第六十四屆金球獎頒獎典禮 - 電視電影賽果全公佈
http://www.hfpa.org/news/id/4264TH GOLDEN GLOBE AWARDS NOMINATIONS
1. BEST MOTION PICTURE - DRAMA
1. BABEL 巴別塔
Anonymous Content Production/Una Produccion De Zeta Film/Central Film Production; Paramount Pictures/Paramount Vantage
2. BOBBY
A Michel Litvak Production/Bold Films; MGM/The Weinstein Company
3. THE DEPARTED 無間道風雲
Warner Bros. Pictures; Warner Bros. Pictures
4. LITTLE CHILDREN
New Line Cinema; New Line Cinema
5. THE QUEEN
A Granada Production; Miramax Films
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - DRAMA
1. PENELOPE CRUZ — VOLVER 浮花
2. JUDI DENCH — NOTES ON A SCANDAL
3. MAGGIE GYLLENHAAL — SHERRYBABY
4. HELEN MIRREN — THE QUEEN
5. KATE WINSLET — LITTLE CHILDREN
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - DRAMA
1. LEONARDO DICAPRIO — BLOOD DIAMOND 血鑽
2. LEONARDO DICAPRIO — THE DEPARTED 無間道風雲
3. PETER O'TOOLE — VENUS
4. WILL SMITH — THE PURSUIT OF HAPPYNESS
5. FOREST WHITAKER — THE LAST KING OF SCOTLAND
4. BEST MOTION PICTURE - COMEDY OR MUSICAL
1. BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN
One America; Twentieth Century Fox
2. The Devil Wears Prada穿 Prada 的惡魔
Twentieth Century Fox; Twentieth Century Fox
3. DREAMGIRLS
DreamWorks Pictures/Paramount Pictures; DreamWorks Pictures/Paramount Pictures
4. Little Miss Sunshine 陽光小小姐
Big Beach/Bonafide Productions; Fox Searchlight Pictures
5. THANK YOU FOR SMOKING
Room 9 Entertainment/David O. Sacks Production/Content Film; Fox Searchlight Pictures
5. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - COMEDY OR MUSICAL
1. ANNETTE BENING — RUNNING WITH SCISSORS
2. TONI COLLETTE — Little Miss Sunshine 陽光小小姐
3. BEYONCE KNOWLES — DREAMGIRLS
4. MERYL STREEP — The Devil Wears Prada 穿 Prada 的惡魔
5. RENEE ZELLWEGER — MISS POTTER
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - COMEDY OR MUSICAL
1. SACHA BARON COHEN — BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN
2. JOHNNY DEPP — PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST 加勒比海盜：決戰魔盜王
3. AARON ECKHART — THANK YOU FOR SMOKING
4. CHIWETEL EJIOFOR — KINKY BOOTS
5. WILL FERRELL — STRANGER THAN FICTION
7. BEST ANIMATED FEATURE FILM
1. CARS 反斗車王
Walt Disney Pictures/Pixar Animation Studio; Buena Vista Pictures Distribution
2. HAPPY FEET 踢躂小企鵝
Kingdom Pictures, LLC; Warner Bros. Pictures/Village Roadshow Pictures
3.MONSTER HOUSE 魔怪屋
Columbia Pictures; Sony Pictures Releasing
8. BEST FOREIGN LANGUAGE FILM
1. APOCALYPTO 阿波卡獵逃 (USA)
Touchstone Pictures/Icon Productions; Buena Vista Pictures Distribution
2. Letters from Iwo Jima(USA/JAPAN)
Warner Bros. Pictures/DreamWorks Pictures; Warner Bros. Pictures
3. Das Leben der Anderen(THE LIVES OF OTHERS)(GERMANY) #19
Wiedemann & Berg Productions; Sony Pictures Classics
4.El Laberinto del Fauno(PAN'S LABYRINTH )(MEXICO)#23
Estudios Picasso/Tequila Gang/Esperanto; Picturehouse
5. VOLVER 浮花
El Deseo; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
1. ADRIANA BARRAZA — BABEL 巴別塔
2. CATE BLANCHETT — NOTES ON A SCANDAL
3. EMILY BLUNT — The Devil Wears Prada 穿 Prada 的惡魔
4. JENNIFER HUDSON — DREAMGIRLS
5. RINKO KIKUCHI 菊地凜子— BABEL 巴別塔
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
1. BEN AFFLECK — HOLLYWOODLAND 驚殺荷里活
2. EDDIE MURPHY — DREAMGIRLS
3. JACK NICHOLSON — THE DEPARTED 無間道風雲
4. BRAD PITT — BABEL 巴別塔
5. MARK WAHLBERG —THE DEPARTED 無間道風雲
11. BEST DIRECTOR - MOTION PICTURE
1. CLINT EASTWOOD —FLAGS OF OUR FATHERS
2. CLINT EASTWOOD — Letters from Iwo Jima
3. STEPHEN FREARS — THE QUEEN
4. ALEJANDRO GONZALEZ INARRITU — BABEL 巴別塔
5. MARTIN SCORSESE —THE DEPARTED 無間道風雲
12. BEST SCREENPLAY - MOTION PICTURE
1. GUILLERMO ARRIAGA — BABEL 巴別塔
2. TODD FIELD & TOM PERROTTA — LITTLE CHILDREN
3. PATRICK MARBER — NOTES ON A SCANDAL
4. WILLIAM MONAHAN — THE DEPARTED 無間道風雲
5. PETER MORGAN — THE QUEEN
13. BEST ORIGINAL SCORE - MOTION PICTURE
1. ALEXANDRE DESPLAT — The Painted Veil 面紗
2. CLINT MANSELL — THE FOUNTAIN
3. GUSTAVO SANTAOLALLA — BABEL 巴別塔
4. CARLO SILIOTTO — NOMAD
5. HANS ZIMMER —THE DA VINCI CODE 達文西密碼
14. BEST ORIGINAL SONG - MOTION PICTURE
1. "A FATHER'S WAY" - THE PURSUIT OF HAPPYNESS
Music by: Seal and Christopher Bruce
Lyrics by: Seal
2. "LISTEN" - DREAMGIRLS
Music & Lyrics by: Henry Krieger, Anne Preven, Scott Cutler and Beyonce Knowles
3. "NEVER GONNA BREAK MY FAITH" - BOBBY
Music & Lyrics by: Bryan Adams, Eliot Kennedy and Andrea Remanda
4. "THE SONG OF THE HEART" - HAPPY FEET 踢躂小企鵝
Music & Lyrics by: Prince Rogers Nelson
5. "TRY NOT TO REMEMBER" - HOME OF THE BRAVE
Music & Lyrics by: Sheryl Crow
15. BEST TELEVISION SERIES - DRAMA
1. 24 (FOX)
Imagine Television and 20th Century Fox Television i.a.w. Real Time Prods.
2. BIG LOVE (HBO)
Anima Sola and Playtone Prods. i.a.w. HBO Entertainment
3. GREY'S ANATOMY 醫人當自強(ABC)
Touchstone Television
4. HEROES (NBC)
NBC Universal Television Studios i.a.w. Tailwind Prods.
5. LOST 迷 (ABC)
Touchstone Television
16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES - DRAMA
1. PATRICIA ARQUETTE — 24MEDIUM 鬼線人
2. EDIE FALCO — THE SOPRANOS
3. EVANGELINE LILLY —LOST 迷
4. ELLEN POMPEO — GREY'S ANATOMY 醫人當自強
5. KYRA SEDGWICK — THE CLOSER
17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES - DRAMA
1. PATRICK DEMPSEY —GREY'S ANATOMY 醫人當自強
2. MICHAEL C. HALL — DEXTER
3. HUGH LAURIE — HOUSE 醫神
4. BILL PAXTON — BIG LOVE
5. KIEFER SUTHERLAND — 24
18. BEST TELEVISION SERIES - COMEDY OR MUSICAL
1. DESPERATE HOUSEWIVES 靚太唔易做 (ABC)
Touchstone Television
2. ENTOURAGE (HBO)
Leverage and Closest to the Hole Prods. i.a.w. HBO Entertainment
3. THE OFFICE (NBC)
Deedle Dee Prods. with Reveille i.a.w. NBC Universal Television Studio
4. UGLY BETTY (ABC)
Touchstone Television
5. WEEDS (SHOWTIME)
Showtime i.a.w. Lionsgate Television and Tilted Prods., Inc.
19. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES -COMEDY OR MUSICAL
1. MARCIA CROSS — DESPERATE HOUSEWIVES 靚太唔易做
2. AMERICA FERRERA — UGLY BETTY
3. FELICITY HUFFMAN — DESPERATE HOUSEWIVES 靚太唔易做
4. JULIA LOUIS-DREYFUS — THE NEW ADVENTURES OF OLD CHRISTINE
5. MARY-LOUISE PARKER — WEEDS
20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES - COMEDY OR MUSICAL
1. ALEC BALDWIN — 30 ROCK
2. ZACH BRAFF — SCRUBS
3. STEVE CARELL — THE OFFICE
4. JASON LEE — MY NAME IS EARL
5. TONY SHALHOUB — Monk 神探阿蒙
21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. BLEAK HOUSE (PBS)
BBC and WGBH Boston Prod. i.a.w. Deep Indigo
2. BROKEN TRAIL (AMC)
Butchers Run Films and Once Upon a Time Films i.a.w. Sony Pictures Television
3. ELIZABETH I (HBO)
Company Pictures and Channel 4 i.a.w. HBO Films
4. MRS. HARRIS (HBO)
Killer Films, Number 9 Films and John Wells Prod. i.a.w. HBO Films
5. PRIME SUSPECT: THE FINAL ACT (PBS)
Granada and WGBH-Boston Prod.
22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. GILLIAN ANDERSON — BLEAK HOUSE
2. ANNETTE BENING — MRS. HARRIS
3. HELEN MIRREN — ELIZABETH I
4. HELEN MIRREN — PRIME SUSPECT: THE FINAL ACT
5. SOPHIE OKONEDO — TSUNAMI, THE AFTERMATH
23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. ANDRE BRAUGHER — THIEF
2. ROBERT DUVALL — BROKEN TRAIL
3. MICHAEL EALY — SLEEPER CELL: AMERICAN TERROR
4. CHIWETEL EJIOFOR — TSUNAMI, THE AFTERMATH
5. BEN KINGSLEY — MRS. HARRIS
6. BILL NIGHY — GIDEON'S DAUGHTER
7. MATTHEW PERRY — THE RON CLARK STORY
24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. EMILY BLUNT — GIDEON'S DAUGHTER
2. TONI COLLETTE — TSUNAMI, THE AFTERMATH
3. KATHERINE HEIGL — GREY'S ANATOMY 醫人當自強
4. SARAH PAULSON — STUDIO 60 ON THE SUNSET STRIP
5. ELIZABETH PERKINS — WEEDS
25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. THOMAS HADEN CHURCH — BROKEN TRAIL
2. JEREMY IRONS — ELIZABETH I
3. JUSTIN KIRK — WEEDS
4. MASI OKA — HEROES
5. JEREMY PIVEN — ENTOURAGE
[ 本帖最後由 FlyingDonkey 於 2007-1-1701:38 AM 編輯 ] A best actress nominee at this year's Golden Globe Awards, Zhang Ziyi will definitely not be in the running again next year again because her starring film "The Banquet" did not enter competition at all.
Taiwan's United Daily reports that TVBS Los Angeles corespondent Zuo Minlin said three Chinese movies, including Zhang Yimou's "Curse of the Golden Flower," applied in the best foreign film competition. Other entrants in the category include Mel Gibson's "Apocalypto," Pedro Almodóvar's "Volver" and Clint Eastwood's "Letters from Iwo Jima." However, "The Banquet" was not among the three Chinese candidates.
"The Banquet" distributor Huayi Brothers affirmed the news, but refused to offer more details.
The movie's other investor, Media Asia Films, explained that it might because the movie has not yet decided on a screening date in North America.
However, the movie will still compete at the Oscars.
With the movie pulling out of the Golden Globes, will it provide more opportunities for strong competitor "Curse of the Golden Flower" to win?
Zuo Minlin, the only Taiwan journalist in the Hollywood Foreign Press Association, analyzed that foreign jury would gave high credit to Zhang Yimou's works like "Raise The Red Lantern," which challenged feudal traditions, but doubted the martial arts movie would still appeal to those jury members.
The nomination list of 64th Golden Globe will be announced on December 14th and the awards ceremony will be held on January 15th next year.
http://english.cri.cn/3086/2006/12/06/[email protected] Golden Globe Nominations this Thursday
Source: HFPA December 11, 2006
Jessica Biel, Scarlett Johansson and Matthew Perry will join Hollywood Foreign Press Association President Philip Berk to announce the nominations for "The 64th Annual Golden Globe Awards" on Thursday morning, December 14, 2006 at The Beverly Hilton.
Nominations will be announced in 25 categories. "The 64th Annual Golden Globe Awards" will take place Monday, January 15, 2007, at The Beverly Hilton with a live telecast airing on NBC at 8 p.m. (EST) and produced by dick clark productions in association with the Hollywood Foreign Press Association. Philip Berk is President of the Hollywood Foreign Press Association. Allen Shapiro and Barry Adelman are executive producers. Chris Donovan is director. Al Schwartz is consulting producer. Ken Shapiro is producer. Ron Weed is co-producer.
http://comingsoon.net/news/movienews.php?id=17931 http://ent.sina.com.cn/m/f/olver/index.html
VOLVER 浮花劇情簡介
四個女人，三代人，用善良、謊言和無限的生命力，與大火，癲狂，迷信甚至死亡爭鬥。
她們是Raimanda(佩內洛普·克魯茲)，嫁給了一個失業的工人。她十幾歲的女兒(由阿娜·科波)。Sole(羅拉·杜納絲)，Raimanda的妹妹，美容師。她們的媽媽(卡門·莫拉)，和她的丈夫在一場大火中喪生。
卡門·莫拉飾演的媽媽結束了自己的生命，首先以幽靈的身份出現在她妹妹的面前，然後是她的女兒Sole和 Raimanda ，她們的鄰居Agustina(布蘭卡·波蒂尤)。她之所以回到老家，是因為她要來解決生前她未能解決的問題。給她的女兒和外孫女以安慰。
詳細內容
演員陣容
《回歸》的陣容可謂豔光四射，阿莫多瓦聯手多位美豔女星繼續他的女性影片探索。
在這部影片裡，阿爾莫多瓦再一次啟用了已合作多次的御用演員，西班牙第一美女佩內洛普·克魯茲，二人之前合作的《關于我的母親》、《活色生香》都獲得了成功。佩內洛普對于阿爾莫多瓦會對自己演繹事業所起的積極作用深信不移，以至于到了可以不去管他拍的是什麼電影的地步。《回歸》正是佩內洛普與阿莫多瓦多年後再次合作的開山之作，佩內洛普對于兩人的合作說，「我還會繼續出演他下面的兩部或三部影片。他寫劇本相當的快，接下來他還有一部喜劇和一部情節影片，而我無論他寫出來的是什麼樣的電影，反映都只有一個，那就是，『好，好，好』。在這些任務都完成之前，我就在他手裡了。」
阿爾莫多瓦還召回了久違的老搭檔卡門·莫拉，這位西班牙影壇享有盛譽的老牌女星早在上世紀八十年代就與阿爾莫多合作過多部著名影片，自17年前兩人合作《崩潰邊緣的女人》後，莫拉就與阿莫多瓦交惡，至于斷交原因一直是個迷，兩位當事人從沒提起，多年後的今天，兩人能擯棄前嫌再度合作實屬不易……
詳細內容
影片簡評
在阿爾莫多瓦的電影世界裡，向來瘋狂並且混亂。他向來是以女性視角來關注這個世界，善于以不羈的道德拷問風格來激發人們的思考，因此他的影片是如此有趣。《回歸》講述了三代女人的「回歸」，這部電影更是阿爾莫多瓦的「回歸」。阿莫多瓦的影像依舊馥麗，音樂依舊濃郁。哪怕這是回歸之作，仍然會帶給我們驚喜。
他在一篇關于這部電影的筆記中寫道：「從某種意義上，我回到了喜劇；我回到了女性的世界；我回到了家鄉拉馬查；我回到了生命和故事源頭的角色。」
「回歸」不是一個超現實的喜劇，雖然有時候它看起來如此。生者和死人和平共處，並激發出最深層和真摯的感情。按照阿莫多瓦的話說，這是一部關于他家鄉拉曼查德死亡文化的電影。那裡的人們過著令人吃驚的簡單生活，逝去的人仍然活在他們的生活中，並沒有真正的死亡。粉碎了西班牙的黑色印象，揭示了一個完全不同的純淨的，自然的，有趣的，無畏的，團結的西班牙。
如果這不是一部定位為喜劇的影片，我們仍然可以把它看做是一個嚴肅的女性精神世界縮影。幾乎沒有男性角色的支撐，三代女人，以及同一時代下週圍世界的女人，圈起了一個堅忍的精神領地。動盪的馬德里，時代背景造成的不安讓無數家庭四分五裂，颶風、大水、火災瘋狂的吞噬著每個人的生命與精神，女人們只有靠她們互相之間的相伴，對美好近乎自欺欺人的想像和永不改變的溫情來相互取暖，支撐並生存下去。
回歸是一部精彩的影片，甚至適合那些以前不喜歡阿莫多瓦的觀眾，這部影片不同于他以往所拍攝的任何影片。 巴別塔
故事簡介
榮獲康城影展3項大獎包括最佳導演、評判團大獎、技術大獎三項大獎。由《狗男女的愛》、《21克 - 生命可以有多重 》導演最新力作，四段發生在摩洛哥、墨西哥和日本的故事，因為一粒子彈而連上了脈搏，於摩洛哥旅行的一對美國夫婦(畢彼特及姬蒂白蘭芝飾演)，因為妻子意外地中槍，引發一連串骨牌效應的事件 ....
導演 : 艾力謝路依拿力圖
演員 : 畢彼特, 姬蒂白蘭芝, 加爾卡西亞般奴
片長 : ---
級數 : ---
語言 : --- (---) Bobby (2006)
email this review to a friend
Movie Review by Matthew
December 6th, 2006
IMDb lists the plot outline for "Bobby" as "The story of the assassination of US Senator Robert Kennedy, on June 6, 1968, which centers around 22 people who were at the Ambassador Hotel where he was killed." It is difficult for many films to make three central characters believable or interesting and it is nigh on impossible for most filmmakers to make 22 characters distinct and lifelike. I can think of two films in the last decade with large casts in which many of the characters were fully developed; Michael Mann's "Heat" and Paul Haggis' "Crash". Emilio Estevez's "Bobby" is an interesting idea, but it is not executed well.
Written and directed by Estevez, the film follows the aforementioned twenty two people throughout the day leading to the assassination of the Senator. Most are employees of the famed Ambassador Hotel, some are guests. In order for the film to work, we have to have an idea of what makes a majority of these characters tick. Clearly, with this many people, this sort of thing has to happen quickly and make an impact. Also, the characters have to have a connection to the story or the idea of the film. Estevez, whose previous credits as a director include "Men at Work", starring Estevez and his brother, Charlie Sheen, as garbage-men in a wacky adventure, is working on a larger canvas here and he doesn't seem able to control it. Some of the characters are interesting and we learn a little about them, others are mere names and actors playing them. Some of these characters have a connection to the main story, others don't. When you have this many characters, everything has to fit, like the pieces in a jigsaw puzzle or we begin to wonder why we are wasting any time with them.
Martin Sheen, Emilio's dad, plays a well-to-do guest at the hotel whose wife (Helen Hunt) has forgotten her good shoes. Ashton Kutcher plays a drugged out hippie who leads two of Kennedy's campaign workers on an LSD trip. Heather Graham plays a switchboard operator at the Ambassador who is having an affair with the hotel manager. Harry Belafonte plays a retired man who hangs around the hotel lobby. At one point, he disappears for a nap. I felt like joining him.
Clearly, many of these actors wanted to be involved in the film to be involved in the film. They simply aren't on screen long enough to make an impact or advance their careers. I suspect many felt the message of this film was worth telling. More on that later.
Then, there are a number of promising characters who don't really work. Nick Cannon plays a Kennedy Campaign worker who is talked up for a Secretary position. But rather than develop his character, he stops and delivers a monologue about the poll conditions in Watts. A more experienced actor may have been able to make the role seem more natural, less high school play. Estevez plays the emotionally abused husband of a fading, alcoholic singer. In each of his scenes, he has a blank expression plastered on his face. He must be thinking about all of those actors on his payroll. Laurence Fishburne plays a sous chef at the hotel. His main contribution to the story is an extended discussion with some of the Latino kitchen help, to discuss how he gets ahead in this unfair world.
Then, there are a handful of people who are either interesting, connect to the story or both.
William H. Macy plays the manager of the Ambassador Hotel. Throughout the day, he has to deal with a false fire alarm, various personnel issues, his wife (Sharon Stone) who works as the hairdresser in the hotel's salon and his new mistress, a switchboard operator played by Heather Graham. Anthony Hopkins plays a retired doorman at the Ambassador, trying to stay alive by hanging around the lobby, interacting with the employees and guests he has known his entire life. Hopkins' role doesn't seem to have a lot to do with the story, but let's face it, watching Hopkins read the phone book would be interesting; he always imbues his characters with so much history and personality. Sharon Stone plays the hairdresser at the hotel and interacts with a young bride (Lindsay Lohan) and the boozing singer (Demi Moore). Her character has a world weariness to her and she has a couple of interesting conversations, making her believable and watch-able. She explains to Lohan why she got married. "He was the most handsome man in the world." William H. Macy? He has charm, but the most handsome man in the world? And then there is Demi Moore who does a surprisingly good job of playing the fading chanteuse. She is not a likable character and is all the more convincing because she is so unlikable throughout.
It won't fit. Please read the full review at thornhillatthemovies.com Little Children
A Film Review by James Berardinelli
--------------------------------------------------------------------------------
United States, 2006
U.S. Release Date: 10/6/06 (limited); 10/20/06 (wider)
Running Length: 2:10
MPAA Classification: R (Profanity, sex, nudity)
Theatrical Aspect Ratio: 2.35:1
Cast: Kate Winslet, Patrick Wilson, Jennifer Connelly, Gregg Edelman, Jackie Earle Haley, Noah Emmerich
Director: Todd Field
Screenplay: Todd Field & Tom Perrotta, based on the novel by Tom Perrotta
Cinematography: Antonio Calvache
Music: Thomas Newman
U.S. Distributor: New Line Cinema
It's not necessary to look at the color of the leaves to determine the season of the year when movies of this power come along. Little Children, the second feature from director Todd Field (In the Bedroom), is the rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one. The story is presented in an unhurried fashion with all the characters and situations being allowed to develop and expand in a natural fashion.
Although this is an ensemble piece, there are two anchoring characters. They are Brad Adamson (Patrick Wilson) and Sarah Pierce (Kate Winslet), neglected spouses who find happiness in each other's company as they chaperone their children's playdays. It takes a while but they eventually give in to the inevitable and become lovers. They dream of being with one another, but that seems more like a fantasy than a hope grounded in reality. Other characters orbiting like satellites around the main pair include Kathy (Jennifer Connelly), Brad's controlling wife; Richard (Gregg Edelman), Sarah's porn-obsessed husband; Ronnie McGorvey (Jackie Earle Haley), a convicted pedophile; and Larry Hedges (Noah Emmerich), an ex-cop turned vigilante.
There's enough material here to fuel a series of lurid melodramas, but Field (who co-wrote the screenplay with Tom Perrotta, upon whose book it is based) keeps things low-key and under control. The scope of the project never gets away from him. The voiceover (unlike most voiceovers) is helpful, since it emphasizes the story's literary roots. Delivered in a smooth baritone (that of Will Lyman, who can be heard on PBS' Frontline), it offers observations and editorials on the action, occasionally with more than a hint of sardonic wit.
The performances, especially those by Kate Winslet, Patrick Wilson (the tortured pedophile in Hard Candy), Noah Emmerich, and Jackie Earle Haley, are tremendous. Winslet and Wilson face the challenge of portraying regular, intelligent people who are trapped by the normalcy of their lives. Emmerich and Haley, on the other hand, must play individuals with monstrous personality defects, and they do so without making their characters seem either unduly sympathetic or reprehensible. This is especially difficult for Haley, considering the nature of Ronnie's crime (he exposed himself to an underage girl), but the actor succeeds.
It might seem to some that Little Children meanders too much or could have been better focused. While I agree that any of the characters would have made an excellent choice for a feature film, Field's goal here is to present a slice of the community - the soccer moms, the bored housewives, the disempowered husbands. The main story deals with Sarah and Brad, but the other characters are given existences of their own, which is rare in motion pictures, and Little Children is richer for it. With In the Bedroom, Field demonstrated his mastery of difficult dramatic material and his ability to direct actors. His sophomore feature, which avoids the dreaded "slump," reinforces those characteristics and gives us reason to believe Field is a director whose next project should be met with anticipation.
© 2006 James Berardinelli The Queen
BY ROGER EBERT / October 13, 2006
The opening shots of Stephen Frears' "The Queen" simply show Helen Mirren's face as her character prepares for it to be seen. She is Queen Elizabeth II, and we know that at once. The resemblance is not merely physical, but embodies the very nature of the Elizabeth we have grown up with -- a private woman who takes her public role with great gravity.
Elizabeth is preparing to meet Tony Blair (Michael Sheen), the new Labor prime minister who has just been elected in a landslide. We see Blair preparing for the same meeting. His election was a fundamental upheaval of British political life after Thatcherism, and at that time, Britain stood on a threshold of uncertain but possibly tumultuous change.
Within months, the queen and Blair find themselves in a crisis that involves not politics but a personal tragedy that was completely unforeseen -- the death of Diana, princess of Wales, in a Paris car crash. "The Queen" tells the story of how her death with her boyfriend, the playboy department store heir Dodi Fayed, would threaten to shake the very monarchy itself.
Told in quiet scenes of proper behavior and guarded speech, "The Queen" is a spellbinding story of opposed passions -- of Elizabeth's icy resolve to keep the royal family separate and aloof from the death of the divorced Diana, who was legally no longer a royal, and of Blair's correct reading of the public mood, which demanded some sort of public expression of sympathy from the crown for "The People's Princess."
It was extraordinary, the grief that people felt after her death. I was reminded of the weeks after the assassination of John F. Kennedy. Was it out of proportion to Diana's objective importance? She was a young woman almost cynically picked for her marriage, who provided the crown with its required heirs, who was a photogenic escort for Prince Charles, who found no love from her husband; it was no secret they both had affairs during their marriage. Once divorced, she made peculiar dating choices.
She died in a late-night crash while being pursued by paparazzi. Yet it was as if a saint had been taken from our midst. Yes, Diana devoted much time to doing good. Yes, I believe she was sincere. But doing good was part of her job description; she signed on for it. In death, she had the same impact as if a great national hero had died.
"The Queen" is told almost entirely in small scenes of personal conflict. It creates an uncanny sense that it knows what goes on backstage in the monarchy; in the movie, Queen Elizabeth, Prince Philip and the Queen Mother have settled into a sterile domesticity cocooned by servants and civil servants. It shows Tony and Cherie Blair (Helen McCrory) in their own bourgeois domestic environment. Both households, privately, are plain-spoken to the point of bluntness, and Cherie is more left wing than her husband, less instinctively awed by the monarchy, more inclined to dump the institution.
What Tony clearly sees is that the monarchy could be gravely harmed, if not toppled, by the Queen's insistence on sticking to protocol and not issuing a statement about Diana. The press demands that Elizabeth fly the flag at half-mast as a symbolic gesture at Buckingham Palace. Elizabeth stands firm. The palace will not acknowledge the death or sponsor the funeral.
"The Queen" comes down to the story of two strong women loyal to the doctrines of their beliefs about the monarchy, and a man who is much more pragmatic. The queen is correct, technically, in not lowering the flag to half-mast -- it is not a national flag, but her own, flown only when she is in residence. But Blair is correct that the flag has become a lightning rod for public opinion. The queen is correct, indeed, by tradition and history in all she says about the affair -- but she is sadly aloof from the national mood. Well, maybe queens should be.
Certainly that's what the Queen Mum thinks. Played by Sylvia Syms, she is shown at 90-plus years, still tart and sharp-witted. At the last minute, the palace needs a protocol plan for the funeral, and time is so short that the Queen Mum's own funeral plan has to be borrowed and modified. Syms has a priceless reaction where she learns that her honor guard, all servicemen, will be replaced by celebrities -- even, gasp, Elton John.
"The Queen" could have been told as a scandal sheet story of celebrity gossip. Instead, it becomes the hypnotic tale of two views of the same event -- a classic demonstration, in high drama, of how the Establishment has been undermined by publicity. I think it possible that Thatcher, if she still had been in office, might have supported the Queen. That would be impossible to the populist Blair.
Stephen Frears, the director, has made several wonderful films about conflicts and harmonies in the British class system ("My Beautiful Laundrette," "Dirty Pretty Things," "Prick Up Your Ears"), and "The Queen," of course, represents the ultimate contrast. No one is more upper class than the queen, and Tony Blair is profoundly middle class.
The screenplay is intense, focused, literate, observant. The dynamic between Elizabeth and Philip (James Cromwell), for example, is almost entirely defined by decades of what has not been said between them -- and what need not be said. There are extraordinary, tantalizing glimpses of the "real" Elizabeth driving her own Range Rover, leading her dogs, trekking her lands at Balmoral -- the kind of woman, indeed, who seems more like Camilla Parker-Bowles than Diana.
Mirren is the key to it all in a performance sure to be nominated for an Oscar. She finds a way, even in a "behind the scenes" docudrama, to suggest that part of her character will always be behind the scenes. What a masterful performance, built on suggestion, implication and understatement. Her queen in the end authorizes the inevitable state funeral, but it is a tribute to Mirren that we have lingering doubts about whether, objectively, it was the right thing. Technically, the queen was right to consider the divorced Diana no longer deserving (by her own choice) of a royal funeral. But in terms of modern celebrity worship, Elizabeth was wrong. This may or may not represent progress. 原帖由 白賴仁_15 於 2006-12-1501:48 PM 發表
A best actress nominee at this year's Golden Globe Awards, Zhang Ziyi will definitely not be in the running again next year again because her starring film "The Banquet" did not enter com ...
咪以為夜宴得:icon126: 原帖由 白賴仁_15 於 2006-12-1501:51 PM 發表
Golden Globe Nominations this Thursday
Source: HFPA December 11, 2006
Jessica Biel, Scarlett Johansson and Matthew Perry will join Hollywood Foreign Press Association President Philip Berk t ...
邊個公布提名名單, WHO FC? 原帖由 傑夫仔 於 2006-12-1501:54 PM 發表
http://ent.sina.com.cn/m/f/olver/index.html
VOLVER 浮花劇情簡介
四個女人，三代人，用善良、謊言和無限的生命力，與大火，癲狂，迷信甚至死亡爭鬥。
她們是Raimanda(佩內洛普·克魯茲)，嫁給了 ...
上面有 link 講啦:icon126: 原帖由 傑夫仔 於 2006-12-1501:54 PM 發表
巴別塔
故事簡介
榮獲康城影展3項大獎包括最佳導演、評判團大獎、技術大獎三項大獎。由《狗男女的愛》、《21克 - 生命可以有多重 》導演最新力作，四段發生在摩洛哥、墨西哥和日本的故事，因為一粒子彈而連 ...
阿利亨特路.岡薩雷斯新片香港 一月十一號上, 上面條 link 都有 原帖由 傑夫仔 於 2006-12-1501:55 PM 發表
Bobby (2006)
email this review to a friend
Movie Review by Matthew
December 6th, 2006
IMDb lists the plot outline for "Bobby" as "The story of the assassination of...
毀譽參半的Bobby, 好多明星:icon101: 原帖由 傑夫仔 於 2006-12-1501:55 PM 發表
Little Children
A Film Review by James Berardinelli
--------------------------------------------------------------------------------
United States, 2006
U.S. Release Date: 10/6/06 (limited) ...
可惜男主角Patrick Wilson 套 Hard Candy 香港 VCD 都無:icon024: 原帖由 FlyingDonkey 於 2006-12-1505:20 PM 發表
邊個公布提名名單, WHO FC?
me 強烈支持
3. JACK NICHOLSON — THE DEPARTED 無間道風雲 Cecil B. DeMille Award
Warren Beatty
Best Motion Picture - Drama
Babel
Best Performance by an Actress in a Motion Picture - Drama
Helen Mirren – The Queen(分別憑電影/電視扮演兩代英國女皇得到電視/電影正劇影后:eek2::eek:)
Best Performance by an Actress in a Motion Picture - Drama
Forest Whitaker – The Last King Of Scotland :icon040::icon040::icon040: (香港上映有望:icon101:)
Best Motion Picture - Musical Or Comedy
Dreamgirls
Best Performance by an Actress in a Motion Picture - Musical or Comedy
Meryl Streep – The Devil Wears Prada (在晴朗一天收檔:icon099::icon099::icon099:)
Best Performance by an Actor in a Motion Picture - Musical Or Comedy
Sacha Cohen – Borat: Cultural Learnings Of America For Make Benefit Glorious Nation Of Kazakhstan
Best Performance by an Actress In A Supporting Role in a Motion Picture
Eddie Murphy – Dreamgirls
Best Animated Feature Film
Cars:icon099::icon099::icon099:
Best Foreign Languge Film
Letters From Iwo Jima (美國人:icon062:)
Best Director - Motion Picture
Martin Scorsese – The Departed
Best Screenplay - Motion Picture
The Queen
Best Original Score - Motion Picture
The Painted Veil
Best Original Song - Motion Picture
"The Song Of The Heart" – Happy Feet
Best Television Series - Drama
Grey's Anatomy (ABC):icon040::icon040::icon040: (亞洲電視國際台逢星期一晚2320播映:icon032:)
Best Performance by an Actress In A Television Series - Drama
Kyra Sedgwick – The Closer (TNT)
Best Performance by an Actor In A Television Series - Drama
Hugh Laurie – House (FOX)
Best Television Series - Musical Or Comedy
Ugly Betty (ABC)
Best Performance by an Actress In A Television Series - Musical Or Comedy
America Ferrera – Ugly Betty (ABC)
Best Performance by an Actor In A Television Series - Musical Or Comedy
Alec Baldwin – 30 Rock (NBC)
Best Mini-Series Or Motion Picture Made for Television
Elizabeth I (HBO)
Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Helen Mirren – Elizabeth I (HBO) (分別憑電影/電視扮演兩代英國女皇得到電視/電影正劇影后:eek2::eek:)
Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Bill Nighy – Gideon's Daughter (BBC)
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Emily Blunt – Gideon's Daughter (BBC)
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jeremy Irons – Elizabeth I (HBO)
http://www.hfpa.org/nominations/index.html
[ 本帖最後由 FlyingDonkey 於 2007-1-1701:29 AM 編輯 ] 原帖由 孫中謝拉特.奧雲 於 2006-12-1507:26 PM 發表
強烈支持
3. JACK NICHOLSON — THE DEPARTED 無間道風雲
衰左 PENELOPE CRUZ — VOLVER 浮花:icon099::icon100:
Das Leben der Anderen(THE LIVES OF OTHERS)(GERMANY):icon099::icon100: - 香港二月一號上:icon101:
http://hkcm.hkehost.net/forum/viewthread.php?tid=103552&extra=page%3D1
El Laberinto del Fauno(PAN'S LABYRINTH )(MEXICO):icon099::icon100:
VOLVER 浮花:icon099::icon100:
BEN AFFLECK — HOLLYWOODLAND 驚殺荷里活:icon099::icon100:
ELLEN POMPEO — GREY'S ANATOMY 醫人當自強
ELLEN POMPEO — GREY'S ANATOMY 醫人當自強:icon099::icon100:
證明了ATV 買外國電視劇好有眼光的:icon101::icon101::icon101:
[ 本帖最後由 FlyingDonkey 於 2007-1-1701:37 AM 編輯 ] HUGH LAURIE又贏
頁:
[1]
2