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Sunday, February 28, 2010
U.K. BOX-OFFICE
Note:- Collections of several films are unavailable. Hence, this list is incomplete.
* My Name Is Khan [last weekend: No. 6, this weekend: No. 9]: In its second weekend, the film has collected £ 4,48,747 on 91 screens, with the per screen average working out to £ 4,931.
Total: £ 19,60,349 [approx. Rs. 14.05 crores].
U.S.A. BOX-OFFICE
* My Name Is Khan [last weekend: No. 13, this weekend: No. 17]: In its second weekend, the film has collected $ 7,00,885 on 125 screens, with the per screen average working out to $ 5,607.
Total: $ 32,53,168 [approx. Rs. 15.01 crores].
AUSTRALIA BOX-OFFICE
* My Name Is Khan [last weekend: No. 10, this weekend: No. 15]: In its second weekend, the film has collected Aus. $ 1,73,846 on 37 screens, with the per screen average working out to Aus. $ 4,699.
Total: Aus. $ 7,62,584 [approx. Rs. 3.17 crores].
OTHER KEY MARKETS
* Singapore: USD $ 3,01,094 [approx. Rs. 1.39 crores]
* Pakistan: USD $ 3,65,298 [approx. Rs. 1.68 crores]
* East and West Africa: USD $ 1,65,260 [approx. Rs. 76.22 lacs]
* Middle East Markets: USD $ 2.21 million [approx. Rs. 10.19 crores
The movie had started off well thanks to the controversy created by the Shiv Sena over Shahrukh's support to the Pakistani players in the IPL. Fox Star India which is distributing the movie was excited after the movie had a better start than 3 Idiots. But My Name Is Khan seems to have lost the momentum having grossed Rs. 150 Crores in the second week compared to Rs. 240 Crores , 3 Idiots grossed in the first 10 days.
This is not the first time that Shahrukh has emerged No. 2 in the race. In 2008 too Shahrukh's Rab Ne Bana Di Jodi was going well but when Aamir's Ghajini released the movie found tough to breathe. Ghajini had gone on to establish records at the Box Office which was incidentally broken by Aamir starer 3 Idiots. Now having lost two consecutive rounds to Aamir, Shahrukh will find it tough to keep his 'Baadshah of Bollywood' tag.
Related posts:
Shah Rukh Khan's "My Name Is Khan" : Questions of religious and national identity
Friday, February 26, 2010
Banner
Filmkraft Productions (I) Pvt Ltd
Filmkraft Productions (I) Pvt Ltd
Release Date
May 21, 2010
May 21, 2010
Language
Hindi / English
Hindi / English
Genre
Thriller / Romance
Thriller / Romance
Shooting Studios
Filmistan
Filmistan
Producer
Rakesh Roshan
Sunaina Roshan
Rakesh Roshan
Sunaina Roshan
Director
Anurag Basu
Anurag Basu
Star Cast
- Hrithik Roshan
- Kangna Ranaut
- Barbara Mori
- Kabir Bedi
- Nick Brown
Cassettes and CD’s on
T-Series
T-Series
Music Director
Rajesh Roshan
Rajesh Roshan
Story / Writer
Akash Khurana
Anurag Basu
Robin Bhatt
Akash Khurana
Anurag Basu
Robin Bhatt
Hrithik Roshan starrer romantic saga ‘Kites’, which also marks the Bollywood debut of Mexican model Barbara Mori, will hit theatres worldwide on May 21.
The Hindi and English versions of ‘Kites’ will release worldwide simultaneously in 60 countries.The first trailer of the movie, which has been produced by Rakesh Roshan, distributed and marketed by Reliance Big Picture, was unveiled in 1700 screens on 12th February.
Wednesday, February 24, 2010
In fact, with the exception of a couple big-ticket losses at the Golden Globes and SAG Awards, Kathryn Bigelow’s film has nearly accomplished the same sweep that “Slumdog Millionaire” pulled off last year. By that yardstick, the film seems like a sure thing to win the Best Picture Oscar on March 7, particularly because those two high-profile losses came at the hands of two different films (“Avatar” at the Globes, “Inglourious Basterds” at SAG) rather than one.
But then I started looking at all ““Brokeback” Mountain’s” pre-Oscar record from four years ago and I found some striking similarities.
“Brokeback” managed the rare feat of winning Best Picture and Best Director at both the New York and Los Angeles film critics awards; so did ““Hurt Locker.” “Brokeback” also picked up those two big prizes at the Broadcast Film Critics Awards; so did “Hurt Locker.” “Brokeback” won the trifecta of PGA, DGA, and WGA trophies; so did “Hurt Locker.” “Brokeback” won 4 BAFTAs, including Best Film, Director, and Screenplay; “Hurt Locker” picked up 6 awards, including Best Film, Director, and Screenplay. And of course, “Brokeback” lost the SAG cast award, and so did “Hurt Locker.” (The main difference between the two films’ tallies is that “Brokeback” did win four Globes, including Best Drama and Best Director, while “Hurt Locker” went 0 for 3.)
All of this is on my mind right now because we’re about to put our Oscar Odds issue to bed (it’ll be on stands this Friday), and it’s really making me think twice about my prediction that The “Hurt Locker” will emerge victorious on March 7.
There’s still a distinct possibility that “Hurt Locker” will mirror “Brokeback” yet again and win three Oscars (let’s say Best Director, Best Original Screenplay, and Best Editing) but lose the big one to a more easily-digestible rival, in this case “Avatar.”
But I’m swayed by the argument (best articulated by Steve Pond over at The Wrap) that even if “Avatar” scores the most No. 1 votes, The “Hurt Locker” is likely to perform better in subsequent rounds of voting, since Bigelow’s film may have more No. 2 and No. 3 rankings than “Avatar” will. So, fully knowing that I may end up being wrong, I’m sticking with The “Hurt Locker”.
Related Posts:
"Avatar" Vs "Heart Locker" hard contest
Nominees for the 82nd academy award
Monday, February 22, 2010
Britain's love of the underdog triumphed Sunday as intimate war drama "The Hurt Locker" beat 3D spectacular "Avatar" to take six prizes, including best picture, at the British Academy Film Awards. Kathryn Bigelow won the best-director battle with "Avatar"'s James Cameron, her ex-husband, for her intense depiction of a bomb-disposal squad in Iraq.
"It means so much that this film seems to be touching people's hearts and minds," Bigelow said.
Both films had eight nominations for the British awards, considered an indicator of possible success at the Academy Awards in Los Angeles next month. "Avatar" and "The Hurt Locker" each has nine Oscar nominations.
"The Hurt Locker" also took British prizes for original screenplay cinematography, editing and sound.
"Avatar" won awards for production design and visual effects for its vivid vision of a distant moon populated by a blue-skinned species called the Na'vi.
"Hurt Locker" screenwriter Mark Boal dedicated the best-film prize to the hope of peace "and bringing the boys and girls back home."
Bigelow also paid tribute to soldiers serving in Iraq, and said the goal of the film was "putting a bit of a spotlight on a very, very difficult situation."
"I hope that in some small way this film can begin a debate ... and bring closure to this conflict," she said.
David vs. Goliath?
The "Avatar"/"Hurt Locker" battle initially seemed like a David-and-Goliath story. Cameron's last feature, "Titanic," won 11 Oscars, including picture and director. "Avatar" is a global phenomenon that has taken more than $2 billion at the box office.
"Hurt Locker" has made about a hundredth that much.
"It did not seem like a slam-dunk commercial proposition," said Boal, who thanked Bigelow and the cast for making "an unpopular story about an unpopular war."
Homegrown British talent did not go home empty-handed. Rising star Carey Mulligan was named best actress for playing a precocious teenager in 1960s London in "An Education."
Colin Firth was named best actor for his performance as a bereaved Englishman in California in Tom Ford's "A Single Man."
Firth said he almost declined the award-winning role, which has also earned him an Oscar nomination. He said he had been about to turn it down by e-mail "when someone came to repair my fridge." He never sent the e-mail.
"I would like to thank the fridge guy," Firth said.
Firth said he had emerged from working with fashion designer-turned-director Ford "better groomed, more fragrant and more nominated than one has ever been before."
Austrian actor Christoph Waltz, already a hot Oscar favorite, won the supporting actor prize for his turn as a chilling, charming Nazi colonel in "Inglourious Basterds." The supporting actress award went to Mo'nique for "Precious: Based on the Novel 'Push' by Sapphire."
Director Duncan Jones took the award for best British debut for his lost-in-space drama "Moon."
A tearful Jones, whose father is musician David Bowie, said it had taken him a long time to figure out what he wanted to do with his life.
"Finally, I think I've found what I love doing," he said.
“Season 1 was the best reality show in history,” he told the Chicago Tribune. “Season 2 may be the best series ever. It’s going to be legendary.”
And The Situation, whose catchphrases helped make the MTV show a household name, said he’s not preparing any material in advance for the upcoming season.
“I don’t save material,” he said. “That’s called being on the spot.”
As for what the future holds for the cast, he wasn’t sure if Ronnie Magro and Sammi “Sweetheart” Giancola were still dating.
“I think they broke up — I have no clue,” he said.
According to a previous report from TMZ, the volatile couple split after the taping of the series’ reunion show on January 21, but just days later, co-star Nicole “Snooki” Polizzi told Us Weekly that the pair had gotten back together.
“You never know with them,” Snooki said at the time.
But The Situation told the Tribune that he would be front and center when the show returned no matter what’s going on with his castmates.
“I run that house,” he said. “[Ronnie and Sammi] are the cartoon section. I’m the front page.”
Ryan Phillippe, Abbie Cornish break up-Actress moves out of shared home; couple met during 2006 film shoot
0 comments Posted by mike at 7:07 AM
It's over between actress Abbie Cornish and boyfriend Ryan Phillippe, her spokesperson confirms to e-celebrity exclusively.
"Abbie ended the relationship with Ryan and she moved out of their home," the rep tells e-celebrity. On Sunday, the actress was spotted removing her belongings from the house she shared with Phillippe while he visited a friend with children Ava and Deacon.
The split follows months of tabloid speculation that Phillippe has been unfaithful to Cornish — regularly hitting the nightclubs and being linked to other women. When asked about the cause of the break-up and whether Phillippe cheated on Cornish, her rep replied, "No comment."
ornish, 27, and Phillippe, 35, met in 2006 on the set of the film, "Stop-Loss," and survived intense media scrutiny following Phillippe’s divorce from Reese Witherspoon. Cornish has been in Vancouver for the last seven months shooting the film "Sucker Punch."
Reps for Phillippe could not be reached for comment.
Screenplay: Andrew Kevin Walker, David Self, Curt Siodmak (1941 screenplay)
Actors: Anthony Hopkins, Benicio del Toro, Emily Blunt, Hugo Weaving, Geraldine Chaplin
Cinematography: Shelly Johnson
Music: Danny Elfman
Release Date: February 12, 2010
Rating: 6 out of 10
Review:
The Wolfman is a remake of the popular horror classic that was produced by Universal over 60 years ago. Instead of capitalizing on a more contemporary adaptation of the character the studio decided to stick with the old plot and feel of the original. This includes the overseas location and time period, accompanied by plenty of blood and gore. This film could have been an amazing revamp of its predecessor but the excessive violence and unnecessary bloodshed ruins it all.
Lawrence Talbot, a haunted nobleman, returns to his family estate after his brother’s fiancee informs him of his death. It turns out that his sibling was murdered in the woods by a mysterious creature, who inflicted fatal wounds that weren’t of human origin. Against the advice of others he delves deep into his search, which sets a life changing event in motion. Throughout the film we try to figure out if it was destiny, a curse, or bad luck that leads him to his fate of becoming the Wolfman.
The Good:
Anthony Hopkins: The Oscar winning actor was the epitome of evil as Lawrence’s father. He was so emotionally detached that every time his character appeared on screen you always wondered what was going on behind his eyes.The Horror: This film was genuinely scary. There are a lot of jump scares, but they actually work and make you want to check your surroundings ever so often.
Editing: The editing here helped with building up tension and fear within the film. There were certain scenes that could only work with the right cuts at the right time, and they were able to pull that off.
The Bad:
The Direction: The cast of this film was great, but it didn’t seem like their talent shined through. It takes a good director to bring out the best in their actors, and that didn’t happen here. Joe Johnston had two Oscar winners, and a Golden Globe nominee, yet they all gave mediocre performances. It makes you wonder what type of direction he was giving them.The Accents: The location of the film is supposed to be near London, yet everyone’s accents are completely different. Del Toro’s is American, which they explain in the film, but Blunt and Hopkins are another story. Both actors are British in real life, yet Blunt sounded like an American doing her best British impersonation.
The Gore: There are some extremely graphic scenes that didn’t need to be shown. Every time the Wolfman appears expect to see exposed intestines, stomachs, and plenty of heads being clawed off during your viewing.
Overall:
There are certain elements from the original Wolfman that do appear in the remake, the only problem is those similarities are overshadowed by unnecessary blood. This is not a movie for the weak at heart or those with sensitive eyes. The Wolfman is a mixture of old school Gothic horror mixed with the Saw franchise. Does that sound like a pleasant combination to you? If so, you should definitely give it a shot this weekend.Sunday, February 21, 2010
| Directed by | Martin Scorsese |
|---|---|
| Produced by | Bradley J. Fischer Mike Medavoy Arnold W. Messer |
| Written by | Laeta Kalogridis Steven Knight Dennis Lehane (Novel) |
| Starring | Leonardo DiCaprio Ben Kingsley Mark Ruffalo Michelle Williams Patricia Clarkson Emily Mortimer Ted Levine John Carroll Lynch Elias Koteas Jackie Earle Haley and Max von Sydow |
| Music by | Robbie Robertson |
| Cinematography | Robert Richardson |
| Editing by | Thelma Schoonmaker |
| Studio | Phoenix Pictures Appian Way Productions Sikelia Productions |
| Distributed by | Paramount Pictures |
| Release date(s) | February 19, 2010 |
| Running time | 138 minutes |
| Country | United States |
| Language | English |
| Budget | $80 million |
Review:
Director Martin Scorsese's latest collaboration with Leonardo DiCaprio is a brain-scrambling good time.
The latest chapter in Martin Scorsese’s fruitful DiCaprio phase is the haunting psychological thriller Shutter Island. Based on the bestselling novel by Mystic River author Dennis Lehane, Shutter Island casts Leo as U.S. Marshal Edward “Teddy” Daniels, a World War II veteran and recent widower assigned with investigating the escape of a female inmate from Ashecliffe Hospital, a facility for the criminally insane housed on an ominous island outside Boston Harbor.
Ashecliffe Hospital is the Casa Bonita of mental institutions, a decaying, storm-battered Gothic fortress packed with raving, homicidal crazies from all sides of the lunatic spectrum. Orderlies, dressed in asylum white and almost uniformly African-American, attempt to subdue their screams, while impassive physicians subject their brains to all manner of rudimentary — and often barbaric — experimental “treatments” considered cutting-edge in the early ‘50s. (Shutter Island's story is set in 1954, back when lobotomies were regularly dispensed and homosexuality was still officially classified as a mental disorder.)
The proprietor of this madhouse is Dr. Cawley (Ben Kingsley), an effete, probing psychiatrist whose bowtie alone suggests a near-infinite capacity for evil. (Seriously — never trust any bowtie-wearer not named Pee Wee Herman. Just look at this guy.) He’s flanked by the German-born Dr. Naehring (Max Von Sydow), a vision of clinical Teutonic malevolence wrapped in a labcoat and wire-rimmed glasses. Needless to say, Marshal Daniels is immediately suspicious of both.
The case of the missing inmate proves to be something of a red herring, and Shutter Island an abrupt conspiratorial turn when Daniels reveals to his partner, Chuck Aule (Mark Ruffalo), his true motive for coming to Ashecliffe: Housed somewhere within its walls, he believes, is the arsonist responsible for the apartment fire that killed his wife, Dolores (Michelle Williams), just a few years prior. What’s more, Ashecliffe appears to be no mere hospital, but rather a secret government facility wherein gruesome, Nazi-inspired mind-control experiments are conducted by the House Un-American Activities Committee in the hopes of gaining an edge on the Commies.
Suddenly, faint sounds of the cuckoo alarm can be heard, and as Daniels sets out to unravel the conspiracy, the conspiracy has already begun to unravel him. Wandering through Ashecliffe’s creaking labyrinth, he's beset by haunting visions and engulfed by Scorsese’s menacing, atmospheric blend of flickering lights, leaky ceilings, violent thunderclaps, deranged inmates, and other classic crazymaking cinematic conventions. Throw in some abrupt smash cuts, a jarringly arrhythmic score, and an undercurrent of Cold War paranoia, and you've got yourself one terrifyingly potent, batsh*t crazy stew.
Sometimes too potent. Shutter Island's narrative is bedeviled by inconsistent pacing, its slow burn all too often interrupted by overlong, exposition-heavy dialogue exchanges that effectively halt the film's momentum, forcing Scorsese to build the tension again from scratch as we struggle to process the revelations that have just been dumped upon us. And its extended "I see dead people" denouement strays into the hackneyed abyss of Shyamalan-land. Thankfully for us, it doesn't linger long enough to spoil all the brain-scrambling fun.
Ashecliffe Hospital is the Casa Bonita of mental institutions, a decaying, storm-battered Gothic fortress packed with raving, homicidal crazies from all sides of the lunatic spectrum. Orderlies, dressed in asylum white and almost uniformly African-American, attempt to subdue their screams, while impassive physicians subject their brains to all manner of rudimentary — and often barbaric — experimental “treatments” considered cutting-edge in the early ‘50s. (Shutter Island's story is set in 1954, back when lobotomies were regularly dispensed and homosexuality was still officially classified as a mental disorder.)
The proprietor of this madhouse is Dr. Cawley (Ben Kingsley), an effete, probing psychiatrist whose bowtie alone suggests a near-infinite capacity for evil. (Seriously — never trust any bowtie-wearer not named Pee Wee Herman. Just look at this guy.) He’s flanked by the German-born Dr. Naehring (Max Von Sydow), a vision of clinical Teutonic malevolence wrapped in a labcoat and wire-rimmed glasses. Needless to say, Marshal Daniels is immediately suspicious of both.
The case of the missing inmate proves to be something of a red herring, and Shutter Island an abrupt conspiratorial turn when Daniels reveals to his partner, Chuck Aule (Mark Ruffalo), his true motive for coming to Ashecliffe: Housed somewhere within its walls, he believes, is the arsonist responsible for the apartment fire that killed his wife, Dolores (Michelle Williams), just a few years prior. What’s more, Ashecliffe appears to be no mere hospital, but rather a secret government facility wherein gruesome, Nazi-inspired mind-control experiments are conducted by the House Un-American Activities Committee in the hopes of gaining an edge on the Commies.
Suddenly, faint sounds of the cuckoo alarm can be heard, and as Daniels sets out to unravel the conspiracy, the conspiracy has already begun to unravel him. Wandering through Ashecliffe’s creaking labyrinth, he's beset by haunting visions and engulfed by Scorsese’s menacing, atmospheric blend of flickering lights, leaky ceilings, violent thunderclaps, deranged inmates, and other classic crazymaking cinematic conventions. Throw in some abrupt smash cuts, a jarringly arrhythmic score, and an undercurrent of Cold War paranoia, and you've got yourself one terrifyingly potent, batsh*t crazy stew.
Sometimes too potent. Shutter Island's narrative is bedeviled by inconsistent pacing, its slow burn all too often interrupted by overlong, exposition-heavy dialogue exchanges that effectively halt the film's momentum, forcing Scorsese to build the tension again from scratch as we struggle to process the revelations that have just been dumped upon us. And its extended "I see dead people" denouement strays into the hackneyed abyss of Shyamalan-land. Thankfully for us, it doesn't linger long enough to spoil all the brain-scrambling fun.
For more movie review, visit: http://hot-ecelebrities.blogspot.com/
Wednesday, February 17, 2010
Release Date: February 12, 2010
Studio: New Line Cinema (Warner Bros. Pictures)
Director: Garry Marshall
Screenwriter: Katherine Fugate
Starring: Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Emma Roberts, Julia Roberts, Taylor Swift
Genre: Comedy, Romance
MPAA Rating: PG-13 (for some sexual material and brief partial nudity)
Official Website: ValentinesDaymovie.com
Review: 3/10 rating | 5/10 rating
Story: While Valentine's Day is allegedly the busiest time of the year for the delivery of mushy messages and corny love trinkets all around town, the same should never be the case in a movie. Hyperactively busy in the extreme while negotiating endless crisscross plot lines between way too cute celeb cameos that include geriatric infidelity and worse, Garry Marshall's Valentine's Day is skits-ophrenic moviemaking when less would have indeed been much more.
In other words, where does one begin. It's Valentine's Day morning in LA, and shy guy florist deliveryman Reed (Ashton Kutcher) wakes up extra early to propose marriage to ambivalent girlfriend Morley (Jessica Alba), who seems to more attached to her cellphone. Literally. Which means that Reed has to figure out just how to pry her fingers loose from the notoriously addictive gadget, in order to find that spare finger for his engagement ring.
While on another side of town, anxious television news anchor Kelvin (Jamie Foxx) has just been demoted to puff piece patrol to sniff out human interest holiday stories, while the weathergirl taps dances away to stimulate the sagging ratings. And which Kelvin needs to wrap up, before jogging over to a press conference at which a famous athlete will announce he's gay.
Elsewhere, giddy grade school teacher Julia (Jennifer Garner) who is otherwise fairly luckless in romance, daydreams between classroom lessons about her current surprise requited crush on a possibly too good to be true affectionate physician. This while a more sensible and stern army captain (Julia Roberts) shares a philosophical plane ride with a mysterious stranger. Who will actually get to have the last word eventually in wrapping up this overly crowded scenario, that seems less like a smoothly paced script than a rush hour traffic jam on the LA freeway.
But there's more. Also getting in on the act for some dubious comic relief, is Jessica Biel as a thoroughly unconvincing sad sack who can't get a date. As a frantic Anne Hathaway appears to be revisiting her persecuted workplace drudge in The Devil Wears Prada, with Queen Latifah seemingly preempting Meryl Streep this time around, doing The Devil Wears Plus Size Prada.
And while Hathaway moonlights on the sly during work hours as a phone sex operator to make ends meet and pay for her health insurance and outstanding student loan, her dirty talk conversations are so lame PG, that the actual phone sex industry may end up losing business. Though Queen Latifah's boss from hell secretive impulse to move in and take over Hathaway's seductive operation with virtual bullwhip in hand, couldn't be funnier and saves this collaborative mayhem from looming movie overkill.
Tuesday, February 16, 2010
Actor in a Leading Role
• Jeff Bridges in “Crazy Heart”
• George Clooney in “Up in the Air”
• Colin Firth in “A Single Man”
• Morgan Freeman in “Invictus”
• Jeremy Renner in “The Hurt Locker”
Actor in a Supporting Role
• Matt Damon in “Invictus”
• Woody Harrelson in “The Messenger”
• Christopher Plummer in “The Last Station”
• Stanley Tucci in “The Lovely Bones”
• Christoph Waltz in “Inglourious Basterds”
Actress in a Leading Role
• Sandra Bullock in “The Blind Side”
• Helen Mirren in “The Last Station”
• Carey Mulligan in “An Education”
• Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
• Meryl Streep in “Julie & Julia”
Actress in a Supporting Role
• Penélope Cruz in “Nine”
• Vera Farmiga in “Up in the Air”
• Maggie Gyllenhaal in “Crazy Heart”
• Anna Kendrick in “Up in the Air”
• Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”
Animated Feature Film
• “Coraline” Henry Selick
• “Fantastic Mr. Fox” Wes Anderson
• “The Princess and the Frog” John Musker and Ron Clements
• “The Secret of Kells” Tomm Moore
• “Up” Pete Docter
Art Direction
• “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair
• “The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith
• “Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim
• “Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
• “The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie Gray
Cinematography
• “Avatar” Mauro Fiore
• “Harry Potter and the Half-Blood Prince” Bruno Delbonnel
• “The Hurt Locker” Barry Ackroyd
• “Inglourious Basterds” Robert Richardson
• “The White Ribbon” Christian Berger
Costume Design
• “Bright Star” Janet Patterson
• “Coco before Chanel” Catherine Leterrier
• “The Imaginarium of Doctor Parnassus” Monique Prudhomme
• “Nine” Colleen Atwood
• “The Young Victoria” Sandy Powell
Directing
• “Avatar” James Cameron
• “The Hurt Locker” Kathryn Bigelow
• “Inglourious Basterds” Quentin Tarantino
• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels
• “Up in the Air” Jason Reitman
Documentary (Feature)
• “Burma VJ” Anders Østergaard and Lise Lense-Møller
• “The Cove” Louie Psihoyos and Fisher Stevens
• “Food, Inc.” Robert Kenner and Elise Pearlstein
• “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith
• “Which Way Home” Rebecca Cammisa
Documentary (Short Subject)
• “China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill
• “The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher
• “The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert
• “Music by Prudence” Roger Ross Williams and Elinor Burkett
• “Rabbit à la Berlin” Bartek Konopka and Anna Wydra
Film Editing
• “Avatar” Stephen Rivkin, John Refoua and James Cameron
• “District 9” Julian Clarke
• “The Hurt Locker” Bob Murawski and Chris Innis
• “Inglourious Basterds” Sally Menke
• “Precious: Based on the Novel ‘Push’ by Sapphire” Joe Klotz
Foreign Language Film
• “Ajami” Israel
• “The Milk of Sorrow (La Teta Asustada)” Peru
• “A Prophet (Un Prophète)” France
• “The Secret in Their Eyes (El Secreto de Sus Ojos)” Argentina
• “The White Ribbon (Das Weisse Band)” Germany
Makeup
• “Il Divo” Aldo Signoretti and Vittorio Sodano
• “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
• “The Young Victoria” Jon Henry Gordon and Jenny Shircore
Music (Original Score)
• “Avatar” James Horner
• “Fantastic Mr. Fox” Alexandre Desplat
• “The Hurt Locker” Marco Beltrami and Buck Sanders
• “Sherlock Holmes” Hans Zimmer
• “Up” Michael Giacchino
Music (Original Song)
• “Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman
• “Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman
• “Loin de Paname” from “Paris 36” Music by Reinhardt Wagner Lyric by Frank Thomas
• “Take It All” from “Nine” Music and Lyric by Maury Yeston
• “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett
Best Picture
• “Avatar” James Cameron and Jon Landau, Producers
• “The Blind Side” Gil Netter, Andrew A. Kosove and Broderick Johnson, Producers
• “District 9” Peter Jackson and Carolynne Cunningham, Producers
• “An Education” Finola Dwyer and Amanda Posey, Producers
• “The Hurt Locker” Kathryn Bigelow, Mark Boal, Nicolas Chartier and Greg Shapiro, Producers
• “Inglourious Basterds” Lawrence Bender, Producer
• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
• “A Serious Man” Joel Coen and Ethan Coen, Producers
• “Up” Jonas Rivera, Producer
• “Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers
Short Film (Animated)
• “French Roast” Fabrice O. Joubert
• “Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell
• “The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia
• “Logorama” Nicolas Schmerkin
• “A Matter of Loaf and Death” Nick Park
Short Film (Live Action)
• “The Door” Juanita Wilson and James Flynn
• “Instead of Abracadabra” Patrik Eklund and Mathias Fjellström
• “Kavi” Gregg Helvey
• “Miracle Fish” Luke Doolan and Drew Bailey
• “The New Tenants” Joachim Back and Tivi Magnusson
Sound Editing
• “Avatar” Christopher Boyes and Gwendolyn Yates Whittle
• “The Hurt Locker” Paul N.J. Ottosson
• “Inglourious Basterds” Wylie Stateman
• “Star Trek” Mark Stoeckinger and Alan Rankin
• “Up” Michael Silvers and Tom Myers
Sound Mixing
• “Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
• “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
• “Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano
• “Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin
• “Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey Patterson
Visual Effects
• “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
• “District 9” Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
• “Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
Writing (Adapted Screenplay)
• “District 9” Written by Neill Blomkamp and Terri Tatchell
• “An Education” Screenplay by Nick Hornby
• “In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
• “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher
• “Up in the Air” Screenplay by Jason Reitman and Sheldon Turner
Writing (Original Screenplay)
• “The Hurt Locker” Written by Mark Boal
• “Inglourious Basterds” Written by Quentin Tarantino
• “The Messenger” Written by Alessandro Camon & Oren Moverman
• “A Serious Man” Written by Joel Coen & Ethan Coen
• “Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy
Sunday, February 14, 2010
We already saw some of the images from Lady GaGa’s Elle January shoot with Tom Munro. Here we bring you more from the editorial with her rocking Viktor & Rolf S/S 2010. More after the jump.
Saturday, February 13, 2010
Shah Rukh Khan's "My Name Is Khan" : Questions of religious and national identity
0 comments Posted by mike at 9:57 AMMovie Review: ‘My Name Is Khan’
Director: Karan Johan
Cast: Shah Rukh Khan, Kajol, Jimmy Shergill, Zarina Wahab
Director: Karan Johan
Cast: Shah Rukh Khan, Kajol, Jimmy Shergill, Zarina Wahab
Questions of religious and national identity, of the sense of right and wrong, of combating a certain isolation that comes with a behavioural disorder. But what triumphs over all the complexities unfolding in a tumultuous post 9/11 America is Rizwan Khan and his essential goodness that tells you unwaveringly – his name is Khan and he is not a terrorist.
Director Karan Johar is in unfamiliar territory here. The super intelligent Rizwan, who has Asperger’s Syndrome, a form of autism, his halting voice with his inability to communicate, and his many relationships – with his mother, his brother, and yes, Mandira, and her son Sam.
Rizwan who finds love and loses it some years later when his Khan identity becomes all important in a tense, suspicious America. You sit through three hours waiting to get a glimpse of Shah Rukh through Rizwan Khan, but it doesn’t happen. All credit to Karan Johar for that.
If Shah Rukh lives and breathes Rizwan in what is one of his finest roles, Kajol as Mandira, the vivacious single mother, is also good – as always. The chemistry between them if not always crackling, then heartwarming..
Like a piece of music that gradually rises to grand crescendo, ‘My Name Is Khan’ begins with Rizwan as a child with his mother – so good to see Zarina Wahab after such a long time – in a tenement in Mumbai and ends with cheers from the US’ first African American president in a crowded rally.
It’s from his mother that Rizwan learns his first lessons of humanity; as the 1983 Mumbai riots rage outside, she tells the young boy that the world is divided into good people and bad people.
It is this essential humanism that carries Rizwan through from Mumbai to San Francisco where his brother stays, then to the suburb of Banville where he moves in with Mandira and Sam, and even when he is taken to be a terror suspect.
Sam, his ‘only best friend’, is subjected to a vicious race attack because he takes on Rizwan’s surname. Mandira hits back, saying that the worst thing she could have done was marry a Khan and Rizwan is out on the roads – unable to articulate his feelings but backpacking his way across the US to meet ‘president sahib’ so he can tell him: ‘My name is Khan and I am not a terrorist.’
It is a road journey through a troubled post 9/11 America towards humanism and the essential goodness of the human spirit.
This is a US where chanting the name of Allah gets you into trouble, where the word terrorist and Khan in conjunction can put you behind bars. Rizwan moves from being a terror suspect to a nationwide hero who exposes a terror mastermind. And then, the man with the mission who travels to Wilhelmina that is literally drowning in a hurricane to supervise a heroic rescue mission.
There’s Afghanistan and Iraq, Bush and Obama too. The US’ first African American president is voted in and, in that final feel good moment Rizwan meets him in front of thousands of people and his goodness is validated.
Plenty of great one liners. When he is refused entry into a presidential fundraiser for the poor in Africa that is only for Christians, he leaves behind $500 saying: ‘This if for those who are not Christians in Africa.’
The music by Shankar Ehsaan Loy is superb. This is not a film without flaws, it is at least 20 minutes too long for one and flags in the pre-interval period, but here is one straight from the heart. It has a message, in these days of tensions over language and religion, one which needs to be heard.
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