This week on home video, we’ve got one of the most acclaimed horror films in recent memory and Tim Burton’s latest film, an understated true story. After that, we’ve also got new films from David Cronenberg and Jean-Luc Godard, as well as some other notable indie titles and a few new releases on television, including a Robin Williams sitcom. Read on for the full list:
Horror as a genre has undergone a lot of transformations over the years, so much so that it’s become almost impossible to pinpoint what exactly defines a “typical” horror film these days. Perhaps because of this, critics have warmly welcomed films that have returned to what they’ve labeled more “traditional” fright flicks. Last year’s The Babadook, an Australian film about a single mother learning to cope with the death of her husband, offered exactly the brand of horror critics were craving, and they rewarded it with a Certified Fresh 98 percent on the Tomatometer. Essie Davis is Amelia, whose husband’s tragic death six years prior has traumatized their son Sam (Noah Wiseman). After reading Sam a disturbing bedtime story about a boogeyman-like monster called the Babadook, strange occurrences begin manifesting in their home, and Amelia fears she may be losing her mind. More tense and atmospheric than gory or startling, The Babadook‘s reliance on psychological terror is likely to stick with you far longer than the cheap thrills offered by other films.
Tim Burton employs such a specific tone and aesthetic that, after 15 feature films, audiences come to his movies with some preconceived notions. Even the few occasions where he’s ventured a little beyond his niche — efforts like Ed Wood or Big Fish — sport enough Burtonian flourishes to bear his unmistakable signature. Enter Big Eyes, a quieter, gentler look at a remarkable true story that still feels like a Tim Burton movie, only different. Christoph Waltz plays Walter Keane, the celebrated painter of the 1950s and 1960s known for his eccentric trademark: portraits of waifs with unusually large eyes. As we know now, however, the truth was that he didn’t paint those portraits at all; they were the work of his wife Margaret (Amy Adams), who let a lie spiral out of control as Keane’s popularity grew. Critics called Big Eyes thought-provoking for its social commentary and well-acted, thanks to its top notch cast, even if some felt it failed to delve deeply enough to achieve long-lasting significance. At 71 percent on the Tomatometer, it’s an understated drama just a bit outside of Burton’s typical wheelhouse, but a fascinating story nonetheless.
Goodbye to Language (2014) (86 percent), Jean-Luc Godard’s challenging Certified Fresh portrait of a relationship from the perspective of a stray dog.
[Rec] 4: Apocalypse (2015) (81 percent), the fourth installment of the Spanish zombie-horror series.
God Help the Girl (2014) (68 percent), starring Emily Browning and Hannah Murray in a bohemian coming-of-age drama set in Glasgow, Scotland’s West End.
Maps to the Stars (2015) (63 percent), starring Mia Wasikowska and John Cusack in David Cronenberg’s ensemble drama about a troubled Hollywood family.
The Woman in Black 2: Angel of Death (2015) (22 percent), the sequel to the 2012 Hammer Films horror entry about the haunted Eel Marsh House.
Sullivan’s Travels (1941) (100 percent), Preston Sturges’ iconic Hollywood satire starring Joel McCrea and Veronica Lake, is the first of two releases from the Criterion Collection and available in a new DVD and Blu-ray.
Odd Man Out (1947) (100 percent), Carol Reed’s celebrated noir thriller starring James Mason and Kathleen Ryan, is Criterion’s second release this week, also available in a new DVD and Blu-ray.
The Missing‘s (2014) (96 percent) acclaimed first season is available on DVD and Blu-ray.
The Crazy Ones (2013) (55 percent), CBS’ sitcom starring Sarah Michelle Gellar and the late Robin Williams, releases its first season on DVD this week.
Director/screenwriter Richard Linklater has been a Tomatometer darling over the years. And this week, he hits 100 percent Certified Fresh for the second time with his new film Boyhood (the first time was Before Sunrise in 1995). Shooting his film over the span of a dozen years, Linklater captures the coming-of-age story of Mason (Ellar Coltrane), a boy who literally grows up before your eyes.
To celebrate Linklater’s cinematic achievement, we asked him about the films that he loves. Tasking Linklater to list his five favorites is like asking him to describe his mood: the list will likely change in a day, or even in five minutes. “I once made a list of my 250 favorites — and that was just scratching the surface,” Linklater laughed. Still, as you go through the list of Linklater’s five favorite films (as they struck him at 1:30 p.m. EST on a Thursday in July), you will see how well they represent a filmmaker whose art is funny, sprawling, romantic, and radical — a body of work that captures a certain realness about the human condition, no matter what the genre.
Some Came Running (Vincente Minnelli, 1959; 78% Tomatometer)
It’s one of the great ’50s melodramas, and it’s kind of like a musical without the music, but it has a great score, of course. I saw it in my early- to mid-20s, and it just really affected me. It’s about a guy who goes back to his hometown where his brother is a prominent citizen. He’s a stalled-out, blocked writer, and he’s been a soldier, and a worker, and a would-be novelist, and he’s kind of a gambler and a drinker — this is Sinatra, of course, the conflicted one — and he lives in two worlds. Because he’s a published writer, he has the respect of the local English teacher and her brother — the respectable world of literature — but he really has a soft spot for bars and gambling and floozies and the Shirley MacLaine character. And then you’ve got Gwen French, who’s played by Martha Hyer, who’s the uptight school teacher. So it’s all these opposites colliding — respectability, debauchery… It’s wonderfully melodramatic and beautifully made… It’s about male friendship too. I consider it kind of the first Rat Pack movie, although it’s just Dean and Frank with Shirley around too. It doesn’t have a lot of the other people, but it’s the first one to capture these guys gambling and hanging out and that camaraderie. They become roommates and go on, like, a trip to Terre Haute, IN, to go gambling. It’s just wonderful.
If… (Lindsay Anderson, 1968; 97% Tomatometer)
The great British director Lindsay Anderson died 20 years ago and he only made five or six films, but they’re all very interesting, and I think his most famous is called If… It’s the film Malcolm McDowell did before A Clockwork Orange, and it’s kind of the ultimate teenage movie. It’s beautiful and very radical. It won Cannes that year, and it’s very much of its time, the ’60s, and Malcolm McDowell is brilliant in it. It’s the ultimate teen rebellion movie — and I like that genre — but it’s also very poetic, almost Brechtian, and there’s almost fantasy elements to it. Like, there’s this woman in the movie who might not even be real. It’s filmed in color and there are sections that are black-and-white and it’s kind of amazing. It’s the first film of a trilogy too. Malcolm McDowell’s character’s name is Mick Travis, and so a few years later, they did a film called O Lucky Man! and then ten years later they did Britannia Hospital together, Lindsay Anderson and Malcolm McDowell. So it’s one of the greater film trilogies in my opinion… It’s definitely worth watching. It used to be a bigger cult film in the ’70s and the ’80s, but I see it’s falling off. I don’t know if young people are watching it the way they used to.
They’re watching Dazed and Confused.
If… is much better. Trust me.
The 400 Blows by Truffaut is a real canonical film that everyone’s seen — and yet, there are still a lot of people who haven’t seen it! It’s Truffaut’s first film. He did it in his 20s, and it’s about a few days in the life of his young, 13-year-old hero, Antoine Doinel, who went on to do four more films in character. Truffaut, of all the great the directors, I think, had the most sensitivity toward children ultimately. He made this film, which is widely considered to be the best film about a kid, and went on to do The Wild Child and Small Change. He was just a good director of kids and this is one of the great kids movies — a young hero and his family life. It’s incredible.
It’s the ultimate, sprawling ensemble Altman film — the way each character has their own story to such a degree, and he pulls it all together. It has these thrilling moments, these funny moments. The music is both very moving and satirical, funny and beautiful too. Keith Carradine’s song, “I’m Easy,” is a beautiful song, and some of the other songs like “200 Years” by Henry Gibson is hilarious. It’s just ridiculous. So, that you could have all of this go into one big collage where you have realism, satire, romance — it’s all there — is quite a feat. And I actually saw this when I was a teenager — fourteen or fifteen — and I was bored. I didn’t really understand what I was watching, but I saw it a little bit later, and it kicked off something else in me.
Sullivan’s Travels (Preston Sturges, 1941; 100% Tomatometer)
Let’s do Preston Sturges and the greatest comedy of all. This film hasn’t aged a day from 1941 when it came out; it’s amazing — especially with Hollywood in mind. It’s the ultimate inside Hollywood movie. It’s about a guy searching for meaning in his art who’s had all this success in Hollywood… The human dynamics of it are very true to life. I mean, it’s a comedy and it’s all pitched at that point, but Preston Sturges was such the master of dialogue and delivery that the whole tone and pitch of it is totally unique. It’s amazingly contemporary. This character’s desires and the timeless subject of, say, art versus commerce is one of the best film depictions of that you could ever find — and in a very comedic way. He has a project that the studio doesn’t want him to make about homelessness — this is coming out of the Depression — and he’s a spoiled rich guy and he has a project he wants to make. Of course, the Coens made a film with that name, O Brother, Where Art Thou? That’s where that comes from. And it’s kind of a ridiculous desire to say something that has social significance and meaning about suffering and all that stuff, but he’s really kind of desperate to make a comedy. He ends up on a chain gang by a series of misadventures… So he really is suffering. It’s just a brilliant movie and surprisingly contemporary.
Boyhood opens in limited release this weekend, and it’s currently Certified Fresh at 100 percent on the Tomatometer.
Comedian, actor, and filmmaker Bobcat Goldthwait became a fixture on the stand-up comedy circuit in the ’80s and ’90s, developing an idiosyncratic persona that he parlayed into a string of movie roles and TV gigs. But rather than ride that schtick into the nostalgia sunset, Goldthwait turned his talents to filmmaking. His debut film, 1991’s Shakes the Clown — aka “the Citizen Kane of alcoholic clown movies” — would become something of a cult classic (Martin Scorsese’s a fan), while 2009’s World’s Greatest Dad earned strong notices for its unique brand of black comedy and one of star Robin Williams’ finest performances in years.
This week, Goldthwait returns with God Bless America, a delightful valentine to popular culture in which a disgruntled office drone (Joel Murray) and his teenage sidekick (Tara Lynne Barr) go on a cross-country killing spree designed to right the wrongs of contemporary bad manners, reality TV and other social ills (if you’re texting in a theater, fear for your worthless life.)
We sat down for a chat with Goldthwait recently, and the first thing he did was send his camera crew on a break with a line from Albert Brooks’ Real Life — so right away we knew he was going to be great. Read through for more of his thoughts on the film and his career, but first, here are his Five Favorite Films.
Harold and Maude (Hal Ashby, 1971; 85% Tomatometer)
It’s hard to boil them down. I would say, well, Harold and Maude, obviously, because it seems like something… you know, when I saw Harold and Maude, I didn’t laugh; I was a boy and I just felt like a Starbelly Sneetch finding the other Starbelly Sneetches, you know. So that movie was a biggie, and still is. I’m thinking of movies that I go back and watch, ever time I see them.
Young Frankenstein, you know… I think Young Frankenstein influenced me because it was a comedy but they really treated it like the James Whale Frankensteins. There’s a real sadness in that movie.
They replicated the Universal horror look really faithfully.
Yeah, and they used a lot of the same effects and stuff, yeah.
Do you find when people do something serious and then set the comedy within it that it makes the comedy better?
Yeah — and a story, you know? In a lot of comedies the story comes afterwards. They’ll cram in a “friends are the most important friends” or some bullsh-t.
I find that with your stuff, like World’s Greatest Dad, they’re almost dramas — and the comedy evolves out of that.
Yeah, and that’s the way I approach it. I kind of don’t even consider… I mean, I think of all of them as comedies, but I don’t concern myself with the jokes at all. It’s more about staying true to the world and the themes that we come up with.
I’d say Ed Wood; the Ed Wood movie I really love a lot. I love the idea of — I think it’s a great movie — but I identify with this kook who makes movies because he has to, and works with his friends. I don’t think Ed Wood is the worst director: His movies are personal, and you can’t take your eyes off them. [Laughs.] You know what I mean? There are way worse film directors.
I read where Tim Burton said something like the difference between himself and Ed Wood was that he was lucky — which is why that movie is so affectionate. It’s not a mockery.
Oh no, no, not at all. It’s very kind and sweet, and warm. I love that movie.
I don’t know which John Waters to pick. The go-to would be Pink Flamingos — that was another movie that was pivotal, when I discovered that — but I would pick Polyester out of his movies. I’ve got a big soft spot for John Waters, ’cause again, there’s a guy who’s doing things on his own terms, and I think people would find his topics shocking but he has a lot of kindness towards these people, these characters. I love him. I just saw him this weekend when I was in Maryland.
You two should do a movie together.
Well I’ll tell you, he’s been so supportive. He and Todd Solondz and myself met, and I was like, “Wow, this is a harmonic convergence. This is the Mount Rushmore of f-cked-up.” [Laughs.] My wife dubbed it the — you know how they had the Million Dollar Quartet, with Elvis and Carl Perkins and that? — well she dubbed it the Hundred Dollar Trio. [Laughs.]
I would say Sullivan’s Travels would probably round out the five. That movie is kind of what I’m always wrestling with, you know — there’s the idea of, “Do I go out and entertain people [laughs], or do I go out and say something?” I love that movie. That’s just another movie that, you know, Preston Sturges movies — they’re not really set in the real world, or most of them aren’t set in any real world, but the characters are always very realistic; and then he has these great, oddball one-dimensional characters that show up. Clearly that’s something that’s kind of influenced me, ’cause I don’t think the world that my movies take place in, it’s not a real place. I always laugh at people who go, “Well, you know, they would have been caught” in [God Bless America] and I’m like, “It’s not real, man.” I don’t wanna have a scene where Harvey Keitel is in front of this big map of the United States going, “I gotta get inside their brains. I gotta figure out where they’re gonna strike next.”
[Laughs.] Tommy Lee Jones ordering a search of every outhouse, farmhouse, henhouse…
[Laughs.] Yeah, Tommy Lee Jones going: “Somebody! Get a patrol car to the Kardashians! I think I’ve figured it out!”
You have to suspend some disbelief there.
Yeah, yeah. And I think that maybe in this movie that works for people. We do a good job of hopefully suspending it by shooting a baby within the first 10 minutes. [Laughs.]
[Laughs.] That was a very enjoyable moment.
Well thanks, man.
Next, Goldthwait talks God Bless America, avoiding nostalgia comedy, and revisiting Shakes the Clown.
You were talking about the tension between entertaining people and having something to say. How did you approach God Bless America — which is entertaining, but moreover feels like it has something to say — with that in mind?
You know, it’s funny. Last night I was really exhausted and I was sitting there looking at it — there was a screening — and it played well and people were laughing and people liked the movie, but I also know that I lost some of the people. And part of me was thinking, “Why do I do this? ” I mean, it would be so much easier to just make a comedy, you know? I would not have to rent in the Valley. [Laughs.] Why is it so important for me to connect with such a small group? You know, it’s not very lucrative. Robin Williams is one of my friends, he’s probably my best friend, and we always laugh and discuss how with his neuroses, you know, he’s looking for the world’s approval, and I’m just looking for a couple of misfits to say, “Hey, we like you.” [Laughs.] “Gabba gabba, we accept you.”
[Laughs.] I like that you stuck up for him in the movie.
Yeah, there’s a little shout out. ‘Cause all my friends show up in this movie. Like, Tom Kenny is a guy I’ve known since I was six years old and he’s Spongebob Squarepants; so he shows up, and we shoot and kill him. All my best friends show up — and most of them get killed. [Laughs.] I think I was gonna have him play Robin Williams. ‘Cause this movie, you know, is the only movie I’ve written that takes place in our time — as in right now — so he probably would have been backstage at American Superstar.
And you’ve known Joel Murray since — well, you did One Crazy Summer together. Have you just been waiting for the right role to cast him in?
No, it was more like I was watching him on Mad Men and my wife was like, “He’d be a good Frank.” And I was like, “Yeah.” I didn’t think he wanted to work together, because I tried to get him for one of my other movies, and his agent, I found out, wouldn’t give him the script, which was Sleeping Dogs Lie. His agent was like, “This is a horrible movie.”
[Laughs.] That would have been a tough sell for agents to deal with.
Yeah. Most of the screenplays I write have a really hard time getting to people; as a guy who makes movies, and it’s frustrating. Understandable, but it’s a little frustrating, because it’s like, even if you don’t like my movies — and my movies do have their detractors — the actors in the movies always do well. Nobody’s ever said anything bad about them. The actors don’t get bashed in the press; the actors always get good notices. So it’s like, if you’re really concerned about your actors, you know, they’re not gonna get rich or anything but they might get to go to Park City. [Laughs.]
God Bless America concerns a guy who’s fed up with the degeneration of popular culture and social etiquette, but do you think there’ll be a time in, say, 20 or 30 years, when this era seems polite? Is it just a generational frustration?
Yeah. [Laughs.] That’s what really worries me. You know, when Frank says “Eating rats and maggots on Survivor was shocking, and now it seems quaint.” I do wonder, Where are we gonna go? The pendulum always swings back and forth, but what I’m afraid of is that the pendulum has just been let go. [Laughs.] It’s like, we’re not getting to the end of the swing, it’s actually only starting. [Laughs.] That’s the thing that kind of terrifies me. It’s funny when you go back and watch Network, the things that he predicted are tame compared to what we really did become.
Right. You’re talking about John Waters before, and as outré as Pink Flamingos still is, a lot of his bad taste sensibility has been assimilated into the mainstream over the years.
Right, yeah. But I still find him subversive, because, truly, sincerity is the ultimate form of being subversive. [Laughs.]
Talking about you doing — or not doing, as it were — comedy, do you get offers to bring out the old Bobcat persona?
Oh, as a comedian, as an actor? A little bit, but I always say that I retired from acting at the same time that they stopped hiring me — so that worked out well. [Laughs.] But I do get offers, you know; I did make a decision, as a comedian, to kind of stop performing in that persona, ’cause I didn’t feel it working out anymore. And I know that cost me money, because if I was willing to go on the road as a nostalgia act I could make money, but I just couldn’t really feel good about it. I’m always polite when people want to talk to me about things they recognize me from or known me from — and I understand that, and I am polite — but I’m usually more interested in what I’ve just made, or what I’m trying to make, rather than what I did 25 years ago.
I don’t know if this falls into the category of nostalgia, but Shakes the Clown is a favorite comedy of mine.
A friend introduced me to it, and he got into it, I think, ’cause he read an interview where [record producer] Steve Albini was saying how much he loved it…
Oh really? That’s funny. That’s really crazy. I didn’t know that [Albini] liked the movie. That’s really funny because as a comedian I toured with Nirvana, which is funny. I never remember talking to Kurt [Cobain] about Shakes — I don’t know if he ever saw it — but he knew a lot of my standup, which was great.
He was a fan.
Yeah. In fact, [Dave] Grohl — when I first met Kurt, he wasn’t even in the band — but Grohl, ’cause he used to live with Kurt, he was like, “I used to have to listen to that album all the time.” Which was my album. [Laughs.]
Is Shakes a world you’d ever consider going back to?
Oh, no. I don’t think I’d have the energy to do it. But I jokingly would always love to do, like, the idea would be an origins story of Binky and Shakes as teenagers, and do an angry teen movie with those two, you know, and how the rivalry was formed and stuff.[Laughs.]
God Bless America opens in theaters this week and is available to watch through VOD.
Ten years ago the AFI gave us a list of the Top 100 American Films Ever Made — and when that was done they churned out 15 other lists every few years. And then last night they updated the Top 100 … I guess because they ran out of lists.
Frankly I think all of these lists are a little silly, but they do spark a lot of movie discussion and therefore I’m all for ’em. Seems a bit unnecessary to update a list that’s barely ten years old, but hey, you do what you have to do to get the viewers interested. I’ll post the new list below, but if you’d like to compare it to the original Top 100, you can check our source below.
And definitely feel free to share your thoughts, opinions and outrage regarding the big list. There’s a lot of movies out there, so please do toss your lists out, too. (The one below came from a list of 1,500 filmmakers, writers, actors, critics, and "others.")
At the very least, this list should give you a good idea of how to fill up your Netflix queue.
1. "Citizen Kane," 1941.
2. "The Godfather," 1972.
3. "Casablanca," 1942.
4. "Raging Bull," 1980.
5. "Singin’ in the Rain," 1952.
6. "Gone With the Wind," 1939.
7. "Lawrence of Arabia," 1962.
8. "Schindler’s List," 1993.
9. "Vertigo," 1958.
10. "The Wizard of Oz," 1939.
11. "City Lights," 1931.
12. "The Searchers," 1956.
13. "Star Wars," 1977.
14. "Psycho," 1960.
15. "2001: A Space Odyssey," 1968.
16. "Sunset Blvd.", 1950.
17. "The Graduate," 1967.
18. "The General," 1927.
19. "On the Waterfront," 1954.
20. "It’s a Wonderful Life," 1946.
21. "Chinatown," 1974.
22. "Some Like It Hot," 1959.
23. "The Grapes of Wrath," 1940.
24. "E.T. the Extra-Terrestrial," 1982.
25. "To Kill a Mockingbird," 1962.
26. "Mr. Smith Goes to Washington," 1939.
27. "High Noon," 1952.
28. "All About Eve," 1950.
29. "Double Indemnity," 1944.
30. "Apocalypse Now," 1979.
31. "The Maltese Falcon," 1941.
32. "The Godfather Part II," 1974.
33. "One Flew Over the Cuckoo’s Nest," 1975.
34. "Snow White and the Seven Dwarfs," 1937.
35. "Annie Hall," 1977.
36. "The Bridge on the River Kwai," 1957.
37. "The Best Years of Our Lives," 1946.
38. "The Treasure of the Sierra Madre," 1948.
39. "Dr. Strangelove," 1964.
40. "The Sound of Music," 1965.
41. "King Kong," 1933.
42. "Bonnie and Clyde," 1967.
43. "Midnight Cowboy," 1969.
44. "The Philadelphia Story," 1940.
45. "Shane," 1953.
46. "It Happened One Night," 1934.
47. "A Streetcar Named Desire," 1951.
48. "Rear Window," 1954.
49. "Intolerance," 1916.
50. "The Lord of the Rings: The Fellowship of the Ring," 2001.
51. "West Side Story," 1961.
52. "Taxi Driver," 1976.
53. "The Deer Hunter," 1978.
54. "M*A*S*H," 1970.
55. "North by Northwest," 1959.
56. "Jaws," 1975.
57. "Rocky," 1976.
58. "The Gold Rush," 1925.
59. "Nashville," 1975.
60. "Duck Soup," 1933.
61. "Sullivan’s Travels," 1941.
62. "American Graffiti," 1973.
63. "Cabaret," 1972.
64. "Network," 1976.
65. "The African Queen," 1951.
66. "Raiders of the Lost Ark," 1981.
67. "Who’s Afraid of Virginia Woolf?", 1966.
68. "Unforgiven," 1992.
69. "Tootsie," 1982.
70. "A Clockwork Orange," 1971.
71. "Saving Private Ryan," 1998.
72. "The Shawshank Redemption," 1994.
73. "Butch Cassidy and the Sundance Kid," 1969.
74. "The Silence of the Lambs," 1991.
75. "In the Heat of the Night," 1967.
76. "Forrest Gump," 1994.
77. "All the President’s Men," 1976.
78. "Modern Times," 1936.
79. "The Wild Bunch," 1969.
80. "The Apartment, 1960.
81. "Spartacus," 1960.
82. "Sunrise," 1927.
83. "Titanic," 1997.
84. "Easy Rider," 1969.
85. "A Night at the Opera," 1935.
86. "Platoon," 1986.
87. "12 Angry Men," 1957.
88. "Bringing Up Baby," 1938.
89. "The Sixth Sense," 1999.
90. "Swing Time," 1936.
91. "Sophie’s Choice," 1982.
92. "Goodfellas," 1990.
93. "The French Connection," 1971.
94. "Pulp Fiction," 1994.
95. "The Last Picture Show," 1971.
96. "Do the Right Thing," 1989.
97. "Blade Runner," 1982.
98. "Yankee Doodle Dandy," 1942.
99. "Toy Story," 1995.
100. "Ben-Hur," 1959.
Grr. I’m annoyed that neither of my all-time favorites (those would be "Alien" and "Young Frankenstein") made the list. Oh well.
Be honest: How many of ’em have you seen?
With the arrival of the Oscars comes the stench of the raspberries. The Razzie Awards, of course, which claims to "honor" the very worst of the past year’s films … but really they only focus on three or four turkeys and beat ’em senseless.
Here for your enjoyment are the wonderfully amusing and insightful Razzie Award winners:
Worst Picture: "Basic Instinct 2" — only the Razzie crew calls it "Basically, It Stinks, Too." Cleverrrrr.
Worst Actress: Sharon Stone for "Basic Instinct 2" (and on the press release, they actually re-mention "Basically, It Stinks, Too," as if it’s the pinnacle of wit or something.)
Worst Actor: Marlon Wayans and Shawn Wayans for "Little Man," which is odd because they’re actually two different actors.
Worst Supporting Actress: Carmen Electra for "Date Movie" and "Scary Movie 4" (The Razzie voters really need to see more movies.)
Worst Supporting Actor: M. Might Shyamalan for "Lady in the Water" (Actually … great pick.)
Worst Director: M. Might Shyamalan for "Lady in the Water" (OK, OK, I can name 50 directors from 2006 that deserved it more than Night did. This is just ‘easy target’ practice at this point.)
Worst Screen Couple: Shawn Wayans and either Kerry Washington or Marlon Wayans in "Little Man" (It’s just getting silly by now.)
Worst Remake or Ripoff: "Little Man" (Yes, for stealing from that old Bugs Bunny cartoon.)
Worst Prequel or Sequel: "Basically, It Stinks, Too" (Sorry, that just never gets old.)
Worst Screenplay: "Basic Instinct 2" (Yawn.)
Worst Excuse for Family Entertainment: "RV" (Yay, I had "RV" in my Razzies office pool.)
So basically they trashed three movies: "Little Man," "Lady in the Water," and "Basic Instinct 2," while movies like "BloodRayne," "Material Girls," "Van Wilder 2" and "Larry the Cable Guy: Health Inspector" escape the spotlight. Great.