“The Marvelous Mrs. Maisel” has submitted “Your Personal Trash Man Can” in the outstanding original music and lyrics category for Emmys consideration.
Written by Curtis Moore and songwriting partner Thomas Mizer, the song features in “Susan,” Episode 4 of the Amazon Prime series’ fifth and final season. One of the most music-filled episodes of the show, “Susan” follows Susie (Alex Borstein) and Midge (Rachel Brosnahan) as they help a garbage man who calls in sick.
The episode was also submitted for production design for a narrative period or fantasy program (one hour or more) by Bill Groom, production designer; Neil Prince, supervising art director and Ellen Christiansen, set decorator.
The costume team also submitted the episode in the period costume category.
Meanwhile, the show’s cinematographers, Alex Nepomniaschy and M. David Mullen, will be vying for Emmy consideration in the cinematography for a single-camera series (one hour) category, with Nepomniaschy submitting...
Written by Curtis Moore and songwriting partner Thomas Mizer, the song features in “Susan,” Episode 4 of the Amazon Prime series’ fifth and final season. One of the most music-filled episodes of the show, “Susan” follows Susie (Alex Borstein) and Midge (Rachel Brosnahan) as they help a garbage man who calls in sick.
The episode was also submitted for production design for a narrative period or fantasy program (one hour or more) by Bill Groom, production designer; Neil Prince, supervising art director and Ellen Christiansen, set decorator.
The costume team also submitted the episode in the period costume category.
Meanwhile, the show’s cinematographers, Alex Nepomniaschy and M. David Mullen, will be vying for Emmy consideration in the cinematography for a single-camera series (one hour) category, with Nepomniaschy submitting...
- 5/11/2023
- by Jazz Tangcay
- Variety Film + TV
“Elvis” director of photography Mandy Walker won Feature Film at the ASC Awards March 5, when the American Society of Cinematographers handed out its honors at the 37th annual awards at the Beverly Hilton Hotel.
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
- 3/6/2023
- by Mark Peikert
- Indiewire
Elvis cinematographer Mandy Walker cracked a glass ceiling on Sunday, becoming the first woman to win the American Society of Cinematographers Award in the feature competition during the 37th ASC Awards.
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
- 3/6/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Mandy Walker has won the American Society of Cinematographers feature-film award for “Elvis,” making her the first woman ever to win that award. She is only the third female nominee in the category, after Rachel Morrison for “Mudbound” in 2018 and Ari Wegner for “The Power of the Dog” last year.
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
- 3/6/2023
- by Steve Pond and Jason Clark
- The Wrap
The American Society of Cinematographers is handing out its 37th annual ASC Awards tonight at the Beverly Hilton, and Deadline is posting the winners as they’re announced. See the list below.
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
- 3/6/2023
- by Erik Pedersen
- Deadline Film + TV
The American Society of Cinematographers has unveiled the nominations for its 37th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Theatrical Feature Film nominees are Roger Deakins for Empire of Light, Greig Fraser for The Batman , Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis.
Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar. The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years.
On the small-screen front, the only program that made a return trip to the nominations was Hacks, which again is up for Episode of a Half-Hour Television Series.
Here are the nominees for the 2023 ASC Awards:
Theatrical Feature Film Nominees
Roger Deakins, Empire of Light (Searchlight Pictures)
Greig Fraser, The Batman (Warner Bros.)
Darius Khondji,...
The society’s marquee Theatrical Feature Film nominees are Roger Deakins for Empire of Light, Greig Fraser for The Batman , Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis.
Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar. The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years.
On the small-screen front, the only program that made a return trip to the nominations was Hacks, which again is up for Episode of a Half-Hour Television Series.
Here are the nominees for the 2023 ASC Awards:
Theatrical Feature Film Nominees
Roger Deakins, Empire of Light (Searchlight Pictures)
Greig Fraser, The Batman (Warner Bros.)
Darius Khondji,...
- 1/9/2023
- by Erik Pedersen
- Deadline Film + TV
The cinematographers of “The Batman,” “Bardo, False Chronicle of a Handful of Truths,” “Elvis,” “Empire of Light” and “Top Gun: Maverick” have received nominations from the American Society of Cinematographers, the ASC announced on Monday.
Last year’s winner, “Dune” cinematographer Greig Fraser, was nominated again for “The Batman.” Darius Khondji received the nomination for “Bardo,” Claudio Miranda for “Top Gun,” Mandy Walker for “Elvis” and cinematography legend Roger Deakins received his record 17th ASC nomination for “Empire of Light.”
The nomination makes “Elvis” cinematographer Mandy Walker only the third woman to be nominated in the top feature-film category by the ASC, after Rachel Morrison for “Black Panther” and Ari Wegner for “The Power of the Dog.” No female cinematographer has ever won in the category.
Also Read:
Cinematographer Roger Deakins Fears That Moviegoing Has ‘Changed Beyond Repair’
The nominations bypassed “Avatar: The Way of Water,” “The Fabelmans,” “Tar” and “Everything Everywhere All at Once,...
Last year’s winner, “Dune” cinematographer Greig Fraser, was nominated again for “The Batman.” Darius Khondji received the nomination for “Bardo,” Claudio Miranda for “Top Gun,” Mandy Walker for “Elvis” and cinematography legend Roger Deakins received his record 17th ASC nomination for “Empire of Light.”
The nomination makes “Elvis” cinematographer Mandy Walker only the third woman to be nominated in the top feature-film category by the ASC, after Rachel Morrison for “Black Panther” and Ari Wegner for “The Power of the Dog.” No female cinematographer has ever won in the category.
Also Read:
Cinematographer Roger Deakins Fears That Moviegoing Has ‘Changed Beyond Repair’
The nominations bypassed “Avatar: The Way of Water,” “The Fabelmans,” “Tar” and “Everything Everywhere All at Once,...
- 1/9/2023
- by Steve Pond
- The Wrap
Roger Deakins (“Empire of Light”), Greig Fraser (“The Batman”), Darius Khondji, Claudio Miranda (“Top Gun: Maverick”), and Mandy Walker (“Elvis”) were nominated Monday for the 37th annual ASC Awards (to be held March 5 at the Beverly Hilton and live streamed).
For the legendary Deakins, who finds himself in the underdog position for exquisitely lensing Sam Mendes’ underappreciated ode to cinema, this marks his ASC-leading 17th nomination. The two-time Oscar winner (“1917” and “Blade Runner 2049”) has won five times, tied with Emmanuel “Chivo” Lubezki, the three-time Oscar winner, who didn’t make the cut for “Amsterdam,” which never got any critical traction. Fraser, last year’s Oscar and ASC winner for “Dune,” has two wins and three noms. For Matt Reeves’ “The Batman,” he provided a gritty noir look. Miranda, an Oscar winner for “Life of Pi,” has three nominations, and is considered the frontrunner for taking us into...
For the legendary Deakins, who finds himself in the underdog position for exquisitely lensing Sam Mendes’ underappreciated ode to cinema, this marks his ASC-leading 17th nomination. The two-time Oscar winner (“1917” and “Blade Runner 2049”) has won five times, tied with Emmanuel “Chivo” Lubezki, the three-time Oscar winner, who didn’t make the cut for “Amsterdam,” which never got any critical traction. Fraser, last year’s Oscar and ASC winner for “Dune,” has two wins and three noms. For Matt Reeves’ “The Batman,” he provided a gritty noir look. Miranda, an Oscar winner for “Life of Pi,” has three nominations, and is considered the frontrunner for taking us into...
- 1/9/2023
- by Bill Desowitz
- Indiewire
Mandy Walker’s bold lensing of Baz Luhrmann’s Elvis made her the third woman to ever be nominated in the feature category of the American Society of Cinematographers’ ASC Awards, which announced it nominations on Monday.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
- 1/9/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to the social order of racially segregated 1950s Connecticut in “Far From Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
More from IndieWireStream of the Day: How 'Ganja & Hess' Became Much More Than a Black Vampire StoryStream of the Day: Sofia Coppola's 'Bling Ring' Knows What It's Like to Feel Disconnected
Though released in 1995, “Safe” is set in 1987, at the height of the AIDS epidemic in America. Haynes’ roots as a queer filmmaker often find him responding to that crisis, most...
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to the social order of racially segregated 1950s Connecticut in “Far From Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
More from IndieWireStream of the Day: How 'Ganja & Hess' Became Much More Than a Black Vampire StoryStream of the Day: Sofia Coppola's 'Bling Ring' Knows What It's Like to Feel Disconnected
Though released in 1995, “Safe” is set in 1987, at the height of the AIDS epidemic in America. Haynes’ roots as a queer filmmaker often find him responding to that crisis, most...
- 3/27/2020
- by Ryan Lattanzio
- Indiewire
Director Gary Sherman is perhaps best remembered for his cult titles Raw Meat (1972) and Dead & Buried (1981), or maybe for his franchise contribution, Poltergeist III (1988). But one of his last theatrical features, Lisa (1990) gets a Blu-ray release this month, which features surprisingly adept performances in what remains a pseudo-ya thriller. Television stars Cheryl Ladd (“Charlie’s Angels”) and Staci Keanan (“Step By Step,” here in her feature debut) play a Los Angeles mother and daughter who get caught up in a serial killer’s web of murder and sex in a film that curiously exchanges thrills for logical character development. Co-written by Karen Clark (who would solely work on television features following this film), the script presents in sobering fashion a female teenager’s yearning to break out into adulthood via dating and sex despite the lack of maturity that only age can bring. Unfortunately, the rather hokey genre elements this...
- 9/29/2015
- by Nicholas Bell
- IONCINEMA.com
Todd Haynes receives his first entry in the Criterion collection with a beautiful restoration of his landmark 1995 sophomore feature, Safe, the film that launched the status of burgeoning star Julianne Moore. Though initial reactions to the film were perplexing after a premiere at the Sundance Film Festival, a growing cult following cemented the film’s reputation as a fascinating example of Haynes’ remarkable control of mise en scene, as well as a deliberately refined AIDs allegory ahead of its time. Recuperated famously as a case study as pertains to practices and definitions of whiteness, it may very well be Haynes’ most invigorating work precisely because of all the avenues of projection its fascinating obliqueness provides.
The narrative is relatively simple, especially as pertains to the work of Haynes, who often prizes experimental, non-linear narratives. A suburban housewife residing in the San Fernando Valley of 1987, Carol White (Julianne Moore) finds herself...
The narrative is relatively simple, especially as pertains to the work of Haynes, who often prizes experimental, non-linear narratives. A suburban housewife residing in the San Fernando Valley of 1987, Carol White (Julianne Moore) finds herself...
- 12/9/2014
- by Nicholas Bell
- IONCINEMA.com
The Academy of Motion Picture Arts and Sciences has revealed its 276-member-strong class of 2013.
The list, published by The Hollywood Reporter, includes actors, cinematographers, designers, directors, documentarians, executives, film editors, makeup artists and hairstylists, "members-at-large," musicians, producers, PR folks, short filmmakers and animators, sound technicians, visual effects artists, and writers.
Jason Bateman, Rosario Dawson, Joseph Gordon-Levitt, Milla Jovovich, Lucy Liu, Jennifer Lopez, Emily Mortimer, Sandra Oh, Jason Schwartzman, and Michael Peña are among the roster of actors, while "The Heat" and "Bridesmaids" helmer Paul Feig made the directors' cut.
"We did not change our criteria at all," says Academy president Hawk Koch of this year's larger-than-usual class. "Yes, this year there is a tremendous amount of women, a tremendous amount of people of color, people from all walks of life. This year, we asked the branches to look at everybody who wasn't in the Academy but who deserved to be.
The list, published by The Hollywood Reporter, includes actors, cinematographers, designers, directors, documentarians, executives, film editors, makeup artists and hairstylists, "members-at-large," musicians, producers, PR folks, short filmmakers and animators, sound technicians, visual effects artists, and writers.
Jason Bateman, Rosario Dawson, Joseph Gordon-Levitt, Milla Jovovich, Lucy Liu, Jennifer Lopez, Emily Mortimer, Sandra Oh, Jason Schwartzman, and Michael Peña are among the roster of actors, while "The Heat" and "Bridesmaids" helmer Paul Feig made the directors' cut.
"We did not change our criteria at all," says Academy president Hawk Koch of this year's larger-than-usual class. "Yes, this year there is a tremendous amount of women, a tremendous amount of people of color, people from all walks of life. This year, we asked the branches to look at everybody who wasn't in the Academy but who deserved to be.
- 7/4/2013
- by Laura Larson
- Moviefone
The Academy of Motion Picture Arts and Sciences announced today the 276 members of the entertainment industry invited to join organization. The list includes actors, directors, documentarians, executives, film editors, producers and more. Of those listed below, those who accept the invitations will be the only additions to the Academy's membership in 2013. "These individuals are among the best filmmakers working in the industry today," said Academy President Hawk Koch in a press release. "Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy." Koch also told Variety, "In the past eight or nine years, each branch could only bring in X amount of members. There were people each branch would have liked to get in but couldn't. We asked them to be more inclusive of the best of the best, and each branch was excited, because they got...
- 6/28/2013
- by Brad Brevet
- Rope of Silicon
The Academy just added 276 Oscar voters.
That’s 100 more than last year, and part of an easing of a longstanding cap on the number of new members allowed to join the Academy of Motion Picture Arts and Sciences each year.
AMPAS usually adds between 130 and 180 new members, replacing those who have quit or passed away. The membership now stands around 6,000.
Jason Bateman, Jennifer Lopez, Joseph Gordon-Levitt, Emmanuelle Riva, and Chris Tucker are among the actors who have been invited to join, the organization announced today.
Other interesting additions: the musician Prince, Girls and Tiny Furniture writer/director/actress Lena Dunham,...
That’s 100 more than last year, and part of an easing of a longstanding cap on the number of new members allowed to join the Academy of Motion Picture Arts and Sciences each year.
AMPAS usually adds between 130 and 180 new members, replacing those who have quit or passed away. The membership now stands around 6,000.
Jason Bateman, Jennifer Lopez, Joseph Gordon-Levitt, Emmanuelle Riva, and Chris Tucker are among the actors who have been invited to join, the organization announced today.
Other interesting additions: the musician Prince, Girls and Tiny Furniture writer/director/actress Lena Dunham,...
- 6/28/2013
- by Anthony Breznican
- EW - Inside Movies
The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 276 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2013.
“These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.”
The 2013 invitees are:
Actors
Jason Bateman – “Up in the Air,” “Juno”
Miriam Colon – “City of Hope,” “Scarface”
Rosario Dawson – “Rent,” “Frank Miller’s Sin City”
Kimberly Elise – “For Colored Girls,” “Beloved”
Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises”
Charles Grodin – “Midnight Run,” “The Heartbreak Kid”
Rebecca Hall – “Iron Man 3,” “The Town”
Lance Henriksen – “Aliens,” “The Terminator”
Jack Huston – “Not Fade Away,” “Factory Girl”
Milla Jovovich – “Resident Evil,...
“These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.”
The 2013 invitees are:
Actors
Jason Bateman – “Up in the Air,” “Juno”
Miriam Colon – “City of Hope,” “Scarface”
Rosario Dawson – “Rent,” “Frank Miller’s Sin City”
Kimberly Elise – “For Colored Girls,” “Beloved”
Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises”
Charles Grodin – “Midnight Run,” “The Heartbreak Kid”
Rebecca Hall – “Iron Man 3,” “The Town”
Lance Henriksen – “Aliens,” “The Terminator”
Jack Huston – “Not Fade Away,” “Factory Girl”
Milla Jovovich – “Resident Evil,...
- 6/28/2013
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 276 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2013. “These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.” The 2013 invitees are: Actors Jason Bateman – “Up in the Air,” “Juno” Miriam Colon – “City of Hope,” “Scarface” Rosario Dawson – “Rent,” “Frank Miller’s Sin City” Kimberly Elise – “For Colored Girls,” “Beloved” Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises” Charles Grodin – “Midnight Run,” “The Heartbreak Kid” Rebecca Hall – “Iron Man 3,” “The Town” Lance Henriksen – “Aliens,” “The Terminator” Jack Huston – “Not Fade Away,” “Factory Girl” Milla Jovovich – “Resident Evil,...
- 6/28/2013
- by Josh Abraham
- Hollywoodnews.com
Opens
Friday, April 2
Add to the swelling number of movie fantasies involving European royalty or presidential first daughters a movie called "The Prince & Me," an unremarkable romantic comedy that gives short shrift to both romance and comedy. What is remarkable here is that a) it took four writers to map out such an innocuous, derivative tale, and b) not one came up with a new wrinkle on the tired situation.
Paramount needs to ride the popularity of young actress Julia Stiles hard even to see average boxoffice returns on this lame fantasy manufactured for adolescent and teenage females. Certainly when your major action sequence involves lawn mower racing, you have pretty much written off any male interest, no matter what the age.
Stiles plays Paige Morgan, a superserious pre-med student at the University of Wisconsin whose goal in life is to get into Johns Hopkins University. When she graduates from there, the selfless young woman intends to deliver medical care to the world's underprivileged. Likable British actor Luke Mably plays Eddie, who is actually Edvard Valdemar, crown prince of Denmark. He enrolls at UW under the influence of a "Girls Gone Wild" video shot on campus. When he graduates, he intends to continue racing sports cars and creating more scandals involving young women. In Hollywood terms, these two are made for each other.
They meet cute -- if you think a man asking a woman he doesn't even know to show him her breasts is "cute" -- develop an initial animosity in chemistry class, then somehow, perhaps in a scene cut from the final print, fall in love.
When she gets over the shock that Eddie isn't just a pain but a royal pain, Paige pursues the prince back to Denmark, forgetting momentarily about doing good deeds in the Third World. Having spent a Thanksgiving at the Paige family's dairy farm, Eddie now gets to give the daughter the royal treatment in Copenhagen, which means a daily schedule of photo ops and banquets.
The queen (Miranda Richardson), at first horrified that an American commoner may become Denmark's next queen, discovers that the exposure of her playboy son to Paige for less than a semester has transformed him into a sophisticated political operative who can negotiate deals between the country's labor unions and corporate interests while his ailing dad (James Fox) lies in bed. Which brings the fairy tale to its Crisis of Conscience: Paige must choose between delivering medical care in El Salvador and having tea and crumpets with visiting royalty in Denmark.
The two young actors are game, but director Martha Coolidge and her writers offer no opportunities to display any wit or charm. The thundering dullness of the story defeats their exuberance. Consequently, most of the laughs fall to Ben Miller, who plays Eddie's much-abused personal secretary-cum-valet. Of the British-accented royal family, Richardson has her knickers in a twist most of the time, while Fox looks understandably confused as the script has him alternately on his death bed and gliding through glittery receptions.
Technical credits are pro on a production shot largely in Toronto and the Czech Republic. This includes Alex Nepomniaschy's bright lensing that uses much effective back lighting, Jennie Muskett's bubbly score and the fine use of storybook locations in castles and Baroque estates near Prague.
THE PRINCE & ME
Paramount Pictures
Paramount Pictures in association with Lions Gate Entertainment presents a Sobini Films production
Credits:
Director: Martha Coolidge
Screenwriters: Jack Amiel, Michael Begler, Katherine Fugate
Story by: Mark Amin, Katherine Fugate
Producer: Mark Amin
Executive producers: Cami Winikoff, Robin Schorr
Director of photography: Alex Nepomniaschy
Production designer: James Spencer
Music: Jennie Muskett
Co-producer: Jeffrey Lampert
Costume designer: Magali Guidasci
Editor: Steven Cohen
Cast:
Paige Morgan: Julia Stiles
Prince Edvard: Luke Mably
Soren: Ben Miller
Queen Rosalind: Miranda Richardson
King Haraald: James Fox
Amy Morgan: Alberta Watson
Ben Morgan: John Bourgeois
Princess Arabella: Eliza Bennett
Running time -- 111 minutes
MPAA rating: PG...
Friday, April 2
Add to the swelling number of movie fantasies involving European royalty or presidential first daughters a movie called "The Prince & Me," an unremarkable romantic comedy that gives short shrift to both romance and comedy. What is remarkable here is that a) it took four writers to map out such an innocuous, derivative tale, and b) not one came up with a new wrinkle on the tired situation.
Paramount needs to ride the popularity of young actress Julia Stiles hard even to see average boxoffice returns on this lame fantasy manufactured for adolescent and teenage females. Certainly when your major action sequence involves lawn mower racing, you have pretty much written off any male interest, no matter what the age.
Stiles plays Paige Morgan, a superserious pre-med student at the University of Wisconsin whose goal in life is to get into Johns Hopkins University. When she graduates from there, the selfless young woman intends to deliver medical care to the world's underprivileged. Likable British actor Luke Mably plays Eddie, who is actually Edvard Valdemar, crown prince of Denmark. He enrolls at UW under the influence of a "Girls Gone Wild" video shot on campus. When he graduates, he intends to continue racing sports cars and creating more scandals involving young women. In Hollywood terms, these two are made for each other.
They meet cute -- if you think a man asking a woman he doesn't even know to show him her breasts is "cute" -- develop an initial animosity in chemistry class, then somehow, perhaps in a scene cut from the final print, fall in love.
When she gets over the shock that Eddie isn't just a pain but a royal pain, Paige pursues the prince back to Denmark, forgetting momentarily about doing good deeds in the Third World. Having spent a Thanksgiving at the Paige family's dairy farm, Eddie now gets to give the daughter the royal treatment in Copenhagen, which means a daily schedule of photo ops and banquets.
The queen (Miranda Richardson), at first horrified that an American commoner may become Denmark's next queen, discovers that the exposure of her playboy son to Paige for less than a semester has transformed him into a sophisticated political operative who can negotiate deals between the country's labor unions and corporate interests while his ailing dad (James Fox) lies in bed. Which brings the fairy tale to its Crisis of Conscience: Paige must choose between delivering medical care in El Salvador and having tea and crumpets with visiting royalty in Denmark.
The two young actors are game, but director Martha Coolidge and her writers offer no opportunities to display any wit or charm. The thundering dullness of the story defeats their exuberance. Consequently, most of the laughs fall to Ben Miller, who plays Eddie's much-abused personal secretary-cum-valet. Of the British-accented royal family, Richardson has her knickers in a twist most of the time, while Fox looks understandably confused as the script has him alternately on his death bed and gliding through glittery receptions.
Technical credits are pro on a production shot largely in Toronto and the Czech Republic. This includes Alex Nepomniaschy's bright lensing that uses much effective back lighting, Jennie Muskett's bubbly score and the fine use of storybook locations in castles and Baroque estates near Prague.
THE PRINCE & ME
Paramount Pictures
Paramount Pictures in association with Lions Gate Entertainment presents a Sobini Films production
Credits:
Director: Martha Coolidge
Screenwriters: Jack Amiel, Michael Begler, Katherine Fugate
Story by: Mark Amin, Katherine Fugate
Producer: Mark Amin
Executive producers: Cami Winikoff, Robin Schorr
Director of photography: Alex Nepomniaschy
Production designer: James Spencer
Music: Jennie Muskett
Co-producer: Jeffrey Lampert
Costume designer: Magali Guidasci
Editor: Steven Cohen
Cast:
Paige Morgan: Julia Stiles
Prince Edvard: Luke Mably
Soren: Ben Miller
Queen Rosalind: Miranda Richardson
King Haraald: James Fox
Amy Morgan: Alberta Watson
Ben Morgan: John Bourgeois
Princess Arabella: Eliza Bennett
Running time -- 111 minutes
MPAA rating: PG...
Opens
Friday, April 2
Add to the swelling number of movie fantasies involving European royalty or presidential first daughters a movie called "The Prince & Me," an unremarkable romantic comedy that gives short shrift to both romance and comedy. What is remarkable here is that a) it took four writers to map out such an innocuous, derivative tale, and b) not one came up with a new wrinkle on the tired situation.
Paramount needs to ride the popularity of young actress Julia Stiles hard even to see average boxoffice returns on this lame fantasy manufactured for adolescent and teenage females. Certainly when your major action sequence involves lawn mower racing, you have pretty much written off any male interest, no matter what the age.
Stiles plays Paige Morgan, a superserious pre-med student at the University of Wisconsin whose goal in life is to get into Johns Hopkins University. When she graduates from there, the selfless young woman intends to deliver medical care to the world's underprivileged. Likable British actor Luke Mably plays Eddie, who is actually Edvard Valdemar, crown prince of Denmark. He enrolls at UW under the influence of a "Girls Gone Wild" video shot on campus. When he graduates, he intends to continue racing sports cars and creating more scandals involving young women. In Hollywood terms, these two are made for each other.
They meet cute -- if you think a man asking a woman he doesn't even know to show him her breasts is "cute" -- develop an initial animosity in chemistry class, then somehow, perhaps in a scene cut from the final print, fall in love.
When she gets over the shock that Eddie isn't just a pain but a royal pain, Paige pursues the prince back to Denmark, forgetting momentarily about doing good deeds in the Third World. Having spent a Thanksgiving at the Paige family's dairy farm, Eddie now gets to give the daughter the royal treatment in Copenhagen, which means a daily schedule of photo ops and banquets.
The queen (Miranda Richardson), at first horrified that an American commoner may become Denmark's next queen, discovers that the exposure of her playboy son to Paige for less than a semester has transformed him into a sophisticated political operative who can negotiate deals between the country's labor unions and corporate interests while his ailing dad (James Fox) lies in bed. Which brings the fairy tale to its Crisis of Conscience: Paige must choose between delivering medical care in El Salvador and having tea and crumpets with visiting royalty in Denmark.
The two young actors are game, but director Martha Coolidge and her writers offer no opportunities to display any wit or charm. The thundering dullness of the story defeats their exuberance. Consequently, most of the laughs fall to Ben Miller, who plays Eddie's much-abused personal secretary-cum-valet. Of the British-accented royal family, Richardson has her knickers in a twist most of the time, while Fox looks understandably confused as the script has him alternately on his death bed and gliding through glittery receptions.
Technical credits are pro on a production shot largely in Toronto and the Czech Republic. This includes Alex Nepomniaschy's bright lensing that uses much effective back lighting, Jennie Muskett's bubbly score and the fine use of storybook locations in castles and Baroque estates near Prague.
THE PRINCE & ME
Paramount Pictures
Paramount Pictures in association with Lions Gate Entertainment presents a Sobini Films production
Credits:
Director: Martha Coolidge
Screenwriters: Jack Amiel, Michael Begler, Katherine Fugate
Story by: Mark Amin, Katherine Fugate
Producer: Mark Amin
Executive producers: Cami Winikoff, Robin Schorr
Director of photography: Alex Nepomniaschy
Production designer: James Spencer
Music: Jennie Muskett
Co-producer: Jeffrey Lampert
Costume designer: Magali Guidasci
Editor: Steven Cohen
Cast:
Paige Morgan: Julia Stiles
Prince Edvard: Luke Mably
Soren: Ben Miller
Queen Rosalind: Miranda Richardson
King Haraald: James Fox
Amy Morgan: Alberta Watson
Ben Morgan: John Bourgeois
Princess Arabella: Eliza Bennett
Running time -- 111 minutes
MPAA rating: PG...
Friday, April 2
Add to the swelling number of movie fantasies involving European royalty or presidential first daughters a movie called "The Prince & Me," an unremarkable romantic comedy that gives short shrift to both romance and comedy. What is remarkable here is that a) it took four writers to map out such an innocuous, derivative tale, and b) not one came up with a new wrinkle on the tired situation.
Paramount needs to ride the popularity of young actress Julia Stiles hard even to see average boxoffice returns on this lame fantasy manufactured for adolescent and teenage females. Certainly when your major action sequence involves lawn mower racing, you have pretty much written off any male interest, no matter what the age.
Stiles plays Paige Morgan, a superserious pre-med student at the University of Wisconsin whose goal in life is to get into Johns Hopkins University. When she graduates from there, the selfless young woman intends to deliver medical care to the world's underprivileged. Likable British actor Luke Mably plays Eddie, who is actually Edvard Valdemar, crown prince of Denmark. He enrolls at UW under the influence of a "Girls Gone Wild" video shot on campus. When he graduates, he intends to continue racing sports cars and creating more scandals involving young women. In Hollywood terms, these two are made for each other.
They meet cute -- if you think a man asking a woman he doesn't even know to show him her breasts is "cute" -- develop an initial animosity in chemistry class, then somehow, perhaps in a scene cut from the final print, fall in love.
When she gets over the shock that Eddie isn't just a pain but a royal pain, Paige pursues the prince back to Denmark, forgetting momentarily about doing good deeds in the Third World. Having spent a Thanksgiving at the Paige family's dairy farm, Eddie now gets to give the daughter the royal treatment in Copenhagen, which means a daily schedule of photo ops and banquets.
The queen (Miranda Richardson), at first horrified that an American commoner may become Denmark's next queen, discovers that the exposure of her playboy son to Paige for less than a semester has transformed him into a sophisticated political operative who can negotiate deals between the country's labor unions and corporate interests while his ailing dad (James Fox) lies in bed. Which brings the fairy tale to its Crisis of Conscience: Paige must choose between delivering medical care in El Salvador and having tea and crumpets with visiting royalty in Denmark.
The two young actors are game, but director Martha Coolidge and her writers offer no opportunities to display any wit or charm. The thundering dullness of the story defeats their exuberance. Consequently, most of the laughs fall to Ben Miller, who plays Eddie's much-abused personal secretary-cum-valet. Of the British-accented royal family, Richardson has her knickers in a twist most of the time, while Fox looks understandably confused as the script has him alternately on his death bed and gliding through glittery receptions.
Technical credits are pro on a production shot largely in Toronto and the Czech Republic. This includes Alex Nepomniaschy's bright lensing that uses much effective back lighting, Jennie Muskett's bubbly score and the fine use of storybook locations in castles and Baroque estates near Prague.
THE PRINCE & ME
Paramount Pictures
Paramount Pictures in association with Lions Gate Entertainment presents a Sobini Films production
Credits:
Director: Martha Coolidge
Screenwriters: Jack Amiel, Michael Begler, Katherine Fugate
Story by: Mark Amin, Katherine Fugate
Producer: Mark Amin
Executive producers: Cami Winikoff, Robin Schorr
Director of photography: Alex Nepomniaschy
Production designer: James Spencer
Music: Jennie Muskett
Co-producer: Jeffrey Lampert
Costume designer: Magali Guidasci
Editor: Steven Cohen
Cast:
Paige Morgan: Julia Stiles
Prince Edvard: Luke Mably
Soren: Ben Miller
Queen Rosalind: Miranda Richardson
King Haraald: James Fox
Amy Morgan: Alberta Watson
Ben Morgan: John Bourgeois
Princess Arabella: Eliza Bennett
Running time -- 111 minutes
MPAA rating: PG...
- 3/29/2004
- The Hollywood Reporter - Movie News
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