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People

He was amazing! May he rest in peace.

John Hurt, Oscar-Nominated Star of ‘The Elephant Man,’ Dies at 77

The British actor of stage and screen also received an Academy Award nom for ‘Midnight Express’ and was memorable in ‘Alien,’ three Harry Potter films and ‘Doctor Who.’
John Hurt, the esteemed British actor known for his burry voice and weathered visage — one that was kept hidden for his most acclaimed role, that of the deformed John Merrick in David Lynch’s The Elephant Man — died Friday in London. He was 77.

The two-time Oscar nominee’s six-decade career also included turns on the BBC’s Doctor Who and in A Man for All Seasons (1966), Midnight Express (1978) and three Harry Potter films.

He announced in June 2015 that he had been diagnosed with pancreatic cancer.

On screens big and small, Hurt died what seemed a thousand deaths. “I think I’ve got the record,” he once said. “It got to a point where my children wouldn’t ask me if I died, but rather how do you die?”

On his YouTube page, a video titled “The Many Deaths of John Hurt” compiled his cinematic demises in 4 minutes and 30 seconds, from The Wild and the Willing (1962) to Tinker Tailor Soldier Spy (2011), 40 in all.

One of his most memorable came when he played Kane, the first victim in Ridley Scott’s Alien (1979), in which he collapses over a table and a snakelike alien bursts out of his chest. (How’d they do that? There was an artificial chest screwed to the table, and Hurt was underneath.)

“Ridley didn’t tell the cast,” executive producer Ronald Shusett told Empire magazine in 2009. “He said, ‘They’re just going to see it.’ ”

“The reactions were going to be the most difficult thing,” Scott explained. “If an actor is just acting terrified, you can’t get the genuine look of raw, animal fear. What I wanted was a hardcore reaction.”

Hurt then lampooned the famous torso-busting scene for director Mel Brooks — whose production company produced 1980’s The Elephant Man — for the 1987 comedy Spaceballs.

The Elephant Man received eight Academy Award nominations, including one for Hurt as best actor, but went home empty on Oscar night. (Hurt lost out to Robert De Niro as boxer Jake LaMotta in Raging Bull.)

In 1980, he recalled the extensive makeup needed to become the kind-hearted man with the monstrous skull.

“It never occurred to me it would take eight hours for them to apply the full thing — virtually a working day in itself. There were 16 different pieces to that mask,” he said. “With all that makeup on, I couldn’t be sure what I was doing. I had to rely totally on [Lynch].”

Hurt also garnered an Oscar best supporting actor nomination and a Golden Globe win in 1979 for Midnight Express, in which he portrayed a heroin addict in a Turkish prison. The Alan Parker drama was based on the true story of Billy Hayes (played by Brad Davis), an American college student caught smuggling drugs.

“I loved making Midnight Express,” he said in 2014. “We were making commercial films then that really did have cracking scenes in them, as well as plenty to say, you know?”

His more recent film appearances came in Snowpiercer (2013), The Journey (2016) and Jackie (2016). He is set to be seen in the upcoming features That Good Night and My Name Is Lenny and was to play Neville Chamberlain in the upcoming Joe Wright drama Darkest Hour.

John Vincent Hurt was born Jan. 22, 1940, in Chesterfield, Derbyshire, England. He studied art at his parents’ behest, earning an art teacher’s diploma. Disillusioned with the prospect of becoming a teacher, Hurt moved to London, where he won an acting scholarship at the Royal Academy of Dramatic Art. He studied there for two years, securing bit parts in TV shows.

“I wanted to act very early. I didn’t know how to become an actor, as such, nor did I know that it was possible to be a professional actor, but I first decided that I wanted to act when I was 9,” he told The Guardian in 2000. “I was effused with a feeling of complete and total enjoyment, and I felt that’s where I should be.”

Hurt made his London stage debut in Infanticide in the House of Fred Ginger in 1962. That year, he acted in his first film, The Wild and the Willing, and his role as the duplicitous baron Richard Rich in Oscar best picture winner A Man for All Seasons helped him become more widely known in the U.S.

Hurt often played wizened, sinister characters. In his younger years, his wiry frame, sallow skin and beady eyes curled together in performances that bespoke menace and hard-wrought wisdom. He was especially effective playing psychologically ravaged characters, like when he was a jockey plagued with cancer in Champions (1984) or the viciously decadent Caligula in the 1976 BBC miniseries I, Claudius.

Hurt brought his peculiarly powerful persona to the role of Mr. Ollivander in Harry Potter and the Sorcerer’s Stone (2001) and Harry Potter and the Deathly Hallows: Part 1 (2010) and Part 2 (2011).

He also had a recurring role as Trevor “Broom” Bruttenholm in Hellboy (2004) and Hellboy II: The Golden Army (2008) and was the voice of the character in the 2007 TV movie Hellboy Animated: Blood and Iron.

Other film credits include The Sailor From Gibraltar (1967), Sinful Davey (1969), 10 Rillington Place (1971), The Osterman Weekend (1983), White Mischief (1987), King Ralph (1991) and Rob Roy (1995). He played a fascist leader of Great Britain in V for Vendetta (2006) and was Professor Oxley in Indiana Jones and the Kingdom of the Crystal Skull (2008).

Hurt also was known for his rich, nicotine-toned timbre, which won him many voiceover assignments. He was the narrator in The Tigger Movie (2000), Dogville (2003), Manderlay (2005) and Charlie Countryman (2013) and lent his dulcet utterances to The Lord of the Rings (1978), Watership Down (1978), The Black Cauldron (1985), Thumbelina (1994) and the Oscar-nominated short film The Gruffalo (2009).

“I have always been aware of voice in film. I think that it’s almost 50 percent of your equipment [as an actor],” he once said. “It’s as important as what you look like, certainly on stage and possibly on film as well. If you think of any of the great American stars, you think of their voices and their looks, any of them — from Clark Gable to Rock Hudson.”

For the small screen, Hurt starred in the TV shows The Storyteller, The Alan Clark Diaries, The Confession and Merlin and in the miniseries Crime and Punishment and Labyrinth. He notably played the War Doctor in the 2013-14 season of Doctor Who.

On participating in the Whovian fandom, Hurt said in 2013: “I’ve done a couple of conferences where you sit and sign autographs for people and then you have photographs taken with them and a lot of them are all dressed up in alien suits or Doctor Who whatevers. I was terrified of doing it because I thought they’d all be loonies, but they are absolutely, totally charming as anything. I’m not saying it’s the healthiest thing — I don’t know whether it is or isn’t — but they are very charming.”

The accomplished stage actor performed with the Royal Shakespeare Company and Royal Academy of Dramatic Art. In 1994, he starred opposite Helen Mirren in Bill Bryden’s West End production of A Month in the Country, and he scraped out an edgy and vigorously dour performance in Samuel Beckett’s autobiographical one-man drama Krapp’s Last Tape in 1999.

When asked about the difference between film and stage acting, Hurt explained: “It’s rather like two different sports. You use two completely different sets of muscles.”

In 2012, Hurt was honored with a lifetime achievement award by the British Academy of Film and Television Arts, then was knighted by Queen Elizabeth II in July 2015.

Survivors include his fourth wife Anwen Rees-Myers, whom he married in 2005, and sons Alexander and Nicholas.

Categories
Business

Goodbye HMV and thanks for all of the friends!!

HMV in receivership, stores to close by April 30

Friday marked the beginning of the end for heavily-indebted music retailer HMV.

An Ontario Superior Court of Justice approved an application filed by HUK 10 Ltd., a subsidiary of the British restructuring firm Hilco UK that bought HMV in 2011, to place HMV Canada Inc. into receivership.

HMV stores are to cease operations by Apr. 30, according to sale guidelines issued by the court.

Senior Justice Geoffrey Morawetz appointed Gordon Brothers Canada ULC and Merchant Retail Solutions ULC as the agents to sell HMV’s remaining merchandise.

According to the application, HMV owes close to $39 million to HUK 10 as of Jan. 24 and has not made any payments toward its debt since November 2014.

A sworn affidavit submitted by HUK 10 director Christopher Emmott said HMV was profitable from 2011 to 2013, but has had negative earnings since. In 2012, HMV’s revenue was about $266 million, but, by 2016, this had fallen to $193 million, a trend that’s “expected to continue as more customers move to online consumptions of media.”

To continue operations, HMV would requite an “immediate cash injection” of $2 million and then $5 million of additional cash injections every year after that, the affidavit added.

“These financial difficulties, combined with the further decrease in (HMV’s) sales expected over the coming years, means the current situation is not sustainable,” the affidavit said.

“HUK 10 is not prepared to provide further financial support to (HMV) under the current circumstances.”

The application noted that HMV’s inventory is “significantly depleted with no viable alternative support arrange to replenish its stock.”

HUK 10 gave HMV from mid-December 2016 until Jan. 20 to try and get its major suppliers to support its business for at least 2017, but HMV failed to “reach terms that were mutually acceptable.”

Remaining HMV stores will maintain regular opening hours until their final vacate dates, court sale guidelines said, and may advertise with “store-closing,” “everything-on-sale” and “everything-must-go” signs.

HMV currently operates 102 stores in Canada and employs about 1,340 people, most of them at its retail locations.

HMV Canada did not return requests for comment Friday, and staff at its flagship store at 333 Yonge St., which opened in 1991, declined to speak to the media.

Categories
People

She was one of my first loves. I wanted to work with her news team. May she rest in peace.

Television Icon Mary Tyler Moore dead at 80

NEW YORK — Mary Tyler Moore, the star of TV’s beloved “The Mary Tyler Moore Show” whose comic realism helped revolutionize the depiction of women on the small screen, died Wednesday. She was 80.

Moore gained fame in the 1960s as the frazzled wife Laura Petrie on “The Dick Van Dyke Show.” In the 1970s, she created one of TV’s first career-woman sitcom heroines in “The Mary Tyler Moore Show.”

“She was an impressive person and a talented person and a beautiful person. A force of nature,” producer, creator and director Carl Reiner, who created the “The Dick Van Dyke Show,” told The Associated Press. “She’ll last forever, as long as there’s television. Year after year, we’ll see her face in front of us.”

Moore won seven Emmy awards over the years and was nominated for an Oscar for her 1980 portrayal of an affluent mother whose son is accidentally killed in “Ordinary People.”

Tributes came pouring in. “Mary’s energy, spirit and talent created a new bright spot in the television landscape and she will be very much missed,” Robert Redford, director of “Ordinary People,” said in a statement. Ellen DeGeneres took to Twitter to say: “Mary Tyler Moore changed the world for all women.”

Moore’s first major TV role was on the classic sitcom “The Dick Van Dyke Show,” in which she played the young homemaker wife of Van Dyke’s character, comedy writer Rob Petrie, from 1961-66.

With her unerring gift for comedy, Moore seemed perfectly fashioned to the smarter wit of the new, post-Eisenhower age. As Laura, she traded in the housedress of countless sitcom wives for Capri pants that were as fashionable as they were suited to a modern American woman.

Laura was a dream wife and mother, but not perfect. Viewers identified with her flustered moments and her protracted, plaintive cry to her husband: “Ohhhh, Robbbb!”

Moore’s chemistry with Van Dyke was unmistakable. Decades later, he spoke warmly of the chaste but palpable off-screen crush they shared during the show’s run.

They also appeared together in several TV specials over the years and in 2003, co-starred in a PBS production of the play “The Gin Game.”

But it was as Mary Richards, the plucky Minneapolis TV news producer on “The Mary Tyler Moore Show” (1970-77), that Moore truly made her mark.

At a time when women’s liberation was catching on worldwide, her character brought to TV audiences an independent, 1970s career woman. Other than Marlo Thomas’ 1960s sitcom character “That Girl,” who at least had a steady boyfriend, there were few precedents.

Thomas on Wednesday called Moore a gifted actress and a wonderful comedian. “I’m proud that we were in that groundbreaking sorority that brought single independent women to television,” Thomas said in a statement.

Mary Richards was comfortable being single in her 30s, and while she dated, she wasn’t desperate to get married. She sparred affectionately with her gruff boss, Lou Grant, played by Ed Asner, and addressed him always as “Mr. Grant.” And millions agreed with the show’s theme song that she could “turn the world on with her smile.”

Asner paid tribute to his co-star, saying on Twitter: “A great lady I loved and owe so much has left us. I will miss her. I will never be able to repay her for the blessings that she gave me.”

The show was filled with laughs. But no episode was more memorable than the bittersweet finale when new management fired the entire WJM News staff — everyone but the preening, clueless anchorman, Ted Baxter. Thus did the series dare to question whether Mary Richards actually did “make it after all.”

The series ran seven seasons and won 29 Emmys, a record that stood for a quarter century until “Frasier” broke it in 2002.

“Everything I did was by the seat of the pants. I reacted to every written situation the way I would have in real life,” Moore told The Associated Press in 1995. “My life is inextricably intertwined with Mary Richards’, and probably always will be.”

“The Mary Tyler Moore Show” spawned the spin-offs “Rhoda,” (1974-78), starring Valerie Harper; “Phyllis” (1975-77), starring Cloris Leachman; and “Lou Grant” (1977-82), starring Asner in a rare drama spun off from a comedy.

“Mary Tyler Moore” was the first in a series of acclaimed, award-winning shows she produced with her second husband, Grant Tinker, who died in November 2016, through their MTM Enterprises. (The meowing kitten at the end of the shows was a parody of the MGM lion.) “The Bob Newhart Show,” ”Hill Street Blues,“ ”St. Elsewhere“ and ”WKRP in Cincinnati“ are among the MTM series that followed.

Moore won her seventh Emmy in 1993, for supporting actress in a miniseries or special, for a Lifetime network movie, “Stolen Babies.” She had won two for “The Dick Van Dyke Show” and the other four for “Mary Tyler Moore.” In 2012, Moore received the Screen Actors Guild’s lifetime achievement award.

On the big screen, Moore’s appearances were less frequent. She was a 1920s flapper in the hit 1967 musical “Thoroughly Modern Millie” and a nun who falls for Elvis Presley in “Change of Habit” in 1969.

She turned to serious drama in 1980’s “Ordinary People,” playing an affluent, bitter mother who loses a son in an accident. The film won the Oscar for best picture and best director for Robert Redford, and it earned Moore an Oscar nomination and a Golden Globe.

“She was a truly amazing person, a great friend, and an inspiration to all,” Timothy Hutton, her “Ordinary People” co-star, said in a statement. “I will always be grateful for her kindness and thankful beyond words for knowing her. She will be missed greatly.”

In real life, Moore also endured personal tragedy. The same year “Ordinary People” came out, her only child, Richard, who’d had trouble in school and with drugs, accidentally shot himself at 24. Her younger sister, Elizabeth, died at 21 from a combination of a painkillers and alcohol.

In her 1995 autobiography “After All,” Moore admitted she helped her terminally ill brother try to commit suicide by feeding him ice cream laced with a deadly overdose of drugs. The attempt failed, and her 47-year-old brother, John, died three months later in 1992 of kidney cancer.

Moore herself lived with juvenile diabetes for some 40 years and told of her struggle in her 2009 book, “Growing Up Again.” She also spent five weeks at the Betty Ford Clinic in 1984 for alcohol abuse.

She served as chairwoman of the Juvenile Diabetes Foundation International, supported embryonic stem cell research and was active in animal rights causes.

In 1983, Moore married cardiologist Robert Levine, who survives her. Her marriage to Tinker lasted from 1962 to 1981. Before that, she was married to Dick Meeker from 1955 to 1961.

Moore was born in 1936 in Brooklyn; the family moved to California when she was around 8 years old. She began dance lessons as a child and launched her career while still in her teens, appearing in TV commercials.

In 1992, Moore received a star on the Hollywood Walk of Fame. A decade later, a life-size bronze statue went on display in Minneapolis, depicting her tossing her trademark tam into the air as she did in the opening credits of “The Mary Tyler Moore Show.”

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Awards

Because you can’t have nominees without people who get overlooked.

Snubs And Shocks And Surprises

Awards obsessives spend months speculating, tracking patterns, tuning in to the yay-or-nay buzz, consulting and re-consulting our tea leaves – but at the end of the day, nobody knows anything except the person holding that little envelope. Months of prognostication were upended this morning when the nominations for the 89th annual Academy Awards were finally announced (the telecast runs Sunday, February 26th), sending the internet into a tizzy of insta-analysis over the shocks, surprises … and of course, the snubs.

With 2016 yielding a bumper crop of excellent films and performances, some perfectly worthy potential nominees were bound to get edged out. So while agents field apoplectic phone calls on the most hectic day of the showbiz year, let’s take stock of the most heinous omissions in this year’s Oscar lineup – from deserving parties overshadowed by the buzz cycle to presumed frontrunners that went inexplicably ignored.

Deadpool
The expansion of the Best Picture category was designed as an effort to incorporate more populist favorites after The Dark Knight was edged out in 2008, and it looked like Ryan Reynolds’ smart-ass superhero flick was going to be the beneficiary of that policy this year. After the Golden Globes wholeheartedly endorsed the year’s most irreverent men-in-tights movie, the Merc with a Mouth appeared to be on the fast track to Oscar night. It turns out that the permanently smirking comic book deconstruction full of poop jokes and other sophomoric humor, however, wasn’t the right fit for the slightly higher-browed Oscar crowd after all.

Silence
No big deal, nothing to see here, just arguably the greatest living American filmmaker completing a decades-long passion project that could very well be his magnum opus. It’s not hard to see why Martin Scorsese’s religious epic about Jesuit missionaries suffering in Japan went almost entirely ignored by the Academy – it’s a punishing, draining three-hour experience that had minimal publicity and a quiet late-year release. That doesn’t make its exclusion any easier to take, though; ditto seeing Mel Gibson’s name in that Best Director lineup instead of Scorsese’s. God forgive us.

Annette Bening
In a year with so many outstanding turns from lead actresses, somebody had to fall through the cracks. What a shame that it had to be Annette Bening, so movingly earnest as a mother struggling to give her son the upbringing he needs in 20th Century Women. There’s humor, pathos, strength and vulnerability in her performance, possibly a career-best – maybe all she was missing was that big Oscar Moment, the one clip that stick in the voters’ minds long after they’ve left the theater. But hey, they can’t all have monologues about their cool aunt who jumped into a river in France.

Amy Adams
Adams shone as Dr. Louise Banks, a linguistics expert racing against time to decipher the inscrutable messages that alien visitors have sent humanity in Arrival. The performance was a real balancing act, with the actress having to negotiate the more straightforwardly sci-fi material and the mind-bending philosophical jumps that the film makes as it rolls into its third act. She also had the chance to nab a slot courtesy of her solid work in Tom Ford’s meta-noir Nocturnal Animals – but no dice there either. Chalk this up as another casualty of this year’s crazily overstuffed Best Actress race

Team Loving
Ruth Negga deservedly secured a spot in the Best Actress race, but this once-favored period piece missed out big time everywhere else. Her costar Joel Edgerton and director Jeff Nichols both got the heave-ho, and the movie was outright ignored in the Adapted Screenplay and Best Picture categories. It may have been the film’s humble nature that kept it out of the Oscar spotlight; the film centers on two people uncomfortably trying to shrug off their own historical significance instead of owning it in the way that the women of Hidden Figures did. Voters have always favoured fiery speechifying over pregnant silences – and this snub baldly reinforces that notion.

Pablo Larraín
When his moody, mercurial biopic Jackie played at the Toronto International Film Festival back in September, Larraín’s name instantly shot to the top of the Best Director contender list. His stately rendering of White House glamour and beautifully worn photography made fans out of many critics, and Natalie Portman wouldn’t have broken into the Best Actress race without her director’s careful counsel. Why, then, is he AWOL this morning? You can write it off to the chilly, reserved nature of the film or simply tough competition this year, but it’s still a crime.

Elle
A kinky rape-fetishizing thriller laced with sadistic black comedy sounds like a hard sell to Academy voters, but after getting the boot from the Best Foreign-Language Film shortlist, Elle was on the Best Picture table for a minute there. The unimpeachable excellence of Isabelle Huppert’s lead performance counted for a lot (and there she is, hanging out in the Best Actress category), plus Paul Verhoeven’s name still had some of the recognition as a director of provocative American studio pictures during the Nineties. But some tastes are too exotic even for the reputedly highbrow awards program.

Sully
A big hit, a movie star owning his charisma, a name-brand director with plenty of Oscar love in the past – where did Sully veer off course? (Sorry.) Maybe it just wasn’t made for these times; this year was all about topical matters, from the tender queer love of Moonlight to the glass-ceiling-shattering of Hidden Figures, from the multicultural identity politics of Lion to the Obama-era economic struggles of Hell or High Water. Clint Eastwood’s ode to the heroic pilot is an old-fashioned sort of film, an account of a stoic, strong-silent-type man forced to account for his own heroism by a bunch of pencil-necks. The winds of change weren’t blowing in this one’s favor. Not even Tom Hanks could get a nod.

Roger Deakins
Breaking a five-year streak of nominations for the master cinematographer, the Academy shunned Deakins’ ravishingly good-looking camerawork on the Coen brothers’ Old Hollywood throwback Hail, Caesar! this year. Deakins did a bangup job of capturing the look and feel of the Fifties, saturating everything with a golden hue that calls to mind the cinematic spectacles of old. In an era where every major studio doggedly chases the nostalgia dollar, Deakins actually conjured that rarest of feelings, but alas, the February release had fallen off everyone’s radar by ballot-casting time.

Aaron Taylor-Johnson
As the publicly-shitting, scraggly-haired redneck criminal that terrorizes the heroine of Nocturnal Animals’ book-with-the-movie, Taylor-Johnson clearly left an impact on the Hollywood Foreign Press Association. They voted him Best Supporting Actor at the Golden Globes and instantly ushered him to the front of the Oscar conversation. But there’s no such thing as a sure thing, as clearly evidenced by his snub in favor of costar Michael Shannon, who played the lawman tracking him down.

Cameraperson
Kirsten Johnson’s formally adventurous documentary earned heaps of praise for its cine-journal style and personal take on going once more unto the breach of political hotspots – but its commendably unclassifiable quality may have worked against it come awards time. It’s more of a film essay/personal visual statement than strict documentary, collecting Johnson’s various footage shot over several years and arranging it in a challenging, nonlinear fashion. The more experimental documentaries have historically fared poorly in the Oscar race, and while making it onto the nine-film shortlist was a victory of its own, Johnson’s film couldn’t win over the voting body.

Pharrell Williams
Technically, Pharrell did land a nomination this year, but only in his capacity as a producer of Best Picture contender Hidden Figures. His solid-gold soul tune “Runnin” was shut out of the Best Original Song category, however, squeezed out by a pair of tunes from La La Land, a selection from Moana, and Justin Timberlake’s inescapable pop hit from Trolls. Pharrell is a known name to the Oscar voters, too, having been nominated for “Happy” from Despicable Me 2 two years ago. Looks like it’s a lot easier to make it to Oscar night if your single is currently dominating the airwaves.

Finding Dory
There was a time when you could set your watch by Pixar’s inevitable return to the Best Animated Feature category, but apparently that time has gone by. Their big project for 2016 fell back behind the latest from Laika and Disney, not to mention smaller-scale foreign imports The Red Turtle and My Life as a Zucchini. How’d it happen? Blame sequel fatigue; Pixar has started dipping back into their own library of content and though the public made Finding Dory one of the most successful films of the year at the box-office, the Oscar voters clearly favored something a bit more original.

Categories
Awards

It was such a long shot but I was hoping DEADPOOL would get a nomination for Best Picture.

Oscars: ‘La La Land’ Ties All-Time Record With 14 Nominations

“La La Land,” a musical tribute to Los Angeles, dominated the Oscar nominations on Tuesday, picking up 14 nods to tie the record set by “Titanic” and “All About Eve.” The honey-coated celebration of all things Hollywood was nominated for best picture and best director for 32-year old wunderkind Damien Chazelle. Both of its lead actors, Ryan Gosling and Emma Stone, were recognized for their work as big city dreamers in love.

“La La Land’s” main competition in the major categories came from “Arrival,” an alien invasion thriller, and “Moonlight,” a low-boil drama looking at a gay man during the crack epidemic in Florida. Both films landed a total of eight Oscar nominations.

Three films were tied for third with six nods apiece: “Hacksaw Ridge,” a bloody World War II drama, “Lion,” a true story about a man who uses Google to find his long-lost family in India, and “Manchester by the Sea,” a shattering tragedy that marks a return to the A-list for Kenneth Lonergan after a few years out of the limelight. Lonergan’s career was derailed after his previous film, 2011’s “Margaret,” became entangled in a protracted legal fight. He was nominated for best original screenplay and for his direction. “Manchester by the Sea” was backed by Amazon Studios and marks the first time that a streaming service has earned a best picture nod.

The Academy has been rocked by protests over the lack of diversity of its nominees and of its membership, inspiring the popular hashtag #OscarsSoWhite. However, after two straight years of shutting out performers of color, this year’s nominees were notably more reflective of a multicultural America. Seven out of the 20 performance nominations went to actors of color, and a number of best picture and documentary contenders, such as “Hidden Figures,” “Fences,” “13th,” and “O.J.: Made in America” grappled with the issue of racial inequality. In response to the blowback over the lack of inclusion, the Academy has set a goal for itself of doubling the diversity within its voting body by 2020.

“La La Land” a spirited, rousing tribute to the musicals of Vincent Minnelli and Jacques Demy, is also the rare uplifting best picture nominee. That escapist vibe could resonate with Oscar voters at a time when Donald Trump’s presidential victory exemplifies a rightward swing in the country that is out of step with left-leaning Hollywood. Other best picture nominees examine such weighty topics as race relations, sexual identity, war, and economic disaffection.

If, as expected, “La La Land” captures the top prize, it will continue a tradition of entertainment-industry focused victors. Stone stars in the picture as an aspiring actress and there are several winking nods to life on the studio lot. Oscar voters tend to reward films that unfold in their professional backyard — recent winners set in the world of theater and film include “Birdman” and “The Artist.”

Casey Affleck, who stars in “Manchester by the Sea” as a grieving janitor, has dominated the early awards, picking up a Golden Globe and most of the critics honors. His competition comes from Denzel Washington as bitter garbage man (“Fences”), Andrew Garfield as a conscientious objector (“Hacksaw Ridge”), Viggo Mortensen as a hippie father (“Captain Fantastic”), and Gosling.

“La La Land” wasn’t the only record-breaker. The Academy continued its love affair with Meryl Streep, handing her a precedent-fracturing 20th Oscar nomination, the most ever for a performer. Streep was recognized for her work as a tone-deaf opera singer in “Florence Foster Jenkins.” She will face off against Isabelle Huppert as a rape victim (“Elle”), Natalie Portman as a resilient first lady (“Jackie”), Ruth Negga as a civil rights warrior (“Loving”), and Stone.

After a decade in the professional wilderness, Hollywood signaled that it had at least partially forgiven Mel Gibson. A previous Oscar-winner for “Braveheart,” Gibson was shunned by many industry power brokers when he was caught on tape making anti-Semitic remarks to a police officer after being pulled over for a DUI in 2006. On Tuesday, Gibson was nominated for his directing work on “Hacksaw Ridge,” a gritty war drama that also scored a best picture nod.

From a box office perspective, this year’s list of nominees was dominated by smaller, indie-spirited features and adult dramas. There were no “Inceptions” or “Avatars,” and the lack of a certifiable blockbuster could dim ratings for the awards broadcast.

Jimmy Kimmel hosts this year’s ceremony. It marks his first time as emcee, but also represents a long-desired stab at synergy. ABC, which broadcasts the Oscars, also backs Kimmel’s late night program. The network has been pushing for the comic to host the show for years.

This year’s Oscar nominations were announced in a novel way. Instead of having Academy brass and the odd celebrity read out the lists of honorees to assembled journalists, ABC offered up short interstitial videos with previous nominees and winners such as Marcia Gay Harden, Glenn Close, Brie Larson, and Ken Watanabe sharing their memories of their big mornings. Most of their reflections boiled down to a simple, obvious takeaway — getting nominated is exciting.

Categories
Awards

Congratulations to all of the nominees for the 89th Academy Awards!!

THE 89TH ACADEMY AWARDS | 2017
Dolby Theatre at the Hollywood & Highland Center
Sunday, February 26, 2017
Honouring movies released in 2016

ACTRESS IN A LEADING ROLE
ISABELLE HUPPERT
Elle
RUTH NEGGA
Loving
NATALIE PORTMAN
Jackie
EMMA STONE
La La Land
MERYL STREEP
Florence Foster Jenkins

ACTRESS IN A SUPPORTING ROLE
VIOLA DAVIS
Fences
NAOMIE HARRIS
Moonlight
NICOLE KIDMAN
Lion
OCTAVIA SPENCER
Hidden Figures
MICHELLE WILLIAMS
Manchester by the Sea

ACTOR IN A LEADING ROLE
CASEY AFFLECK
Manchester by the Sea
ANDREW GARFIELD
Hacksaw Ridge
RYAN GOSLING
La La Land
VIGGO MORTENSEN
Captain Fantastic
DENZEL WASHINGTON
Fences

ACTOR IN A SUPPORTING ROLE
MAHERSHALA ALI
Moonlight
JEFF BRIDGES
Hell or High Water
LUCAS HEDGES
Manchester by the Sea
DEV PATEL
Lion
MICHAEL SHANNON
Nocturnal Animals

DIRECTING
ARRIVAL
Denis Villeneuve
HACKSAW RIDGE
Mel Gibson
LA LA LAND
Damien Chazelle
MANCHESTER BY THE SEA
Kenneth Lonergan
MOONLIGHT
Barry Jenkins

BEST PICTURE
ARRIVAL
Shawn Levy, Dan Levine, Aaron Ryder and David Linde, Producers
FENCES
Scott Rudin, Denzel Washington and Todd Black, Producers
HACKSAW RIDGE
Bill Mechanic and David Permut, Producers
HELL OR HIGH WATER
Carla Hacken and Julie Yorn, Producers
HIDDEN FIGURES
Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, Producers
LA LA LAND
Fred Berger, Jordan Horowitz and Marc Platt, Producers
LION
Emile Sherman, Iain Canning and Angie Fielder, Producers
MANCHESTER BY THE SEA
Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck and Kevin J. Walsh, Producers
MOONLIGHT
Adele Romanski, Dede Gardner and Jeremy Kleiner, Producers

ANIMATED FEATURE FILM
KUBO AND THE TWO STRINGS
Travis Knight and Arianne Sutner
MOANA
John Musker, Ron Clements and Osnat Shurer
MY LIFE AS A ZUCCHINI
Claude Barras and Max Karli
THE RED TURTLE
Michael Dudok de Wit and Toshio Suzuki
ZOOTOPIA
Byron Howard, Rich Moore and Clark Spencer

CINEMATOGRAPHY
ARRIVAL
Bradford Young
LA LA LAND
Linus Sandgren
LION
Greig Fraser
MOONLIGHT
James Laxton
SILENCE
Rodrigo Prieto

COSTUME DESIGN
ALLIED
Joanna Johnston
FANTASTIC BEASTS AND WHERE TO FIND THEM
Colleen Atwood
FLORENCE FOSTER JENKINS
Consolata Boyle
JACKIE
Madeline Fontaine
LA LA LAND
Mary Zophres

DOCUMENTARY (FEATURE)
FIRE AT SEA
Gianfranco Rosi and Donatella Palermo
I AM NOT YOUR NEGRO
Raoul Peck, Rémi Grellety and Hébert Peck
LIFE, ANIMATED
Roger Ross Williams and Julie Goldman
O.J.: MADE IN AMERICA
Ezra Edelman and Caroline Waterlow
13TH
Ava DuVernay, Spencer Averick and Howard Barish

DOCUMENTARY (SHORT SUBJECT)
EXTREMIS
Dan Krauss
4.1 MILES
Daphne Matziaraki
JOE’S VIOLIN
Kahane Cooperman and Raphaela Neihausen
WATANI: MY HOMELAND
Marcel Mettelsiefen and Stephen Ellis
THE WHITE HELMETS
Orlando von Einsiedel and Joanna Natasegara

FILM EDITING
ARRIVAL
Joe Walker
HACKSAW RIDGE
John Gilbert
HELL OR HIGH WATER
Jake Roberts
LA LA LAND
Tom Cross
MOONLIGHT
Nat Sanders and Joi McMillon

FOREIGN LANGUAGE FILM
LAND OF MINE
Denmark
A MAN CALLED OVE
Sweden
THE SALESMAN
Iran
TANNA
Australia
TONI ERDMANN
Germany

MAKEUP AND HAIRSTYLING
A MAN CALLED OVE
Eva von Bahr and Love Larson
STAR TREK BEYOND
Joel Harlow and Richard Alonzo
SUICIDE SQUAD
Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson

MUSIC (ORIGINAL SCORE)
JACKIE
Mica Levi
LA LA LAND
Justin Hurwitz
LION
Dustin O’Halloran and Hauschka
MOONLIGHT
Nicholas Britell
PASSENGERS
Thomas Newman

MUSIC (ORIGINAL SONG)
AUDITION (THE FOOLS WHO DREAM)
from La La Land; Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul
CAN’T STOP THE FEELING
from Trolls; Music and Lyric by Justin Timberlake, Max Martin and Karl Johan Schuster
CITY OF STARS
from La La Land; Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul
THE EMPTY CHAIR
from Jim: The James Foley Story; Music and Lyric by J. Ralph and Sting
HOW FAR I’LL GO
from Moana; Music and Lyric by Lin-Manuel Miranda

PRODUCTION DESIGN
ARRIVAL
Production Design: Patrice Vermette; Set Decoration: Paul Hotte
FANTASTIC BEASTS AND WHERE TO FIND THEM
Production Design: Stuart Craig; Set Decoration: Anna Pinnock
HAIL, CAESAR!
Production Design: Jess Gonchor; Set Decoration: Nancy Haigh
LA LA LAND
Production Design: David Wasco; Set Decoration: Sandy Reynolds-Wasco
PASSENGERS
Production Design: Guy Hendrix Dyas; Set Decoration: Gene Serdena

SHORT FILM (ANIMATED)
BLIND VAYSHA
Theodore Ushev
BORROWED TIME
Andrew Coats and Lou Hamou-Lhadj
PEAR CIDER AND CIGARETTES
Robert Valley and Cara Speller
PEARL
Patrick Osborne
PIPER
Alan Barillaro and Marc Sondheimer

SHORT FILM (LIVE ACTION)
ENNEMIS INTÉRIEURS
Sélim Azzazi
LA FEMME ET LE TGV
Timo von Gunten and Giacun Caduff
SILENT NIGHTS
Aske Bang and Kim Magnusson
SING
Kristof Deák and Anna Udvardy
TIMECODE
Juanjo Giménez

SOUND EDITING
ARRIVAL
Sylvain Bellemare
DEEPWATER HORIZON
Wylie Stateman and Renée Tondelli
HACKSAW RIDGE
Robert Mackenzie and Andy Wright
LA LA LAND
Ai-Ling Lee and Mildred Iatrou Morgan
SULLY
Alan Robert Murray and Bub Asman

SOUND MIXING
ARRIVAL
Bernard Gariépy Strobl and Claude La Haye
HACKSAW RIDGE
Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace
LA LA LAND
Andy Nelson, Ai-Ling Lee and Steve A. Morrow
ROGUE ONE: A STAR WARS STORY
David Parker, Christopher Scarabosio and Stuart Wilson
13 HOURS: THE SECRET SOLDIERS OF BENGHAZI
Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth

VISUAL EFFECTS
DEEPWATER HORIZON
Craig Hammack, Jason Snell, Jason Billington and Burt Dalton
DOCTOR STRANGE
Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould
THE JUNGLE BOOK
Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon
KUBO AND THE TWO STRINGS
Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff
ROGUE ONE: A STAR WARS STORY
John Knoll, Mohen Leo, Hal Hickel and Neil Corbould

WRITING (ADAPTED SCREENPLAY)
ARRIVAL
Screenplay by Eric Heisserer
FENCES
Screenplay by August Wilson
HIDDEN FIGURES
Screenplay by Allison Schroeder and Theodore Melfi
LION
Screenplay by Luke Davies
MOONLIGHT
Screenplay by Barry Jenkins; Story by Tarell Alvin McCraney

WRITING (ORIGINAL SCREENPLAY)
HELL OR HIGH WATER
Written by Taylor Sheridan
LA LA LAND
Written by Damien Chazelle
THE LOBSTER
Written by Yorgos Lanthimos, Efthimis Filippou
MANCHESTER BY THE SEA
Written by Kenneth Lonergan
20TH CENTURY WOMEN
Written by Mike Mills

Categories
Awards

Congratulations (?!) To Them All!!

Zoolander No. 2, Batman v Superman lead 2017 Razzies nominations

One day before Hollywood honors the best films of 2016 by unveiling the Oscar nominations, the Razzies have revealed its contenders for the year’s worst.

Zoolander No. 2 has the dubious honor of earning the most nominations this time around, with a total of 9 — including Worst Picture, Worst Actor and Worst Director for Ben Stiller, Worst Supporting Actress for Kristen Wiig, and Worst Supporting Actor for both Will Ferrell and Owen Wilson.

Coming in second with eight nominations is Batman v Superman: Dawn of Justice, which also earned a nod for Worst Picture and two nominations in the Worst Actor category, for Henry Cavill’s Man of Steel and Ben Affleck’s Caped Crusader.

Joining those two in the Worst Picture category are Dirty Grandpa, Gods of Egypt, Hillary’s America: The Secret History of the Democratic Party, and Independence Day: Resurgence.

The year had so many bad films, the Razzies said in Monday’s announcement, that it expanded the number of nominees from five to six in each of its nine categories. The winners will be announced on Feb. 25 — the day before the Oscars are handed out.

See below for the full list of this year’s Razzie nominees.

37th Annual Golden Raspberry (RAZZIE®) Award Nominations

WORST PICTURE
Batman v Superman: Dawn of Justice
Dirty Grandpa
Gods of Egypt
Hillary’s America: The Secret History of the Democratic Party
Independence Day: Resurgence
Zoolander No. 2

WORST ACTOR
Ben Affleck / Batman v Superman: Dawn of Justice
Gerard Butler / Gods of Egypt & London Has Fallen
Henry Cavill / Batman v Superman: Dawn of Justice
Robert de Niro / Dirty Grandpa
Dinesh D’Souza [as Himself] / Hillary’s America: The Secret History of the Democratic Party
Ben Stiller / Zoolander No. 2

WORST ACTRESS
Megan Fox / Teenage Mutant Ninja Turtles: Out of the Shadows
Tyler Perry / BOO! A Medea Halloween
Julia Roberts / Mother’s Day
Becky Turner [as Hillary Clinton] / Hillary’s America: The Secret History of the Democratic Party
Naomi Watts / Divergent Series: Allegiant & Shut-In
Shailene Woodley / Divergent Series: Allegiant

WORST SUPPORTING ACTRESS
Julianne Hough / Dirty Grandpa
Kate Hudson / Mother’s Day
Aubrey Plaza / Dirty Grandpa
Jane Seymour / Fifty Shades of Black
Sela Ward / Independence Day: Resurgence
Kristen Wiig / Zoolander No. 2

WORST SUPPORTING ACTOR
Nicolas Cage / Snowden
Johnny Depp / Alice Through the Looking Glass
Will Ferrell / Zoolander No. 2
Jesse Eisenberg / Batman v Superman: Dawn of Justice
Jared Leto / Suicide Squad
Owen Wilson / Zoolander No. 2

WORST SCREEN COMBO
Ben Affleck & His BFF (Baddest Foe Forever) Henry Cavill / Batman v Superman: Dawn of Justice
Any 2 Egyptian Gods or Mortals / Gods of Egypt
Johnny Depp & His Vomitously Vibrant Costume / Alice Through the Looking Glass
The Entire Cast of Once Respected Actors / Collateral Beauty
Tyler Perry & That Same Old Worn Out Wig / BOO! A Medea Halloween
Ben Stiller and His BFF (Barely Funny Friend) Owen Wilson / Zoolander No. 2

WORST DIRECTOR
Dinesh D’Souza and Bruce Schooley / Hillary’s America: The Secret History of the Democratic Party
Roland Emmerich / Independence Day: Resurgence
Tyler Perry / BOO! A Medea Halloween
Alex Proyas / Gods of Egypt
Zack Snyder / Batman v Superman: Dawn of Justice
Ben Stiller / Zoolander No. 2

WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL
Alice Through the Looking Glass
Batman v Superman: Dawn of Justice: Dawn of Justice
Fifty Shades of Black
Independence Day: Resurgence
Teenage Mutant Ninja Turtles: Out of the Shadows
Zoolander No. 2

WORST SCREENPLAY
Batman v Superman: Dawn of Justice
Dirty Grandpa
Gods of Egypt
Hillary’s America: The Secret History of the Democratic Party
Independence Day: Resurgence
Suicide Squad

Categories
Star Wars

Awesome! The Force is strong with this title!!

‘Star Wars: Episode VIII’ Title Revealed

Star Wars: Episode VIII has unveiled its name. The film will be titled Star Wars: The Last Jedi.

The film, directed by Rian Johnson, picks up immediately after the events of 2015’s Star Wars: The Force Awakens, which concluded with Rey (Daisy Ridley) finding Luke Skywalker (Mark Hamill), who had been living in seclusion.

The cast also includes the late Carrie Fisher as Leia, who died Dec. 27. She had completed her work for the film, but had also been scheduled to appear in Episode IX. Lucasfilm has said it has no plans to use a digital re-creation of Carrie Fisher as Leia, as they did in December’s Rogue One: A Star Wars Story.

The Last Jedi also stars Adam Driver, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie and Andy Serkis. They’ll be joined by franchise newcomers Benicio Del Toro, Laura Dern and Kelly Marie Tran.

Now that there’s a title, the next question on everyone’s minds: when is the trailer coming?

Star Wars: The Last Jedi is set to hit theaters Dec. 15.

Categories
Movies

I expect to see SPLIT on Tuesday. Saw THE FOUNDER and JACKIE on Friday. Both had great leads but neither film was great.

Box office report: Split surprises with a $40.2 million opening weekend

M. Night Shyamalan is in the midst of a massive big-screen resurgence.

Following the unexpected success of his 2015 thriller The Visit, Shyamalan, once touted as the next Steven Spielberg, has again bounced back from a downward trajectory — which saw poor critical reviews and diminishing box office returns for films like Lady in the Water, The Happening, and After Earth — as his James McAvoy thriller Split gives the writer-director one of the best opening weekends among his 19-year filmography.

At 3,038 theaters, Split premieres to a solid B+ grade on CinemaScore and an astounding $40.2 million in ticket sales — more than the debut grosses of The Sixth Sense ($26.7 million) and Unbreakable ($30.3 million). The film opened Friday in 20 international markets, which stacked an additional $5.8 million on top of the film’s North American earnings for a global tally of $46 million with a further 44 territories on deck in the coming months.

At a distant second on the domestic chart is Vin Diesel’s xXx: Return of Xander Cage, which makes a decent $20 million over its first three days some 15 years after the series’ first installment. Diesel, who’s since evolved into a minted genre staple, took a risk in returning to the xXx action franchise he launched in 2002, as the film’s Ice Cube-fronted sequel, subtitled State of the Union, flopped with $26.8 million in 2005. Return of Xander Cage struck a chord with its target audience as well, scoring an A- from polled moviegoers, according to CinemaScore.

While it missed the top spot in the U.S., Return of Xander Cage is the No. 1 film at the worldwide box office after earning $50.5 million overseas. The flick climbed to the top of 32 international charts, including Russia, France, Germany, and Mexico. It opens in Korea, China, and Japan in the weeks ahead.

Fox’s Hidden Figures continues riding the word-of-mouth wave, finishing its third weekend in wide release at No. 3 with an estimated $16.3 million. The ensemble drama, about three black NASA mathematicians who made substantial contributions to the U.S. space program amid the era of racial segregation, has earned a glowing $84.2 million thus far and is pacing to easily clear the $100 million mark by the end of its theatrical run.

Rounding out the top five are Illumination and Universal’s animated family musical Sing — spending its fifth straight week in the top four — and the current best picture frontrunner La La Land, which adds an estimated $8.4 million to its ballooning total two days before it’s set to earn double-digit Oscar nominations.

Also debuting inside the top 10 this weekend is the Ray Kroc biopic The Founder, starring Michael Keaton as the infamous businessman behind the rapid expansion of the McDonald’s empire. After an Oscar-qualifying limited bow in December, the Weinstein Co. pushed the film to 1,115 theaters Friday, from which it was expected to post a modest number in the $2-3 million range. Early forecasts peg the film for a healthy take in the $3.8 million range, a number the distributor says it’s pleased with.

“We feel very strong with the gross and we can see the word of mouth and have hopes that with [an Oscar] nomination for Michael on Tuesday, it will further the audience for the movie,” David Glasser, TWC’s COO and President, said in a statement provided to EW.

Outside the top 10, niche crowds drove The Resurrection of Gavin Stone to an estimated $1.4 million haul at 887 locations (chosen for their track record of hosting a steady stream of faith-based audiences), well below the $3 million expectation initially projected by distributor BH Tilt, a BlumHouse releasing label which exclusively markets genre films to target audiences.

Elsewhere, Studio Ghibli’s festival favorite The Red Turtle, which debuted at Cannes last May, bags a so-so $21,811 from three theaters, averaging $7,270 — the second-highest average of the week’s new releases.

According to comScore, which tracks weekly studio grosses, year to date box office is down roughly four percent from the same frame in 2016. Check out the Jan. 20-22 weekend estimates below.

1. Split – $40.2 million
2. xXx: Return of Xander Cage – $20 million
3. Hidden Figures – $16.3 million
4. Sing – $9 million
5. La La Land – $8.4 million
6. Rogue One: A Star Wars Story – $7 million
7. Monster Trucks – $7 million
8. Patriots Day – $6 million
9. The Founder – $3.8 million
10. Sleepless – $3.7 million

Categories
Bruuuuuuuuce!!

Good luck America and to all Americans!!

Bruce Springsteen pays tribute to the Women’s March: ‘We are the new American resistance’

Bruce Springsteen’s ongoing tour prevented him from joining the Women’s Marches in the United States, but the Boss took a minute out of his Australia show Sunday to recognize the thousands who did attend the protests.

“We’re a long way from home, and our hearts and spirits are with the hundreds of thousands of men and women that marched yesterday in every city in America — and in Melbourne!” Springsteen said to the crowd, according to a video clip posted on his official Twitter account.

An estimated 500,000 people participated in the Women’s March on Washington Saturday, the day after President Donald Trump’s inauguration. Many other cities across the country — and the world — also hosted sister protests.

“[They] rallied against hate and division and in support of tolerance, inclusion, reproductive rights, civil rights, racial justice, LGBTQ rights, the environment, wage equality, gender equality, healthcare, and immigrant rights,” he continued. “We stand with you. We are the new American resistance.”

Springsteen has previously been outspoken about his opposition to Trump’s presidency. On a recent episode of Marc Maron’s WTF podcast, he talked about his fears — “It’s as simple as the fear of, is someone simply competent enough to do this particular job?” he said — and also offered some hope.

“America is still America,” the “Born in the U.S.A.” singer concluded. “I still believe in its ideals, and I’m going to do my best to play my very, very small part in maintaining those things.”