The Golden Raspberry Award Foundation announced the “winners” for the 35th Annual Razzie Awards on Saturday, February 21st, recognizing the worst achievements in film for 2014. The big “winner,” taking four out of the six statuettes for which it was nominated, was Kirk Cameron’s Saving Christmas. Read on for the full list.

    The Razzie Redeemer Award

  • Ben Affleck for (From RAZZIE “Winner” for GIGLI to Oscar Darling for ARGO and GONE GIRL)
  • Jennifer Aniston for (From 4-Time RAZZIE Nominee to SAG Award Nominee for CAKE)
  • Mike Myers for (From RAZZIE “Winner” for LOVE GURU to Docu Director of SUPERMENSCH)
  • Keanu Reeves for (From 6-Time RAZZIE Nominee to JOHN WICK)
  • Kristen Stewart for (From RAZZIE “Winner” for TWILIGHT to the Art House Hit CAMP X-RAY)


Ep. 037 – Guardians of the Galaxy, Get On Up, The Killing & More
Team Tomato talks about this week’s new releases Guardians of the Galaxy and Get On Up, and shares some interview excerpts with Chris Pratt, Zoe Saldana and Chadwick Boseman. Then Sarah talks about the new season of The Killing and a new show called The Honorable Woman, which prompts Grae Drake to start talking like an upper-class British aristocrat. After that, Ryan discusses this week’s new DVD releases Noah and The Other Woman, and the show ends with an announcement about how to get a chance to win a limited edition Mondo Guardians of the Galaxy poster.

Cameron Diaz
From the moment she made Jim Carrey’s eyes pop out of his skull in The Mask, it was clear Cameron Diaz was a star in the making — and she immediately started making good on that promise, building a diverse filmography that boasts an impressive number of box office hits. Along the way, Cameron has also accumulated a fair bit of critical acclaim — and since she’s returning to theaters this week with Jason Segel in director Jake Kasdan’s Sex Tape, we thought it was high time to take a look back at some of her proudest moments. That’s right, film fans — it’s time to Total Recall!

Matt Atchity breaks down this week’s list.


10. The Last Supper

Witty equal-opportunity political humor has become something of a lost art on the big screen over the last decade or so, but thing’s weren’t always this way. For proof, simply look to 1995’s The Last Supper, an ensemble indie comedy about a group of young liberals (including Cameron Diaz, Ron Eldard, and Annabeth Gish) who begin poisoning conservative dinner guests as part of a misguided campaign to save the world. While the murder victims aren’t terribly sympathetic, their murderers aren’t especially likable either — so by the time they cross paths with a Limbaugh-esque conservative pundit (played by Ron Perlman), loyalties to either ideological extreme have been tested. “In today’s divisive political climate, where compromise is a dirty word,” observed Leslie Rigoulot of Film Scouts, “The Last Supper raises not only timely questions but moral dilemmas as well.”


9. Charlie’s Angels

Charlie’s Angels was one of the most popular television series of the 1970s, thanks in no small part to its genius lowbrow blend of runway-ready jiggle and consequence-free violence — so when Drew Barrymore set about producing a big-screen adaptation of the show, she wisely included heaping helpings of both ingredients, enlisting Lucy Liu and Cameron Diaz to join her for 98 minutes of skin-tight blockbuster action. As the Ph.D.-sporting test pilot/model/P.I. Natalie Cook, Diaz was able to give a kung fu twist to the bubbly, air-headed persona that Hollywood has foisted on blondes for generations, mixing tongue-in-cheek cheesecake with glossy action set pieces — and as it had in the 1970s, this proved a thoroughly successful combination, blasting through almost $265 million at the box office and impressing critics such as Kirk Honeycutt of the Hollywood Reporter, who wrote, “The good-natured humor of its three stars, who appear to be having a gas playing these ridiculous figures, goes a long way in overcoming the bad jokes and even worse plot twists.”


8. My Best Friend’s Wedding

In the years immediately following The Mask, Cameron Diaz tended to appear in movies that either didn’t live up to expectations (Feeling Minnesota, She’s the One) or vanished without a trace (Head Above Water, Keys to Tulsa). Her luck changed, however, with My Best Friend’s Wedding, a romantic comedy which put Dermot Mulroney in the middle of a romantic tug-of-war between his longtime restaurant critic pal (played by Julia Roberts) and his 20-year-old fiancee (played by Diaz, natch). Nothing groundbreaking, obviously, but Wedding gave Diaz a chance to show off her gift for goofy comedy after a few darker films — and its $299 million gross didn’t hurt her bankability, either. Unusually for a romantic comedy, it was also praised by many critics, among them the Globe and Mail’s Rick Groen, who wrote, “Every once in a long while, along comes a refreshing change like My Best Friend’s Wedding, a movie whose appeal rests largely on its knack for defying our expectations by riffing off, even undermining, a familiar genre.”


7. In Her Shoes

Author Jennifer Weiner has been lumped into the “chick lit” subgenre, but you can say this much for her second novel, 2002’s In Her Shoes: It translates well to the screen. Directed by Curtis Hanson and led by a cast that included Diaz, Toni Collette, and Shirley MacLaine, Shoes follows the tale of two sisters: Dowdy lawyer Rose (Collette) and flighty, unemployed Maggie (Diaz). Thrown out by the sisters’ stepmother, Maggie moves into Rose’s apartment, where she quickly demonstrates that she hasn’t changed any of the thoughtless behavior that drove a wedge between them, and leaves Rose little choice but to send her packing. Maggie flees to Florida, where she hunts down their estranged grandmother in search of some easy money…and ends up learning a thing or two about herself in the process. Yes, it’s sort of a hackneyed storyline arc with plenty of familiar ingredients, but Susannah Grant’s screenplay reflects the empathy Weiner has for her characters — and Hanson knows how to get the most from his actors. For Diaz, Shoes represented an opportunity to show a breadth and depth uncommon to many mainstream “women’s movies.” As Tom Long wrote for the Detroit News, “It’s a chick flick for non-chicks too, one of those movies that makes you laugh and cry and leaves you feeling satisfied and drained and vaguely embarrassed for having such a good time.”


6. Gangs of New York

When Martin Scorsese decided to dramatize the violent political struggles that took place in 19th century New York, he didn’t skimp on his cast, hiring Daniel Day-Lewis, Leonardo DiCaprio, John C. Reilly, and Liam Neeson to bring his vision to life. Pretty terrific company for Diaz, who co-starred as Jenny Everdeane, the morally ambiguous con artist whose beauty adds a hormonal component to the long tug-of-war between Amsterdam Vallon (DiCaprio), Bill “The Butcher” Cutting (Day-Lewis), and Johnny Sirocco (Henry Thomas). While not the most substantial role, playing Jenny gave Diaz the opportunity to act alongside some of the biggest names in the business — and earned her a Golden Globe nomination for Best Supporting Actress in the bargain. One of the biggest award-winners of the year, Gangs of New York enjoyed praise from critics like the New York Post’s Jonathan Foreman, who wrote, “It vividly and energetically evokes a fascinating time and place that has never before been the subject of film, and presents a powerful if imperfectly coherent vision of urban politics at their most primal.”


5. The Mask

It wasn’t the largest or most demanding role — in fact, if things had worked out a little differently, it could have doomed her to a career of playing blowsy dames in tight dresses — but Cameron Diaz could hardly have asked for a more memorable introduction to audiences than the part of Tina Carlyle, the vivacious gangster’s moll whose appearance reduced Jim Carrey (and not a few filmgoers) to a leering Tex Avery cartoon. Diaz was so new to acting that she didn’t even start taking lessons until after she was cast in The Mask, but she took to the discipline quickly, and spent the next few years working her way through roles in smaller films that didn’t have the same big-budget sparkle (or co-stars as marquee-hogging as Carrey) as she honed her craft. She quickly developed some star power of her own, and ceased being an afterthought for critics like the Washington Post’s Joe Brown, who wrote, “Even without the state-of-the-art, boundary-busting computerized effects from Industrial Light & Magic, Carrey’s a human cartoon, and his spontaneous, Avery-esque, anything-for-a-laugh outrageousness makes this otherwise blank Mask a must-see.”


4. There’s Something About Mary

Filmgoers were already familiar with Cameron Diaz in 1998, but There’s Something About Mary still counts as her true cinematic coming out party — it was this $369 million smash hit, after all, that proved Diaz had sharp enough comic timing to hold her own against Ben Stiller and Chris Elliott — and that her brilliant smile could help make even the filthiest gags seem almost wholesome. Though it was ostensibly Stiller’s movie, it was Diaz who made us believe that there really was something about Mary — something that would make her senior prom date (played by Stiller) hunt her down years after the painful zipper incident that cost them their big night out, and drive the other men in her life to contemplate leaving their wives, duck out on the Green Bay Packers, or even adopt entire fake personalities. And along the way she carried the most notorious hair gel joke in the history of modern man, helping send an unapologetically lowbrow comedy all the way up to 83 percent on the Tomatometer. What was Mary‘s appeal for ordinarily stuffy critic types? In the words of Roger Ebert, “What a blessed relief is laughter.”


3. Shrek

Cartoons and fairy tales have gone together for decades, leaving DreamWorks with plenty of rich tradition to spoof with their inaugural adaptation of William Steig’s popular book about the misadventures of a hideous ogre (voiced by Mike Myers). In fact, the studio added a few elements not present in the book, such as Shrek‘s ceaseless, quick-fire pop culture references, a number of satirical, fairy tale-derived characters, and a Smash Mouth song on the soundtrack. Also new and improved: The storyline arc for Cameron Diaz’s character, Princess Fiona, who went from an ordinary ogress to the unwilling, secretly cursed royal fiancee of the loathsome Lord Farquaad (John Lithgow), and picked up a few action hero moves in the process. While it wasn’t strictly faithful to the source material, Shrek was lots of fun for critics and audiences alike; it grossed nearly $485 million worldwide, nabbed the first Best Animated Feature Academy Award, and earned the admiration of scribes such as the New York Observer’s Andrew Sarris, who applauded, “What gives Shrek its special artistic distinction is its witty and knowingly sassy dialogue, delivered by vocally charismatic performers whose voices remind us of their stellar screen personae in live-action movies.”


2. Shrek 2

Three years after Shrek broke the bank for DreamWorks, Cameron Diaz helped prove with Shrek 2 that one good turn as an animated ogre deserves another. After Shrek‘s success, everyone knew a sequel was inevitable, and its May release virtually guaranteed summer blockbuster status; what nobody knew, though, is that critics would like the second Shrek almost as much as the first. Following the rule of sequels, Shrek 2 surrounded the titular ogre (again voiced by Mike Myers) and Princess Fiona (Diaz) with an array of new characters, including the suave Puss in Boots (Antonio Banderas) — but what sets it apart from other follow-ups is the depth and intelligence of its storyline, which sends Shrek and Fiona to the kingdom of Far Far Away, where they’re summoned to meet Fiona’s human parents (voiced by John Cleese and Julie Andrews), who are horrified that their daughter has taken so thoroughly to the ogre lifestyle. This sets in motion a plot involving Fiona’s fairy godmother (Jennifer Saunders) and her son, Prince Charming (Rupert Everett) — as well as a lot of unexpectedly poignant commentary on love and marriage, moving Salon’s Stephanie Zacharek to ask, “Is it going too far out on a beanstalk to say that Shrek 2 is one of the most mature movies about adult relationships ever made?”


1. Being John Malkovich

She’s been in a number of comedies and dramas, with a dash of action and sci-fi thrown in for good measure, but Being John Malkovich stands alone in Cameron Diaz’s filmography. Then again, it’s safe to say Malkovich is pretty much the only movie of its kind, ever — a dramedy about a miserable puppeteer (John Cusack) whose discovery of a magical portal into the mind of John Malkovich throws his life into turmoil. As Cusack’s wife, the equally unhappy Lotte, Diaz played completely against type, burying her glamor under a frizzy mop of brown hair and following the script into a thoroughly twisted love affair-by-proxy with Catherine Keener — and she was rewarded handsomely for her efforts, picking up a stack of Best Supporting Actress nominations from BAFTA, the Golden Globes, the SAG Awards, and other organizations. Malkovich wasn’t a huge success at the box office, but it’s acquired a cult over time, and critics certainly appreciated the opportunity to witness art and entertainment intersecting at the cineplex. “Being John Malkovich is more than just the latest cool, smart, funny movie,” wrote Jay Carr for the Boston Globe. “It jumps off the screen with the kind of freshness, originality, and light-handed stranglehold on the Zeitgeist that moves movies forward.”

In case you were wondering, here are Diaz’s top 10 movies according RT users’ scores:

1. Shrek — 90%
2. Being John Malkovich — 87%
3. Gangs of New York — 81%
4. The Holiday — 80%
5. My Best Friend’s Wedding — 74%
6. Any Given Sunday — 74%
7. My Sister’s Keeper — 73%
8. Vanilla Sky — 73%
9. The Last Supper — 70%
10. Shrek 2 — 69%

Take a look through Diaz’s complete filmography, as well as the rest of our Total Recall archives. And don’t forget to check out the reviews for Sex Tape.

Finally, here’s Diaz putting in a plug for Coke:

Cameron Diaz’s new revenge comedy The Other Woman booted Captain America from the number one spot and enjoyed a strong debut driven by adult women. The Fox hit bowed to an estimated $24.7M from 3,205 locations for a fantastic $7,707 average.

Critics were harsh on the PG-13 laugher but bad reviews got trumped by starpower (Leslie Mann, Kate Upton, and Nicki Minaj co-starred) and concept (stories about revenge against cheating men sell very well). Diaz has long been a bankable star, especially in comedies. Other Woman is her 14th film over the past 20 years to open north of $20M. The highly-paid actress may add another to her long list with July’s raunchy comedy Sex Tape which is likely to earn an R rating which is what Woman got before it was changed on appeal.

Audience satisfaction has been decent for the $40M-budgeted Woman. The B+ CinemaScore grade is nothing to brag about, but indicates that customers were generally satisfied with what they got for their money. With very little connecting with young adult women over the past two months, an underserved audience came out in large numbers. Females made up 75% of the crowd and 65% were over 25.

After a three-week reign, Captain America: The Winter Soldier got bumped down a notch to second place but still held up well grossing an estimated $16M in its fourth weekend. The Disney release upped its domestic haul to $224.9M allowing it to beat Fast Five’s $209.8M to become the highest-grossing film to ever open in April. Megahits can come out of any part of the calendar when audiences are genuinely excited. Winter Soldier has now grossed more than all past Captain America, Hulk, and Thor movies and may finish its run close to the $262M of The Amazing Spider-Man. That’s an amazing feat for a non-Spidey film playing during the spring.

Overseas cash continued to roll in for the new Captain. This weekend saw an estimated $16M from overseas in its fifth frame sending the international take soaring to $420.3M including a phenomenal $107.6M from China. The worldwide cume has climbed to $645.2M beating the final global grosses of each of the first two Iron Man films. Crossing $700M will be easy.

Marvel will steal back the number one spot next weekend with another super hero sequel, Sony’s The Amazing Spider-Man 2, which opened in a large number of new international markets this weekend grossing a fantastic $67.2M bumping the offshore tally to $132M ahead of Thursday night’s U.S. launch. IMAX screens have been especially hot particularly in Japan and Korea. Along with domestic, over 30 new markets debut next weekend including key territories like China, Brazil, and France.

The year’s latest Christianity-based hit Heaven Is For Real followed in third place with an estimated $13.8M in its sophomore frame boosting the cume to a stellar $51.9M to date. The Sony release is the fourth faith-based hit this year to break the $50M gross mark following Son of God, God’s Not Dead, and the expensive tentpole Noah. Three of the four were low-cost films attracting large paying audiences. Heaven may end at about $80M, or more than six times its $12M budget.

Toon sequel Rio 2 enjoyed another moderate hold in its third flight with an estimated $13.7M, off 38%. Fox may end with roughly $125M from North America.

The late Paul Walker found himself in fifth place with the action title Brick Mansions which failed to make much of a dent at the box office with an opening weekend of an estimated $9.6M. Averaging a mild $3,627 from 2,647 locations, the PG-13 pic tried to play to fans of the actor who tragically died last November. However, outside of his signature Fast & Furious franchise, Walker has rarely been a box office draw on his own. Reviews were lackluster for Relativity’s Mansions and the CinemaScore was a decent B+.

Johnny Depp’s box office bomb Transcendence collapsed in its second weekend crumbling 62% to an estimated $4.1M for a measly $18.5M to date. The Warner Bros. release is likely to finish its domestic run at about $25M. That would be the worst performance of Depp’s entire career in major films playing in 3,000+ theaters. Unlike with many effects-driven action films, Transcendence is not likely to be saved by its international run.

2014’s horror slump continued as Lionsgate failed to attract fright fans to its newest chiller The Quiet Ones which debuted horribly with an estimated $4M from 2,027 locations for a puny $1,973 average. Reviews were weak and the C+ CinemaScore was dull, but about normal for this genre. With teens and young adults going to the multiplexes less often in general, low-budget horror films are finding their core audience disappearing making for very few success stories in the first four months of this year. Plus known brands through sequels and remakes have been largely absent from the calendar so far in 2014.

The Disney doc Bears dropped only 25% in its second weekend to an estimated $3.6M for a $11.2M total on its way to a finish of around $20M. Off 36% in its sixth round, the sci-fi pic Divergent also collected an estimated $3.6M and has banked $139.5M to date. A Haunted House 2 tumbled 63% in its sophomore session after a weak opening and took in an estimated $3.3M. With only $14.2M so far, the Open Road sequel should end up with about $20M and no future installments.

The top ten films grossed an estimated $96.4M which was up a healthy 23% from last year when Pain & Gain opened at number one with $20.2M; and up 6% from 2012 when Think Like A Man remained on top for a second time with $17.6M.

This week at the movies, we’ve got spurned ladies (The Other Woman, starring Cameron Diaz and Leslie Mann), a ticking time-bomb (Brick Mansions, starring Paul Walker and David Belle), and a paranormal experiment (The Quiet Ones, starring Jared Harris and Sam Claflin). What do the critics have to say?

The Other Woman


As the saying goes, hell hath no fury like a woman scorned. Unfortunately, critics say the problem with The Other Woman is it’s a bit too tepid, offering a few decent laughs but never quite nailing the female empowerment vibe it’s aiming for. Carly (Cameron Diaz) is reeling from the discovery that her boyfriend is married. She stews for a while, but upon meeting his wife (Leslie Mann) and his other girlfriend (Kate Upton), she realizes the three women have a lot in common, and collectively they decide to exact revenge. The pundits say The Other Woman has a game cast and some clever lines of dialogue, but the scenario is alternately too implausible and predictable to resonate emotionally. (Check out our video interview with the stars, as well as this week’s Total Recall, in which we count down Diaz’s best-reviewed movies.)

Brick Mansions


A remake of the gravity-defying, parkour-infused French import District 13, Brick Mansions promises balletic action and high-wire thrills. And critics say it does indeed feature a few strong set pieces, but they aren’t enough to compensate for an overabundance of plotting and an underabundance of character development. In a crime-ridden Detroit of the near future, an undercover cop (Paul Walker) must infiltrate a heavily fortified section of town in order to diffuse a bomb that’s fallen into the hands of a vicious crime lord (RZA). The pundits say Brick Mansions is a ludicrous action flick with a few exciting moments, but mostly, it’s a pale retread of its superior predecessor. (Check out RZA’s Five Favorite Films here.)

The Quiet Ones


Hammer Film Productions has long been a purveyor of a more elegant brand of horror film. Unfortunately, critics say The Quiet Ones is a little too classy for its own good; despite solid performances and a spooky sense of place, the film delivers occasional jolts but fails at sustaining tension. In a remote English estate, Professor Joseph Coupland (Jared Harris) and a team of students are experimenting on a young woman who’s purported to be possessed by a supernatural being. Coupland believes she’s simply mentally ill, but his hypothesis is put to the test when he and his researchers are bedeviled by increasingly terrifying incidents. The pundits say The Quiet Ones is visually striking and often creepy, but it’s also overly talky and rarely out-and-out scary. (Take a look through our gallery of movies that feature scientific experiments gone wrong.)

Also opening this week in limited release:

  • Blue Ruin, a thriller about a drifter driven to exact revenge on the man who murdered his parents, is Certified Fresh at 93 percent.
  • Last Passenger, starring Dougray Scott and Lindsay Duncan in an action film about a group of commuters who must work together to stop the madman who has taken control of a London train, is at 92 percent.
  • Locke, starring Tom Hardy in a thriller about a man whose life unravels over the course of a long drive, is Certified Fresh at 90 percent.
  • The Machine, a sci-fi thriller about a couple that develops a self-aware computer the government wants to use as a weapon, is at 74 percent.
  • The German Doctor, a thriller about an Argentinean family that unwittingly offers shelter to fugitive Nazi war criminal Josef Mengele, is at 65 percent.
  • Who Is Dayani Cristal?, a documentary that explores the life of a man who was found dead in the Arizona desert trying to immigrate to the U.S., is at 57 percent.
  • Bicycling with Moliere, a comedy about a soap opera star who tries to convince his curmudgeonly actor friend to mount a production of Moliere’s The Misanthrope, is at 50 percent.
  • For No Good Reason, a documentary portrait of gonzo artist Ralph Steadman, is at 36 percent.
  • Walking With The Enemy, a World War II-era drama about a man who disguises himself as a Nazi officer in order to find his missing family, is at 25 percent.
  • The Girl and Death, a period melodrama about a young medical student who falls in love with the mistress of a vindictive aristocrat, is at 20 percent.

Finally, props to Caleb Paasche for guessing A Haunted House 2‘s nine Tomatometer.

Leslie Mann, Cameron Diaz, Kate Upton, Nikolaj Coster-Waldau, and Taylor Kinney star in The Other Woman. Grae Drake asks the hard-hitting questions about their worst break ups, and how it felt to wear someone else’s nipples.

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