DOUBT

Written and Directed by John Patrick Shanley
Starring Meryl Streep, Philip Seymour Hoffman and Amy Adams


Father Flynn: What do you mean you’re not sure?

There is no doubt in my mind that John Patrick Shanley is a brilliant writer. His Pulitzer Prize winning play, DOUBT, also went on to win the Tony for Best Play and has now spawned a big screen adaptation starring three of Hollywood’s most gifted stars. Getting the man who created the characters and who buried such profound dilemmas deep within his words to bring his own play to life on screen must have seemed like a scenario only the angels could have arranged for in heaven. Sadly, the results are more purgatorial than heavenly. Shanley’s unique understanding of the material is evident in every impeccable performance given but his lack of experience as a filmmaker (his only previous experience directing was in 1990 with JOE VERSUS THE VOLCANO) ultimately leaves the film feeling flatter than one would hope, especially when the material calls for a hellishly passionate fire.
Still, given the gravity of the subject matter and the manner in which the cast delivers it, I doubt anyone will care.


The reality is that Shanley’s inexperience only stops a good film from being great. The genius of the script itself is not only engaging but challenging and provocative. Just as the day begins with mass for so many, especially more so in 1964, so should a film that questions the very foundation of religious belief – faith. As the young alter boys prepare to assist with the serving of mass, one may wonder why any boys are still allowed to become alter boys. The image itself is now almost intrinsically linked to pedophilia and abuse. Still, boys continue to volunteer because they have faith and they are looking for a way to express it. Once the parishioners have taken their seats, they hear a sermon that casts doubt over the decency of the decisions they make on a daily basis. It is ironic really, considering they go this very same place to alleviate these doubts. It is this constant duality and questioning that makes DOUBT so meaningful and faith so fragile.


At the St. Nicholas Church School in New York City’s Bronx neighborhood, the young students don’t have room for doubt in their lives. Doubt doesn’t fit in a world ruled by structure and regulation. This is especially true when breaking the rules means having to face the most frightening nun I have ever seen, Sister Aloysius (Meryl Streep). One ordinarily might think that people who choose to serve God, or for whom God has chosen a life of servitude, must have a heartfelt devotion to their creator, matched only by their appreciation for the beautiful He created. Streep’s Aloysius though seems to solely be on guard for the devil and it is her certainty that drives her to fish it out in Father Flynn (Philip Seymour Hoffman). Having nothing to go on but the loosely drawn conclusions of a fellow nun (Amy Adams), her accusation that Father Flynn may have acted inappropriately with a young alter boy is all she needs to create doubt.


We are apparently all too quick to assume the worse but Shanley’s script is far too knowing to wholly confirm or deny the truth. This is the trouble with doubt; unless confirmed, it will never be anything more than a plaguing suspicion. And while you need no proof to believe in God, you need just as little to believe in the devil. This is the genius of DOUBT; Shanley’s parable, for all its intense and transformative drama, can be broken down to a simple flip of a coin, where heads is faith and tails is doubt.

A few of Black Sheep's Favorite Things

Thus far, this has proven to be a fairly interesting holiday season. I’m not sure how many of you find yourselves in the same boat as me but I don’t have any time to shop this year, let alone think of what to buy people. Then of course, there is the small matter of being able to afford said gifts but hey, it’s the holidays; that’s what credit was created for. Seeing as how it would be best to be modest this season, stocking stuffers are the way to go Do you know fits perfectly in your average sized stocking? A blu-ray disc! They are even smaller than DVD’s and they carry more information than a DVD but yet are somehow no heavier. Funny that. Here are a few perfect disc suggestions for that perfect someone …

We all have one of them in our family. It’s that little cousin that used to walk around with a “Trust No One” T-shirt and had an “I Want to Believe” poster tacked above his bed during the majority of the ‘90’s. In my family, that guy is me and I was big X-Phile (that’s what we’re called) back in the day. Last Christmas, one of my best friends bought me the first three seasons and I practically watched the entire series before the second feature film THE X-FILES: I WANT TO BELIEVE was released in theatres last summer. Now, I was among the many that blasted the film upon its release but then I watched it again on blu-ray and I realized what was missing – me in my sweats lounging on my couch. The X-Files belongs on the small screen and it has been released in time for the holidays, packaged alongside the new to blu-ray, THE X-FILES: FIGHT THE FUTURE. Both films are packed with the kinds of extras only true X-Philes will appreciate. Geek it up, yo!

Speaking of television, I am a HUGE fan of TV on DVD. There are no commercials, no waiting until next week to see what happens and I can run to the kitchen for more holiday treats as often as I darn well want. My favorite television discovery this year has got to be NBC’s 30ROCK. This is Tina Fey’s crowning achievement. As creator of the show, head writer and star, she has finally found a vehicle to culminate all of her talents and she does so with very little ego. This stylish show centers around the stars and staff of a “Saturday Night Live” type show and features brilliantly hilarious ensemble cast, including Alec Baldwin and Tracy Morgan (who is not the least bit annoying so be not afraid). Fey anchors the show as Liz Lemon, a woman in her 30’s whose career is her life. Her constant struggle between the importance of her career and her ever distant personal life makes her the perfect modern woman and her back and forth with Baldwin is priceless. Pick up the first two seasons now and let the laughter carry you through the new year.

If laughter isn’t what you’re looking for, I have just the thing. I’m sure you all have an artsy friend who would have already scoffed at the suggestions I’ve made here. Well, this next film was just re-released in 8K Ultradigital High Definition. I don’t know what that means exactly but I can tell you it looks amazing. BARAKA is both beautiful and breathtaking. It was shot in 24 countries and is a genuinely moving experience to behold. Now that is has been restored, it is even more magnificent. It is 97 minutes of nothing but imagery, music, humanity and nature. It draws you in, shows you the wonders of our world and humbles you right before it shows you how we are teetering so closely to losing it all. Clearly, this isn’t for all and requires a certain amount of patience to be appreciated but photography lovers will love you even more if you get this for them.

I cannot say enough about this last suggestion and I assure you, I’ve said plenty about it already. There is something altogether magical about this film. Every time I’ve seen it, and yes, I’ve seen it a number of times now, I see something new or I have a deeper appreciation for the craft that created it. I am speaking about WALL-E. Pixar’s pinnacle of perfection is unabashedly romantic and an altogether unique experience. WALL-E himself will enchant you within minutes and you will be able to enjoy his antics with the entire family. In addition to this, the values your kids will take from this film will make them better people so get them watching young! The 3-disc blu-ray edition contains a digital copy, the feature itself and plenty of games for the kids. There are also two shorts, two commentaries and extensive background footage to satisfy all the big kids out there too.
And for the true WALL-E fanatics (Mom, are you paying attention?), you can add the Pixar book, “The Art of WALL-E”, as the perfect companion piece under the tree.

Now that you have stuffed everyone’s stockings with great movies and TV on DVD, you’ll need something to play these blu-ray discs on. Might I suggest the Playstation 3. Not only will it look great in your living room but it only costs a fraction more than straight blu-ray players and it does a ton more. Your DVD’s will look better on the Playstation 3; your new blu-ray’s will be right at home; and you can play games too. Santa can’t go wrong with this one. Besides, you’ll be able to enjoy this gift too and don’t you deserve a little something after all that hard shopping?

Happy Holidays … and shop responsibly.

WEEKEND BOX OFFICE: The Day the Box Office Stood Still

Aliens may have descended upon the box office this weekend but it was the art house and wards contenders that brought on the major invasion. Of the three wide releases this weekend, THE DAY THE EARTH STOOD STILL is the only entry that hit the ball into outer space. Meanwhile, three smaller shining stars expanded their runs into bigger galaxies to stellar results and five brand new limited releases shone brighter than most of the big boys.


Opening THE DAY THE EARTH STOOD STILL, a sci-fi remake, in the middle of December reminds me of last year when I AM LEGEND was released. I’m sure the good people at Fox were hoping for somewhere near the $70 million that I AM LEGEND opened too but Keanu Reeves is not Will Smith. Oh, and THE DAY THE EARTH STOOD STILL is certainly not I AM LEGEND. And while $31 million is more than half as much, the film still opened to another $39 million internationally this weekend, putting it just $10 million away from it’s reported $80 million budget. Granted, these preliminary figures have not taken into account grosses from space, where Fox beamed the movie this past weekend as the first film in history to be beamed in its entirety to another solar system. (No, I’m not making this up). Of course, it will take about 4 billion light years to get these figures back so we’ll just stick with earth grosses for now.


Calling the next entry notable is a bit of a stretch but it’s a mega smash when you compare it to the third wide release. NOTHING LIKE THE HOLIDAYS could not draw audiences away from FOUR CHRISTMASES (which saw a scant 20%) and opened to a very mild $3.5 million. Meanwhile, Freestyle Releasing’s animated DELGO, opened to a per screen average of just $424 on over 2100 screens. DELGO’s biggest competitor, BOLT, held nicely in fourth place with a 23% decline.


Where do we start with all these amazing art house performances? How about we start the holdovers? I would ordinarily go with the new but art house hits can hit hard one weekend and disappear the next so strong holds and growth are always a testament to the strength of the film. Despite only scoring one Golden Globe nomination for its lead, Sean Penn, MILK jumped back into the Top 10 in its third week. Its aggressive expansion of 229 additional screens proved successful as the film managed the second highest per screen average in the Top 10. Meanwhile, just below the Top 10, as is always seemingly the case for this entry, SLUMDOG MILLIONAIRE, Golden Globe nominee for Best Picture (drama), added 91 screens and brought in another per screen in the teens this weekend, settling again for the number 11 position. And finally, FROST/NIXON, added 36 key markets and saw its gross rise almost 250%. Nothing frosty about that! (Ugh.)


As the December 31 deadline for Oscar contention draws near, the prestige pictures are being unloaded in droves. The good news is that they all seem to be finding their own audiences. The most impressive showing this week goes to Clint Eastwood’s GRAN TURINO. Opening on 6 screens, the film nailed a $47K per screen average. Next on the list is the screen adaptation of the Pulitzer Prize winning play, DOUBT. DOUBT earned an average of $35K on 15 screens. Steven Soderbergh’s four-hour epic, CHE, is playing in New York and L.A. just this week to attempt sneaking Benicio del Toro into the Best Actor race. On 2 screens, the film average just over $30K. Best Picture contender, THE READER, from Stephen Daldry, premiered on 9 screens this weekend to an average of $21K. And last but not least, WENDY & LUCY, starring Michelle Williams in a very stark performance, opened to an average of nearly $11K on just 2 screens. As previously mentioned, the true test will come when the expansion follows.


NEXT WEEK: With only one week to go before the big holiday, studios will cram more big names on to your wish list while they still can. Will Smith goes dark and hopes for gold with SEVEN POUNDS. He’ll have a lot of competition with Jim Carrey’s YES MAN though. I have a feeling people might opt for a positing Jim Carrey over a morose Will Smith. Or maybe both will be sent home by a little mouse that isn’t afraid of anything, THE TALE OF DESPEREAUX. Meanwhile, Darren Aronofsky’s much buzzed about THE WRESTLER, opens on four screens before expanding in the new year.

THE DAY THE EARTH STOOD STILL

FANDANGO (for more information & tickets)

Written by David Scarpa
Directed by Scott Derrickson
Starring Keanu Reeves, Jennifer Connelly, Jaden Smith and Kathy Bates


Secretary of State: I represent the United States of America. Why have you come to our planet?
Klaatu: Your planet?

I don’t know about the earth standing still but I certainly had a hard time moving after this one finished. I think I may have been in shock. I didn’t know they still made movies as bad as this. That’s me, I guess; the eternal optimist, thinking one day Hollywood will see the error of their ways. I’m starting to think there’s a greater chance of aliens landing in Manhattan though. You don’t take a highly regarded classic like THE DAY THE EARTH STOOD STILL and update it for no reason other than to make a few bucks. Sure, you can pretend there is purpose; you can cash in on the current environmental crisis fears by insinuating that aliens have come to earth to save the planet from the horrifically unappreciative human race. When you make a film with such disregard for quality though, you can’t do anything to convince me that you actually care about what you’re trying to say.


I will give Hollywood this though; they have finally found the perfect vehicle for the now-veteran Hollywood actor, Keanu Reeves. Reeves plays Klaatu, an alien in human form who has no capacity of expressing human emotion or understanding the intricacies of human nature and interaction. It might as well say that at the top of Reeves’s resume so this is Reeves in his element. Honestly though, this is the first time I can say that Reeves’s presence in a film has absolutely nothing to do with why it is unwatchable. You know you have a problem when dialogue is so bad that it even drags Reeves’s acting down. In fact, having the familiar Reeves on board for this uneventful journey, alongside the strikingly beautiful, Jennifer Connelly, at least gives us something pretty to distract us from the banality of the entire affair. Klaatu certainly rocks that three-piece suit though.


The earth is supposed to stand still on this particular day because aliens have descended upon Central Park in a giant weather sphere of sorts. It is a momentous occasion, one that could be the sign of the end of days. Yet, in THE DAY THE EARTH STOOD STILL, panic hardly seems to be in the air. Panic comes from a fear of the unknown and an inability to see a solution to your problems but David Scarpa’s script is so painstakingly obvious and formulaic that you can see right through to the end at all times. I hope I’m not giving anything away here but as if this film would finish with humanity’s extinction. And when the devices used to create the melodrama are so laughably contrived (who knew that a white step mom and a black step son could have such hard times getting along?), at least you have the special effects to revel in. Mind you, when the special effects are even more ridiculous than the ensuing melodrama in a big sci-fi pic like this, what is there to keep you sitting still, let along standing?


You’ll never believe this but humanity, or at least the American government run portion of humanity, take immediate military action against the alien invaders before giving them the chance to make their case. This next bit is even more shocking. Apparently, violence is not the answer to solving our problems. I swear, I learned so many hard life lessons watching this movie. Perhaps the most important lesson though is that humanity will never learn. THE DAY THE EARTH STOOD STILL represents the same disposable and commercial interests that are the root of our environmental problems. Yet, here is it preaching against the very values that justify its existence. For that reason alone, I would consider this film to be one of the most hopeless (and hapless) films of the year. We’re essentially doomed so I say you can take it, Klaatu. Earth is all yours. We clearly don’t deserve it.

SERAPHINE: An interview with director, Martin Provost

French painter, Seraphine de Senlis, did not know much success while she was alive from 1864 to 1942. She would spend her days cleaning houses for very little money that would always sooner be spent on art supplies instead of food. She would paint in what is known as the naïve style, which essentially mirrored her childlike demeanor. She was a simple woman with simple needs and is now the subject of a complex film by director, Martin Provost, called simply, SERAPHINE.

Provost had originally heard of Seraphine through a colleague who thought her story would intrigue him. Her story did but her work, at first, did not. It was not until he saw her work in person that he understood the connection between the paintings and the painter. “It is a real paradox,” Provost told me when we met at the Toronto International Film Festival, where SERAPHINE was seen by North American audiences for the first time. “Her work would not ordinarily interest me but when I sat alone in a room with them, something happened to me. I could feel the person behind the paintings.” She would inspire him to be as dedicated to his work as she was to hers.


Given her mental health issues, Seraphine was an inherently marginalized voice. It is fitting then that she would be discovered by a similarly marginalized voice, that of homosexual art collector, Willhelm Uhde. She is drawn to him while he is drawn to her work. Their relationship, as portrayed in the film, is unique; a strong, passionate kinship grows between them but it is not one that could ever go the direction it feels it naturally should. “I constructed the screenplay as though they had a romantic relationship when clearly, it was not one of love or sexuality,” Provost describes. The delicacy of their relationship’s balance is achieved by striking and stark performances from leads, Yolande Moreau and Ulrich Tukor.

SERAPHINE has an unexpected universal appeal. This is a woman who slaved for days to make pennies in order to support her art, her passion. The artist’s plight, the true artist’s plight that is, no matter how clichéd it might be even today, is placing priority and emphasis on the work above all else. “We may be in a period of abundance but the essential is missing,” says Provost of our increasingly art-less world. Perhaps Seraphine’s more naïve approach is what this world now desperately needs.

Tis the Season: The Golden Globes

Do you remember last year, when the writers were on strike and the Golden Globe people decided to forego their usual drunken awards ceremony for a subdued press conference style announcement of the winners? No? Well, that's understandable. Nobody watched. Suddenly, the supposed biggest influence on the Oscars was barely noticed. The Hollywood Foreign Press Association is hoping to shine this year, whcih might reasonably explain their big, safe choices for nominations.

Five films tied for the most nominations this year. They are THE CURIOUS CASE OF BENJAMIN BUTTON, DOUBT and FROST/NIXON. Only two of these films will viy for Best Motion Picture (drama) as DOUBT sits out that race. Filling out that category are SLUMDOG MILLIONAIRE, THE READER and REVOLUTIONARY ROAD. The latter should consider itself quite happy as it comes up with subsequent nominations for both its leads, Kate Winslet and Leonardo DiCaprio, as well as the director, Sam Mendes. Its representation during awards season has been scattered at best so scoring these significant Globe nods will definitely help on its road. THE DARK KNIGHT however just suffered a major defeat. As the Globes are generally considered the most mainstream awards ceremony, it does not bode well for the biggest hit of the year to come up short, save for Heath Ledger's nom for Supporting Actor. Christopher Nolan's chance of earning a much deserved director nomination at the Oscar's just got slimmer too. Meanwhile, MILK, which had been performing very well so far this season, musterd only one nomination, for Sean Penn's performance. No screenplay, no picture, no director ... disappointing for sure. VICKY CRISTINA BARCELONA continues to shine as well, earning nominations for three out of the four principal cast members as well as a nomination in the Motion Picture (comedy/musical) category. Sure, only Penelope Cruz is a seriously viable Oscar contender but the support certainly helps her case. Oh, and here's my favorite part. Tom Cruise has been nominated for his turn as an egomaniacal Hollywood producer in TROPIC THUNDER. Funny? Yes. Worth nominating and subsequently missing out on giving the nomination to a long list of more deserving people? Please.

Here are the nominees in the major film categories:

MOTION PICTURE (DRAMA)
THE CURIOUS CASE OF BENJAMIN BUTTON
FROST/NIXON
THE READER
REVOLUTIONARY ROAD
SLUMDOG MILLIONAIRE

MOTION PICTURE (COMEDY)
BURN AFTER READING
HAPPY-GO-LUCKY
IN BRUGES
MAMMA MIA!
VICKY CRISTINA BARCELONA

ACTOR - DRAMA
Leonardo DiCaprio, "Revolutionary Road"
Frank Langella, "Frost/Nixon"
Sean Penn, "Milk"
Brad Pitt, "The Curious Case of Benjamin Button"
Mickey Rourke, "The Wrestler"

ACTRESS - DRAMA
Anne Hathaway, "Rachel Getting Married"
Angelina Jolie, "Changeling"
Meryl Streep, "Doubt"
Kristen Scott Thomas, "I've Loved You So Long"
Kate Winslet, "Revolutionary Road"

ACTOR - COMEDY OR MUSICAL
Javier Bardem, "Vicky Cristina Barcelona"
Colin Farrell, "In Bruges"
James Franco, "Pineapple Express"
Drendan Gleeson, "In Bruges"
Dustin Hoffman, "Last Chance Harvey"

ACTRESS - COMEDY OR MUSICAL
Rebecca Hall, "Vicky Cristina Barcelona"
Sally Hawkins, "Happy-Go-Lucky"
Frances McDormand, "Burn After Reading"
Meryl Streep, "Mamma Mia!"
Emma Thompson, "Last Chance Harvey"

SUPPORTING ACTOR
Tom Cruise, "Tropic Thunder"
Robert Downey Jr., "Tropic Thunder"
Ralph Fiennes, "The Duchess"
Philip Seymour Hoffman, "Doubt"
Heath Ledger, "The Dark Knight"

SUPPORTING ACTRESS
Amy Adams, "Doubt"
Penelope Cruz, "Vicky Cristina Barcelona"
Viola Davis, "Doubt"
Marisa Tomei, "The Wrestler"
Kate Winslet, "The Reader"

DIRECTOR
Danny Boyle, "Slumdog Millionaire"
Stephen Daldry, "The Reader"
David Fincher, "The Curious Case of Benjamin Button"
Ron Howard, "Frost/Nixon"
Sam Mendes, "Revolutionary Road"

SCREENPLAY
SLUMDOG MILLIONAIRE
THE READER
FROST/NIXON
THE CURIOUS CASE OF BENJAMIN BUTTON
DOUBT

ANIMATED FEATURE
BOLT
KUNG FU PANDA
WALL-E

The Golden Globe awards will air on January 11, 2009 ... that is if the Screen Actor's Guild doesn't go on strike first.

FROST/NIXON

FANDANGO (for more information & tickets)

Written by Peter Morgan
Directed by Ron Howard
Starring Frank Langella, Michael Sheen, Kevin Bacon and Sam Rockwell


Richard Nixon: You have no idea how fortunate you are – liking people, being liked.

The world does not always see the American people is a flattering light. They may be too distracted at times, allowing for their governments to do whatever they want while they aren’t looking but one thing is for certain, they don’t like being lied to. Be forewarned all future American presidents, if you’re going to lie, don’t get caught doing so. Former President, Richard Nixon, will forever be remembered for his lies but will always be despised for his inability to admit his guilt in the Watergate scandals or apologize for his betrayal of the people’s trust. Ron Howard’s film adaptation of the Tony winning stage play, FROST/NIXON does nothing to exonerate Nixon but rather puts forth the importance and necessity for remorse and forgiveness. In doing so, he has crafted his most cerebral film without overcomplicating the issues and more importantly, his film will serve as a challenge to the American people to demand the respect they deserve from their elected officials.


FROST/NIXON is not just about the bigger issues but also the people directly involved. David Frost (Michael Sheen) is a struggling, British television personality. He has tried his hand at American success and failed but sees securing the first television interview with Richard Nixon after he shamefully left office as his ticket. Anyone, of course, would but Nixon (Frank Langella) wasn’t making anything easy. He wanted an exorbitant amount of money for the interview and Frost was having extreme difficulty finding financing backers and advertisers because people did not believe he could pull off what was necessary in order for the interview to be considered a success. Nixon, on the other hand, needed Frost to serve as a bridge to the people, to remind them of his humanity and regain their trust through simply being himself. They each had much at stake and they each had teams of people in their corners making sure their best interest were being served at all times. Somewhere beneath all smoke and mirrors was the truth of it all, just hoping to make itself known.


Langella and Sheen are the perfect team. They play off each other with great respect, both in their character and as actors who originated these roles on Broadway when the play first began. In fact, Howard refused to adapt the film if it meant doing it with other actors in the parts. Langella won the Tony for his stage performance and his Nixon is bold, determined, naïve while still commanding and at the most vulnerable of moments, he is frightened that he can never go back. His part is naturally more showy but that does not mean there is nothing left for Sheen to work with. His Frost is nervous, ambitious and also just as naïve and frightened as his counterpart. Watching the two of them face off in interview is engaging and suspenseful as you wait impatiently for one to make a mistake. Documenting an interview runs the risk of being fairly static but Howard’s direction ensures that there is movement and momentum even when the two are just sitting across from each other. In fact, despite the palpable tension he creates on screen, Howard seems more relaxed than I’m accustomed to him being.


While Howard helms with a comfortable control, it is Peter Morgan’s adaptation of his own stage play that serves as the film’s true substance. He succeeds again, as he did with THE QUEEN, in bridging the gap between the public and the intensely private, only this time the castle gates that separated the people from their Queen have been replaced by another barrier, television. FROST/NIXON takes the notion of spin and slows it down until it becomes perspective, allowing for the distance between a president and the people to be narrowed as much as is possible.. And while the close-up can be terribly unforgiving, it is also the one shot we’re all waiting for in order to attain the understanding needed in order to heal.

Tis the Season: Broadcast Film Critics Association

According to their website, the Broadcast Film Critics Association is the largest of its kind in the U.S.A. and Canada. It consists of 199 critics who contribute regularly to television, radio and the internet. I always thought they were exclusively TV and radio but now that I know better, I think I'll be applying for membership as soon as I'm done with this post. Regardless of whether they want me or not, the BFCA are good people with equally good taste. The association issues a list of nominees now and follow up with winners in each category on the 8th of January. They call it the Critic's Choice Awards. Leading the nominations this year are Gus Van Sant's MILK and David Fincher's THE CURIOUS CASE OF BENJAMIN BUTTON. Each took in eight nominations, including nods in the Best Picture category and the director category, as well as the Best Actor category, where Brad Pitt finally sees some love with Sean Penn continues to soak it up. MILK seems to be a solid performer thus far and BENJAMIN BUTTON is gaining momentum it lost before things even got started. Next up, tied with six nominations a piece were THE DARK KNIGHT, SLUMDOG MILLIONAIRE and DOUBT (which I am very excited to be seeing tomorrow). FROZEN RIVER's Melissa Leo continues her surprising journey toward potential Oscar gold while yet another obscure title sees some unexpected love. NOTHING BUT THE TRUTH. from director Rod Lurie, earned some love for actresses, Kate Beckinsale and Vera Farmiga. Finally, a new category was added this year that will definitely have no bearing on the Oscars, Best Action Movie. We all know how much the Oscars love action movies ... as long as they know their place and keep to the sound and special effects categories.

Here are the nominees in the major categories.

BEST PICTURE
CHANGELING
THE CURIOUS CASE OF BENJAMIN BUTTON
THE DARK KNIGHT
DOUBT
FROST/NIXON
MILK
THE READER
SLUMDOG MILLIONAIRE
WALL-E
THE WRESTLER

BEST ACTOR
Clint Eastwood, "Gran Turino"
Richard Jenkins, "The Visitor"
Frank Langella, "Frost/Nixon"
Sean Penn, "Milk"
Brad Pitt, "The Curious Case of Benjamin Button"
Mickey Rourke, "The Wrestler"

BEST ACTRESS
Kate Beckinsale, "Nothing but the Truth"
Cate Blanchett, "The Curious Case of Benjamin Button"
Anne Hathaway, "Rachel Getting Married"
Angelina Jolie, "Changeling"
Melissa Leo, "Frozen River"
Meryl Streep, "Doubt"

BEST SUPPORTING ACTOR
Josh Brolin, "Milk"
Robert Downey Jr., "Tropic Thunder"
Philip Seymour Hoffman, "Doubt"
Heath Ledger, "The Dark Knight"
James Franco, "Milk"

BEST SUPPORTING ACTRESS
Penelope Cruz, "Vicky Cristina Barcelona"
Viola Davis, "Doubt"
Vera Farmiga, "Nothing but the Truth"
Taraji P. Henson, "The Curious Case of Benjamin Button"
Marisa Tomei, "The Wrestler"
Kate Winslet, "The Reader"

DIRECTOR
Danny Boyle, "Slumdog Millionaire"
David Fincher, "The Curious Case of Benjamin Button"
Ron Howard, "Frost/Nixon"
Christopher Nolan, "The Dark Knight"
Gus Van Sant, "Milk"

SCREENPLAY
SLUMDOG MILLIONAIRE
MILK
FROST/NIXON
THE CURIOUS CASE OF BENJAMIN BUTTON
DOUBT

ANIMATED FEATURE
BOLT
KUNG FU PANDA
MADAGASCAR: ESCAPE 2 AFRICA
WALL-E
WALTZ WITH BASHIR

ACTION MOVIE
THE DARK KNIGHT
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
IRON MAN
QUANTUM OF SOLACE
WANTED

COMEDY
BURN AFTER READING
FORGETTING SARAH MARSHALL
ROLE MODELS
TROPIC THUNDER
VICKY CRISTINA BARCELONA

You gotta love a category where the Coen Brothers and Woody Allen end nominated alongside a movie where a guy flops his penis around on screen countless times (that's you, Sarah Marshall!). For a full list of nominess, visit the Broadcast Film Critic Association website.

WEEKEND BOX OFFICE: Leftover's Anyone?

Typically, the weekend after Thanksgiving is not a busy one at the box office. This year proved to be no exception to that rule. The only major wide release was almost completely ignored and the rest of the Top 10 dropped off on average by 56%. I guess everyone is still full after last weekend.


If they are full, it is of Christmas cheer. Sorry, cheesiness is unavoidable when it comes to the holidays. I’m sure its likely fairly avoidable in FOUR CHRISTMASES as well. The Vince Vaughan/Reese Witherspoon holiday comedy has earned over $70 million in 12 days and had one of the strongest holds in the Top 10. The film will certainly see strong holds as the happy day grows nearer. As for the rest of the holdovers, it was a matter of watching to see who would fall off the most. The biggest losers were BOLT, QUANTUM OF SOLACE and MADAGASCAR 2, all dropping off over 60%. Meanwhile, AUSTRALIA held the fourth narrowest decline overall but 52% is probably still a great deal lower than Fox had hoped for. So far, AUSTRALIA has made $30 million domestically. That’s only about $100 million off from the production cost. G’day, mate!


The Top 10 saw two debuts this week. One was a modest success and one was an embarrassment. PUNISHER: WAR ZONE pulled in one third of what its 2004 predecessor, THE PUNISHER. No other new title came close to 2500 screen count and yet, right below it on the chart, a title playing in three times less screens, made nearly as much coin. CADILLAC RECORDS, a film that is more likely to earn Golden Globe nominations rather than Oscars, stars Adrian Brody and Beyonce Knowles as the legendary Etta James. The film finished with the second highest average in the Top 10 but with the onslaught of more prestigious prestige pictures coming in the weeks ahead, the music will fade pretty quick.


As per usual, all the art house love happened below the Top 10. With awards season now in full swing, limited runs will be the hottest tickets around as they test the waters in different markets in hopes of a healthy expansion. Two titles with no such worries thus far are National Board of Review winner for Best Picture, SLUMDOG MILLIONAIRE and six-time Satellite Award nominee, MILK. The two have certainly started strong and each earned on average around $18K per screen. These numbers are incredibly high for holdover art titles. They aren’t the only game in town though. Opening on just three screens in New York, L.A. and Toronto this weekend was Ron Howard’s FROST/NIXON. The film took in the second highest per screen average of the year with $60K. It too has received some very promising early award nods and Frank Langella’s performance is sure to drive more audiences to see the successful stage translation in the weeks to come.

NEXT WEEK: The art house gets crowded with Stephen Daldry’s THE READER, WENDY AND LUCY, starring Michelle Williams in a much buzzed about performance, Clint Eastwood’s grumpy old man movie, GRAN TURINO and another stage translation, DOUBT. On the heavier side of the scale, Keanu Reeves and Jennifer Connelly attempt to toy with sci-fi gold with the remake of THE DAY THE EARTH STOOD STILL.

MILK

Written by Dustin Lance Black
Directed by Gus Van Sant
Starring Sean Penn, James Franco, Emile Hirsch, Diego Luna and Josh Brolin


Harvey Milk: How do you teach homosexuality? Is it like French?

It was difficult for me to stand up after seeing Gus Van Sant’s masterful MILK. The lights had already come on so my puffy eyes could be hid no longer but I had forgotten how to move. I was too engulfed with sadness and dismay. All I could think about was how far we think we’ve come as a supposed progressive people. Harvey Milk, the man whose story Van Sant is telling, was elected into public office in the late ‘70’s in San Francisco. He was the first openly gay man to be elected to any significant level of government in American history. He was also shot and killed after being in office for less than a year. His last major political accomplishment was successfully campaigning to defeat a bill called Proposition 6. This bill would call for the dismissal of all openly gay school teachers and any persons who supported them. The bill had already passed in a number of other states and fear was mounting that even the country’s most gay-friendly city might follow suit. Harvey wouldn’t have it and ultimately, neither would San Francisco, or all of California for that matter. Why then are gay men and women still struggling to be treated like human beings to this day?


MILK picks up Harvey Milk’s life in the eight years preceeding his assassination. In that time, he meets a man who would become his lover for many years; he moves from New York to San Francisco to find new challenges; and he runs a number of times for public office as an out and proud gay man. He also loses a number of times but Milk was not a man who could easily be deterred from his very important goal. It was Milk’s mission to represent his people; to show the city he loved that the gay population was one of the reasons that the city itself was so well loved by all who visited and that they too had a powerful and reasonable voice. Milk was committed to making sure that voice was heard. Van Sant, an openly gay man himself, is just as committed to the cause but his part is very different. Even today, the image of the gay man is still being sold to mainstream, or straight if you will, audiences in a delicate way. Van Sant’s Milk is an ambitious entrepreneur. He has a strong character, funny and flighty one moment, romantic and intimate the next and always dedicated to the bigger picture outside of himself. Apparently, painting the gay man as human is still necessary because many still haven’t figured it out for themselves.


Of course, Van Sant can’t get all the credit as he is only as strong as his parts. In this case, his parts are all perfect. “Big Love” staff writer, Dustin Lance Black’s sensitive screenplay is heartbreaking and genuine. Director of photography, Harris Savides, who has brought a dreamlike lucidity to Van Sant twice before on GERRY and ELEPHANT, goes back and forth between archival and new footage seamlessly planting the viewer in both the historical context and the surrounding human drama. Danny Elfman fills the soft space with a score so layered, it can easily be described as his most original work in recent memory. And then of course, there are the men. I will never describe a straight man playing a gay role as an act of bravery. I will, however, always applaud an actor’s ability to shed their entire ego and transform into another being so fearlessly. The caliber of the mostly male ensemble cast of MILK seems raised by a desire to do justice to this important man and the difference he made. James Franco as Milk’s longtime lover continues to show versatility that I never expected by embodying support and strength. Josh Brolin, as the fellow city supervisor who ultimately kills Milk, gives a ferociously internal performance that is in constant turmoil. And though I have never been as huge a Sean Penn fan as most would appear to be, I am a devout admirer now. Penn’s performance is a rarely achieved transformation – one so believable and so gripping that it lifts the entire film to new levels of excellence and inspiration.


MILK is not only a Gus Van Sant career high but also an instant American film classic and a contemporary gay film masterpiece that, like the revelatory BROKEBACK MOUNTAIN, transcends the gay experience and steps firmly into the human experience. If only for that reason alone, MILK has the potential to be more than a film and be part of a movement. After all, if there is one thing that Harvey Milk fought so hard for for so long, it was to be seen as a man who deserves the same human rights as his neighbours. Thirty years after his death, the fight he fought is still ongoing and thanks to Van Sant, Harvey Milk is back to help make sure it finally gets won.

Tis the Season: The National Board of Review

Most film critics and pundits consider the official kick-off of awards season with the National Board of Review. The NBR is a century old not-for-profit organization dedicated to film as both art and entertainment around the world. They do not go the route of nominations and subsequent winners but cut right to the chase and give the love direct and right away. This year, their love has been spread among many gracious recipients.

It is official. SLUMDOG MILLIONAIRE is the hot ticket Best Picture possibility this year. The NBR named it the best film of the year and also gave it props for its screenplay and the breakthrough performance of its lead, Dev Patel. Don't discount THE CURIOUS CASE OF BENJAMIN BUTTON yet though. David Fincher earns directing honours and the screenplay shares the honours in the adapted category with SLUMDOG MILLIONAIRE. It seems to me that both of these films will be mentioned quite a bit in the coming weeks. The only other films to score two nods with the NBR are Clint Eastwood's GRAN TURINO and the soon-to-be-released DOUBT. Eastwood's second film this year, and incidentally second film alongside CHANGELING to make the NBR's Top 10 list, earned Eastwood himself top acting honours and recognition for the film's original screenplay. DOUBT picks up awards for its ensemble cast and a breakthrough nod for Viola Davis. While SLUMDOG MILLIONAIRE only solidifies its buzz with this announcement, BENJAMIN BUTTON and GRAN TURINO throw their hats into the official race. Meanwhile, the remaining acting awards went to this year's darling, Anne Hathaway for RACHEL GETTING MARRIED, Josh Brolin for his supporting role in MILK and the breathtaking Penelope Cruz for her unforgettable performance in Woody Allen's VICKY CRISTINA BARCELONA. We cannot discount Richard Jenkins in THE VISITOR or Melissa Leo in that pesky little FROZEN RIVER quite yet as they both were featured in the Spotlight Award category. Now, I don't know what this means at all but I'm fairly positive that if you're looking to get noticed, a spotlight could probably help you out with that.

The NBR also lists a Top 10 film list and Top 10 independent film list and both of these lists will be listed below. List, list, list.

BEST FILM
SLUMDOG MILLIONAIRE

BEST ACTOR
Clint Eastwood, GRAN TURINO

BEST ACTRESS
Anne Hathaway, RACHEL GETTING MARRIED

BEST SUPPORTING ACTOR
Josh Brolin, MILK

BEST SUPPORTING ACTRESS
Penelope Cruz, VICKY CRISTINA BARCELONA

BEST ENSEMBLE CAST
DOUBT

BREAKTHROUGH PERFORMANCE BY AN ACTOR
Dev Patel, SLUMDOG MILLIONAIRE

BREAKTHROUGH PERFORMANCE BY AN ACTRESS
Viola Davis, DOUBT

BEST DIRECTOR
David Fincher, THE CURIOUS CASE OF BENJAMIN BUTTON

BEST ADAPTED SCREENPLAY
SLUMDOG MILLIONAIRE
and
THE CURIOUS CASE OF BENJAMIN BUTTON

BEST ORIGINAL SCREENPLAY
GRANT TURINO

BEST ANIMATED FEATURE
WALL-E

THE TOP 10 FILMS OF 2008
(listed alphabetically and not including SLUMDOG MILLIONAIRE)
BURN AFTER READING
CHANGELING
THE CURIOUS CASE OF BENJAMIN BUTTON
THE DARK KNIGHT
DEFIANCE
FROST/NIXON
GRAN TURINO
MILK
WALL-E
THE WRESTLER

THE TOP 10 INDEPENDENT FILMS OF 2008
FROZEN RIVER
IN BRUGES
IN SEARCH OF A MIDNIGHT KISS
MR. FOE
RACHEL GETTING MARRIED
SNOW ANGELS
SON OF RAMBOW
WENDY AND LUCY
VICKY CRISTINA BARCELONA
THE VISITOR

For a complete list of the winners, visit the National Board of Review website. That is it for the awards season coverage this week, far as I know. Next week, its time for the critics to have their say, as the New York, Boston and L.A. film critics make their pics for the year. And of course of Thursday, its time for the Golden Globe nominations. And be sure to check back this weekend for my full length review of Gus Van Sant's MILK.

Holiday Movie Preview

There is no time like the holidays to kick back, throw on a fuzzy reindeer sweater and catch a flick at the multiplex. You’ve got movies about pedophile priests and overbearing nuns, aliens landing to end the earth, washed up wrestlers clinging to fame, married couple crumbling underneath the pressure and fantastical tales of men who grow young instead of old. Yes, all this strife is what the holidays are all about and Hollywood is there for you. Join Black Sheep as we look ahead the 2008 Holiday Movie Preview.

DOUBT
Written and Directed by John Patrick Shanley
Starring Meryl Streep, Philip Seymour Hoffmann and Amy Adams
(December 12)

Shanley brings his Pulitzer-prize winning play to the big screen with a remarkable cast. He may not have a movie since 1990’s JOE VS THE VOLCANO but the source material is so solid here that its hard to imagine him missing the mark entirely. It has Oscar buzz written all over it and Streep’s biting ferocity in the trailer has got me practically peeing in my pants.

RANDOM TIDBIT: Natalie Portman was originally considered for the Amy Adams role but she could not connect with the celibate plight of a nun.


THE DAY THE EARTH STOOD STILL
Written by David Scarpa
Directed by Scott Derrickson
Starring Keanu Reeves, Jennifer Connelly and Kathy Bates
(December 12)

Derrickson remakes the 1951 classic which most consider to be pretty darn near already perfect. Well, nothing guarantees the integrity of a film like casting Keanu Reeves. No, but seriously, the trailers are intriguing and 20th Century Fox is certainly to catch the same audience that made I AM LEGEND into a $256 million domestic smash.

RANDOM TIDBIT: The original film was directed by Robert Wise, director of the first STAR TREK film as well as WEST SIDE STORY and THE SOUND OF MUSIC.


THE WRESTLER
Written by Robert D. Siegal
Directed by Darren Aronofsky
Starring Mickey Rourke, Marisa Tomei and Evan Rachel Wood
(December 17)

After his last film, THE FOUNTAIN, tanked loudly, Aronofsky needed some seclusion and rest. He’s coming back fighting though with this unlikely crowd pleaser. The film was bought by Fox Searchlight at this year’s Toronto International Film Festival and Rourke is considered a front-runner in the Best Actor category at this year’s Oscars.

RANDOM TIDBIT: Nicolas Cage was originally considered for the Rourke character. He had even started his research phase but was eventually replaced by Rourke for undisclosed reasons.


REVOLUTIONARY ROAD
Written by Justin Haythe
Directed by Sam Mendes
Starring Leonardo DiCaprio, Kate Winslet and Kathy Bates
(December 26)

Who hasn’t wanted to see DiCaprio and Winslet get back together on screen since they last paired in TITANIC? Ok, it may not be as desperate a scenario as I make it out to be but people are definitely excited to see them together again. Only this time, they’re not falling in love, they’re falling into monotony. Honestly, I’m more excited to see Mendes deal with some of the same issues he did in AMERICAN BEAUTY.

RANDOM TIDBIT: I got two for you here. This is actually the first time that Winslet and Mendes, who have been married for years now, have worked together. Also, Todd Field was originally attached to direct this but he chose to do LITTLE CHILDREN instead, also starring Winslet.


THE CURIOUS CASE OF BENJAMIN BUTTON
Written by Eric Roth
Directed by David Fincher
Starring Brad Pitt, Cate Blanchett and Tilda Swinton
(December 25)

Here’s an interesting one. Pitt plays Benjamin Button, a man who is aging backwards while the rest of the worlds ages as per the norm. You can imagine how difficult this makes dealing with humanity. Fincher, the mman behind such contemporary classics as SE7EN, FIGHT CLUB and last year’s ZODIAC, is a front runner in the Best Director category and the picture is being tipped as the film to beat this year. I know where I will be on Christmas day.

RANDOM TIDBIT: Pitt’s daughter, Shiloh Jolie-Pitt, makes a cameo appearance in the film. She was 10 months old when the footage was shot.

Also in December: Beyonce channels Etta James in CADILLAC RECORDS. Ron Howard brings the wildly successful play, FROST/NIXON to the screen and hopefully the Oscars. Stephen Daldry follows us THE HOURS with another literary adaptation, THE READER, starring Kate Winslet and Ralph Fiennes. Client Eastwood tries for another Oscar with GRAN TURINO, in which he plays what seems like a grumpy old man … with a gun! Michelle Williams turns in an incredibly understated performance as a vagrant looking for her dog in WENDY & LUCY. Box office golden boy, Will Smith reteams with THE PURSUIT OF HAPPYNESS director, Gabrele Muccino in SEVEN POUNDS. Say yes to Jim Carrey in THE YES MAN. Graphic novel king, Frank Miller, tries his hand at directing by himself with THE SPIRIT. Tom Cruise tries for prestige with VALKYRIE but I don’t hear anyone caring. And Owen Wilson returns to film after his suicide attempt last year with MARLEY & ME, a movie about a man and the world’s worst dog. Apparently now, he wants to kill his career instead of himself. Hmmm, too soon? Oh well, Happy Holidays!!

Tis the Season: The Independent Spirit Awards

We are already two days in to awards season and things are already looking up for a couple of standout titles. Now, yes, the Independent Spirit Awards, which are voted for by the members of Film Independent, are not exactly clear indicators for the Oscars. In fact, they're much more like the anti-Oscars. Oddly, they are one of the first to announce their nominations but one of the latest to announce their winners. As always, the ceremony will be held the day before the Oscar telecast, so in this case on February 21, on a beach in Santa Monica under a big tent. I think you can even wear jeans if you feel like it. The horror.

Anyhow, three films tied for the most nominations with six a piece. I'm happy to say that one of the leaders is one of my favorites from this year, RACHEL GETTING MARRIED. The Jonathan Demme pic earned nominations for Best Feature, Director, Actress (Anne Hathaway), Supporting Actress (Rosemarie DeWitt and Debra Winger), as well as Best First Screenplay (Jenny Lumet). Hopefully the love for this film will continue to spread past its actors as, although they are excellent, the film itself deserves recognition. RACHEL GETTING MARRIED will be going head to head in each of those categories with none other than FROZEN RIVER. Now, if you read my post yesterday about the Satellite Awards, you would know that I have never even heard of this movie but yet here it is again. It is still too early to call this film a dark horse for Oscar noms but I am still surprised to see it start so quickly out of the gate. The third film to catch six noms is surprisingly another film I've never heard of, BALLAST. Maybe I am just not doing my job that well. Anyway, the Best Feature category is rounded out by THE WRESTLER and WENDY AND LUCY. These two films each earned their lead actors (Mickey Rourke and Michelle Williams, respectively) nominations in the lead acting categories as well, which gives each of them great street cred going forward. Rourke is considered a lock for an Oscar nomination but Williams needs all the support she can get and this is a great place to start. I must say I was surprised not to see MILK and THE VISITOR in the top category as each film picked up four nominations each but missed on the main prize. The day after his 73rd birthday, Woody Allen saw some awards love for VICKY CRISTINA BARCELONA, as his critical darling picked up noms for Javier Bardem, Penelope Cruz and Mr. Allen himself earned a screenplay nod. Meanwhile, Charlie Kaufman saw some strong support for his ill-received first feature, SYNECDOCHE, NEW YORK. The film will receive the Robert Altman Award, which goes to the best ensemble cast, including the casting director, and Kaufman himself picked up nods for the screenplay and for directing in the First Feature category. It will need a lot more than this to come up come Oscar time though. And finally, Montreal's own, Yung Chang, grabbed a nomination in the Best Documentary category for his beautiful film, UP THE YANGTZE.

Quick side note, voting for the Independent Spirit Awards is onle available online, to make things as green as possible. Here is a partial list of the nominees:

FEATURE
BALLAST
FROZEN RIVER
RACHEL GETTING MARRIED
WENDY AND LUCY
THE WRESTLER

DIRECTOR
Ramin Bahrani, "Chop Shop"
Jonathan Demme, "Rachel Getting Married"
Lance Hammer, "Ballast"
Courtney Hunt, "Frozen River"
Thomas McCarthy, "The Visitor"

FIRST FEATURE
AFTERSCHOOL
MEDICINE FOR MELANCHOLY
SANGRE DE MI SANGRE
SLEEP DEALER
SYNECDOCHE, NEW YORK

MALE LEAD
Javier Bardem, "Vicky Cristina Barcelona"
Richard Jenkins, "The Visitor"
Sean Penn, "Milk"
Jeremy Renner, "The Hurt Locker"
Mickey Rourke, "The Wrestler"

FEMALE LEAD
Summer Bishil, "Towelhead"
Anne Hathaway, "Rachel Getting Married"
Melissa Leo, "Frozen River"
Tarra Riggs, "Ballast"
Michelle Williams, "Wendy and Lucy"

SUPPORTING MALE
James Franco, "Milk"
Anthonie Mackie, "The Hurt Locker"
Charlie McDermott, "Frozen River"
Jim Myron Ross, "Ballast"
Haaz Sleiman, "The Visitor"

SUPPORTING FEMALE
Penelope Cruz, "Vicky Cristina Barcelona"
Rosemarie DeWirr, "Rachel Getting Married"
Rosie Perez, "The Take"
Misty Upham, "Frozen River"
Debra Winger, "Rachel Getting Married"

SCREENPLAY
Woody Allen, "Vicky Cristina Barcelona"
Anna Boden & Ryan Fleck, "Sugar"
Charlie Kaufmann, "Synecdoche, New York"
Howard A. Rodman, "Savage Grace"
Christopher Zalla, "Sangre de me Sangre"

FIRST SCREENPLAY
Dustin Lance Black, "Milk"
Lance Hammer, "Ballast"
Courtney Hunt, "Frozen River"
Jonathan Levine, "The Wackness"
Jenny Lumet, "Rachel Getting Married"

For a full list of the nominees in all of the categories, please visit the Film Independent website. Next up, the National Board of Review.