1-20 of 236 items from 2014 « Prev | Next »
Thanks to Entertainment Weekly (via Dread Central), we’ve got our first look at HBO’s upcoming Westworld TV series, with the latest issue of the magazine offering up an image featuring Ingrid Bolso Berdal (Hercules)…
Based upon the 1977 film of the same name, Westworld is produced by J.J. Abrams’ Bad Robot, with Jonathan Nolan (Person of Interest) co-writing and directing the pilot. Also featuring in the cast of the series are James Marsden (X-Men), Eddie Rouse (American Gangster), Demetrius Grosse (Justified), Kyle Bornheimer (Bachelorette), Currie Graham (Murder in the First), Lena Georgas (Ray Donovan), Steven Ogg (Grand Theft Auto V), Timothy Lee DePriest (With the Angels), Anthony Hopkins (Thor: The Dark World), Evan Rachel Wood (True Blood), Jeffrey Wright (The Hunger Game: Mockingjay), Rodrigo Santoro (300: Rise of an Empire), Shannon Woodward (Raising Hope), Angela Sarafyan (The Immigrant), and Simon Quarterman (The Devil Inside).
The post Ingrid Bolso Berdal »
- Gary Collinson
It was a year of many tortured geniuses onscreen — Alan Turing, Stephen Hawking, J.M.W. Turner, Brian Wilson — and behind the scenes, where directors like Bong Joon-ho, James Gray and Paul Schrader fought producers and distributors over final cut, and the right to see their films properly released. Of course, the very idea of distribution has become nearly as diffuse in the digital era as that of film itself, a material on which few movies are still made and even fewer shown — unless you happen to be Paul Thomas Anderson, Quentin Tarantino or Christopher Nolan, who earned the ire of some theater owners when he demanded they reinstall 35mm projectors if they wanted to screen his “Interstellar” two days early. In light of the film’s $600 million worldwide gross (and counting), one can only say: poor them.
Speaking of “Interstellar,” if there was one undeniable constant at the movies in 2014, it was time, »
- Scott Foundas
The surprise trailer for Terrence Malick's new film, Knight of Cups, dropped this week, as did news it would premiere at the Berlinale in 2015. Above: no, Godard's Goodbye to Language didn't top Film Comment's Best of 2014 list, it finished 2nd to Richard Linklater's Boyhood, but at this rate we'll be leading with pictures from Boyhood every week with how many lists it's topping. Below are Film Comment's Top 10 of 2014 as well as their Top 10 Undistributed films of 2014. They have larger lists for your perusal here and here.
2. Goodbye to Language (Jean-Luc Godard, France)
3. The Grand Budapest Hotel (Wes Anderson, USA)
6. Stranger By the Lake (Alain Guiraudie, France)
8. Birdman (Alejandro G. »
Though Circuit underdogs "The Grand Budapest Hotel" and "Inherent Vice" came close to the top prize, the Toronto Film Critics Association followed suit on Tuesday when it named Richard Linklater’s "Boyhood" as the best film of 2014. Collectively, the group called it "a cinematic masterpiece that evokes beauty in life and the inevitable passage of time," adding an honor to Linklater for his "singular achievement." Additional Tfca awards include another Best Actor win for Tom Hardy in "Locke" and a much-needed nod to Isao Takahata’s stunning animated drama "The Tale of the Princess Kaguya." Along with its award winners, Tfca named Denis Villeneuve’s "Enemy," Michael Dowse’s "The F Word," and Xavier Dolan’s "Mommy" as its three finalists for the Rogers Best Canadian Film Award. “In an exceptional year for Canadian cinema, we’ve chosen three boldly directed films that are so dissimilar it’s almost hard »
- Matt Patches
Best Picture “Boyhood” (Mongrel Media) Runners-up “The Grand Budapest Hotel” (Fox Searchlight) “Inherent Vice” (Warner Bros.) Best Actor Tom Hardy, “Locke” Runners-up Ralph Fiennes, “The Grand Budapest Hotel” Jake Gyllenhaal, »
- Sasha Stone
The awards were voted by the Tfca at a meeting on the afternoon of December 14. The group announced the three finalists for the Rogers Best Canadian Film Award: Enemy, directed by Denis Villeneuve; The F Word, directed by Michael Dowse; and Mommy, directed by Xavier Dolan.
As previously reportted, the 2014 recipient of the Technicolor Clyde Gilmour Award is Piers Handling who will present a filmmaker »
- firstname.lastname@example.org (Wendy Mitchell)
Richard Linklater's Boyhood was named best picture on Tuesday by the Toronto Film Critics Association. The film also earned Linklater the best director trophy and Patricia Arquette the best supporting actress honor for her role as the young protagonist’s mother. Toronto critics gave Tom Hardy the best actor prize for his star turn in Locke, while Marion Cotillard won the best actress prize for The Immigrant. Read more Are Pundits Underestimating the Awards Potential for 'Boyhood' Star Ellar Coltrane? Whiplash's J.K. Simmons earned the best supporting actor prize, while Wes Anderson’s The Grand Budapest Hotel won for best screenplay.
- Etan Vlessing
Marion Cotillard deserves, but won't receive, an Oscar nomination for her ravishing performance in "The Immigrant" as a Polish woman who comes to America, arms full of dreams, only to discover how swiftly such dreams sour. Cotillard not only exhibits terrific command of the language (to these ears, anyway) but goes for broke in a nuanced, tender but knowingly spiky portrayal. But The Weinstein Company, which snagged the film from the 2013 Cannes competition slate before dumping it discreetly in a smattering of theaters a year later, refuses to position the film in the awards derby even though it was a hit overseas. Why? "There are a lot of things I cannot really talk about," Cotillard told me at the Four Seasons in Beverly Hills, where we sat down to discuss her amazing year. Still, speculation runs rampant this awards season, which has seen critics groups and moviegoers throw their weight »
- Ryan Lattanzio
Which was the bigger snub last week for Angelina Jolie? Being dissed by Sony Pictures brass in the notorious leaked e-mails, or having her movie "Unbroken" get passed over by the Screen Actors Guild Award and Golden Globe nominators?
Indeed, Hollywood spent so much of the past week fixated on the embarrassing revelations of the purloined e-mails that it seemed to pay little attention to the first big round of awards nominations -- Wednesday's announcement of the potential Screen Actors Guild honorees and Thursday's list of the Globe nominations.
It's worth remembering that there are vast differences between the two nominating organizations in terms of both prestige and Oscar handicapping. The Screen Actors Guild has a nominating committee of 2100 members of the actors' union, with the full membership of about 165,000 eligible to vote for the winners. So it's actors voting for their peers, and since actors make up the biggest branch of the Academy, »
- Gary Susman
Obviously. Given how the last month's been going, you could probably throw down pretty good odds that sight unseen, any new top ten list will include "Boyhood," and likely in first place. And so it goes with Film Comment, who have unveiled their list of the year's finest films. All the usual suspects are here, but let's point out some surprises. The Cannes buzz title "Stranger By The Lake" comes in at number six, and James Gray's "The Immigrant" rounds out the top ten with some more late season love for his controlled period film. In the category of "Films Without Distribution," we didn't realize Abel Ferrara's "Pasolini" needed a home, so we hope someone gets on that quickly. Same goes for John McNaughton's fucking bonkers "The Harvest" starring Michael Shannon and Samantha Morton (our review) and Tudor Cristian Jurgiu's excellent "The Japanese Dog" (our review). Check out Film Comment's lists. »
- Kevin Jagernauth
It’s not enough to say that Marion Cotillard disappears into the roles she plays, she practically loses herself in them. Her level of dedication is that intimidating. The actress’ sense of passionate commitment has subsequently resulted in some of the most emotionally wrenching performances of the last couple of years. Cotillard, somehow, managed to effortlessly become Edith Piaf in Olivier Dahan’s “La Vie En Rose,” and she also fearlessly took on the role of a whale trainer who loses her legs in a freak accident—a part that might have been a disaster in a lesser performer’s hands—in Jacques Audiard’s “Rust and Bone.” She’s being rightly recognized for her superlative work this year in two very different films: James Gray’s great, underrated “The Immigrant,” where she plays the sad-eyed Polish immigrant of the film’s title—one who falls under the shadowy wing »
- Nicholas Laskin
It started with an infographic. Then more infographics. And some think pieces. And some brief TwitterRage. Over the last year and a half, women’s role in cinema, specifically Hollywood cinema, has become a lightning rod for discussion and debate, and more so than any time in the past, people are approaching film a little more critically in regards to how women are portrayed. The statistics are mind-numbingly bleak, with women representing a fraction of the work force behind the camera, from director to CEO to the best boy. Women in front of the camera rarely fair much better, with roles such as “beautiful and always understanding girlfriend/wife to the hilarious schlub” and “girl with cleavage that shoots guns in tight clothes”.
Last week I happened across a piece about the Best Actress race for the upcoming Academy Award Ceremony and the author talked about how the Actress race »
- Jae K. Renfrow
Surprises and snubs from Thursday morning's announcement of the 2015 Golden Globe nominees are to be expected; the Globe voters can't nominate every worthy person, movie, and TV show, and yet they always include some head-scratching inclusions and omissions.
It's hard to get outraged -- after all, the Hollywood Foreign Press Association, the group that gives out the Globes every January, isn't taken nearly as seriously or regarded with anywhere near the prestige enjoyed by the Academies that grant the Oscars and the Emmys. Nonetheless, the Globes do shape the conversation about which movies and TV shows deserve prizes each year, and no one wants to be left out of consideration. Here, then, are this year's notable Globe snubs and surprises.
- Gary Susman
Artful film defenders, nostalgic baby boomers, and Marion Cotillard devotees were up in arms earlier this year when The Weinstein Company picked up James Gray’s "Godfather"-esque "The Immigrant" out of the Cannes Film Festival, only to lock the film in a dungeon, let it suffer in solitary confinement for months, dump it into a few theaters, then quietly hand it off to Netflix where it could fade into obscurity. Don’t try to understand Harvey Weinstein’s logic — he’s the man who beat "Saving Private Ryan" with "Shakespeare in Love," a campaign we’re still talking about 16 years later. So when word comes in that TWC is finally giving "The Immigrant" an awards push — in the form of an online Fyc and a few Academy screenings — we need to accept this is all part of Harvey’s grand plan. Ok, maybe not. In a new report, Variety »
- Matt Patches
The 2015 SAG Awards nominations are in — and looking mostly familiar. With the circuit flooded with nominations and critical shout-outs, the major guilds are ready to take us into the homestretch with their take on the year's best. But, as with every event this season, SAG’s announcement also came with a couple surprises and a few glaring omissions. Sizing up both the television and film nominees, Dan Fienberg and I walked away from the SAG announcement with these takeaways: Snub: "Selma" couldn’t rally the voters After wrapping production over the summer, Ava DuVernay’s Martin Luther King Jr. biopic raced towards its late December qualifying run, making a surprise premiere at AFI Fest and declaring itself an awards contender. Since the debut, the "Selma" screening machine has worked tirelessly to push it into the conversation (which, thanks to the country’s current state, it didn’t need too much »
- Matt Patches, Daniel Fienberg
It was a good morning for Jennifer Aniston and Jake Gyllenhaal, whose heralded performances in smaller films managed to break into crowded fields with nominations for the SAG Awards. Not doing as well today is Paramount, which found both their Oscar hopefuls, “Interstellar” and “Selma,” shut out of all categories.
With the SAG the first of the guilds to announce nominations for motion pictures, the SAG Awards are often seen as a great harbinger for the Academy Awards. Last year, all four SAG Award winners in film went on to Oscar glory. While there is no correlation between the SAG Awards’ best ensemble category and Oscar’s best picture, many continue to insist a connection exists. Last year, only three of the five film ensembles nominated went on to score best picture noms at the Oscars, with “August: Osage County” and “Lee Daniels’ The Butler” left off the Academy list. »
- Jenelle Riley
When I look out over this morning's Screen Actors Guild nominations, one thing is abundantly clear: "Foxcatcher" needed this. After landing with a major splash at the Cannes Film Festival, the film went on to feel more like a low-key blip (no real critics love so far) that wasn't going to connect with voters. Today, not only is Steve Carell chalked up for a lead actor nomination, but Mark Ruffalo is right there with him in a supporting race that was starting to seem very, very up in the air. Speaking of up in the air supporting races, SAG gave us a pretty interesting bend in the road by nominating Naomi Watts' fiery turn as a Bill Murray's pregnant Russian stripper girlfriend in "St. Vincent." Honestly I kind of love the nomination, because for a film that's pretty derivative overall, Watts was touching and fresh in that role. »
- Kristopher Tapley
Just days after launching an Oscar campaign for “The Disappearance of Eleanor Rigby,” Harvey Weinstein is adding yet another film to his unpredictable roster of awards season contenders: James Gray’s 1920s period drama, “The Immigrant.”
The decision was likely influenced by the film’s star Marion Cotillard landing two more best actress prizes (from the Boston Society of Film Critics and the New York Film Critics Online) to a haul that already included a citation from the New York Film Critics Circle and a Spirit Awards nomination. As of Tuesday, The Weinstein Company had added “The Immigrant” to the list of films on its guild and Academy screening website. Two showings of the film will be held in Los Angeles, on Dec. 14 and 16. No screening dates have been announced for any other cities, and Academy voters have yet to receive physical or online screeners.
Until now, “The Immigrant” had »
- Scott Foundas
Like the Los Angeles Film Critics Association, the Boston Society of Film Critics also chose Richard Linklater's "Boyhood" as the best film of the year! But wait, there's more! "Boyhood" also won Best Film Editing, Best Screenplay (Tie with "Birdman"), Best Ensemble, and Best Director for Linklater.
Here's the full list of winners:
Best Supporting Actor
Best Supporting Actress
Best Screenplay (tie)
Runner-up: "Mr. Turner"
Best Use Of Music In A »
Either there were a lot of great movies and performances in 2014, or there weren't very many at all. Neither scenario makes it easy to pick consensus front-runners this year, as the awards bestowed last week by the early critics' groups attest.
True, some prospects have been discussed for months. Wes Anderson's "The Grand Budapest Hotel" doesn't seem to have hurt its Oscar prospects at all by being released way back in March, nor Richard Linklater's "Boyhood" by coming out in the summer. The New York Film Critics Circle, the first group to vote, recognized both films -- "Budapest" for Screenplay and "Boyhood" for Best Film, Director, and Supporting Actress (Patricia Arquette). The Nyfcc also reflected critical conventional wisdom by recognizing "Whiplash" co-star J.K. Simmons as Best Supporting Actor and "Ida" as Best Foreign Language Film.
But then, a couple days later came the awards list of the National Board of Review, »
- Gary Susman
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