Hot on the heels of the news that Naomi Watts has joined the cast of the Michael Bay-produced remake of Alfred Hitchcock‘s The Birds comes word that Hitchcock himself will be returning to the big screen. Sort of.
MTV Movies reports that Running with Scissors director Ryan Murphy is getting started on Alfred Hitchcock Presents, a movie about the making of Psycho — and that the director will be played by none other than Anthony Hopkins. In a February post on Presents, Tom Wells of Hollywood Elsewhere said this about the project:
Who would’ve imagined Murphy directing something as unusual and film-buffy as Alfred Hitchcock Presents, a drama about the making of Hitchcock’s Psycho, and particularly the hurdles and roadblocks that the great British director…went through in order to bring it come to fruition. Hitchcock was discouraged left and right from making it. The script was seen as way too dark and perverse (especially with the lead female star getting killed off after 45 minutes), and no one wanted to see a movie based more or less on the macabre exploits of serial killer Ed Gein.
Hopkins sat down with MTV Movies recently and gave them a few tidbits about Presents, including a description of the opening and a public debut of his Hitchcock voice. Click on the link below to see more!
"Dreamgirls," the feature adaptation of the Broadway musical, took top honors in four categories including Best Musical or Comedy and Best Director (Bill Condon), Best Supporting Actress (Jennifer Hudson), and Best Sound in the 11th Annual Satellite Awards held Sunday, December 17.
Tying "Dreamgirls" with four wins was "The Departed," which won Best Drama, Best Supporting Actor (Leonardo DiCaprio), Best Adapted Screenplay, and Best Ensemble. The WWII epic "Flags of Our Fathers," in addition to netting the dramatic Best Director prize for Clint Eastwood, also won the Best Cinematography and Best Art Direction honors.
Helen Mirren ("The Queen") and Forest Whitaker ("The Last King of Scotland") were respectively awarded Best Actress and Actor in a Drama, while Meryl Streep ("The Devil Wears Prada") and Joseph Cross ("Running With Scissors") were their counterparts in the Comedy or Musical category.
The Satellite Awards is an annual event held by the International Press Academy, an organization composed of over 200 entertainment journalists.
Read on for the complete list of winners below.
Motion Picture, Drama:
Motion Picture, Comedy or Musical:
Motion Picture, Foreign Language:
Motion Picture, Animated or Mixed Media:
Motion Picture, Documentary:
"Deliver Us from Evil"
Original Song:"You Know My Name," Chris Cornell, David Arnold; "Casino Royale"
John Knoll, Hal Hickel; "Pirates of the Caribbean: Dead Man’s Chest"
Mark Helfrich, Mark Goldblatt, Julia Wong; "X-Men: The Last Stand"
Sound (Editing & Mixing):
Willie Burton, Michael Minkler, Bob Beemer, Richard E. Yawn; "Dreamgirls"
Art Direction & Production Design:
Henry Bumstead, Jack G. Taylor Jr, Richard Goddard; "Flags of Our Fathers"
Patricia Field, "The Devil Wears Prada"
Helen Mirren‘s astoundingly successful biopic "The Queen" is getting some serious competition from Pedro Almodovar‘s latest, as "Volver" has emerged a frontrunner for the box-office returns (and Awards Season affections) of the artsy crowd.
"The Queen," directed by Stephen Frears, was picked up in October 2005 by Miramax, who then cited the pick-up as the desire to build "an eclectic, wide-ranging slate of specialty projects." With a good-sized (at least for a studio indie) budget estimated at $15 M, it seems Miramax’s acquisition of the quiet Brit royalty drama was a stroke of genius; since debuting in a scant three-theater limited release at the end of September, the film has built unrelenting momentum into a domestic gross of $10.1 M.
Of course, box-office recognition for "The Queen" has mirrored the response of critics, making it both a successful money-maker and a deserving prestige pic. That wave of laurels can be traced back to September, when it debuted to great acclaim at the Venice Film Festival and went on to win three of that festival’s awards (for Best Screenplay, Best Actress, and the FIPRESCI Prize; Frears lost the Golden Lion to Zhang Ke Jia‘s "Still Life").
"The Queen" is currently Certified Fresh and sitting pretty at 98 percent on the Tomatometer, only three out of 120 critics having disliked it (including Stella Papamichael of the BBC, who wrote of it "The tabloid appeal is obvious, but Morgan’s script is tomorrow’s chip paper."). Most critics, however, agree with the Toronto Star‘s Peter Howell that the picture is "led by Mirren in a title role that demands Oscar glory."
But on the whole the critics are raving; it’s no surprise, then, that Helen Mirren has been pegged for months as a shoe-in for Best Actress. She knows it, too; her steely, powdery visage on the film’s poster screams confidence — "It’s mine, all you other actresses get out of my way!" — a statuette finally in her hands, after two previous unrealized nominations (for "The Madness of King George" in 1995, and "Gosford Park" in 2002). Plus, Mirren’s on a royal roll, having just won an Emmy for playing another Elizabeth, Elizabeth I, in the acclaimed 2005 HBO miniseries.
But last weekend a contender emerged to threaten Helen Mirren’s near-lock on the Best Actress award. And her name is Penelope.
Penelope Cruz, carrying an equally strong ensemble piece, is simply luminous in "Volver," a quasi-magical tragicomedy by Spanish director Pedro Almodovar released by Sony Pictures Classics last week. Like "The Queen," "Volver" has reaped praise from critics the world over. And although it only just opened in limited release in the U.S., it’s also poised to make big bucks — and make it’s leading lady a strong candidate for Oscar.
A foreign film after all, "Volver" premiered in Almodovar’s native Spain last March and proceeded to rake in the dough on its tour across Europe, Latin America, and other markets. It also hit up the festival circuit — Almodovar is a certified auteur, and proved so by nabbing a Best Screenplay award at this year’s Cannes, (although he lost the Palme d’or to Ken Loach‘s IRA drama "The Wind That Shakes the Barley"). His film also won the festival’s Best Actress prize — a shared honor awarded to the six female leads of "Volver."
"Volver" is no slouch when it comes to the Tomatometer, either; it’s currently at 93 percent, with 60 reviews. And what of the numbers?
Since debuting this spring overseas, the Almodovar film has grossed $61.5 M worldwide; last weekend it posted "Queen"-like numbers, averaging $40,400 per screen in only five theaters (when "The Queen" debuted in three theaters this fall, it took in a similar $40,671 per site). On November 22 "Volver" will hit 20 more theaters, with more and more playdates as its platform release continues — and, you can be sure, as it keeps filling seats.
All of this is has set Oscar-watchers abuzz, as Cruz — certainly known to American audiences, albeit for eye-candy roles and the spectacle of a Spanish beauty circulating in Hollywood — seems a compelling Best Actress alternative to Mirren. As the beleaguered yet beautiful young mother Raimunda, Cruz’s performance is revelatory; IGN Movies critic Todd Gilchrist muses "she is strong, weak, tender, tough, sexy, and maternal, often all at once." Slant Magazine writer Ed Gonzalez writes "‘Mildred Pierce’ won Joan Crawford an Oscar, and Almodóvar’s quaint riff on the Michael Curtiz classic may do the same for Penélope Cruz."
The LA Times’ Gold Derby columnist Tom O’Neill calls Mirren "the Best Actress frontrunner" but also that "Penelope Cruz has The Babe Factor in a race crowded with older gals." And while these two are certainly reigning over awards contention right now, a handful of other names have been thrown into the ring, including four-time nominee Kate Winslet for "Little Children," multiple-time nominee and twice-winner Meryl Streep for "The Devil Wears Prada," and three-time nominee Annette Bening (for the critical dud "Running With Scissors."
But there’s plenty of time left in the year for more nominees, and a trio of forthcoming flicks have more potential Best Actress-worthy thesps: Dame Judi Dench, for "Notes on a Scandal" (December 25), her co-star Cate Blanchett for Steven Soderbergh‘s "The Good German" (December 15), and — surprise, surprise — Chinese actress Gong Li for "Curse of the Golden Flower," the forthcoming period epic from Zhang Yimou (December 22).
Li’s entrance into the speculative arena is the most recent, and the most interesting; with turns in her first two American movies within the last year ("Memoirs of a Geisha," "Miami Vice") Li has certainly bumped up her exposure stateside. Plus, anyone remotely familiar with Chinese cinema knows she has the skills to be in contention (see "Raise the Red Lantern," "Ju Dou," or any other films she made with director Yimou). But "Curse of the Golden Flower," to be released by Sony Pictures Classics, will have the barriers of language and culture to overcome, and while the same can be said of Almodovar, Cruz, and "Volver," it will certainly be a bigger hurdle for Yimou, Li, and "Flower."
Blood will flow and screams will be deafening at North American multiplexes this weekend when the horror sequel "Saw III" buzzes its way into theaters. While there will be no fight for the number one spot, the rest of the top ten will see new films and holdovers scrambling for high positions.
The political thriller "Catch a Fire" opens on Friday in moderate national release and the comedy "Running with Scissors" expands into major markets after an impressive debut in limited release last weekend. Meanwhile, star-driven pics "The Prestige" and "The Departed" will try to remain popular choices with adult moviegoers.
If it’s Halloween, it must be "Saw." That’s the tagline that Lionsgate hopes will keep horror fans coming back for a third helping of pain for the newest chapter in its highly profitable fright franchise, "Saw III." The R-rated film finds Jigsaw returning to terrorize another set of young people. Once again, the formula of no stars plus extreme brutality unleashing its fury on the weekend before the pumpkin holiday remains intact. Now a major player in the horror genre, Lionsgate opened its first "Saw" in 2004 to the tune of $18.3M and grew its audience over the following year, especially with DVD, to propel the sequel to a $31.7M bow. Over the last 15 months, no other R-rated film has opened better. Now, a marketplace without many exciting choices for the 17-30 age group will embrace a film, though familiar, that appeals to young adults.
This month has already seen a pair of horror franchise pics open weaker than their predecessors which bowed in mid-October of recent years. "The Texas Chainsaw Massacre: The Beginning" debuted to $18.5M, down 34% from the $28.1M of 2003’s "Massacre," and "The Grudge 2" launched with $20.8M, a steep 47% less than the Gellar original. But "Saw III" is in a different situation. "Beginning" was a prequel three years later with not much new to offer while "Grudge 2" was no longer a star vehicle. "Saw III" promises more of what its fans want – brutality, gore, and torture – so it stands on almost equal footing when compared to the last installment. The fan base has probably not grown much in the last twelve months and some might even drop out thinking it’s just the same offering yet again. But with competing fright flicks fading fast, "Saw III" will basically be the only horror film in town for those getting ready for Halloween. Opening in over 3,000 theaters, "Saw III" might cut up around $30M.
Tim Robbins plays an elite South African leader and Derek Luke stars as an oppressed everyman in the apartheid drama "Catch a Fire." Directed by Phillip Noyce ("Patriot Games, "Clear and Present Danger"), the PG-13 political thriller tells the true story of a man captured and tortured by his government, only to become a radical freedom fighter for his people. Focus is likely to attract an audience similar to the one it saw last fall with another African-set political pic, "The Constant Gardener." The Ralph Fiennes–Rachel Weisz film boasted a similar level of starpower and screens when it bowed to $8.7M over three days from 1,346 locations for a solid $6,444 average.
Reviews for "Fire" have been generally positive, but it will not be an easy sell at the box office. Robbins is the top star here and his track record selling tickets is spotty when it comes to films where he is the solo anchor. Plus the marketplace is filled with pictures targeting mature adults like "The Departed," "The Prestige," and "Flags of Our Fathers" so a crowded field will make it tough for "Fire." Using the ‘based on a true story’ angle in the marketing is always a helpful thing and Focus will soon see how much mileage it can get from it. Attacking 1,305 locations, "Catch a Fire" might capture about $6M over the Friday-to-Sunday session.
Annette Bening‘s dysfunctional family pic "Running with Scissors" enjoyed a strong platform debut last weekend with a scorching $28,263 average from only six sites. This Friday, Sony hopes to build on its bow by expanding the R-rated film into 586 theaters across North America. Critics agree that "Scissors" is not the next "Little Miss Sunshine." Reviews have been unflattering which will limit the commercial potential of a film that will mostly play to upscale adult audiences. A weekend take of around $3M could result diluting the per-theater average down to the neighborhood of $5,000.
Arthouses continue to get more crowded with fall films hoping for critical buzz and possible awards attention. Paramount Vantage packs the most starpower with its Brad Pitt–Cate Blanchett drama "Babel" which took home Best Director honors at Cannes this year for Alejandro Gonzalez Inarritu ("Amores Perros," "21 Grams"). The R-rated tale trots across the globe from Morocco to Mexico to Japan with four interweaving stories about people from around the world who have no idea how connected their lives are. "Babel" opens in just six locations in New York and Los Angeles, most of them major multiplexes, and expands nationally in November. Reviews have been solid.
With Election Day around the corner, President George W. Bush stars in two documentaries that will try to stir up some controversy in order to get audiences running to their local theater. Newmarket Films releases "Death of a President," a docudrama about the fictional assassination of Bush in October 2007 and its aftermath. The R-rated whodunit was one of the hottest films at the Toronto Film Festival last month and hopes to capitalize on its buzz when it invades over 100 theaters this Friday. Also trying to wage a Red State vs. Blue State rivalry is "Shut Up & Sing" which examines the hardships that The Dixie Chicks faced recording their new album after their public outcry against the current Commander-in-Chief. The Weinstein Company opens the film in New York and Los Angeles on Friday before expanding to much of the country on November 10.
Among holdovers, the period thriller "The Prestige" and the mob drama "The Departed" should remain popular contenders in the top five. "Saw III" should not detract from either pic too much and the frame’s other new films will not play wide enough to offer significant competition in the rankings. "Prestige" swiped the top spot last weekend and is well-liked by moviegoers. A 40% drop would give Buena Vista about $9M and a ten-day total of $28M. "The Departed" has been holding up superbly so another 30% dip would leave Warner Bros. with around $9.5M which could be good enough for a third consecutive weekend at number two. The cume would rise to $90M.
LAST YEAR: Doing what its predecessor couldn’t do, "Saw II" opened triumphantly at number one and grossed a sturdy $31.7M for Lionsgate on its way to $87M continuing its most popular horror franchise. Sony countered with its family friendly adventure sequel "The Legend of Zorro" which debuted in second place with a decent $16.3M. The pricey Antonio Banderas–Catherine Zeta-Jones pic went on to reach just $45.4M domestically. Meryl Streep and Uma Thurman quietly bowed in third with the comedy "Prime" which opened to $6.2M from less than 2,000 theaters. Universal found its way to a $22.8M final. The horse flick "Dreamer" held up well in its second jump taking in $6.1M while fellow kidpic "Wallace & Gromit" rounded out the top five with $4.3M in its fourth weekend. The fourth new wide release of the frame, Nicolas Cage‘s "The Weather Man," got rained out collecting a mere $4.2M leading to a wimpy $12.5M finish.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
This week at the movies, we’ve got the return of Jigsaw ("Saw III," starring Tobin Bell), a tale of rebellion in apartheid-era South Africa ("Catch a Fire," starring Derek Luke and Tim Robbins), and a story of family dysfunction in the 1970s ("Running with Scissors," starring Annette Bening, Gwyneth Paltrow, and Alec Baldwin). What do the critics have to say?
The sheer awfulness of South Africa’s apartheid system has been grist for Hollywood’s mill in recent years, but Phillip Noyce’s "Catch a Fire" may be one of the subgenre’s strongest entries to date. "Fire" tells the true story of Patrick Chamusso (Derek Luke), a dedicated family man falsely accused of terrorism who in turn becomes a radical rebel fighter against the apartheid government. Critics say the film works as both a political thriller and as a potent history lesson, and it features a particularly strong performance from Luke. At 77 percent on the Tomatometer, you may want to "Catch" this one. (Check out RT editor Jen Yamato’s review from the Toronto Film Fest here.)
Augusten Burroughs’ memoir "Running with Scissors" struck a nerve as a bizarre depiction of dysfunctional families and a culture of therapy among the privileged. Unfortunately, it doesn’t appear the movie adaptation will do the same. The film is a coming-of-age story about a young man whose unstable mother sends him to live with her therapist’s family, at which point his life only gets weirder. The critics say the film features some sharp performances — particularly by Annette Bening — but also note the film is too awash with mannered eccentricity and cartoonish caricatures rather than fully developed characters. At 33 percent on the Tomatometer, this one’s "Running" on fumes.
They say the first cut is the deepest. And if the fact that it hasn’t been screened for critics is any indication, it appears that in the case of "Saw III," the blade’s gotten pretty dull. So kids, it’s time to bust out the old crystal balls and play Guess the Tomatometer!
Also in theaters this week in limited release: "Cocaine Cowboys," a documentary about drug smuggling in Miami in the late 1970s and early 1980s, is at 100 percent; "Exit: The Right to Die," a documentary about assisted suicide, is at 86 percent; "Shut Up & Sing," a rockumentary about the Dixie Chicks, is at 83 percent; "Babel," Alejandro Gonzalez Inarritu‘s globetrotting film about despair and interconnectivity, starring Brad Pitt and Cate Blanchett, is at 72 percent; "The Wild Blue Yonder: A Science Fiction Fantasy," Werner Herzog‘s latest epic journey, is at 70 percent; "The Bridge," a doc about suicides on San Francisco’s Golden Gate Bridge, is at 63 percent; "Climates," an atmospheric Turkish import about the decline of a relationship, is at 46 percent; and "Death of a President," the incendiary mockumentary about a plot against George W. Bush, bombed with the critics, as it’s at 33 percent.
David Lynch has never been a conventional filmmaker, but his latest project, "Inland Empire," may mark an even stranger turn in the director’s career. The three-hour film, starring Laura Dern and Jeremy Irons, has gotten a mixed reception in its festival runs at Venice and New York; it currently stands at 67 percent on the Tomatometer.
The story is, of course, enigmatic: As an actress cast in a doomed film project, Nikki (Dern) becomes confused with her character, lost within the tale of a Polish couple and a trio of giant rabbits (voiced by Naomi Watts, Scott Coffey, and Laura Harring). Her descent into madness is punctuated — in classic Lynch style — by musical dance numbers.
More intriguing, however, may be Lynch’s plan to self-release the film, thereby getting it into theaters and retaining the rights to his work.
Terry Gilliam won’t have to worry about distribution for his latest, "Tideland"; it was recently given a limited release. The story follows a young girl, Jeliza-Rose (Jodelle Ferland), as she is left to survive on an isolated farm when her parents OD on heroin within days of each other.
The film’s exploration of childhood fantasy hinges on exhaustive (or, as many critics have said, exhausting) scenes of Jeliza-Rose playing with her dolls.
At 26 percent, "Tideland" is the worst reviewed film of Gilliam’s career.
His lack of recent commercial success may hinder his ability to make films in the future. Gilliam is famous for feuding with studios (the most famous example is "Brazil" although 2005’s "The Brothers Grimm" found him in something of a squabble with the Weinsteins), and he’s also had a few runs of bad luck (see "Lost in La Mancha").
And although Gilliam met with Warner Bros. about directing "Harry Potter and the Sorcerer’s Stone," he believes he was never a serious candidate, given the mainstream constraints of the job. He’s also unsure if he’ll secure funding for "Good Omens," which he hopes will be his next project.
While iconoclasts like Lynch and Gilliam may seem like extreme examples, a recent feature in the New York Times points out that a number of established indie directors must find other avenues to make ends meet when they can’t get a green light for their work. Some, like humanist John Sayles, take uncredited script-doctoring gigs, punching up the dialogue on blockbusters. Others, like documentarian Errol Morris, direct commercials. Still others, like Mary Harron and Rose Troche, have found television, particularly HBO series like "Six Feet Under," to be more hospitable to their talents.
In an era that might be described as post-indie, some of the genre’s most successful directors face a surprising return to their roots: Struggling to get their movies produced and distributed without compromising their artistic vision. When marketability still looms as one of the biggest factors in movie making, you have to wonder what impact the independent film boom of the last decade really made on the industry.
This Week’s Indie Openings:
Opening last week in limited release: "51 Birch Street," a documentary exploring the hidden lives of the filmmaker Doug Block’s parents, is at 100 percent on the Tomatometer (with 13 reviews); "Sweet Land," a sweeping tale of the American immigrant experience, is at 95 percent (21 reviews); "Jonestown: The Life and Death of Peoples Temple," a documentary about cult leader Jim Jones and his flock, is at 90 percent (20 reviews); "Requiem," a German tale of epilepsy/demonic possession, is at 88 percent (16 reviews); "Hair High," a perverse animated comedy about a strange high school, is at 67 percent (nine reviews); "Sleeping Dogs Lie," Bobcat Goldthwait‘s sweet, taboo-busting rom-com, is at 54 percent (28 reviews); and "Running with Scissors," a tale of therapy and growing pains starring Annette Bening and Gwyneth Paltrow, is at 25 percent (44 reviews).
According to Production Weekly, Gwyneth Paltrow has signed on to join Annette Bening in "Running with Scissors." Based on Augusten Burroughs’ memoir of the same name, the story centers on a boy whose mother left him to be raised by her psychiatrist and his "bizarre family." Paltrow will play the daughter of the psychiatrist, and Bening, the negligent mother. Production is scheduled to begin in March. Paltrow was last seen starring opposite Jude Law in "Sky Captain and the World of Tomorrow."