A review of last night's "Prime Suspect" - and how the show has evolved from its very shaky pilot - coming up just as soon as I call dibs on telling you that a tarp is not a reasonable expectation of privacy...
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Just one day after the Cinema Eye Honors documentary nominations were announced at a cheery London pub party, the rather more solemn International Documentary Association has weighed in with their own nods. It's a less playful list -- no mention for Justin Bieber this time, I'm afraid -- and one that pointedly omits several of the year's most prominent docs: "Senna," "The Arbor" and "The Interrupters," among others, are all conspicuous by their absence. Not having seen most of the IDA's choices, I'm in no position to say whether they're being discerning or wilful.
The IDA's only overlap with Cinema Eye in the top category is Chilean veteran director Patricio Guzmán's "Nostalgia for the Light," a fused meditation on astronomy and Pinochet-era politics that won the Best Documentary prize at last year's European Film Awards. It's certainly one of the year's most critically beloved documentaries, but I suspect it may yet prove a tough sell to the Academy.
In the short category, "Minka," which also scored a nod from Cinema Eye and may be a title to file for future reference. Meanwhile, 2010 Oscar nominees "Poster Girl" and "The Warriors of Qiugang" resurface here. Check out the full list of IDA nominees after the jump.
"This is no fairy tale," Portland cop Nick Burkhardt is told when one of his cases appears to involve a monster as the perp. "The stories are real."
Well, of course they're real. Did Nick - the hero of NBC's new thriller "Grimm" (tonight at 9) - not watch Sunday's premiere of "Once Upon a Time" on ABC, this season's other new drama about fairy tales come to life?
With awards season kicking into really high gear next month, awards campaign will do its best to give you a rundown every Thursday of the contending movies opening over the weekend so you can make sure to keep up with the conversation. This pundit will have seen almost every film hitting theaters (with a few rare exceptions, but you can guarantee if I haven't that someone at HitFix or our colleagues at In Contention will have (well, maybe).
A lot has changed since "Beavis and Butt-head" ran on MTV from 1993 to 1997 and became MTV's highest rated show. Creator Mike Judge went on to create the Fox series "King of the Hill," as well as the movies "Office Space" and "Idiocracy." But now Judge has returned to MTV and the series, which attracted the ire of critics (and even the negative attention of Congress). I talked to Judge during the TCAs and the laid-back Texan looked fit and relaxed (he credited surfing) and seemed happy to be back at work on the show that once left him burnt out fourteen years ago.
A lot of people slammed "Beavis and Butt-Head back in the day.
On one hand, I feel like it was kind of unfairly attacked. Well, it definitely was very unfairly attacked by a few people, like should have been sued for slander type attack. But then I think it was written off as something that it wasn’t, but the problem was that we had some episodes that weren’t so good; we were cranking them out really fast. And like the first comic books were horrible; they kind of were guilty of what people accused it of, that I was saying it was not. I’m always like understanding of people who didn’t like it or get it right away, but you know, that’s different from this flat out slander, which did happen.
Okay, Josh M. can't win this. He can't. Please, someone tell me he can't win this thing! But if he does, maybe he and last year's winner, Gwetchen, can make a nightmare neon hustler/Aztec boho knockoff collection together. Which no one will buy. Seriously, though, the man has terrible taste. But the really unfortunate thing is I don't think Anya, who had been so strong all season, can pull it out and win this thing following her epic meltdown. Still, I can't look away. Just please, don't let Josh M. win!
Halloween comes to Mystic Falls early this year, as 'Ghost World' is all about, well, ghosts -- and none of that cute Casper stuff, either. Of course, some of these ghosts are more symbolic of our weary characters living in the past (hello, Elena!), but some are very, very real and tend to be angry. And violent. Hey, it wouldn't be "Vampire Diaries" without a little bloodshed, would it?
A review of tonight's "Parks and Recreation" coming up just as soon as I quote Mary Pickford(*)...
A review of tonight's "Community" coming up just as soon as I'm comforted by your shiny hair and facial symmetry...
Last week, I took a drive through hideous rush hour traffic from my house in Northridge all the way to the IMAX theater that used to be called The Bridge, near the airport. And the crazy thing is that I didn't do it to see a whole film. Nope. I did it just so I could see 20 minutes of the new "Mission: Impossible" film on an IMAX screen.
And I regret nothing.
There's a new trailer for the film that is just now launching, and I'll have that embedded for you below. First, though, let's set some of what you're going to see in context.
We saw two full sequences from he film, and producer Bryan Burk was on-hand to set up the two scenes for us. He's Bad Robot's producer on the film, and I think it was smart for Cruise to reach out to Bad Robot even though JJ Abrams wasn't directing this one. Burk and Abrams are very smart commercial producers, and Cruise had a very good experience with them on the last film. Christopher McQuarrie, who also scripted "One Shot," the currently-shooting Reacher adaptation that Cruise is starring in, was the lead writer on the film, and then Bad Robot brought in Josh Appelbaum and Andre Nemec, writers they loved from "Alias" and a ton of other TV credits. They worked to once again make a "Mission: Impossible" film that feels different than any of the others in the series, something I like about the franchise.
I'll just go ahead and say this up front: I should have done this better.
I don't think it's a bad interview, per se, but I like Zach Galifianakis, both as an actor and as a comic, and I think he's one of those guys with a razor-sharp mind. I also think it's really easy to lose him in a conversation if you're not keeping him interested. When you're at a junket, you're one of a parade of people who trot into the room in what must feel like a blur to the people sitting in that chair, and you don't really have a conversation. You have the illusion of a conversation. You have to hit the ground running and then hope you can get one or two good sound bites before they hustle you out the door for the next person.
With Zach, I feel like I never really found my way into the conversation, and the result is a perfectly pleasant five minutes or so, but that's not what I was hoping for. I was hoping I'd engage him and draw something special out of him. Nope.
Something like 20 years ago, screenwriter John Orloff happened upon an episode of PBS's "Frontline" about the authorship question surrounding the works of William Shakespeare. It was something he had never heard before, so, in those antiquated days of pre-internet, he took to the library for a little research.
There weren't a lot of books out at the time dedicated to the issue. He didn't then and he doesn't now have a definitive idea of who might have written the plays attributed to Shakespeare, even though the film bearing his own signature, "Anonymous," props up the Oxfordian theory (that Edward de Vere penned them). But Orloff is, if nothing else, certainly a believer that Shakespeare wasn't the guy.
"I think it's more about education and life experience, not class," he says. "To me, it's not that a man from a lower class could not achieve all of this. Ben Jonson was from a lower class. So was Marlowe. So were most playwrights of the time. But the difference between those people and Shakespeare is they were educated. And to me, it comes down to education and personal experience. And they’re kind of separate."