Author(s): Bryce Marrero
Location: Los Angeles, CA
“The Giver"
Directed by: Steven Spielberg
Written by: David Koepp and James Cameron
Produced by: Steven Spielberg, James Cameron, and Bonnie Curtis
Original Score: Danny Elfman
Editing: Zach Staenberg
Visual F/X: John Gaeta, Michael Lantieri, and Joe Letteri
Cinematography: Vilmos Zsigmond
Art Direction: Richard L. Johnson, and Paul M. Sonski
Principal Cast:
Alexander Gould as Jonas Mills
Patrick Stewart as The Giver
Tom Hanks as Jason Mills (Jonas' Father)
Rachel Weisz as Jennifer Mills (Jonas' Mother)
Abigail Breslin as Lily Mills
Bonnie Wright as Fiona
Austin Rogers as Asher
Tagline: "Even a perfect society, can be the worst kind of society"
Genre: Science Fiction Drama
Synopsis: The movie is set in a futuristic society that has gotten rid of all pain, fear, war, and hatred which was suppose to create the perfect community. There is no prejudice or competition, because everyone looks and acts the same. At age twelve every member of the community is assigned a job based on his or her abilities. When it comes to making a family, people must apply for a suitable spouse, and each couple is assigned exactly two children, a girl and a boy. The children are born to "Birthmothers", who will never see the babies they give birth to, and the babies spend their first year in a Nurturing Center with other babies, or “newchildren,” born that year.
When a family's children are grown, the family dissolves and adults live together with other childless adults until they are too old to function in society. In the community, release is death, but it is never described that way. Most people think that after someone is released, they go to a place called "Elsewhere" which is rumored to be another society from their own. Flawed "newchildren" are the ones that get mostly released, so that the community won't be overpopulated. Occasionally, people have an outburst of emotions and must take pills to suppress those emotions. Everything is planned and organized so that life is as convenient and pleasant as possible.
Jonas lives with his father, a mild mannered nurturer of new children, his mother, who works at the Department of Justice and is very serious about her job, and his little sister Lily. Jonas' friends include Asher, a joyful individual, and Fiona, a simpleton girl. At the Ceremony of Twelve, they will be given an official job as a new adult member of the community. Jonas is different than most people. He has pale eyes, while most people in his community have dark eyes. he also has unusual powers of perception. He alone in his community can perceive flashes of color. Everyone else can not see color, because it conjures up emotions of pain and fear. At the Ceremony of Twelve, Jonas is given the honorable job of Receiver of Memory. The Receiver is the sole keeper of the community’s collective memory. When the community first adapted it's lifestyle it abandoned all memories of pain, war, and emotion. However the memories cannot disappear completely. Someone must keep them so that the community can avoid making the mistakes of the past. No one but the Receiver can bear the pain the memories can bring. Jonas receives the memories of the past, good and bad, from the current Receiver, a wise old man who tells Jonas to call him the Giver.
As Jonas receives memories of pleasure and pain, he realizes how empty life in his community is. The memories make Jonas’ life richer and more meaningful, and he wishes that he could share it with others. But in exchange for their peaceful existence, the people of Jonas’ community have lost the ability to feel passion about anything. Jonas grows more frustrated with his community, and the Giver, who feels the same way, encourages him to keep trying. The two grow very close, and develop a grandfather and grandchild relationship.
Meanwhile, Jonas is helping his family take care of a problem "newchild", Gabriel, who has trouble sleeping through the night at the Nurturing Center. Jonas begins to develop a relationship with Gabriel. When Gabriel is in danger of being released, the Giver reveals to Jonas that release is the same as death. After learning this, Jonas becomes full of rage and horror. He is inspired by the Giver to devise a plan to change things in the community forever. Jonas plans to escape the community and enter "Elsewhere". Once he has done that, his memories will disperse, and the Giver will help the community learn about the new feelings and thoughts that will come to them, thus changing the community forever.
Jonas is forced to leave earlier than planned when he finds out his father will be releasing Gabriel the next day. Desperate to save Gabriel, Jonas steals his father’s bicycle and sets off for "Elsewhere". Gradually, he enters a landscape full of color and animals, but also he goes through hunger, danger, and exhaustion. Avoiding search parties from his community, Jonas and Gabriel travel for a long time until heavy snow make bike travel impossible. Will they reach "Elsewhere"? Is "Elsewhere" real? Or will they not even make it to "Elsewhere".
What the press would say:
Steven Spielberg's latest film is the book adaptation of "The Giver" that is set in a utopian world that is also a dystopia world. The movie follows Jonas, a twelve year old boy who is selected to become the next receiver of memories, a job that requires Jonas to learn old memories of how society use to be like before it was a utopia. During this time, the new memories effect Jonas' emotions and after becoming attach to a newborn baby, he attempts to change society, and look elsewhere for a new society. This movie is stunningly beautiful. One of the best visual films of our time. This is another Spielberg masterpiece. The movie has the thrills and suspense of Indiana Jones, and the emotional acting of Schindler's List and Saving Private Ryan. Audience can feel the emotions going through Jonas as he receives more memories, and start to despise society. Alexander delivers the emerging new emotions with such expertise, that audiences will really get into Jonas' character and feel for him. Patrick Stewart gives an inspiring performance as The Giver that reminds me of the Master/Teacher role that the brilliant Alec Guiness delivered in Star Wars. Tom Hanks delivers another powerful performance as a father who always suppresses his emerging emotions he has about the babies he takes care of. It is truly a heartbreaking performance that rivals his performance in Philadelphia. The Giver is another Spielberg masterpiece, that is entertaining and touching. It is the best movie of the year, and I recommend everyone to go see it in theaters.
Best Picture
Best Director- Steven Spielberg
Best Actor- Alexander Gould
Best Supporting Actor- Patrick Stewart
Best Supporting Actor- Tom Hanks
Best Adapted Screenplay- James Cameron and David Koepp
Best Editing
Best Visual F/X
Best Original Score
Best Cinematography
Best Art Direction
Wednesday, June 18, 2008
Gypsy
Author(s): Alex
Location: Washington State
“Gypsy"
Directed by Sam Mendes
Written by Bill Condon
Lyrics by Stephen Sondheim
Music by Julie Styne
With a new Score by Stephen Sondheim
Principal Cast:
Patti LuPone (Mama Rose)
Claire Danes (Louise)
Richard Gere (Herbie)
Amy Adams (June)
Patrick Wilson (Tulsa)
Tagline: "This April…Everything’s Coming Up Roses!!"
Synopsis: Based on the hit Broadway musical, Gypsy is about an aggressive stage mother named Mama Rose. She has been taking her two girls, June and Louise, for as long as they can remember. She promises to make June a star. She’s built a whole act around June. Louise plays a cow that June dances around.
One day, they are auditioning for a part in a local musical, but are rejected by the feisty Italian director. A salesman by the name of Herbie approaches the director and tells him that he’s seen the girls in numerous musicals and says that they’re just what he’s looking for. Herbie is, of course, lying. He likes Rose and when she asks him to be June’s manager he agrees.
Together, they create a new act for June. This time they even hire a few dancers for the act. Louise is still in a cow suit. They continue traveling from state to state, putting on the act, always looking for a gig until one night, Rose finds a note from June. The note reads:
“Dear Mama,
Thanks for everything, but I can’t keep doing this act. Me and Tulsa found a theatre that we can dance at every night. We got our own routine and everything. We’ve been working on it for awhile now, and it’s time I left. Say goodbye to Louise for me!”
Sincerely,
June
This drives Rose insane. The act is nothing without June. Now that Tulsa, one of the dancers, has left all the others leave in search of work. This leaves Rose with Louise and Herbie. Rose promises to now make Louise a star. They try the old act with Louise, but Louise is not June. It’s a disaster.
Looking for work, Herbie finds an old Burlesque theatre they can work at until they have enough money to finance a new act. Rose strenuously objects to working with strippers, and is about to leave until the stage manager can’t find the next act. At this, Rose jumps on the opportunity and sends Louise into the dressing rooms. Herbie is disgusted, but when Rose insists it’s only temporary he reluctantly agrees.
This continues for months. Louise becomes known as “Gypsy Rose Lee” and her act keeps getting dirtier. Like her sister, she tells Rose that she is no longer needed. Herbie also leaves Rose in disgust after she repeatedly turns down his proposals. Rose has hit rock bottom, but Louise is a star. Rose’s dream comes true, but everything has it’s consequences.
What the press would say:
“Gypsy” is one of the best movie musicals springing from a revival of the genre that started with “Evita” and carried on to “Moulin Rouge”, “Chicago”, “Dreamgirls”, and most recently, “Wicked”. For Tony Award-winning Broadway legend Patti LuPone (who starred in “Evita” onstage), the role of Mama Rose began for her in August of 2006, when she played the part in a production of “Gypsy” at the Ravinia Sondheim Festival near Chicago. LuPone will be taking the show to New York soon, but when Sam Mendes (who directed a Broadway revival of “Gypsy” in 2003) saw the performance he immediately asked her to star in a film version. Unknown to most moviegoers, LuPone was apprehensive but finally agreed to take on the role. And thank God she did! This is by far the best performance in this genre beating even Catherine Zeta-Jones’ and Jennifer Hudson’s Oscar-winning performances and will be the first leading performance in a musical to win the Oscar in a long time. Her performance in the film’s signature song, “Everything’s Coming Up Roses”, is absolutely stunning. You’ll be begging for more! You can count on Patti LuPone to bring home the Gold come Oscar Night. This is by far the first real lock of this Oscar season. Many of you may be thinking, “Hey, she can’t win an Oscar! She’s a Broadway gal!” And to those of you, I say look at Julie Andrews’ performance in “Mary Poppins”, her first ever film role. Claire Danes turns in an admirable performance as LuPone’s naive daughter, Louise, who takes to stripping as her road to fame and Richard Gere is Herbie, the salesman in love with Mama Rose, but is tired of her restless attempts at stardom for her children. Though this is LuPone’s show, both Danes and Gere are very worthy of a nomination. Overall, this fabulous movie musical is definitely going to get nominated in the following categories:
Best Picture
Best Director (Sam Mendes)
Best Actress (Patti LuPone)
Best Supporting Actor (Richard Gere)
Best Supporting Actress (Claire Danes)
Best Adapted Screenplay (Bill Condon)
Best Original Score (Stephen Sondheim)
Best Costume Design
Best Cinematography
Location: Washington State
“Gypsy"
Directed by Sam Mendes
Written by Bill Condon
Lyrics by Stephen Sondheim
Music by Julie Styne
With a new Score by Stephen Sondheim
Principal Cast:
Patti LuPone (Mama Rose)
Claire Danes (Louise)
Richard Gere (Herbie)
Amy Adams (June)
Patrick Wilson (Tulsa)
Tagline: "This April…Everything’s Coming Up Roses!!"
Synopsis: Based on the hit Broadway musical, Gypsy is about an aggressive stage mother named Mama Rose. She has been taking her two girls, June and Louise, for as long as they can remember. She promises to make June a star. She’s built a whole act around June. Louise plays a cow that June dances around.
One day, they are auditioning for a part in a local musical, but are rejected by the feisty Italian director. A salesman by the name of Herbie approaches the director and tells him that he’s seen the girls in numerous musicals and says that they’re just what he’s looking for. Herbie is, of course, lying. He likes Rose and when she asks him to be June’s manager he agrees.
Together, they create a new act for June. This time they even hire a few dancers for the act. Louise is still in a cow suit. They continue traveling from state to state, putting on the act, always looking for a gig until one night, Rose finds a note from June. The note reads:
“Dear Mama,
Thanks for everything, but I can’t keep doing this act. Me and Tulsa found a theatre that we can dance at every night. We got our own routine and everything. We’ve been working on it for awhile now, and it’s time I left. Say goodbye to Louise for me!”
Sincerely,
June
This drives Rose insane. The act is nothing without June. Now that Tulsa, one of the dancers, has left all the others leave in search of work. This leaves Rose with Louise and Herbie. Rose promises to now make Louise a star. They try the old act with Louise, but Louise is not June. It’s a disaster.
Looking for work, Herbie finds an old Burlesque theatre they can work at until they have enough money to finance a new act. Rose strenuously objects to working with strippers, and is about to leave until the stage manager can’t find the next act. At this, Rose jumps on the opportunity and sends Louise into the dressing rooms. Herbie is disgusted, but when Rose insists it’s only temporary he reluctantly agrees.
This continues for months. Louise becomes known as “Gypsy Rose Lee” and her act keeps getting dirtier. Like her sister, she tells Rose that she is no longer needed. Herbie also leaves Rose in disgust after she repeatedly turns down his proposals. Rose has hit rock bottom, but Louise is a star. Rose’s dream comes true, but everything has it’s consequences.
What the press would say:
“Gypsy” is one of the best movie musicals springing from a revival of the genre that started with “Evita” and carried on to “Moulin Rouge”, “Chicago”, “Dreamgirls”, and most recently, “Wicked”. For Tony Award-winning Broadway legend Patti LuPone (who starred in “Evita” onstage), the role of Mama Rose began for her in August of 2006, when she played the part in a production of “Gypsy” at the Ravinia Sondheim Festival near Chicago. LuPone will be taking the show to New York soon, but when Sam Mendes (who directed a Broadway revival of “Gypsy” in 2003) saw the performance he immediately asked her to star in a film version. Unknown to most moviegoers, LuPone was apprehensive but finally agreed to take on the role. And thank God she did! This is by far the best performance in this genre beating even Catherine Zeta-Jones’ and Jennifer Hudson’s Oscar-winning performances and will be the first leading performance in a musical to win the Oscar in a long time. Her performance in the film’s signature song, “Everything’s Coming Up Roses”, is absolutely stunning. You’ll be begging for more! You can count on Patti LuPone to bring home the Gold come Oscar Night. This is by far the first real lock of this Oscar season. Many of you may be thinking, “Hey, she can’t win an Oscar! She’s a Broadway gal!” And to those of you, I say look at Julie Andrews’ performance in “Mary Poppins”, her first ever film role. Claire Danes turns in an admirable performance as LuPone’s naive daughter, Louise, who takes to stripping as her road to fame and Richard Gere is Herbie, the salesman in love with Mama Rose, but is tired of her restless attempts at stardom for her children. Though this is LuPone’s show, both Danes and Gere are very worthy of a nomination. Overall, this fabulous movie musical is definitely going to get nominated in the following categories:
Best Picture
Best Director (Sam Mendes)
Best Actress (Patti LuPone)
Best Supporting Actor (Richard Gere)
Best Supporting Actress (Claire Danes)
Best Adapted Screenplay (Bill Condon)
Best Original Score (Stephen Sondheim)
Best Costume Design
Best Cinematography
Harvey
Author(s): Ben Miller
Location: Canyon, Texas
“Harvey"
Directed by Greg Daniels
Written by Paul Leiberstien & Greg Daniels
Produced by Greg Daniels & B.J. Novak
Principal Cast:
Adrien Brody as Elwood P. Dowd
Joan Allen as Vita Louise Simmons
Mark Wahlberg as Dr. Sanderson
Rachel McAdams as Miss Kelly
John Hurt as Dr. Chumley
Rachel Bilson as Myrtle Mae Simmons
Jason Lee as Wilson
Creed Bratton as Taxi Driver
Tagline: "In this world, you must be oh so smart or oh so pleasant. Well, for years I was smart. I recommend pleasant"
Synopsis: Elwood P. Dowd is a free-spirited, amiable and seemingly odd individual. An alcoholic and people-pleaser, Elwood lives his life for the purpose of being as pleasant as possible. He lives with his sister, Vita and niece, Myrtle Mae. Vita and Myrtle Mae are obsessed with high society and getting into that lifestyle, while Vita is desperately trying to marry off Myrtle Mae to the first available, rich man. Unfortunately for them, every time they introduce anyone to Elwood, he pleasantly introduces them to his best pal Harvey, a six-foot, three-and-a-half-inch rabbit he met after a night of drinking.
When Elwood breaks up a brunch with the local ladies of the high class after he introduces everyone to Harvey, Vita gets fed up, but needs a way to get rid of Elwood, but keep his money that supports her and her daughter. The only solution they are left with is to commit Elwood to a local sanitarium. When they arrive Vita explains to the young and beautiful admitting nurse, Miss Kelly, about Elwood and he is whisked away by Wilson, the quirkily odd orderly of the sanitarium. As Vita meets with Dr. Sanderson, the young head doctor in charge of the in-patients, she in an agitated state and explains to quickly and confusingly to Dr. Sanderson the circumstances behind Elwood and Harvey. In her venting of the facts, she confesses that she occasionally sees Harvey herself. Dr. Sanderson, believing a mistake has been made, releases Elwood and commits Vita to the asylum instead.
Dr. Sanderson talks to Dr. Chumley, the head of the asylum and explains the situation. Mrs. Chumley comes in after speaking with Elwood out in the lawn and they all realize that there has been a mix-up. They release Vita and due to the mix-up, Dr. Chumley fires Dr. Sanderson and goes out with Wilson to look for Elwood. The two go over to the Simmons’ house to intercept Elwood, but just miss him after he puts up a picture of Harvey and himself over the mantle. Elwood calls from Charlie’s Bar and tells Vita where he is. Wilson heads back to the asylum and Dr. Chumley goes after Elwood.
As Wilson gets back to the sanitarium, he walks in on Dr. Sanderson and Miss Kelly arguing. They stop but realize that Dr. Chumley hasn’t come back with Elwood, which was four hours ago. The three head off to Charlie’s to find them. They arrive and find Elwood at his booth. Despite Wilson’s attempts to force Elwood to talk, Dr. Sanderson coaxes it out. Elwood explains that Dr. Chumley had a few drinks with Harvey and he and he went over to another bar.
Wilson goes to check the bars out while Elwood, Dr. Sanderson and Miss Kelly go into the alley and discuss what Elwood does for a living. He explains that all he does is sit, talk and smile with people and they tell him about all the bad in their lives. Then they meet Harvey, and it all fades away. He then goes on to tell how he met Harvey leaning on a lamppost outside a bar. Wilson returns and says he can’t find Dr. Chumley. They all return to the sanitarium where Vita and Myrtle May are to sort everything out.
Dr. Chumley returns to the sanitarium before everyone else saying that he is being followed. He clumsily hurries into his office believing that Harvey is close behind. Frightened, he jumps out his window, setting off the asylum’s alarm. All the others arrive to find the doctor rattled, but he will refuse to explain what is going on. Dr. Chumley calls in Elwood to his office. Elwood explains to the doctor about the powers Harvey has; he is intuitive and he can stop time. The doctor explains to Elwood what he would do if he could stop time and asks if he could “borrow” Harvey for just that reason. Elwood agrees and goes into the lobby as the doctor puts his hand around Harvey and returns to his office.
In the lobby, Dr. Sanderson explains to Vita that he can give Elwood a powerful serum that will shock him out of his “hallucination” and back to reality. Vita agrees and Dr. Sanderson and Miss Kelly take Elwood into a room to administer the serum. The taxi driver who took Vita to the sanitarium explains what the serum does to people. He explains that he takes the patients to the asylum and they are happy, smiling and always leave a big tip. But after the serum is administered, they are normal and mean to the way he drives. Vita doesn’t want this to happen to Elwood, since she realizes how wonderful a person he is, so she bursts in the door to stop the procedure. She does just in time and Elwood happily comes out to talk to everyone in the lobby.
Elwood, in his usual joy, invites everyone in the lobby to dinner on the following night and they all accept. They all leave and Elwood has a sadness come over him since Harvey is staying with the doctor. But just before he leaves the gate, Elwood turns to see Harvey, who wanted to stay with him. Elwood turns, hand around the air, and walks into the sunset.
What the press would say:
I was skeptical coming in. Why would you want to remake one of the most joyful and superb films? Well, the writing and producing team behind NBC’s “The Office” breathes fresh life into this tale of a man and his best pooka friend. Adapted from the Pulitzer Prize-winning play and the 1950 film of the same name, the tale of a man who could or could not be crazy is charming, funny and makes you want to be nice to every person you meet. Adrien Brody plays the lead role of Elwood P. Dowd to amiable perfection. Brody plays the character with a hint of insanity but only in flashes and not enough to disturb the audience. Dowd is so pleasant and non-confrontational that you could angrily throw him into a car and he would laugh and talk about how wonderful a time he’s having. Playing Dowd’s older and high society obsessed sister is Joan Allen. Reprising the Oscar-winning role from the original film, she brings the character a more dignified look but seems absolutely chaotic when she has her moments of insanity. She has some of the best lines in the film as she walks into rooms and proclaims, “Oh good, there are only people in here.” Maybe the best in show is veteran actor John Hurt as the head doctor of the asylum Vita attempts to get Elwood committed into. He begins the film as the stereotypical stern doctor but after a meeting with Dowd and Harvey, he becomes almost child-like, becoming obsessed with how Dowd is so pleasant and happy and if it is because of this rabbit. The rest of the cast shines as well including Mark Wahlberg and Rachel McAdams as a doctor and a nurse trying to reel in Elwood but are put together by him instead. They don’t require much acting, more to look pretty than anything else. Also entangled in love is the odd pairing of Rachel Bilson as Dowd’s niece and Jason Lee as the asylum orderly. Vita would love nothing more than for her daughter to marry someone high in society, and she can’t stand her being attracted to someone like Lee’s character. First time film writers Paul Leiberstien and Greg Daniels (also first-time director) bring the trenched-in-reality feel from “The Office” and put it here. The writing is so real, you forget that this is a film. Daniels is patient as a director and lets the action develop while some other directors could become impatient and push the story along. Daniels takes his time and everything comes together like it should. One of the best comedies in years, one of the best remakes of all time and should be the best film of the year.
For Your Consideration (Comedy)
Best Picture: Greg Daniels & B.J. Novak
Best Director: Greg Daniels
Best Actor: Adrien Brody
Best Supporting Actor: John Hurt
Best Supporting Actress: Joan Allen
Best Adapted Screenplay: Paul Leiberstien & Greg Daniels
Location: Canyon, Texas
“Harvey"
Directed by Greg Daniels
Written by Paul Leiberstien & Greg Daniels
Produced by Greg Daniels & B.J. Novak
Principal Cast:
Adrien Brody as Elwood P. Dowd
Joan Allen as Vita Louise Simmons
Mark Wahlberg as Dr. Sanderson
Rachel McAdams as Miss Kelly
John Hurt as Dr. Chumley
Rachel Bilson as Myrtle Mae Simmons
Jason Lee as Wilson
Creed Bratton as Taxi Driver
Tagline: "In this world, you must be oh so smart or oh so pleasant. Well, for years I was smart. I recommend pleasant"
Synopsis: Elwood P. Dowd is a free-spirited, amiable and seemingly odd individual. An alcoholic and people-pleaser, Elwood lives his life for the purpose of being as pleasant as possible. He lives with his sister, Vita and niece, Myrtle Mae. Vita and Myrtle Mae are obsessed with high society and getting into that lifestyle, while Vita is desperately trying to marry off Myrtle Mae to the first available, rich man. Unfortunately for them, every time they introduce anyone to Elwood, he pleasantly introduces them to his best pal Harvey, a six-foot, three-and-a-half-inch rabbit he met after a night of drinking.
When Elwood breaks up a brunch with the local ladies of the high class after he introduces everyone to Harvey, Vita gets fed up, but needs a way to get rid of Elwood, but keep his money that supports her and her daughter. The only solution they are left with is to commit Elwood to a local sanitarium. When they arrive Vita explains to the young and beautiful admitting nurse, Miss Kelly, about Elwood and he is whisked away by Wilson, the quirkily odd orderly of the sanitarium. As Vita meets with Dr. Sanderson, the young head doctor in charge of the in-patients, she in an agitated state and explains to quickly and confusingly to Dr. Sanderson the circumstances behind Elwood and Harvey. In her venting of the facts, she confesses that she occasionally sees Harvey herself. Dr. Sanderson, believing a mistake has been made, releases Elwood and commits Vita to the asylum instead.
Dr. Sanderson talks to Dr. Chumley, the head of the asylum and explains the situation. Mrs. Chumley comes in after speaking with Elwood out in the lawn and they all realize that there has been a mix-up. They release Vita and due to the mix-up, Dr. Chumley fires Dr. Sanderson and goes out with Wilson to look for Elwood. The two go over to the Simmons’ house to intercept Elwood, but just miss him after he puts up a picture of Harvey and himself over the mantle. Elwood calls from Charlie’s Bar and tells Vita where he is. Wilson heads back to the asylum and Dr. Chumley goes after Elwood.
As Wilson gets back to the sanitarium, he walks in on Dr. Sanderson and Miss Kelly arguing. They stop but realize that Dr. Chumley hasn’t come back with Elwood, which was four hours ago. The three head off to Charlie’s to find them. They arrive and find Elwood at his booth. Despite Wilson’s attempts to force Elwood to talk, Dr. Sanderson coaxes it out. Elwood explains that Dr. Chumley had a few drinks with Harvey and he and he went over to another bar.
Wilson goes to check the bars out while Elwood, Dr. Sanderson and Miss Kelly go into the alley and discuss what Elwood does for a living. He explains that all he does is sit, talk and smile with people and they tell him about all the bad in their lives. Then they meet Harvey, and it all fades away. He then goes on to tell how he met Harvey leaning on a lamppost outside a bar. Wilson returns and says he can’t find Dr. Chumley. They all return to the sanitarium where Vita and Myrtle May are to sort everything out.
Dr. Chumley returns to the sanitarium before everyone else saying that he is being followed. He clumsily hurries into his office believing that Harvey is close behind. Frightened, he jumps out his window, setting off the asylum’s alarm. All the others arrive to find the doctor rattled, but he will refuse to explain what is going on. Dr. Chumley calls in Elwood to his office. Elwood explains to the doctor about the powers Harvey has; he is intuitive and he can stop time. The doctor explains to Elwood what he would do if he could stop time and asks if he could “borrow” Harvey for just that reason. Elwood agrees and goes into the lobby as the doctor puts his hand around Harvey and returns to his office.
In the lobby, Dr. Sanderson explains to Vita that he can give Elwood a powerful serum that will shock him out of his “hallucination” and back to reality. Vita agrees and Dr. Sanderson and Miss Kelly take Elwood into a room to administer the serum. The taxi driver who took Vita to the sanitarium explains what the serum does to people. He explains that he takes the patients to the asylum and they are happy, smiling and always leave a big tip. But after the serum is administered, they are normal and mean to the way he drives. Vita doesn’t want this to happen to Elwood, since she realizes how wonderful a person he is, so she bursts in the door to stop the procedure. She does just in time and Elwood happily comes out to talk to everyone in the lobby.
Elwood, in his usual joy, invites everyone in the lobby to dinner on the following night and they all accept. They all leave and Elwood has a sadness come over him since Harvey is staying with the doctor. But just before he leaves the gate, Elwood turns to see Harvey, who wanted to stay with him. Elwood turns, hand around the air, and walks into the sunset.
What the press would say:
I was skeptical coming in. Why would you want to remake one of the most joyful and superb films? Well, the writing and producing team behind NBC’s “The Office” breathes fresh life into this tale of a man and his best pooka friend. Adapted from the Pulitzer Prize-winning play and the 1950 film of the same name, the tale of a man who could or could not be crazy is charming, funny and makes you want to be nice to every person you meet. Adrien Brody plays the lead role of Elwood P. Dowd to amiable perfection. Brody plays the character with a hint of insanity but only in flashes and not enough to disturb the audience. Dowd is so pleasant and non-confrontational that you could angrily throw him into a car and he would laugh and talk about how wonderful a time he’s having. Playing Dowd’s older and high society obsessed sister is Joan Allen. Reprising the Oscar-winning role from the original film, she brings the character a more dignified look but seems absolutely chaotic when she has her moments of insanity. She has some of the best lines in the film as she walks into rooms and proclaims, “Oh good, there are only people in here.” Maybe the best in show is veteran actor John Hurt as the head doctor of the asylum Vita attempts to get Elwood committed into. He begins the film as the stereotypical stern doctor but after a meeting with Dowd and Harvey, he becomes almost child-like, becoming obsessed with how Dowd is so pleasant and happy and if it is because of this rabbit. The rest of the cast shines as well including Mark Wahlberg and Rachel McAdams as a doctor and a nurse trying to reel in Elwood but are put together by him instead. They don’t require much acting, more to look pretty than anything else. Also entangled in love is the odd pairing of Rachel Bilson as Dowd’s niece and Jason Lee as the asylum orderly. Vita would love nothing more than for her daughter to marry someone high in society, and she can’t stand her being attracted to someone like Lee’s character. First time film writers Paul Leiberstien and Greg Daniels (also first-time director) bring the trenched-in-reality feel from “The Office” and put it here. The writing is so real, you forget that this is a film. Daniels is patient as a director and lets the action develop while some other directors could become impatient and push the story along. Daniels takes his time and everything comes together like it should. One of the best comedies in years, one of the best remakes of all time and should be the best film of the year.
For Your Consideration (Comedy)
Best Picture: Greg Daniels & B.J. Novak
Best Director: Greg Daniels
Best Actor: Adrien Brody
Best Supporting Actor: John Hurt
Best Supporting Actress: Joan Allen
Best Adapted Screenplay: Paul Leiberstien & Greg Daniels
Home For Purim
Author(s): Michael
Location: Oklahoma
“Home for Purim"
Directed by James Mangold
Produced by Cathy Konrad and Alan C. Blomquist
Distributed by Universal Pictures
Adapted by James Mangold
Principal Cast:
Catherine O’Hara -Esther Pischer
Rachel McAdams -Rachel Pischer
Kristen Chenoweth -Mary Pat Hooligan
William Hurt -David Pischer
Ryan Phillippe -Sam Pischer
Genre: Drama
Tagline: "This April, Come Home, Come Out, and Come See This Movie"
Synopsis: It’s the 1940’s and World War II is raging on. Forced by the draft, Sam Pischer is now in the U.S. Navy. His sister, Rachel has recently discovered that she is gay and met Mary Pat Hooligan whom she believes to be the love of her life. When the two siblings, Rachel and Sam, find out that their mother Esther is dying they decide it is time to go home to celebrate what will be their last family celebration of the Jewish holiday Purim. Sam gets permission to come home for the week and arrives before Rachel and Mary. He makes sure that he helps out in every way he can by taking care of his mother, washing dishes, and cleaning house. Once Rachel arrives with Mary, she comes out about her sexuality to her father and her brother who are sitting outside on the porch. They are both shocked, but are supportive and decide that they want to get to know Mary better.
When Rachel tells her mother about her sexual preference, her mother is utterly shocked and quickly dismisses the fact that her daughter is a lesbian. After much discussion and drama, Esther decides that she will live with the fact that her daughter is a lesbian and love the sinner, hate the sin. Meanwhile, as David and Sam try to figure out more about Mary Pat, they find that she is not Jewish, but Christian, and is very uncomfortable about the traditions of Purim. However that night at dinner, all of these problems seem to fade away as the lovely dinner goes on. There is much fun, laughter, and song that soon dissipate into a fight between Rachel and Esther. The fight comes to an abrupt ending when Esther suddenly falls onto the floor.
David and Sam are quick to react to the falling of Esther and hurry to get her medication. Mary Pat starts to get Esther into her room, while Rachel is sitting at the table in disbelief that she is fighting with her mother. Later that night, Esther is feeling a bit better and sitting up in bed. Rachel comes in to apologize to her mother; her mother however is still unable to move on from the fact that her little girl is a gay and does not accept her apology. That night Rachel decides that in the morning, Mary Pat and she will leave and go home.
The next morning, right before Rachel and Mary Pat are to leave, Esther once again collapses. This time they call the doctor, who makes a house call and informs them that Esther is taking her last breaths. One last time, Rachel goes in to try and reconcile with her mother. This time, Esther tells her, in a moving monologue, that although she dislikes the fact that Rachel is a lesbian she does not want to go to her grave in the middle of a dispute with her daughter. Soon after, Esther dies a quiet peaceful but heartbreaking death.
What the press would say:
Never before has there been such a good movie trying to get Oscars, based on a movie trying to get Oscars, which was inside of a movie that was trying to get Oscars. Home for Purim really goes the extra distance in all areas such as character development, story, drama, acting, directing and writing. James Mangold makes another terrific film with the strongest acting ensemble of the year. Rarely do you see a director such as Mangold with the talent to direct his actors into the best performances of the year and some of the best of the decade. James also wrote the screenplay, which also was fantastic. The dialogue is flawless and extremely well written. One of the best parts about the screenplay is that Mangold doesn’t use cliché's but writes with a fresh approach to a fairly old subject. The performances are incredible to say the least. Catherine O’Hara reprises her role as Esther Pischer, the role in which she played in For Your Consideration. Once again, she plays the role perfectly and not as cheesy as in Consideration. The scenes between her and McAdams alone are worth more than I paid for my ticket to see the film. The chemistry between these two fantastic actresses’ are chilling in the power that is being portrayed on screen. If these 2 actresses’ are ignored by the Academy like they were in Consideration, they have to be insane. Rachel McAdams gives another great performance and as I mentioned earlier, her scenes with O’Hara are amazing. The dynamic that is on the screen between these actresses is indescribable. I guarantee that after you walk out of the theater you will have been so impressed by these performances you will be thinking about them for weeks to come.
Rachel and Catherine aside, the rest of the cast gives great supporting performances. Kristen Chenoweth presents yet another Oscar worthy performance that is sure to have everyone talking. After winning the Oscar for Wicked, one would think that she couldn't come up with another great performance, but think again. Her rendition as Mary Pat is fantastic; the level of awkwardness when she is on screen with everyone besides Rachel is bone-chilling. Ryan Phillippe produces a great performance that is sure to be under-rated, but still worthy. William Hurt gives a great subtle performance that will probably be over-shadowed by the other performances of the film, but still none the less incredible. On the whole, this is the best film I have seen in a while. It is full of Oscar worthy performances, directing, and writing. Clearly, the best film of the year that you don't want to miss!
For Your Consideration:
Best Picture
Best Director- James Mangold
Best Adapted Screenplay- James Mangold
Best Actress- Catherine O’Hara
Best Actress- Rachel McAdams
Best Supporting Actor- Ryan Phillippe
Best Supporting Actor- William Hurt
Best Supporting Actress- Kristen Chenoweth
Best Costume Design
Best Art Direction
Location: Oklahoma
“Home for Purim"
Directed by James Mangold
Produced by Cathy Konrad and Alan C. Blomquist
Distributed by Universal Pictures
Adapted by James Mangold
Principal Cast:
Catherine O’Hara -Esther Pischer
Rachel McAdams -Rachel Pischer
Kristen Chenoweth -Mary Pat Hooligan
William Hurt -David Pischer
Ryan Phillippe -Sam Pischer
Genre: Drama
Tagline: "This April, Come Home, Come Out, and Come See This Movie"
Synopsis: It’s the 1940’s and World War II is raging on. Forced by the draft, Sam Pischer is now in the U.S. Navy. His sister, Rachel has recently discovered that she is gay and met Mary Pat Hooligan whom she believes to be the love of her life. When the two siblings, Rachel and Sam, find out that their mother Esther is dying they decide it is time to go home to celebrate what will be their last family celebration of the Jewish holiday Purim. Sam gets permission to come home for the week and arrives before Rachel and Mary. He makes sure that he helps out in every way he can by taking care of his mother, washing dishes, and cleaning house. Once Rachel arrives with Mary, she comes out about her sexuality to her father and her brother who are sitting outside on the porch. They are both shocked, but are supportive and decide that they want to get to know Mary better.
When Rachel tells her mother about her sexual preference, her mother is utterly shocked and quickly dismisses the fact that her daughter is a lesbian. After much discussion and drama, Esther decides that she will live with the fact that her daughter is a lesbian and love the sinner, hate the sin. Meanwhile, as David and Sam try to figure out more about Mary Pat, they find that she is not Jewish, but Christian, and is very uncomfortable about the traditions of Purim. However that night at dinner, all of these problems seem to fade away as the lovely dinner goes on. There is much fun, laughter, and song that soon dissipate into a fight between Rachel and Esther. The fight comes to an abrupt ending when Esther suddenly falls onto the floor.
David and Sam are quick to react to the falling of Esther and hurry to get her medication. Mary Pat starts to get Esther into her room, while Rachel is sitting at the table in disbelief that she is fighting with her mother. Later that night, Esther is feeling a bit better and sitting up in bed. Rachel comes in to apologize to her mother; her mother however is still unable to move on from the fact that her little girl is a gay and does not accept her apology. That night Rachel decides that in the morning, Mary Pat and she will leave and go home.
The next morning, right before Rachel and Mary Pat are to leave, Esther once again collapses. This time they call the doctor, who makes a house call and informs them that Esther is taking her last breaths. One last time, Rachel goes in to try and reconcile with her mother. This time, Esther tells her, in a moving monologue, that although she dislikes the fact that Rachel is a lesbian she does not want to go to her grave in the middle of a dispute with her daughter. Soon after, Esther dies a quiet peaceful but heartbreaking death.
What the press would say:
Never before has there been such a good movie trying to get Oscars, based on a movie trying to get Oscars, which was inside of a movie that was trying to get Oscars. Home for Purim really goes the extra distance in all areas such as character development, story, drama, acting, directing and writing. James Mangold makes another terrific film with the strongest acting ensemble of the year. Rarely do you see a director such as Mangold with the talent to direct his actors into the best performances of the year and some of the best of the decade. James also wrote the screenplay, which also was fantastic. The dialogue is flawless and extremely well written. One of the best parts about the screenplay is that Mangold doesn’t use cliché's but writes with a fresh approach to a fairly old subject. The performances are incredible to say the least. Catherine O’Hara reprises her role as Esther Pischer, the role in which she played in For Your Consideration. Once again, she plays the role perfectly and not as cheesy as in Consideration. The scenes between her and McAdams alone are worth more than I paid for my ticket to see the film. The chemistry between these two fantastic actresses’ are chilling in the power that is being portrayed on screen. If these 2 actresses’ are ignored by the Academy like they were in Consideration, they have to be insane. Rachel McAdams gives another great performance and as I mentioned earlier, her scenes with O’Hara are amazing. The dynamic that is on the screen between these actresses is indescribable. I guarantee that after you walk out of the theater you will have been so impressed by these performances you will be thinking about them for weeks to come.
Rachel and Catherine aside, the rest of the cast gives great supporting performances. Kristen Chenoweth presents yet another Oscar worthy performance that is sure to have everyone talking. After winning the Oscar for Wicked, one would think that she couldn't come up with another great performance, but think again. Her rendition as Mary Pat is fantastic; the level of awkwardness when she is on screen with everyone besides Rachel is bone-chilling. Ryan Phillippe produces a great performance that is sure to be under-rated, but still worthy. William Hurt gives a great subtle performance that will probably be over-shadowed by the other performances of the film, but still none the less incredible. On the whole, this is the best film I have seen in a while. It is full of Oscar worthy performances, directing, and writing. Clearly, the best film of the year that you don't want to miss!
For Your Consideration:
Best Picture
Best Director- James Mangold
Best Adapted Screenplay- James Mangold
Best Actress- Catherine O’Hara
Best Actress- Rachel McAdams
Best Supporting Actor- Ryan Phillippe
Best Supporting Actor- William Hurt
Best Supporting Actress- Kristen Chenoweth
Best Costume Design
Best Art Direction
How It Ends
Author(s): Connor Campbell
Location: Texas
“How it Ends"
Directed by Sam Mendes
Written by Dan Futterman
Principal Cast:
Patricia Arquette- Carrie Tungsten
Greg Kinnear- Allen Tungsten
Emma Roberts- Gracie Tungsten
Matt Weinberg- Cameron Tungsten
Tagline: "Family ties that bind…and gag"
Synopsis: The Tungsten family had been living a somewhat normal life in Flagstaff, Arizona. Allen was a borderline alcoholic and a stoner, but the family seemed not to notice, except for when he vacuumed the front lawn. Allen & Carrie had been married for 21 years and had two children, Gracie and Cameron. Carrie is a normal mom who works as a substitute teacher at her son’s elementary school. Allen had a job that nobody in his family quite understood, and quite frankly he didn’t either. Gracie was a normal teenager who partied, dabbled with drugs, just like every other teen. And Cameron was introverted and smart. He was funny, but he didn’t say much. He kept his distance from people. Then everything changed.
Carrie was diagnosed with trigeminal neuralgia, when the trigeminal nerve which relates to jaw function, sight & hearing is damaged most commonly by aneurysm, and if gone untreated, could possibly be fatal. The treatment for the disease was not available in Arizona, so they had move to Chicago. They sold their home and bought a house in Bolingbrook, Illinois where there was a job available for Allen. Here was where the problems started.
Carrie was unable to work, since she was prone to sudden attacks of pain and short periods of blindness and deafness. She would have her new friends take her to bars where she would develop a drinking problem. Allen’s drinking got worse and he was on drugs most people don’t know exist. He was spending a lot of money for these substances that were needed to pay for Carrie’s medical treatment and not to mention the electric, water and gas all while juggling an affair with a coworker of his named Jenny. Gracie made friends quickly, and partied until the early hours of the morning, on all sorts of drugs. She was loosing control. Cameron was furious with his mother when she decided to skip his birthday to go to her favorite bar, Stanley’s.
Carrie was faced with a difficult decision, she could divorce Allen, not have the operation and risk the small but real possibility of death, and loose custody of her children since she had no money and was developing a drinking and gambling problem, or stay with Allen unhappy, but have her kids and her life. But then something would happen that would spare her the difficulty of having to choose.
Allen was in his Camry speeding to Jenny’s house. It was a rainy day, almost pitch black outside if it weren’t for the headlights and the lights coming from the stores, gas stations and houses he passed by. This kind of day was the kind that Carrie thought of as perfect for drinking. In a hurry, Allen ran a red light. As Carrie and her friends drove to Stanley’s, a Camry ran in front of them and they collided. Allen and Carrie were both killed.
Gracie was high and roaming the sidewalk with her friends when she saw her parents collide, while Cameron was across the street skateboarding to his friend Kyle’s. A disease pulled them apart when a collision brought them together.
What the press would say:
Wow. This film belongs alongside American Beauty and Crash as some of the greatest modern dramas ever made. Dan Futterman has done it again. “How it Ends” is a masterpiece about disease, dysfunction, drugs & suburbia. The film is a perfect mix of comedy and drama. Sam Mendes has done it again. His beautiful direction has blended perfectly with this amazing script. This project is sure to win him his 2nd Oscar®. Patricia Arquette is amazing as Carrie, the victim of an obscure disease who turns to drinking and gambling to drown out the troubles and fear she faces. Her performance is almost flawless. Greg Kinnear provides the comedic relief in the film as the drunken stoner of a father. His performance is amusing as well as thought-provoking. Emma Roberts, the niece of Julia Roberts has inherited the acting gene. Her performance as Gracie is amazing and is one of the best child performances in a long time. She beautifully plays the troubled teen which is ever so baity. Matt Weinberg has come a long way from The Hot Chick as Cameron the troubled child who’s just trying to fit in. Overall the cast and crew work beautifully alongside each other with great editing, scoring and cinematography.
FYC.
Best Picture
Best Director- Sam Mendes
Best Actress- Patricia Arquette
Best Actor- Greg Kinnear
Best Supporting Actress- Emma Roberts
Best Supporting Actor- Matt Weinberg
Best Original Screenplay- Dan Futterman
Best Editing- Tariq Anwar
Best Cinematography- Dick Pope
Best Original Score- Thomas Newman
Location: Texas
“How it Ends"
Directed by Sam Mendes
Written by Dan Futterman
Principal Cast:
Patricia Arquette- Carrie Tungsten
Greg Kinnear- Allen Tungsten
Emma Roberts- Gracie Tungsten
Matt Weinberg- Cameron Tungsten
Tagline: "Family ties that bind…and gag"
Synopsis: The Tungsten family had been living a somewhat normal life in Flagstaff, Arizona. Allen was a borderline alcoholic and a stoner, but the family seemed not to notice, except for when he vacuumed the front lawn. Allen & Carrie had been married for 21 years and had two children, Gracie and Cameron. Carrie is a normal mom who works as a substitute teacher at her son’s elementary school. Allen had a job that nobody in his family quite understood, and quite frankly he didn’t either. Gracie was a normal teenager who partied, dabbled with drugs, just like every other teen. And Cameron was introverted and smart. He was funny, but he didn’t say much. He kept his distance from people. Then everything changed.
Carrie was diagnosed with trigeminal neuralgia, when the trigeminal nerve which relates to jaw function, sight & hearing is damaged most commonly by aneurysm, and if gone untreated, could possibly be fatal. The treatment for the disease was not available in Arizona, so they had move to Chicago. They sold their home and bought a house in Bolingbrook, Illinois where there was a job available for Allen. Here was where the problems started.
Carrie was unable to work, since she was prone to sudden attacks of pain and short periods of blindness and deafness. She would have her new friends take her to bars where she would develop a drinking problem. Allen’s drinking got worse and he was on drugs most people don’t know exist. He was spending a lot of money for these substances that were needed to pay for Carrie’s medical treatment and not to mention the electric, water and gas all while juggling an affair with a coworker of his named Jenny. Gracie made friends quickly, and partied until the early hours of the morning, on all sorts of drugs. She was loosing control. Cameron was furious with his mother when she decided to skip his birthday to go to her favorite bar, Stanley’s.
Carrie was faced with a difficult decision, she could divorce Allen, not have the operation and risk the small but real possibility of death, and loose custody of her children since she had no money and was developing a drinking and gambling problem, or stay with Allen unhappy, but have her kids and her life. But then something would happen that would spare her the difficulty of having to choose.
Allen was in his Camry speeding to Jenny’s house. It was a rainy day, almost pitch black outside if it weren’t for the headlights and the lights coming from the stores, gas stations and houses he passed by. This kind of day was the kind that Carrie thought of as perfect for drinking. In a hurry, Allen ran a red light. As Carrie and her friends drove to Stanley’s, a Camry ran in front of them and they collided. Allen and Carrie were both killed.
Gracie was high and roaming the sidewalk with her friends when she saw her parents collide, while Cameron was across the street skateboarding to his friend Kyle’s. A disease pulled them apart when a collision brought them together.
What the press would say:
Wow. This film belongs alongside American Beauty and Crash as some of the greatest modern dramas ever made. Dan Futterman has done it again. “How it Ends” is a masterpiece about disease, dysfunction, drugs & suburbia. The film is a perfect mix of comedy and drama. Sam Mendes has done it again. His beautiful direction has blended perfectly with this amazing script. This project is sure to win him his 2nd Oscar®. Patricia Arquette is amazing as Carrie, the victim of an obscure disease who turns to drinking and gambling to drown out the troubles and fear she faces. Her performance is almost flawless. Greg Kinnear provides the comedic relief in the film as the drunken stoner of a father. His performance is amusing as well as thought-provoking. Emma Roberts, the niece of Julia Roberts has inherited the acting gene. Her performance as Gracie is amazing and is one of the best child performances in a long time. She beautifully plays the troubled teen which is ever so baity. Matt Weinberg has come a long way from The Hot Chick as Cameron the troubled child who’s just trying to fit in. Overall the cast and crew work beautifully alongside each other with great editing, scoring and cinematography.
FYC.
Best Picture
Best Director- Sam Mendes
Best Actress- Patricia Arquette
Best Actor- Greg Kinnear
Best Supporting Actress- Emma Roberts
Best Supporting Actor- Matt Weinberg
Best Original Screenplay- Dan Futterman
Best Editing- Tariq Anwar
Best Cinematography- Dick Pope
Best Original Score- Thomas Newman
The Jungle
Author(s): Zgamer
Location: Eagle, ID
“The Jungle"
Produced by: Robert Lantos, J.C. Spink and Paul Webster
Directed by: David Croenberg
Written by: Josh Olsen and Steven Knight
Based on the book by Upton Sinclair
Principal Cast:
Adrien Brody as Jurgis Rudkus
Chloe Sevigny as Ona Rudkis
Armin Mueller-Stahl as Dede Antanas Rudkus
Naomi Watts as Marija Berczynskas
Ellen Burstyn as Teta Elzbieta Lukoszaite
Tim Robbins as Phil Connor
Tagline: "Buyer Beware!"
Running Time: 125 Minutes
Rated R for graphic, grisly depictions of factory accidents, disturbing scenes, nudity and sexuality
Synopsis: Debt. That is all that surrounds Jurgis’ world. To think things had seemed so promising. Not long ago, he immigrated to America with his finacee Ona, his father Dede Antanas, Ona’s cousin Marija and stepmother Teta Elzbieta. They all had the dream of a better life rooted into their skulls from the stories told in their homelands and now wanted to fulfill it. In Chicago, they enjoy what should have been a promising event of things to come with Jurgis and Ona’s wedding feast. However, Fate had other plans. Shortly after the feast, bills begin to pile up. From the payment for the feast to payments for the house, including some hidden costs put in by the swindling dealers, Jurgis’ family is now in trouble. With no other options, Jurgis, Ona, Marija and Dede have to search for work.
Jurgis and his father eventually obtain jobs at a meat processing plant at the Chicago “Packingtown”. There, Jurgis sees the evils of labor abuse. Dozens of workers, including many who are missing fingers or dying from infections, are forced to work long, backbreaking hours for very little pay. They continually risk their lives and limbs to work for bosses that are ungrateful for their aid and neglectful of their products. Each day, Jurgis is ordered to prepare obviously contaminated and poorly cut hunks of meat to be sold to grocery stores all over America. Though Jurgis is quite capable to work under these conditions, his financial and family issues worsen the already troublesome burden. Marija is having trouble maintaining her job and Ona has had to suffer the difficulties of working while pregnant. Then, on the eve of the birth of Jurgis’ son, Jurgis’ father falls ill to the contamination of the factory and dies.
This devastates Jurgis. However, it is only the start of things to come. As the brutal cold of winter descends upon Chicago, fate deals a new hand of sorrow. When Jurgis sprains his ankle due to unsafe factory conditions, the factory fires him while he is recovering. Marija, still in financial trouble, is being pressured by her factory supervisor to join a prostitution ring that she runs. But worse of all, Ona is once again pregnant, but not by Jurgis. One night after work, her corrupt boss Phil Connor forced Ona to have sex with him. Out of impulse, Jurgis attacks Connor at his office. He is arrested and unfairly sentenced to a month in prison.
After his sentence was over, Jurgis discovers that his family had been evicted from their already shabby house into a slum in the outskirts of town. While heading there, he spots Marija inside a prostitution house. Tearfully, she explains that it was the only job left that she could get. When he finally arrives to the slum, he finds Ona in bed prematurely in labor. Though she tries her best, the grueling labor eventually kills both her and the baby. Depressed and penniless, Jurgis turns to alcohol to dull the pain as he searches for a new job. When Jurgis finally work at a manure farm, his firstborn son drowns in a mud-logged street. Jurgis, all but completely crushed, wanders the streets until he enters a building that is holding socialist meeting. As the flamboyant speaker preaches of worker rights and revolution, Jurgis suddenly feels inspired. As the crowd cheers on his intense speech, Jurgis stands up and joins them. He realizes that if society wishes to crush the immigrants, they will have to return the favor. The screen fades as Jurgis listens to the words “Chicago Will Be Ours” rings in his ears.
What the press would say:
For anyone who only thought that David Croenberg could only gross you out, I say shame on you. I have just walked out of one of the most emotionally draining and expertly crafted films of the year. Croenberg must have been feeling good after the critical praise from his previous work “A History of Violence”. However, rather than doing another graphic novel adaptation, Croenberg has delved deep into classic American literature and resurrected Upton Sinclair’s revolutionary novel. And what a resurrection it is!
Though the story center around the tragic story of an immigrant family, the main topics of the movie still have relevance today. Acclaimed writers Olsen and Knight do an amazing job in writing a period piece that not only has great dialogue and structure, but can also draw an audience as well as any action movie with its emotional power. If anything, this adaptation reminds us that we have it easy. Not pulling any punches, the film shows more than its share of hideous images portraying the horrors that can occur in factories. Limbs are severed, faces are boiled and the workers see death as a salvation. Complimented with the grim realization of the condition of meat sold in that time, you get a sense of satisfaction as well as disgust that this book had solved the labor conditions problem so many years ago. Another prominent issue is the attitude of society towards immigrant workers. Despite their willingness to do menial jobs and unfavorable labor, they are still seen as expendable and less than human. The film’s final moments give a glimpse of what consequences may occur if this is not resolved Hopefully, Croenberg will set those thinkers straight with this movie.
Croenberg and his team should be credited mostly for making moral and literal filth seem so artistic. Through gritty camera work and a grimy color scheme, Croenberg makes you feel sympathy for these poor characters. The art direction is amazing, as the film not only gives an accurate portrayal of old America, but also creates one of the most eerily believable settings in film history with the meat factories. However, all of this would be for nothing if it were not for the great cast portraying the characters. Adrien Brody, with that sad-puppy face and depressing voice, is the ideal Jurgis. Throughout the film, a tear from the entire audience matched every bitter tear he shed onscreen. Brody carries the film with an emotional intensity that cannot appropriately be put into words. He is matched by fellow cast members Sevigny. Mueller-Stahl and Watts, who are all worthy of our sympathy. From Muller-Stahl’s heartbreaking deathbed scene to Watts’s teary speech on her eventual career option, the cast all portray the ultimate tragic heroes.
The Jungle will not be an easy film to forget, even after its bittersweet “happy ending”. Croenberg has crafted a masterpiece of emotional filmmaking. Just try looking at your lunchmeat the same way after going through those two beautiful hours.
Award Possibilities
Best Picture (Robert Lantos, J.C. Spink and Paul Webster)
Best Director (David Croenberg)
Best Actor (Adrien Brody)
Best Supporting Actor (Admin Mueller-Stahl)
Best Supporting Actress (Chole Sevigny)
Best Supporting Actress (Naomi Watts)
Best Adapted Screenplay (Josh Olsen and Steven Knight)
Best Cinematography (Peter Suschitzky)
Best Art Direction (Rebecca Holmes and Nick Palmer)
Best Editing (Roland Sanders)
Best Make-Up
Best Original Score (Howard Shore)
Location: Eagle, ID
“The Jungle"
Produced by: Robert Lantos, J.C. Spink and Paul Webster
Directed by: David Croenberg
Written by: Josh Olsen and Steven Knight
Based on the book by Upton Sinclair
Principal Cast:
Adrien Brody as Jurgis Rudkus
Chloe Sevigny as Ona Rudkis
Armin Mueller-Stahl as Dede Antanas Rudkus
Naomi Watts as Marija Berczynskas
Ellen Burstyn as Teta Elzbieta Lukoszaite
Tim Robbins as Phil Connor
Tagline: "Buyer Beware!"
Running Time: 125 Minutes
Rated R for graphic, grisly depictions of factory accidents, disturbing scenes, nudity and sexuality
Synopsis: Debt. That is all that surrounds Jurgis’ world. To think things had seemed so promising. Not long ago, he immigrated to America with his finacee Ona, his father Dede Antanas, Ona’s cousin Marija and stepmother Teta Elzbieta. They all had the dream of a better life rooted into their skulls from the stories told in their homelands and now wanted to fulfill it. In Chicago, they enjoy what should have been a promising event of things to come with Jurgis and Ona’s wedding feast. However, Fate had other plans. Shortly after the feast, bills begin to pile up. From the payment for the feast to payments for the house, including some hidden costs put in by the swindling dealers, Jurgis’ family is now in trouble. With no other options, Jurgis, Ona, Marija and Dede have to search for work.
Jurgis and his father eventually obtain jobs at a meat processing plant at the Chicago “Packingtown”. There, Jurgis sees the evils of labor abuse. Dozens of workers, including many who are missing fingers or dying from infections, are forced to work long, backbreaking hours for very little pay. They continually risk their lives and limbs to work for bosses that are ungrateful for their aid and neglectful of their products. Each day, Jurgis is ordered to prepare obviously contaminated and poorly cut hunks of meat to be sold to grocery stores all over America. Though Jurgis is quite capable to work under these conditions, his financial and family issues worsen the already troublesome burden. Marija is having trouble maintaining her job and Ona has had to suffer the difficulties of working while pregnant. Then, on the eve of the birth of Jurgis’ son, Jurgis’ father falls ill to the contamination of the factory and dies.
This devastates Jurgis. However, it is only the start of things to come. As the brutal cold of winter descends upon Chicago, fate deals a new hand of sorrow. When Jurgis sprains his ankle due to unsafe factory conditions, the factory fires him while he is recovering. Marija, still in financial trouble, is being pressured by her factory supervisor to join a prostitution ring that she runs. But worse of all, Ona is once again pregnant, but not by Jurgis. One night after work, her corrupt boss Phil Connor forced Ona to have sex with him. Out of impulse, Jurgis attacks Connor at his office. He is arrested and unfairly sentenced to a month in prison.
After his sentence was over, Jurgis discovers that his family had been evicted from their already shabby house into a slum in the outskirts of town. While heading there, he spots Marija inside a prostitution house. Tearfully, she explains that it was the only job left that she could get. When he finally arrives to the slum, he finds Ona in bed prematurely in labor. Though she tries her best, the grueling labor eventually kills both her and the baby. Depressed and penniless, Jurgis turns to alcohol to dull the pain as he searches for a new job. When Jurgis finally work at a manure farm, his firstborn son drowns in a mud-logged street. Jurgis, all but completely crushed, wanders the streets until he enters a building that is holding socialist meeting. As the flamboyant speaker preaches of worker rights and revolution, Jurgis suddenly feels inspired. As the crowd cheers on his intense speech, Jurgis stands up and joins them. He realizes that if society wishes to crush the immigrants, they will have to return the favor. The screen fades as Jurgis listens to the words “Chicago Will Be Ours” rings in his ears.
What the press would say:
For anyone who only thought that David Croenberg could only gross you out, I say shame on you. I have just walked out of one of the most emotionally draining and expertly crafted films of the year. Croenberg must have been feeling good after the critical praise from his previous work “A History of Violence”. However, rather than doing another graphic novel adaptation, Croenberg has delved deep into classic American literature and resurrected Upton Sinclair’s revolutionary novel. And what a resurrection it is!
Though the story center around the tragic story of an immigrant family, the main topics of the movie still have relevance today. Acclaimed writers Olsen and Knight do an amazing job in writing a period piece that not only has great dialogue and structure, but can also draw an audience as well as any action movie with its emotional power. If anything, this adaptation reminds us that we have it easy. Not pulling any punches, the film shows more than its share of hideous images portraying the horrors that can occur in factories. Limbs are severed, faces are boiled and the workers see death as a salvation. Complimented with the grim realization of the condition of meat sold in that time, you get a sense of satisfaction as well as disgust that this book had solved the labor conditions problem so many years ago. Another prominent issue is the attitude of society towards immigrant workers. Despite their willingness to do menial jobs and unfavorable labor, they are still seen as expendable and less than human. The film’s final moments give a glimpse of what consequences may occur if this is not resolved Hopefully, Croenberg will set those thinkers straight with this movie.
Croenberg and his team should be credited mostly for making moral and literal filth seem so artistic. Through gritty camera work and a grimy color scheme, Croenberg makes you feel sympathy for these poor characters. The art direction is amazing, as the film not only gives an accurate portrayal of old America, but also creates one of the most eerily believable settings in film history with the meat factories. However, all of this would be for nothing if it were not for the great cast portraying the characters. Adrien Brody, with that sad-puppy face and depressing voice, is the ideal Jurgis. Throughout the film, a tear from the entire audience matched every bitter tear he shed onscreen. Brody carries the film with an emotional intensity that cannot appropriately be put into words. He is matched by fellow cast members Sevigny. Mueller-Stahl and Watts, who are all worthy of our sympathy. From Muller-Stahl’s heartbreaking deathbed scene to Watts’s teary speech on her eventual career option, the cast all portray the ultimate tragic heroes.
The Jungle will not be an easy film to forget, even after its bittersweet “happy ending”. Croenberg has crafted a masterpiece of emotional filmmaking. Just try looking at your lunchmeat the same way after going through those two beautiful hours.
Award Possibilities
Best Picture (Robert Lantos, J.C. Spink and Paul Webster)
Best Director (David Croenberg)
Best Actor (Adrien Brody)
Best Supporting Actor (Admin Mueller-Stahl)
Best Supporting Actress (Chole Sevigny)
Best Supporting Actress (Naomi Watts)
Best Adapted Screenplay (Josh Olsen and Steven Knight)
Best Cinematography (Peter Suschitzky)
Best Art Direction (Rebecca Holmes and Nick Palmer)
Best Editing (Roland Sanders)
Best Make-Up
Best Original Score (Howard Shore)
Love
Author(s): Harry
Location: Colombia
“Love"
A Sony Pictures Classic Release
Directed by Zhang Yimou
Written by Kim Ki-Duk, Zhang Yimou and Deepa Mehta
Produced by Bill Kong and Ang Lee
Music by Tan Dun and Ji-woong Park
Production Design by Huo Tingxiao and Tim Yip
Cinematography by Gilles Nuttgens
Costume Design by Emi Wada
Editing by Tim Squayres and Angie Lam
Sound by Tao Jing
Visual effects by Ellen Poon
Principal Cast:
Takeshi Kaneshiro as Huhai
Zhang Ziyi as Nameless Girl
Ken Watanabe as the Emperor
Tagline: "Love is a pure force that connects two souls into one"
Synopsis: Love is a feeling in which you feel a mix of a quiet tranquility, an enormous passion and a pure atmosphere surrounding you. Love is a force, so powerful, that unites two souls into one connecting the emotions that one feels for the other. Love can be attacked by the dreadful and miserable world but it must surpass this hate and fly freely like a butterfly full of life. In the 3rd century BC in China, a few years after the construction of the Great Wall, two sensible souls meet and become one force. This is the story of Huhai, the son of the emperor, who lives in a palace with all of the luxuries and richness you could desire but with a heart that couldn’t express its feelings, and of a mute girl who has no name and that tries to find herself and her spirituality thru the art of meditations, martial arts and swordplay.
In summer, love burn as hard as the sun.
A little bored of the palace, Huhai goes take a walk in the forest. As he cleans his spirituality thru a connection with nature, he finds the nameless girl and feels a deep mix of emotions for her. The nameless girl also falls in love with him and they live an intense love.
In fall, love begins to fall as the leaves of the trees.
After the long disappearance of his son Huhai, the Emperor seeks for him in the forest and finds him with the nameless girl. Enraged, he separates them. Huhai and the nameless girl begin to pass thru a crisis of desperation, surrounded by the dark loneliness.
In winter, love does the impossible to surpass the cold.
The Emperor and Huhai travel with their troops in search of new lands. Huhai, madly in love, escapes the carriage and tries to find his love. When he finds the nameless girl, the Emperor and his troops attack them and injure the nameless girl. Full of anger, Huhai kills his father and the troops in revenge.
In spring, love is reborn as the flowers blossom again.
Huhai begins to take care of his love’s injure and miraculously, many flowers of a huge diversity, colors and shapes begin to magically blossom.
What the press would say:
When I saw the beauty of love expressed thru the visually stunning film “Love”, I felt a mix of emotions inside of me that made me feel free and pure as I was blowed away by the soft and magical winds that this film had delicately throw at me. When I try to use words to describe this piece of art, I end up writing a poem, expressing the connections of two souls becoming one thru humans and nature. The amazing Chinese filmmaker Zhang Yimou beautifully directs this masterpiece mixing the deep spirituality of the story with some astonishing elements such as the combination of colors, the nature shots, the simple and mystical score and the very convincing performances that define Yimou’s directing style and skills. With a unique storytelling and some memorable metaphors; Kim Ki-Duk, Deepa Mehta and Yimou write a very spiritual and emotional script mixing a few historical facts with the intensity of the strong feelings of human beings. Bringing the great and very well developed characters to life, the three performers of the film give brilliant portrayals making us believe that they’re living their roles. Takeshi Kaneshiro plays Huhai, a sensible prince with many feelings in his heart that couldn’t be expressed and a burning love that was almost impossible to live. Zhang Ziyi plays a mute girl with no name, that tries to find herself and her inner spirit and that finds love in the most unexpected place. And Ken Watanabe plays the Emperor, a selfish man that only thought on power and privileges for himself. All of these elements make of “Love” a film of deepness and spirit of humans that will leave you amazed and that will take your breath to places full of emotions and feelings.
Best Picture (AMPAS) – Bill Kong and Ang Lee
Best Picture Drama (HFPA) – Sony Pictures Classic
Best Ensemble (SAG) – Takeshi Kaneshiro, Zhang Ziyi and Ken Watanabe
Best Foreign Language Film – Zhang Yimou (China)
Best Directing – Zhang Yimou
Best Actor in a Leading Role – Takeshi Kaneshiro
Best Actress in a Leading Role – Zhang Ziyi
Best Actor in a Supporting Role – Ken Watanabe
Best Original Screenplay – Kim Ki-Duk, Zhang Yimou and Deepa Mehta
Best Score – Tan Dun and Ji-woong Park
Best Art Direction – Huo Tingxiao and Tim Yip
Best Cinematography – Gilles Nuttgens
Best Costume Design – Emi Wada
Best Film Editing – Tim Squayres and Angie Lam
Best Sound Mixing – Tao Jing
Best Visual Effects – Ellen Poon
Location: Colombia
“Love"
A Sony Pictures Classic Release
Directed by Zhang Yimou
Written by Kim Ki-Duk, Zhang Yimou and Deepa Mehta
Produced by Bill Kong and Ang Lee
Music by Tan Dun and Ji-woong Park
Production Design by Huo Tingxiao and Tim Yip
Cinematography by Gilles Nuttgens
Costume Design by Emi Wada
Editing by Tim Squayres and Angie Lam
Sound by Tao Jing
Visual effects by Ellen Poon
Principal Cast:
Takeshi Kaneshiro as Huhai
Zhang Ziyi as Nameless Girl
Ken Watanabe as the Emperor
Tagline: "Love is a pure force that connects two souls into one"
Synopsis: Love is a feeling in which you feel a mix of a quiet tranquility, an enormous passion and a pure atmosphere surrounding you. Love is a force, so powerful, that unites two souls into one connecting the emotions that one feels for the other. Love can be attacked by the dreadful and miserable world but it must surpass this hate and fly freely like a butterfly full of life. In the 3rd century BC in China, a few years after the construction of the Great Wall, two sensible souls meet and become one force. This is the story of Huhai, the son of the emperor, who lives in a palace with all of the luxuries and richness you could desire but with a heart that couldn’t express its feelings, and of a mute girl who has no name and that tries to find herself and her spirituality thru the art of meditations, martial arts and swordplay.
In summer, love burn as hard as the sun.
A little bored of the palace, Huhai goes take a walk in the forest. As he cleans his spirituality thru a connection with nature, he finds the nameless girl and feels a deep mix of emotions for her. The nameless girl also falls in love with him and they live an intense love.
In fall, love begins to fall as the leaves of the trees.
After the long disappearance of his son Huhai, the Emperor seeks for him in the forest and finds him with the nameless girl. Enraged, he separates them. Huhai and the nameless girl begin to pass thru a crisis of desperation, surrounded by the dark loneliness.
In winter, love does the impossible to surpass the cold.
The Emperor and Huhai travel with their troops in search of new lands. Huhai, madly in love, escapes the carriage and tries to find his love. When he finds the nameless girl, the Emperor and his troops attack them and injure the nameless girl. Full of anger, Huhai kills his father and the troops in revenge.
In spring, love is reborn as the flowers blossom again.
Huhai begins to take care of his love’s injure and miraculously, many flowers of a huge diversity, colors and shapes begin to magically blossom.
What the press would say:
When I saw the beauty of love expressed thru the visually stunning film “Love”, I felt a mix of emotions inside of me that made me feel free and pure as I was blowed away by the soft and magical winds that this film had delicately throw at me. When I try to use words to describe this piece of art, I end up writing a poem, expressing the connections of two souls becoming one thru humans and nature. The amazing Chinese filmmaker Zhang Yimou beautifully directs this masterpiece mixing the deep spirituality of the story with some astonishing elements such as the combination of colors, the nature shots, the simple and mystical score and the very convincing performances that define Yimou’s directing style and skills. With a unique storytelling and some memorable metaphors; Kim Ki-Duk, Deepa Mehta and Yimou write a very spiritual and emotional script mixing a few historical facts with the intensity of the strong feelings of human beings. Bringing the great and very well developed characters to life, the three performers of the film give brilliant portrayals making us believe that they’re living their roles. Takeshi Kaneshiro plays Huhai, a sensible prince with many feelings in his heart that couldn’t be expressed and a burning love that was almost impossible to live. Zhang Ziyi plays a mute girl with no name, that tries to find herself and her inner spirit and that finds love in the most unexpected place. And Ken Watanabe plays the Emperor, a selfish man that only thought on power and privileges for himself. All of these elements make of “Love” a film of deepness and spirit of humans that will leave you amazed and that will take your breath to places full of emotions and feelings.
Best Picture (AMPAS) – Bill Kong and Ang Lee
Best Picture Drama (HFPA) – Sony Pictures Classic
Best Ensemble (SAG) – Takeshi Kaneshiro, Zhang Ziyi and Ken Watanabe
Best Foreign Language Film – Zhang Yimou (China)
Best Directing – Zhang Yimou
Best Actor in a Leading Role – Takeshi Kaneshiro
Best Actress in a Leading Role – Zhang Ziyi
Best Actor in a Supporting Role – Ken Watanabe
Best Original Screenplay – Kim Ki-Duk, Zhang Yimou and Deepa Mehta
Best Score – Tan Dun and Ji-woong Park
Best Art Direction – Huo Tingxiao and Tim Yip
Best Cinematography – Gilles Nuttgens
Best Costume Design – Emi Wada
Best Film Editing – Tim Squayres and Angie Lam
Best Sound Mixing – Tao Jing
Best Visual Effects – Ellen Poon
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