Whitney Houston dead at 48

Whitney Houston, the Grammy award winning singer whose career saw a major decline due to a battle with drugs, passed away earlier today. Cause of death and location were not immediately reported. Her death was confirmed by her publicist.

Houston, the daughter of gospel singer Cissy Houston and niece of pop legend Dionne Warwick (and, as if she didn’t have enough musical karma, the goddaughter of Aretha Franklin), was one of the most popular female solo artists of all time. Over her career she received six Grammy Awards as well as two Emmy awards for her television performances. She sold over 170 million singles and albums.

In 1992 she made her film debut opposite Kevin Costner in “The Bodyguard.” The film’s soundtrack won that years Grammy Award as album of the year. Her hit song from the film, a cover of Dolly Parton’s “I Will Always Love You,” is the biggest selling single from a female performer of all time. She also made history when she became the first performer to score seven CONSECUTIVE number one hits on Billboard’s Hot 100 Chart.

Film Review “Safe House”

Starring: Denzel Washington, Ryan Reynolds and Robert Patrick
Directed by: Daniel Espinosa
Rated: R
Running time: 1 hour 55 mins
Universal

Our Score: 2 out of 5 stars

Life as a spy isn’t as glamorous as it seems. In spite of all the dreams of shooting people and trading secrets and bedding beautiful women, somebody has to start at the bottom. Today our somebody is Matt Weston (Reynolds). Hoping for a transfer as a field officer in some exotic city (Paris is currently his preference), Matt’s current position finds him the baby sitter of a safe house. For those of you who aren’t spies, a safe house is a place where, if you were on the run from a bad guy, you could go and be, well….safe. As you can imagine, Matt’s job is pretty boring. At least until he meets Tobin Frost (Washington), the baddest of the bad!

Filmed in a herky jerky motion that may cause seizures (the over exposed lighting doesn’t help) “Safe House” is an over the top thriller that apparently doesn’t know it’s over the top. As directed by Daniel Espinosa, the film is a non-stop (often to the point of absurdity) punch ‘em up/drag ‘em out action film that wants to be a psychological thriller. In a nutshell, Denzel has something every other agent from every other country wants, especially ours. Sam Shepard and Brendan Gleeson play the C.I.A. big wigs who try to push the right buttons in Reynolds, keeping him oblivious to the big picture. The two do credible work, carefully avoiding chewing too much scenery. To do that would scream out “cartoonish bad guy!” Washington and Reynolds are very strong and sincere in their roles, which is a credit to their talents. They both go above and beyond in this one.

The film isn’t helped by the fact it was photographed by Shaky the Cameraman and lit by someone with a Sun gun. There was a great invention in the mid 1970s called the Steadicam. Sadly, the filmmakers apparently never heard of it. And what’s even more annoying? EVERYTHING is shaky. Sometimes the whole frame shakes. Other times, the frame is steady but EVERYTHING INSIDE THE FRAME shakes! The action scenes are drawn out so long that it’s like watching a live action re-enactment of Peter Griffin battling the Giant Chicken on “Family Guy!”

Film Review “The Woman in Black”

Starring: Daniel Radcliffe, Ciaran Hinds and Janet McTeer
Directed by: James Watkins
Rated: PG 13
Running time: 1 hour 35 mins
CBS Films

Our Score: 3.5 out of 5 stars

England in the 1900s. Three little girls are playing in the attic. They are suddenly joined by a ghostly vision. Without hesitation, the three children climb up onto the windowsill and jump to their deaths.

Arthur Kipps (Radcliffe) is a young attorney whose about to lose his job. A single father (his wife having died giving birth – which really seemed to happen a lot back then if you believe Hollywood), he is sent to settle the accounts of a recently deceased client. Seeing some quality time with his son may be available, he arranges for the boy and his nanny to join him later in the week. Perhaps this will improve his son’s image of him, as he is currently drawing pictures of his father with big frowns on his face. Upon his arrival, he is given a lift to town by the very wealthy Mr. Daily (Hinds). We know he’s wealthy because he owns the only automobile in town. Upon his arrival at the local Inn Kipps is told that the room he had reserved is no longer available. Despite the innkeeper’s protests, he is allowed to stay the night. In the attic. BOO!

Heavy on the atmosphere but also on the “scares” horror fans have learned to rely on (loud music, hand on the shoulder, the occasional bird that shows up out of nowhere), “The Woman in Black” is still a satisfying re-make of the well received 1989 film of the same name. Co-produced by Hammer Films, the film is a throwback to that studio’s heyday, when horror greats like Peter Cushing and Christopher Lee wandered through the fog in search of things. Radcliffe does the wandering here, roaming from room to room in the deceased client’s oversize house. “Don’t go chasing shadows,” he’s told. But if he didn’t, there wouldn’t be a movie. He learns that many years ago a young boy drowned in the marshlands after a wagon accident. Despondent, his mother went slowly crazy, blaming others for his death. Kipps finds some of her old letters, many of them including the words “you could have saved him!” He also finds himself blamed when other children in the town begin to die horribly. As he learns more about the past he realizes he must do something before his own son arrives.

In only the second film he’s starred in that didn’t have the words Harry or Potter in the title, Radcliffe gives a strong performance. He has grown into a good looking young man and should be able to prove to those that only think of him as the Boy Wizard that there is much more talent to be revealed. Hinds is fine as pretty much the only townsperson who believes Albert has seen…things. The direction is solid with the only drawback being the constant relying on the things that go bump in the night to make us jump. And for you fans of trivia, the role of Albert in the original film was played by actor Adrian Rawlins, who played Radcliffe’s father, James, in the “Harry Potter” films.

Film Review “Albert Nobbs”

Starring: Glenn Close, Janet McTeer and Brendan Gleeson
Directed by: Rodrigo Garcia
Rated: R
Running time: 1 hour 53 mins
LD Entertainment

Our Score: 4 out of 5 stars

In the dining room of a 19th Century Dublin Hotel, the head waiter is seating guests. As he walks past a table a woman remarks to her husband, “he’s such a kind little man.” If only she knew the truth.

A pet project of Glenn Close, who starred in the play almost 30 years ago (Close also co-wrote and co-produced the film), “Albert Nobbs” is the story of a woman who has spent the last 30 years disguised as a man in order to survive. When Albert (Close) meets Hubert Page (McTeer, eerily resembling a very tall k.d. lang), a house painter hired to touch up the hotel, he discovers a kinship he never thought could exist. Albert has been saving his money, longing to one day open a tobacco shop and no longer pretend to be someone he isn’t.

Earlier this week both Close and McTeer were nominated for Academy Awards, and deservedly so. Both women immerse themselves in their roles and create an illusion that makes the film flow easily. Not once do you think, “oh, look, Glenn Close is playing a guy.” When you look at the screen you see Albert Nobbs. The supporting cast also helps keep the illusion going, including Mia Wasikowska as one of the hotel maids, Gleeson as the resident doctor and Aaron Johnson (who was incredible as the young John Lennon in “Nowhere Boy” and also starred as the title character in “Kick Ass”) as the hotels newest employee.

The direction is solid, with the camera capturing old Ireland beautifully. The production design gives the film an authentic look. And kudos to the make up department, also Oscar nominated, for transforming Close and McTeer. I’m a little baffled by the films “R” rating. Except for a quick shot of bare breasts and a humorously implied indication of oral sex there was nothing questionable on screen in my opinion.

Film Review “Man on a Ledge”

Starring: Sam Worthington, Elizabeth Banks and Jamie Bell
Directed by: Asger Leth
Rated: PG 13
Running time: 1 hour 42 mins
Summit Entertainment

Our Score: 2 out of 5 stars

Life isn’t going well for Nick Cassidy (Worthington). A former cop currently serving 25 years in prison for theft, Nick must deal with the constant beatings his fellow inmates dish out and the fact that his father is dying. Nick claims he’s innocent, of course. And if can find a way out he’d be happy to prove it. If only…

Formulaic to the point of boredom, “Man on a Ledge” is a ho-hum case of “Crime Caper 101” with a few decent set pieces to keep your attention. The blame here clearly rests on the shoulders of screenwriter Pablo Fenjves, whose previous claim to fame was having the misfortune of living next door to Nicole Brown Simpson the night O.J. came to call. After a string of television projects this is Fenjves’ first feature film and the script is cobbled together from the best (and worst) parts of every heist film ever made. Let me run down the checklist:

1. Fake security guards by putting a still photo in front of a video camera. Check.
2. People who have no business being able to hack computers and repel down walls but manage to do it effortlessly. Check.
3. Really hot chick who can do all of the above but for some reason buys her clothes two sizes too small. Check.
4. Same girl removes said clothes in the middle of the film to reveal even smaller undergarments. Check.

And the list goes on.

The cast tries hard to convince you they care. Worthington is likable as Nick. As the police expert that is called in to talk to Nick once he becomes the title character, Banks is sharp. She’s carrying some emotional baggage from a previous case and Banks wrestles with that baggage well. Ed Harris shows up to chew some scenery as “the bad guy,” obviously having fun with the role. Jamie Bell as Nick’s brother, Joey and Genesis Rodriguez as his girl, Angie, have some chemistry and some cute back and forth banter. Which reminds me:

5. Cute back and forth banter between boyfriend/girlfriend crooks. Check.

The only casting miscue arrives on screen when Kyra Sedgwick, her southern accent as thick as molasses, announces herself as television reporter Rosie Morales! This is director Leth’s first feature and he shows some talent behind the camera. Hopefully he’ll try something more original for his sophomore effort.

Film Review “The Grey”

Starring: Liam Neeson, Dermot Mulroney and Dallas Roberts
Directed by: Joe Carnahan
Rated: R
Running time: 1 hour 57 mins
Warner Brothers

Our Score: 4 out of 5 stars

Way up in the Alaskan frontier, a group of men work on an oil pipeline. Unseen by all is Ottway (Neeson), whose only job is to look through a rifle scope and shoot ANYTHING that threatens the workers. Longing for his wife, Ottway and a group of men board a plane for Anchorage. When the plane crashes, stranding all who survived, the frozen north becomes the least of the problems for Ottway and his companions.

Directed with the eye of a master, “The Grey” tells the story of what happens when the hunter becomes the hunted. Brimming with suspense and more than a couple heart-racing scenes, “The Grey” is this 2012’s annual, beginning of the year, Liam Neeson movie. Luckily, like “Taken” and “Unknown” before it, the film is well worth seeing.

Anchored by one of Neesons strongest performances ever, “The Grey” delivers two tones…dark, when the men are struggling through thigh-high snow, and darker, when they huddle together near a slight fire, ever wary of the pack of wolves that has followed them since the plane crash, slowly winnowing the group down as, one by one, the men prove no match for their furry adversaries. As their journey to find civilization drags on, Ottway ensures that Hendrick (Roberts) collect the wallet of each man who succumbs, be it to the wolves or the cold. As the film progresses the knapsack full of wallets continues to swell.

Director Carnahan, whose previous films include “Narc” and the updated version of “The A-team,” continues to add on to his growing resume’ of action and adventure. Each scene is shot with an eye that belays Carnahan’s relative youth behind the camera. The excitement is heightened by the nastiest set of wolves you’ll ever seen, courtesy of maestro’s Greg Nicotero, Howard Berger and the crew at KNB EFX Studio. Come for the wolves, stay for Neeson. His performance is so strong that director Carnahan has already hinted the film will be re-released in October 2012 to gain the Irish actor award consideration.

MediaMikes.com Helps Sponsor Kansas City Trivia Competition


MediaMikes is proud to announce a partnership with the Kansas City based ReelSmart Trivia group. Starting Sunday, January 29, a weekly competition consisting of movie trivia will be held at the Screenland Armour Theatre, 408 Armour Road in North Kansas City. The game begins promptly at 6:00 p.m.

Founded by self-confessed trivia addicts Kris Siriwangchai and Dan McFarland, ReelSmart Trivia will be a multi-media experience, with movie clips, audio samples, and picture categories playing an integral part to the game.

Players can win cash prizes (there is a $5.00 per player entry fee), movie passes and some great swag.

For further information contact ReelSmart@kctrivia.com

“Hugo,” “The Artist” lead list of 84th Annual Academy Awards

“Hugo,” director Martin Scorsese’s loving look at the early history of film, leads all nominees in the race for Oscar gold.  The film received 11 total nominations, including Best Picture and Best Director.
Close behind is “The Artist,” a silent, black and white film that includes Best Picture among its 10 nods.  “War Horse” and “Moneyball” followed with 6 nominations each, including Best Picture.
A total of nine films were nominated for Best Picture.  Last year, in an attempt to quell the outrage that “The Dark Knight” did not grab a Best Picture nod, the Academy increased the number of picture nominees from 5 to 10.  This year the rule was changed to nominate up to 10 films, based on membership voting.  To be eligible for a Best Picture nomination a film must be listed as first on at least 250 membership ballots.  Other nominees for Best Picture:  “The Descendants,” “Extremely Loud and Incredibly Close,” “The Help,” “Midnight in Paris” and “The Tree of Life.”
Besides Scorsese, director nominations went to Michel Hazanavicius for “The Artist,” Alexander Payne for “The Descendants,” “Woody Allen for “Midnight in Paris” and Terrence Malick for “The Tree of Life.”
Best Actor nominees:  Demian Bechir – “A Better Life,” George Clooney – “The Descendants,” Jean Dujardin – “The Artist,” Gary Oldman – Tinker Tailor Soldier Spy” and Brad Pitt – “Moneyball.”
Best Actress nods went to Glenn Close – “Albert Nobbs,” Viola Davis – “The Help,” Rooney Mara – “The Girl in the Dragon Tattoo,” Meryl Streep – “The Iron Lady” and Michelle Williams – “My Weekend With Marilyn.”
Best Supporting Actor nominees include Kenneth Branagh – “My Weekend With Marilyn,” Jonah Hill – “Moneyball,” Nick Nolte – “Warrior,” Christopher Plummer – “Beginners” and Max von Sydow – “Extremely Loud and Incredibly Close.”
Best Supporting Actress choices include Berenice Bejo – “The Artist,” Jessica Chastain – “The Help,” Melissa McCarthy – “Brodesmaids,” Janet McTeer – “Albert Nobbs” and Octavia Spencer – “The Help.”
Look for a special “Behind the Screen” later this week when I give my thoughts on this years nomines.
Here is a complete list of nominees:

Best Picture

“The Artist” Thomas Langmann, Producer

“The Descendants” Jim Burke, Alexander Payne and Jim Taylor, Producers

“Extremely Loud & Incredibly Close” Scott Rudin, Producer

“The Help” Brunson Green, Chris Columbus and Michael Barnathan, Producers

“Hugo” Graham King and Martin Scorsese, Producers

“Midnight in Paris” Letty Aronson and Stephen Tenenbaum, Producers

“Moneyball” Michael De Luca, Rachael Horovitz and Brad Pitt, Producers

“The Tree of Life” Nominees to be determined

“War Horse” Steven Spielberg and Kathleen Kennedy, Producers

Actor in a Leading Role

Demián Bichir in “A Better Life”

George Clooney in “The Descendants”

Jean Dujardin in “The Artist”

Gary Oldman in “Tinker Tailor Soldier Spy”

Brad Pitt in “Moneyball”

Actor in a Supporting Role

Kenneth Branagh in “My Week with Marilyn”

Jonah Hill in “Moneyball”

Nick Nolte in “Warrior”

Christopher Plummer in “Beginners”

Max von Sydow in “Extremely Loud & Incredibly Close”

Actress in a Leading Role

Glenn Close in “Albert Nobbs”

Viola Davis in “The Help”

Rooney Mara in “The Girl with the Dragon Tattoo”

Meryl Streep in “The Iron Lady”

Michelle Williams in “My Week with Marilyn”

Actress in a Supporting Role

Bérénice Bejo in “The Artist”

Jessica Chastain in “The Help”

Melissa McCarthy in “Bridesmaids”

Janet McTeer in “Albert Nobbs”

Octavia Spencer in “The Help”

Animated Feature Film

“A Cat in Paris” Alain Gagnol and Jean-Loup Felicioli

“Chico & Rita” Fernando Trueba and Javier Mariscal

“Kung Fu Panda 2” Jennifer Yuh Nelson

“Puss in Boots” Chris Miller

“Rango” Gore Verbinski

Art Direction

“The Artist” Production Design: Laurence Bennett; Set Decoration: Robert Gould

“Harry Potter and the Deathly Hallows Part 2” Production Design: Stuart Craig; Set Decoration: Stephenie McMillan

“Hugo” Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo

“Midnight in Paris” Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil

“War Horse” Production Design: Rick Carter; Set Decoration: Lee Sandales

Cinematography

“The Artist” Guillaume Schiffman

“The Girl with the Dragon Tattoo” Jeff Cronenweth

“Hugo” Robert Richardson

“The Tree of Life” Emmanuel Lubezki

“War Horse” Janusz Kaminski

Costume Design

“Anonymous” Lisy Christl

“The Artist” Mark Bridges

“Hugo” Sandy Powell

“Jane Eyre” Michael O’Connor

“W.E.” Arianne Phillips

Directing

“The Artist” Michel Hazanavicius

“The Descendants” Alexander Payne

“Hugo” Martin Scorsese

“Midnight in Paris” Woody Allen

“The Tree of Life” Terrence Malick

Documentary (Feature)

“Hell and Back Again” Danfung Dennis and Mike Lerner

“If a Tree Falls: A Story of the Earth Liberation Front” Marshall Curry and Sam Cullman

“Paradise Lost 3: Purgatory” Charles Ferguson and Audrey Marrs

“Pina” Wim Wenders and Gian-Piero Ringel

“Undefeated” TJ Martin, Dan Lindsay and Richard Middlemas

Documentary (Short Subject)

“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” Robin Fryday and Gail Dolgin

“God Is the Bigger Elvis” Rebecca Cammisa and Julie Anderson

“Incident in New Baghdad”James Spione

“Saving Face” Daniel Junge and Sharmeen Obaid-Chinoy

“The Tsunami and the Cherry Blossom” Lucy Walker and Kira Carstensen

Film Editing

“The Artist” Anne-Sophie Bion and Michel Hazanavicius

“The Descendants” Kevin Tent

“The Girl with the Dragon Tattoo” Kirk Baxter and Angus Wall

“Hugo” Thelma Schoonmaker

“Moneyball” Christopher Tellefsen

Foreign Language Film

“Bullhead” Belgium

“Footnote”

“In Darkness” Poland

“Monsieur Lazhar” Canada

“A Separation” Iran

Makeup

“Albert Nobbs” Martial Corneville, Lynn Johnston and Matthew W. Mungle

“Harry Potter and the Deathly Hallows Part 2” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng

“The Iron Lady” Mark Coulier and J. Roy Helland

Music (Original Score)

“The Adventures of Tintin” John Williams

“The Artist” Ludovic Bource

“Hugo” Howard Shore

“Tinker Tailor Soldier Spy” Alberto Iglesias

“War Horse” John Williams

Music (Original Song)

“Man or Muppet” from “The Muppets” Music and Lyric by Bret McKenzie

“Real in Rio” from “Rio” Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett

Short Film (Animated)

“Dimanche/Sunday” Patrick Doyon

“The Fantastic Flying Books of Mr. Morris Lessmore” William Joyce and Brandon Oldenburg

“La Luna” Enrico Casarosa

“A Morning Stroll” Grant Orchard and Sue Goffe

“Wild Life” Amanda Forbis and Wendy Tilby

Short Film (Live Action)

“Pentecost” Peter McDonald and Eimear O’Kane

“Raju” Max Zähle and Stefan Gieren

“The Shore” Terry George and Oorlagh George

“Time Freak” Andrew Bowler and Gigi Causey

“Tuba Atlantic” Hallvar Witzø

Sound Editing

“Drive” Lon Bender and Victor Ray Ennis

“The Girl with the Dragon Tattoo” Ren Klyce

“Hugo” Philip Stockton and Eugene Gearty

“Transformers: Dark of the Moon” Ethan Van der Ryn and Erik Aadahl

“War Horse” Richard Hymns and Gary Rydstrom

Sound Mixing

“The Girl with the Dragon Tattoo” David Parker, Michael Semanick, Ren Klyce and Bo Persson

“Hugo” Tom Fleischman and John Midgley

“Moneyball” Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick

“Transformers: Dark of the Moon” Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin

“War Horse” Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

Visual Effects

“Harry Potter and the Deathly Hallows Part 2” Tim Burke, David Vickery, Greg Butler and John Richardson

“Hugo” Rob Legato, Joss Williams, Ben Grossman and Alex Henning

“Real Steel” Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg

“Rise of the Planet of the Apes” Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett

“Transformers: Dark of the Moon” Scott Farrar, Scott Benza, Matthew Butler and John Frazier

Writing (Adapted Screenplay)

“The Descendants” Screenplay by Alexander Payne and Nat Faxon & Jim Rash

“Hugo” Screenplay by John Logan

“The Ides of March” Screenplay by George Clooney & Grant Heslov and Beau Willimon

“Moneyball” Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin

“Tinker Tailor Soldier Spy” Screenplay by Bridget O’Connor & Peter Straughan

Writing (Original Screenplay)

“The Artist” Written by Michel Hazanavicius

“Bridesmaids” Written by Annie Mumolo & Kristen Wiig

“Margin Call” Written by J.C. Chandor

“Midnight in Paris” Written by Woody Allen

“A Separation” Written by Asghar Farhadi

Etta James dead at age 73

Etta James, whose version of the 1941 standard “At Last” is one of the most popular recordings of all time, died today from complications due to leukemia. She was 73. She passed away just three days after bandleader Johnny Otis, who discovered her, passed away.

Born Jamesetta Hawkins in Los Angeles, she was raised by an almost absentee mother who told the young girl that her father was the famous pool player Minnesota Fats. Years later she met him but he never admitted or denied being her father. Due to her mother’s many problems James was mostly raised by Lula and Jesse Rogers, family friends who owned a rooming house her mother used to live in.

She was performing in a female group known as the Peaches when Otis spotted her, advising her to rearrange her first name and become Etta James. The two co-wrote the hit “Roll With Me, Henry,” which was a reply to the popular Hank Ballard and the Midnighters’ hit, “Work With Me, Annie.” Her first “big” song was the ballad “I’d Rather Go Blind,” which was later covered by such singers as Rod Stewart, B.B. King and Beyonce’, who sang it while portraying James in the film “Cadillac Records.”

In 1960 she signed with Chess Records and released her debut album, “At Last!,” at the end of the year. In 1961 the title track was released as a single, reaching #2 on the Rhythm and Blues chart and #47 on the Billboard Hot 100. “At Last” would become her signature song. She stayed with Chess Records until 1978. In 1993 she was inducted into the Rock and Roll Hall of Fame, becoming one of only thirteen women inducted as a solo performer.

Film Review “Extremely Loud and Incredibly Close”

Starring: Thomas Horn, Sandra Bullock and Tom Hanks
Directed by: Stephen Daldry
Rated: PG 13
Running time: 2 hours 9 mins
Warner Brothers

Our Score: 5 out of 5 stars

Oskar Schell got out of school early that day. He went home and saw several messages on the family answering machine. Turning on the television he is puzzled by the images of the burning buildings on screen. It was Tuesday, September 11, 2001. To Oskar, it was “the worst day.”

Featuring the greatest performance by a young actor since Haley Joel Osment saw dead people in “The Sixth Sense,” “Extremely Loud and Incredibly Close” is the story of a boy whose love for his father continues to grow, even after he’s gone.

Thomas Schell (Hanks, mostly in flashbacks) is a dreamer. His father left the family when Thomas was a boy and, in spite of his dreams, Thomas became a jeweler to take care of his family. Married to Linda (Bullock), Thomas sees his dreams come true in the guise of his son, Oskar (Horn). The two have oxymoron battles (Jumbo Shrimp takes down Original Copies) and share adventures. Oskar is quiet and shy so Thomas devises what he calls “Reconnaissance Expeditions,” knowing they will get Oskar out of the house and talking to people. Currently Oskar is searching clues for the lost 6th Borough of New York, rumored to have floated away years ago. The search seems to end when Thomas dies. But when Thomas finds a mysterious key in his father’s belongings, a new search begins.

Director Daldry has made three feature films – “Billy Elliot,” “The Hours” and “The Reader.” For each of these films he has been nominated for an Academy Award. Not a bad record. His work here is truly deserving of nomination number four. The film is both exciting and heart breaking. Oskar embarks on his journeys wearing a pair of his dad’s shoes, clomping through New York City with determination. Fearing public transportation (and pretty much everything else in the world), Oskar walks the city, trying desperately to find the lock that the key opens. He explains that, were the sun to explode, those of us on earth wouldn’t know for eight minutes, because that’s how long it would take the light to travel. Oskar wants another eight minutes with Thomas and he’ll walk around the world to get them.

The film works totally thanks to the performance of young Horn, who at age 12 won $31,000 as the champion of “Kid Jeopardy.” The work is truly award worthy, though with this year’s crop of great acting performances I fear young Horn will get lost in the Oscar shuffle. Hanks and Bullock are both strong in what are really supporting roles, as are Broadway greats Viola Davis and Jeffrey Wright. Another stand out performance belongs to 82 year old Oscar winner Max Van Sydow, who plays a man known only as The Renter. Mute by choice, Van Sydow says more with his face then some actors say with their whole body, giving a wordless performance that rivals that of “The Artist’s” Jean Dujardin.

JawsFest: The Tribute Announces First VIP Guests

JawsFest: The Tribute, the second official “Jaws” celebration scheduled for this August on Martha’s Vineyard, announced it’s first list of celebrity attendees.  Scheduled to appear at the celebration:

Wendy Benchley, widow of “Jaws” author Peter Benchley

Brenda Siemer Scheider, widow of “Jaws” star Roy Scheider (Chief Martin Brody)

Virginia Shaw and the Shaw Family, widow and children of “Jaws” star Robert Shaw (Quint)

Carl Gottlieb, co-star and co-screenwriter of the film.  Mr. Gottlieb is also the author of the popular book, “The “Jaws” Log”

Susan Backlinie, who played Chrissie Watkins, the sharks first victim.

Greg Skomal, Marine Biologist best known as the “Shark Guy” on the Discovery Channel

Greg Nicotero, award winning Hollywood make up and special effects artist.

Edith Blake, local journalist/photographer and author of “On Location on Martha’s Vineyard: The Making of the Movie ‘Jaws'”

Susan and Lynn Murphy, whose work behind the scenes during the filming of “Jaws” was invaluable.

MediaMikes writers Mike Smith and Dave Picton will be covering the event from beginning to end with up to date reports and exclusive interviews with those in attendance.

Also this week Universal Studios announced that, in conjunction with the studios 100th Anniversary, they will be restoring thirteen classic films for possible theatrical re-release, including “Jaws.”  Other films scheduled for restoration include “All Quiet on The Western Front,” “The Sting,” “Out of Africa,” “Frankenstein,” and “Schindler’s List.”  The studio announced late last year that “Jaws” would be released on Blu-Ray this coming August, hopefully to coincide with JawsFest.”

JawsFest: The Tribute will be held on Martha’s Vineyard from August 9-12, 2012. For more information go to www.jawstribute.com.

Interview with Lucy Liu and Michael Cudlitz

Lucy Liu and Michael Cudlitz are co-stars in TNT’s hit cop drama “Southland”.  Michael has been a part of the show since the beginning and Lucy is joining the show in it’s 4th season, which begins January 17th, 2012.  Media Mikes had a chance to chat with Lucy and Michael about working on the show and what we can expect from this exciting season.

Mike Smith: With “Southland”, Michael, you’ve been on there since the beginning, so how has the program changed over the four seasons for you, your character and both for you?
Michael Cudlitz: I think the show has sort of spent the last four years defining itself, being exactly what it hopes to be which is showing how crime and the life of being a police officer affects the officers themselves on a personal level.  You have to remember that we’ve done four years but only up until this year, we’ve only shot 23 episodes which is typically a single season for a show. That season would typically be spent finding its legs, finding out what the voice of the show is and finding out how best to show that voice and I think we’ve gotten to that point now.  I think the show is extremely representative of what we set out to do and we’re all extremely proud of it.

MS: Lucy, since you’re the new one on the show, I was wondering if you could talk a little bit about how coming into this, her partnership with Cooper is really going to affect the dynamic of the squad?
Lucy Liu:  I think it’s going to change the way that John Cooper is able to show himself on a different dynamic.  I think Michael can probably speak more about that, but I think working with somebody who’s not somebody that he needs to train allows him to show different colors about his character and you’ll see in the first episode. They have the ability to have a certain banter that gives them a nice familiarity and also shows that they’re equal.  You kind of get to see how their dynamic will blossom and how it sort of starts with both of them having undercurrents of emotional weight that they don’t want to reveal, but you can kind of feel it with their connection.
MC: Yes and they’re both coming back from something major in their lives and that being said, they’recoming back from a very similar thing.  They both have very strong differing opinions about what it is to be on the force at this particular moment in time.

MS: Michael, last year your character was in a pretty dark downward spiral and finally ended up checking into rehab at the end of the season.  Are we going to be jumping ahead or past his rehab experience or are we going to see him struggling to get better from last season?
MC: Well, what we’re going to do is we’re going to see, time is going to jump forward and that helps all of the relationships.  It moves Ben forward in his relationship because as we saw him, he was just finishing up his probation and he was just jumping into a car with Sammy, kind of moving into his next phase of training. Jumping forward, what it allows us to do is reset basically the entire show and every single partner relationship.  Ben is no longer training.  Ben is an officer.  He is full-on deep into being an officer because we’ve told the training story.  Now he’s going to actually be doing the job as an officer.  Same thing for John Cooper, John Cooper has, he checked in to get his back fixed which is the main thing that was connected to the prescription drug abuse. You have to remember that John had a back problem before he had a drug problem.  The two are extremely connected.  Now his back is fixed.  What does that mean for John?  John has to reenter the force.  He has to be re-qualified.  He is now riding with a seasoned officer, Lucy Liu, who will bring out different things in John that we’ve never seen before. He is just happy to be back on the force and it’s going to be very interesting to see what a physically fit John Cooper has to bring to Los Angeles.

MS: Lucy, can you talk about your relationship as new partners and what we have to look forward to from that?
LL: I think that what’s wonderful about the relationship is that they’re equals and they’re both P3 and they are both experienced and have been on the streets and have been cops for a while.  The dynamic is that John Cooper does not have to train her and she’s actually driving this time for a little while so you get to see a little bit of a changing character and you get to see a little bit about who she is because she’s introduced in the first episode obviously and John’s character gets to reveal a little bit different colors, different areas of his life that he hasn’t been able to show before because he’s been so busy either trying to, get out of rehab or get into rehab or get healthy and also that he doesn’t have to be the training officer in charge.

MS: Michael, almost from the start of your career, you’ve been on pretty much iconic television shows from “NYPD Blue” and “Band of Brothers” of course to now “Southland”.  Are you just an incredibly lucky actor or do you just really pursue just the quality projects?
MC:  I’m incredibly lucky.  I don’t think people actually, we laugh, it’s the truth.  A lot of it has to do with luck.  Obviously, you can hopefully position yourself to take advantage of opportunities when they come along and surround yourself with good, positive people but I have been extremely, extremely lucky in my career and I feel every day, on “Southland” especially, is a gift to be able to work on the kind of material we have, to be able to have creative input when there’s something that we don’t agree with and to be able to fight rigorously with that and not have some sort of voice from above, whether it be a studio or a network or a producing company say you know what, shut up and do your job.  That’s not the case.  We have wonderful creative conflict since the beginning on this show and it’s just been a really wonderful sort of pot of creativity to be in and its luck.  It really is.  A lot of it is luck. So thank you for acknowledging that, but yes, everything else we’ll just give over to a higher power because all I can do is worry about what I’m doing and the rest is just happening.  So I’m very pleased to be along for the ride.

MS: Lucy, how is this doing a television series different from doing a movie as you’ve done for quite a few years?  Do you enjoy it better?  Are you going back soon?
LL: First of all, I think that doing this show is very similar to doing an independent movie because they shoot so quickly and it’s sort of like guerrilla filmmaking which is really fun and you feel like you’re getting away with something, but you do have permits which is lucky so nobody is running you off the street.  Secondly, I think that it’s wonderful to be able to jump back and forth to do films and also television.  I think that’s something that I love doing. I think with television, you hit a different audience, people that are able to be at home and watch it with their families or they just don’t have time to go to the movies or they just, it’s just too much money at this point.  You get to just sort of do kind of all of it.  I’ve got three movies coming out at the end of March and I think, two of them are independent, well they’re all shot as independents and some of them may be more commercial than others, but I think that television is something that you know will always come out and you know will be seen.

Film Review “The Iron Lady”

Starring: Meryl Streep, Jim Broadbent and Richard E. Grant
Directed by: Phyllida Lloyd
Rated: PG 13
Running time: 1 hour 45 mins
The Weinstein Company

Our Score: 3 out of 5 stars

November 2008. As the daily papers highlight the recent terrorist bombings in Turkey a kindly old lady is sitting down to breakfast with her husband. Over their eggs she complains about the price of milk. A knock on the door alerts her to a busy day of book signings. Such is a day in the life of Margaret Thatcher.

Skillfully portrayed by Meryl Streep, on her way to Academy Award nomination number 17, “The Iron Lady” is a look at the decisions Thatcher made that took her from a little respected member of Parliament to one of the most famous leaders of the 20th Century. The story is told in two parts. The flashback sequences show how Thatcher, played by Alexandra Roach in these scenes, went off to Oxford, became a barrister and began her fight for the people of England. The modern day scenes are curious because though we see Thatcher speaking constantly with her husband, Dennis (Broadbent), she is only doing so in her mind. Dennis Thatcher passed away in 2003.

Director Lloyd, who directed Streep previously in “Mama Mia!,” stages these intimate scenes between Margaret and Dennis well. But she relies too much on dramatic music and heavy dialogue to establish Margaret Thatcher’s toughness. After Argentina invades the Falkland Islands it is her decision to go to war. The music builds as she is told one of the Argentine ships that attacked is steaming away. “Sink it,” she spits out to her naval commander. But even these detractions can’t take away from the masterful performance Streep delivers. Of course, she’s been delivering them for more than three decades so I don’t understand why I seem surprised.

The supporting cast is also first rate. As Dennis Thatcher, Broadbent brightens each scene he’s in. Ms. Roach also shines as the young Margaret as does Grant who plays Michael Heseltine, who challenged Thatcher’s leadership of the Conservative Party, which later led to her resignation.

Film Review “Joyful Noise”

Starring: Queen Latifah, Dolly Parton and Keke Palmer
Directed by: Todd Graff
Rated: PG 13
Running time: 1 hour 57 mins
Warner Brothers

Our Score: 2.5 out of 5 stars

Whether you’re a regular church goer or just drop by on Easter and Christmas Eve, you can’t resist tapping your toes to the music that rises from the choir. In one small Georgia town that choir is run by Bernard Sparrow (Kris Kristofferson), who has guided them to the regional competition of a national Gospel Music contest many times. When Bernard passes away, the pastor (Courtney B. Vance) appoints not Bernard’s widow, G.G. (Parton) but Ms. Vi Rose Hill (Latifah). Vi, a nurse, is raising two children alone, her husband (Jesse L. Martin) currently serving in the Army. Her oldest, daughter Olivia (Palmer) also sings in the choir. However, she and her mother disagree on her style of music. Vi wants all of the voices to blend together while Olivia feels the need to belt out the occasional solo. Son Walter (Dexter Darden) is a young man who has trouble socializing. He has Aspergers Syndrome and is currently fixated on how many one-hit wonders he can name. When G.G.’s grandson Randy (Jeremy Jordan) returns to town the die is cast for a feel good musical. Or a teen love story. Or, possibly, both.

Uneven in every way, “Joyful Noise” is best described as “Sister Act” done by the cast of “Glee” (minus Blaine, thank goodness). Director Graff also penned the screenplay and has apparently decided that all Southern people speak in metaphors. “There’s always free cheese in a mousetrap but the mouse ain’t happy” is a great piece of sage advice that G.G. dispenses. What it has to do with the story I don’t know. Another gem: “it’s like trying to sneak dawn past a rooster,” which was funnier 30 years ago when Sylvester Stallone mispronounced it to Miss Dolly in “Rhinestone.”

I have to give credit to the cast. They seem to be trying hard and the three young leads give fine performances. Cast as the strict mother, Latifah does her best to avoid playing a stereotypical over-protective parent. Parton, who turns 66 next week, hasn’t headlined a film since 1992’s “Straight Talk” and that’s a shame because her personality has always been a plus on screen. The films strongest scenes take place when everyone gathers and lifts their voices. The songs here are powerful. Gospel fans will enjoy hearing not only Latifah and Parton but Gospel legends Kirk Franklin and Karen Peck.

Musical? Love story? I still don’t know. Neither does Warner Brothers, apparently. In the past two weeks their entire television advertising campaign has gone from highlighting the two Oscar nominated stars to featuring the kids with hardly a mention of the adults. If you like Gospel music you might give it a look. If not, I’ll see you in church.

Film Review “Contraband”

Starring: Mark Wahlberg, Ben Foster and Giovanni Ribisi
Directed by: Baltasar Kormakur
Rated: R
Running time: 1 hour 50 mins
Universal

Our Score: 3.5 out of 5 stars

As a freighter ship approaches New Orleans it is suddenly surrounded by boats and helicopters manned by members of the Customs and Border Protection team. Fearing the discovery of his “shipment,” one of the crew members tosses a package overboard. That package cost somebody a pretty penny. And now it may cost him and his family their lives.

Told in a quick, straight ahead style, “Contraband” is an update of the 2008 Icelandic film “Reykjavik-Rotterdam,” which director Kormakur not only produced but starred in as well. The story concerns happily married father of two Chris Farraday (Wahlberg). Farraday was one of the best smugglers in his time, bringing pretty much whatever he wanted from anywhere he chose. He’s retired from the life now, happily running his own alarm company. And who better to know how to foil crime then a former crook. When he finds out his brother-in-law Andy (Caleb Landry Jones) has had to dump a major package of drugs he realizes that soon HE will be the one thrown overboard. After paying a visit to Andy’s “benefactor” (Ribisi, channeling Nicolas Cage in “Kiss of Death”), Chris decides to pull one more job, hoping the proceeds will keep Andy alive.

After a holiday season of more serious fare, it’s nice to see the new year start off with a bang. There are twists and turns, crosses and double crosses here and if you don’t pay attention you may fall behind. Wahlberg has always done “tough” well and he doesn’t disappoint here. Of course, growing up a bad ass in South Boston probably has a lot to do with it! His on screen relationship with wife Kate Beckinsale, who plays his wife, Kate, feels real and that is why you can’t help but root for him. As played by Jones, Andy is more a whiner then a tough guy. It’s obvious to me that, to paraphrase Joe Pesci in “Goodfellas,” Andy “would fold under questioning.” Foster is strong as Chris’ long time friend and partner Sebastian. The supporting cast that makes up Chris’ shipmates are also enjoyable as is J.K. Simmons, who plays the cargo ships Captain.

Kormakur uses an almost documentary style during the more quiet moments of the film but opens up the screen when the action calls for it. An armored car robbery, very reminiscent of Michael Mann’s “Heat,” is one of the highlights in the adrenaline filled second act.