lady, she's not had much success. But she steals every scene she gets with her wit and charm. She's spot on every time and a pleasure to watch.

Helen Hunt

I've loved her since Mad About You. She was the perfect foil for Paul Reiser, counterbalancing is stupidity with her spunk and grace. She manages to save Twister, and then burst onto the big screen with class in As Good As It Gets, providing the shaky yet determined voice of reason to Jack Nicholson's insanity and earning and Oscar in the process. Her eyes speak volumes and her silence screams. It all just simmers underneath and then bursts out with such precision and poise. She's been sort of underground for a while but has a new movie out, Then She Found Me, which she wrote, produced, directed and starred in. I can't wait to see it.

Charlize Theron

She could have been a bimbo actress. Her first big screen role was in Children of the Corn III. What?! Then came The Devil's Advocate. I was a bit worried. Then she started taking on some real meaty roles and came out shining. Most people missed The Legend of Bagger Vance, which is a shame. And . . . my God . . . the awesomeness that is her performance in Monster. Rent it today if you haven't seen this Oscar-winning performance. She sparkled in The Cider House Rules and showed her tough side in The Italian Job. She's gorgeous, talented and hasn't disappointed me in quite some time. Of course, I haven't seen Æon Flux yet . . .

Cate Blanchett

My favorite elf. I'd enter a spooky, ancient forest any day for an audience with this extremely talented former Queen of England . . . er . . . I mean actress. Cate has portrayed almost everyone imaginable, including Bob Dylan, and done so with her own unique style. Her smile can lift your spirits or rip out your heart. Consider her role in Notes on a Scandal opposite the always-good Judi Dench. She fell apart on screen, deconstructing the stereotypical image of a successful woman with secrets in the closet. And she managed to steal Babel right out from under Brad Pitt. Then there's all that red hair. My oh my, what a beautiful woman.

Toni Collette

She quietly slipped on the scene in 1994's Muriel's Wedding in a performance lauded by critics but missed by most moviegoers. Then came The Sixth Sense, in which her startling and sympathetic turn as struggling single mother Lynn Sear earned her an Academy Award nomination. I watched this movie again last night with my son and I'm still touched by her transparent performance. Simply riveting. Almost as good as her role in the funny yet touching Little Miss Sunshine. Her pout isn't . . . pouty, if you catch my drift. She's honest with her emotions and never fails to make me smile.

Kate Winslet

Face it. Anyone who could make Titanic a joy to watch has to be good. Kate is fearless when it comes to the roles she chooses. She can play the classics, as she did as Ophelia in Kenneth Branagh's Hamlet, embody such eccentric personalities as Iris Murdoch in Iris, and then bring boring to life with an easy dramatic flair as she did in Little Children. She even managed to breathe life into Eternal Sunshine of the Spotless Mind opposite Jim Carrey. That was no small feat, for that movie would have been dead without her knack for sincere laughter atop a smile that speaks a thousand words. She's a rare and elegant beauty, and I just adore her.

Jennifer Connelly

I just realized that Jennifer Connelly is the first brunette on my list. I'll let you decide what that means. Meanwhile, I'll watch her again and again. I loved her in the thinking person's sci-fi noir flick Dark City. She looked just so darn poised and otherworldly standing on the dock at the end of the film, her dark hair blowing in the breeze. But her other roles have taken her deeper, as a drug addict in Requiem for a Dream, as Jackson Pollock's impressionable lover in Pollock, as a single mother with supernatural water stains on her apartment ceiling in Dark Water. But watching her shatter a glass of water in anger and frustration in A Beautiful Mind is a study in excellence of expression and personification. And those baby blue eyes . . .

Hilary Swank

Russell Crowe once encouraged anyone who came from "the downside of advantage" to pursue their dreams whatever they may be. Such is the case with Hilary Swank. She got her first big break in The Next Karate Kid after she and her mother moved to Los Angeles to pursue acting. Then came Boys Don't Cry, and astonishingly compassionate and realistic performance as Brandon Teena, a transsexual who was brutally raped and murdered in Nebraska in 1993. Few people saw this movie, which is a shame. She earned an Oscar for her performance, and then earned a second Oscar for her portrayal as boxing phenom Maggie Fitzgerald in Clint Eastwood's Million Dollar Baby. She's had some duds (The Reaping) but the good far outweigh the bad.

Laura Linney

If I were pressed to name my favorite actress, I wouldn't hesitate a second in picking Laura Linney. Honestly, I've never seen her in a bad movie. She has that rare ability to rescue even the shallowest of screenplays and bring her performance to life. I first fell for her in The Truman Show. Her over-the-top performance matched Carrey's step for step. And consider her opposite Mark Ruffalo in You Can Count on Me. The quiver in her voice sounds genuine and unforced and adds a sympathetic touch that dives deep but never drowns. I especially enjoyed her in The Savages with Philip Seymour Hoffman. Interestingly, she always seems to be cast opposite some of my favorite actors. She holds her own and brings out the best in everyone.

Julianne Moore

Ever see Magnolia? No, not Steel Magnolias. That one sucked. Magnolia is the three-hour ensemble drama directed my Paul Thomas Anderson, the wunderkind behind last years best movie, There Will Be Blood. He has a way of bringing out the best in his actors, and he got way more than even he could have imagined from Julianne Moore in Magnolia. She walks the tightrope of madness and never slips. She's done sensitive and sweet in Far From Heaven, sexy, dirty and nasty in Boogie Nights, and strong and proud in Children of Men. Not all of her movies have been masterpieces, but that's no fault of hers. Heck, I even liked her as Clarice Starling in Hannibal, not an easy role to take on after Jodie Foster's Oscar-winning turn.

So there you have 'em, my leading ladies of cinema. Were I an actor in need of someone to work with who could make my star shine, I'd choose any one of these gals any day of the week. Feel free to add your favorites to the comments, or simply add your praise for these actors if you feel so led. I love talking movies, so fire away . . .

http://www.huffingtonpost.com/craig-lucas/leaving-your-artistic-leg_b_102332.html

It's a commencement address given by the playwright Craig Lucas to the graduating class at Boston University College of Fine Arts.  Pieces like this, or speakers at school like Laura Linney, who speak so eloquently and honestly about the experience of a professional artist, are so refreshing and wonderful to hear.  And especially now, as I approach my senior year of school and I see my classmates begin to attain
"success", and see other friends from back home having babies, and I stress about papers and grades and schoolwork, and I worry about my abilities as an actor and artist, and I ready myself to embark on this summer solo trip, I find such clear perspective refreshing and invigorating.

To know that there are people out there, adults who are professional performers and artists, who value the work and the pursuit of art so highly and are successful enough to be able to pursue their art full-time fills me up with hope.  In a world where tabloid news and celebrity status are given more importance than ever before, and where I am embroiled in a school environment that is equally inspiring and claustrophobic, it is important to remember my own standards of success.

I am learning.  I am growing.  I am challenged and satisfied as an artist and a scholar.  I am keeping myself from over-stressing and worrying (for the most part!).  I am confident in who I am and comfortable in solitude (again, for the most part!).  I am a late bloomer - as always.  But the slow climb has proved to be immensely rewarding.  I do not need any possessions to define me.  I try to be constantly kind and compassionate and aware of those around me.  I have no extraneous pride or dignity to lose, and try to be friendly to all and ignore conventions of status.  I will never be a rock star, and that's okay. :)

I work.  I endure.  I try to appreciate every minute.

Pick of the Week

4 Months, 3 Weeks, 2 Days - The hugely acclaimed Cristian Mungiu humanist thriller about two girls seeking an abortion in communist Romania. A Palme D'Or winner and mini-masterpiece, this should be required watching for any film student or anyone put off by subtitles and tough subject matter. It's an intense watch but rewarding on any level you need.

Also Out

In The Valley of Elah - Paul Haggis' flawed but decent fist at exploring the difficulties of readjustment for homecoming Iraq soldiers in the US. The central performance from Tommy Lee Jones is great but again with Haggis the script is overwritten and loses its power due to stagy dialogue and a pretty awful turn from Charlize Theron.
Weeds: Season 3 - Mary Louise Parker shines as a suburban mom with a pot-dealing empire. She's the star and the beating heart of the series but most of the adult performances are strong even if the series as a whole never rises beyond being just 'good'.
The Hills: Season 1 - The Hills baffles me to my core. This is a show so post-modern that its almost post-post-modernist. Staged reality. It's hideous, vacuous, irratating and manipulative. But I love it.
The Savages - Mostly loved actorly drama starring Philip Seymour Hoffman and Laura Linney as grown-up kids dealing with the deterioration of their father.
Before The Devil Knows You're Dead - Another Philip Seymour Hoffman movie, this time an uneven film overall but still interesting for his performance and the quality of Sidney Lumet's direction.
Wristcutters: A Love Story - Awful, pretentious nonsense derived from a great concept: a purgatory for people who commit suicide. Only good when Tom Waits turns up for a cameo.
I'm a Cyborg - Oldboy director Park Chan-Wook makes a robot love story. Not seen it but his previous films are great so it's likely worth a look.
The Sun's Burial - Cult Japanese work from Nagisa Oshima that I'm really looking forward to checking out.
Alice in the Cities - Wim Wenders' breakthrough film. Another I'm anticipating greatly. You can check out my review of the film on Screenjabber.
Paul Verhoeven Collection - The early Dutch films of the provocative and wildly unpredictable director of Showgirls. Likely better than that makes it sound.
Over the Edge - Matt Dillon-starring late-70s exploration of teen dislocation in small town America.
He Was a Quiet Man - Christian Slater plays loner psycho turned hero who forms a relationship with a disabled Elisha Cuthbert. Could be awful but seems at least interesting.

Region 1

Rambo - Literally nothing else of note from the US so it's down to Sly Stallone to keep it going. This is a ridiculously violent 'exploration' of the human rights crisis in military-occupied Burma. It's watchable but I would not allow the kids anywhere near it.