In Contention

Tag: Mel Gibson

  • ‘The Beaver’ trailer

    Everyone has been wondering what will come of Jodie Foster’s “The Beaver” ever since Mel Gibson went flying off the rails earlier this year.  The film is set for a Spring 2011 release and many in the know seemed to think Gibson could have been an awards play for his performance in the film amid other circumstances.  The trailer has just been released via Apple, however, so we all finally get a look at what the troubled actor was up to.  Check it out by clicking the image below or watch an embed after the jump..

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  • 10/22 OSCARWEB ROUND-UP: Arndt, Unkrich on Fresh Air, no ‘Hangover’ for Gibson, ‘Paranormal’ sequel scares L.A.

    • Lesley Manville talks “Another Year” across the pond. [The Guardian]

    • Terry Gross talks with “Toy Story 3” director Lee Unrich and writer Michael Arndt on Fresh Air. [NPR]

    • Watch in night vision as a Los Angeles audience reacts to a screening of “Paranormal Activity 2.” [HitFix]

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  • 10/18 OSCARWEB ROUND-UP: Buzz for Rudd, Ebert chats up ‘Secretariat’ author, ‘Alice in Wonderland’ push for Best Pic

    • Jeffrey Wells posts a reader review of James L. Brooks’s “How Do You Know” that claims Paul Rudd is a sure-fire Best Supporting Actor nominee, but I’d expect a lead campaign for him and buzz for Jack Nicholson in support. [Hollywood Elsewhere]

    • Steve Rose on the secret of the Winkelvi from David Fincher’s “The Social Network.” [The Guardian]

    • Roger Ebert still high on “Secretariat,” sits down with the source material’s author, Bill Nack. [Chicago Sun-Times]

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  • WEEKLY WRAP: ‘Speech’ rises, ‘Town’ hovers, foreign list

    • At Toronto, “The King’s Speech” scooped the Audience Award, recently a harbinger of Oscar success. (Days later, a trailer landed.)

    • This week’s Off the Carpet pondered the film’s rosy awards outlook, but also warned of the fickle nature of frontrunner status.

    • Guy’s seasonal Oscar column, The Long Shot, kicked off with a reminder to put the movies first. (He also tested the waters with some predictions.)

    • Following an unexpected display of box office muscle from “The Town,” we wondered how far it can go in the Oscar race.

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  • OSCAR TALK: Ep. 33 — ‘Social Network’ front-running, Gibson persona non grata and why ‘The Fighter?’

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, a one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change on route to Oscar’s stage and we’re here to address it all as it unfolds.

    There isn’t a whole lot to discuss this week though there are a number of forced stories out there which kind of prove the point. I’m up in Berkeley talking to Anne down in LA so, as the New York fest kicks off tonight, let’s see what’s on the docket today…

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  • 9/23 OSCARWEB ROUND-UP: Brolin on Stone and Allen, remembering ‘Goodfellas’ and a ‘Boonmee’ how-to

    • In a joint venture with Interview magazine, Roger Ebert corners Casey Affleck on “I’m Still Here.” [Chicago Sun-Times]

    • Kevin Gray talks “Wall Street” and Woody Allen with Josh Brolin. [Vulture]

    • Steve Pond runs a comb through the contenders so far to gauge strengths and weaknesses. [The Odds]

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  • Mel Gibson Oscar buzz? Get right outta town!

    Someone stop me if I’m out to lunch here, but is it not absolutely ludicrous to think that Mel Gibson would have a shot at a Best Actor nomination in this or any other universe in a year where the star is as plagued with controversy as he is in 2010?

    Look, I’m all for forgiveness and “kumbaya.”  And I really couldn’t care less about Gibson’s domestic issues.  So this isn’t a personal perspective or anything, but you’re talking about a guy thought to be anti-Semitic in a community with, well, its fair share of Jews, who happened to rock out the biggest public embarrassment any star has seen since, I don’t know, the LAST time Gibson went on ranting and raving?  I love that Jodie Foster is sticking by her friend (noted in today’s round-up), as she should, but seriously, does anyone legitimately think Hollywood wants this kind of situation representing the community in the form of a BEST ACTOR NOMINATION?

    Well, that’s not stopping the gears from turning.  Pete Hammond, God love him, is looking for the silver lining like he’s looking for a positive word to say about the latest “Resident Evil” film over at Deadline.

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  • 9/22 OSCARWEB ROUND-UP: Carrey’s Oscar potential, ‘Inception’ with a joystick, demanding to see ‘Beaver’

    • Sasha Stone ponders Oscar possibilities for Jim Carrey in “I Love You Phillip Morris” as the hate-mongering right looks to block the repeal of Don’t Ask, Don’t Tell. [Awards Daily]

    • Anthony Michael Hall, Judd Nelson, Molly Ringwald and Ally Sheedy reunite to celebrate 25 years of “The Breakfast Club.”  Come on, Emilio.  Too cool for school?  (See what I did there?) [People]

    • Christopher Nolan briefly mentions that he’d like to develop “Inception” as a video game (and if you have a film-related news feed then you’ve already seen plenty of webmasters climbing over themselves to re-report this). [Variety]

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  • 10/27 Oscarweb Round-up

    Mel Gibson in Braveheart• Patrick Goldstein thinks tapping Ricky Gervais as emcee suddenly classes up the Golden Globes. [The Big Picture]

    • In case you’ve missed it, a thorough and, I’d say, fair profile of James Cameron in 11,000 words. [New Yorker]

    • Mel Gibson admits the subject of his Oscar-winning biopic “Braveheart” was a “monster.” [The Times]

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  • Mel Gibson in front of the camera for the first time in seven years

  • 7/23 Web Round-up

    Kevin Spacey• Kim Voynar wonders where the Brat Pack for today’s generation is. [Movie City News]

    • Judd Apatow gets the MOMA treatment in NYC. [Movieline]

    • Andrew O’Hehir talks “Shrink” with actor Kevin Spacey. [Beyond the Multiplex]

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  • Five years on, Gibson’s ‘Christ’ still moving, misunderstood

    Jim Caviezel in The Passion of the ChristFive years have passed since the release of Mel Gibson’s extraordinary film “The Passion of the Christ,” a self-financed work that would eventually stun the industry, bringing in more than $600 million worldwide. There were gales of protest about the film, religious leaders spoke out, some for it , some actually against it, and audiences members wept, or walked out, depending on the person.  I can’t remember a film causing this sort of reaction from so many people. Gibson divided audience right down the middle.

    The actor/director chose not to make a film about Jesus’s life but rather his death, exploring in great detail the horrors inflicted on the poor man as he walked toward a hill where he would be nailed to a cross and left to die a most horrible death. The chain of events is called “the stations of the cross” in religious teaching, but Gibson laid it out in near matter-of-fact fashion.  His faith was apparent but it wasn’t a propagandist’s work in the slightest.

    In essence, Gibson made a film about a man who was driven.  He could have stopped but he pushed through this awful denouement to his life. I suppose that, more than anything else, moved me. The fact that no matter what happened to his body, whether it be scourging his flesh or beating him about the head and face, he just kept going, knowing his purpose, knowing his destiny.  In that way, the film could be seen less as a portrait of a religious figure than a tale about everyday passion, the will to continue, eyes on the prize, etc.  Who can’t relate to that in some way, however comparably small?

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  • 10/7 Web Round-up

    Jodie Foster• How “Brüno” could forever change Hollywood’s depiction of homosexuality. [Slate]

    • Or should that be “Humpday?” [Time]

    • Jodie Foster goes back behind the the camera, directing and starring opposite Mel Gibson in “The Beaver.” Ahem. [Variety]

    • Given the ubiquity of the Harry Potter kids, Gill Pringle considers the rise of the well-behaved movie star. [The Independent]

    • Eternal maverick Isabelle Huppert on her “internal adventure” of her acting career. [indieWIRE]

    • Must-read of the day: Andrew O’Hehir takes a fresh look at “The Seventh Seal.” [Salon]

    • Inspired by the title of Michael Moore’s latest, Xan Brooks contemplates cinema’s least appropriate date movies. [The Guardian]

    • By the way, have you been playing Nat Roger’s fantastic “First & Last” game this month? Check it out. [The Film Experience]


  • Jay Leno’s closes a chapter on ‘The Tonight Show’

    Jay LenoI’ve been pretty hard on Jay Leno over the years. In the late night wars, he’s had neither the comedic inventiveness nor (certainly) the journalistic capacity to become must-watch TV like David Letterman and, to a lesser extent, Conan O’Brien. Even the sober Tom Snyder proved a more intriguing watch for me when he was still on CBS so many years ago.

    All of that said, I’m a bit saddened that Leno’s final episode as host of “The Tonight Show” is being recorded right now for telecast later this evening. As much as I may have preferred other late night personalities over the years, the fact remains Leno’s regular guy brand of humor carried the torch magnificently for the past 17 years. The circumstances surrounding how he landed the gig will always be suspect, but Letterman went off and became his own man, paving the way for O’Brien to make a name for himself at 12:30 and, as of Monday night, finally take up the reigns on “The Tonight Show” himself.  I wrote briefly about O’Brien’s final “Late Night” show back in February.

    O’Brien’s transition to the show was covered in-depth in an insightful New York Times Magazine piece last weekend by staffer Lynn Hirschberg. Early passages have me worried, such as writing staff ideas centered around O’Brien as an outsider in Los Angeles (his new show will be taped daily on the Universal lot). Those will only go so far, perhaps better suited to a guest host than the new face of NBC late night, and the show will need to settle into a more purposeful position sooner rather than later.

    Of course, the subtext of Hirschberg’s article is that O’Brien, like his soon-to-be time-slot competition Letterman, doesn’t have the chummy, next-door neighbor demeanor that Leno has. Therefore, the 50-year-old enterprise could be in jeopardy of losing viewership. His brand of self-deprecation struck a chord with his dorm room demographic, to be sure, but the higher brow isn’t what Leno aimed for and might not be what the “Tonight Show” audience wants. The ratings will ultimately tell the tale, but in recent years, I have found myself out-growing O’Brien’s antics. I wish him the best as he takes up the reins on Monday, but I wonder if a network desire to stay fresh will put a flagship built on it’s heritage in slight peril.

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  • ‘Slumdog,’ ‘WALL-E,’ ‘Wire’ win big at the Eddies

    ACE Eddie AwardUPDATED: Alright, back from the show and it seems “Slumdog” also predictably won the ASC award, which brings me to a possibility that has come up in a number of conversations recently: could the film sweep all its Oscar categories in one week’s time?  It is the film of the year and truthfully, there seems to be a ripple through the industry hinting at a nine Oscar outcome (since it can’t exactly win two Oscars in the Original Song category — but wouldn’t a tie just be hilarious?).

    Anyway, this was my second time reporting from the ACE Eddie Awards ceremony and it’s generally a good time, for those who can keep up with the inside baseball, of course.  Note to self: maybe not bring the girlfriend next time.

    Beyond the quick dash of kudos-dishing there were a trio of special awards handed out tonight.  For starters, the Career Achievement Eddies went to Arthur Schmidt and Sidney Katz (father of ACE member Virginia Katz).  Watching Schmidt’s reel play before Robert Zemeckis handed him his honor was a treat, of course, considering the nearly three decades of movie magic the man has been partially responsible for: “Back to the Future,” “Who Framed Roger Rabbit?,” “The Last of the Mohicans,” “Forrest Gump,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “The Birdcage,” etc.  He seems to have taken a break the last four years.

    Mel Gibson, meanwhile, joined Stuart Baird in presenting Richard Donner with the Golden Eddie Award (which last year went to Norman Jewison).  Donner’s speech was a highlight, despite the rambling (which was done with trademark Donner endearment).  He put a bow on the thing with a trio of political points, the first being an anti-fur declaration (to go along with an anti-fur button pinned to his lapel).  Then he encouraged us all to adopt puppies rather than buy, and whether you voted for Barack Obama or not, he said, “we’re going through a lot of shit and he needs all of your support now.”  Each of them were met with big applause in a West L.A. ballroom, but of course.

    But again, the highlight reel = movie magic: “Superman,” “The Omen,” “Lethal Weapon,” “The Goonies” — GREAT call by ACE this year, I have to say.  But the one thing that stuck in my mind was Gibson’s weird cavalier facial hair…thing.  An evil Robin Hood, that’s what he looked like up there.  Or a “V for Vendetta” mask.

    Anyway, the big awards went to “Slumdog” and “WALL-E,” of course (as well as “Man on Wire”), the newsy news of which you can find after the jump.  I think the Pixar win is a bit of a surprise and in a way, a refreshing one.  It’s nice to see this guild really break down the barrier for animated films in this way, since no other toon has taken the Eddie in the past despite numerous nominations in the comedy category.  The former, however, and Chris Dickens (looking quite Moby-esque, I have to say), seems to be on an unstoppable Oscar trajectory.

    Much to the chagrin of some, the enthusiasm of others.  Such is the season…

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  • The new millennium Oscars?

    Viggo Mortensen in The Lord of the Rings: The Return of the KingLooking back over the previous Oscar winners for Best Picture since 2000, the start of a new century (and a new millennium), I find myself wondering sometimes what the hell the Academy was thinking.  It’s no secret I disagree with the Academy a lot, but I can also admit that when they get it right, they get it right.

    But since 2000, their Best Pic choices have run the gamut from incredibly ridiculous, “Gladiator” and “A Beautiful Mind” being just goofy, to bang on, with “The Departed” and “The Lord of the Rings: The Return of the King.”  I am told the Academy is moving in a more progressive direction, willing to take more risks, and I suppose some of these winners do just that.  But they could have gone further.

    Year by year, here’s a quick look, with some thoughts about who might have won, and who should have at least been nominated…

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  • EW’s Heath Ledger appreciation

    Cover of Entertainment WeeklyEntertainment Weekly’s current cover story is a somewhat engaging retrospective on the career of Heath Ledger through the words of his friends and collaborators.  The first story of its kind to date, the piece is a nice idea given that Jan. 22 is both the anniversary of Ledger’s unfortunate death and the day he will likely nab a posthumous Oscar nomination for his work in “The Dark Knight.”

    My only beef with the story is the insistence on either writers Josh Rottenberg and Cristine Spines, or their editor (can’t be sure which), to fish out the most US Weekly-brand quotes from some of these people, splashing suspicion on the drug use about (though director Terry Gilliam refutes that at one point), leaning heavily on talk about Ledger’s insomnia and basically painting a much more morose portrait than was really necessary.  It’s a tough, sad read as a result.  But it’s solid and, like I said, unique.  Here are some highlights:

    “The Patriot” co-star Mel Gibson:

    His audition for The Patriot was rough. But he got the gig because of some kind of honest thing that was intrinsic to him. He was just authentic and sincere. I don’t think he knew the power he had already. So he’d work himself up into an angst situation, trying to get at things that were already there. You almost wanted to say, ”Dude, just calm down and be yourself. It’s good.”

    “Monster’s Ball” director Marc Forster:

    When he read the script, Heath said, ”Look, I get this character. I totally understand him. I’ll come down there and breathe in that world.” He wanted to try something different, something where the movie wasn’t resting on his shoulders. The one thing he said was, ”I’m not going to participate in the promotion of the movie. I’m just going to come in and focus on the acting.”

    “Four Feathers” co-star and friend Wes Bentley:

    Heath didn’t give himself enough credit for his talent as an actor. He didn’t know what he had so he decided to enjoy what was being offered to him. I wanted to explain to him, ”Please wake up to how great you are.” He didn’t have any classical training. He didn’t have anyone making him feel like he had credibility. The only voice he listened to was his own self critic, because it was the loudest.

    And finally, this sobering remark from Gilliam:

    I was in Vancouver, and there was a computer with a BBC website and it says, ”Heath Ledger found dead.” My immediate response was, ”It’s a f—ing Warner Bros. publicity stunt for the Joker!” We kept looking at the computer thinking it was going to change. But it wouldn’t go away…We’re cutting Parnassus now, so it’s like I work with Heath every day. He’s in fine shape, at least in the world I’m inhabiting at the moment. It just doesn’t make sense. Every day goes by and I think, He’ll be back in a second.

    Read the rest of the piece here.

  • Why does the Academy fear controversy?

    Jon Voight in Midnight CowboyIn 1969, the Academy saw fit to give “Midnight Cowboy” the award for Best Picture — a first ever for an X-rated film.  Some saw the moment as a bellwether signaling a new dawn for the group, that they were developing a growing acceptance for the films that would start coming at them around this time of creative invigoration in the cinema.  But was it really?

    I remember somewhere that a high-ranking Academy official stated that if “A Clockwork Orange” won the Oscar for Best Picture they would resign their membership! The film had already won top honors from the New York Film Critics Circle and was nominated for four Academy Awards, among them Best Picture and Best Director. A ground-breaking work, the best of Kubrick’s career, still looking futuristic 37 years later, the film is an obvious masterpiece.  But it frightened the Academy for whatever reason.

    A year later Bernardo Bertolucci’s “Last Tango in Paris” came along with a galvanizing performance from Marlon Brando and was certainly a better film than at least two of the pictures nomination int he top race, “The Sting” and “A Touch of Class,” yet as expected, the Academy backed away from the film, nominating only Brando and Bertolucci.

    What is it in the makeup of this esteemed organization of artists that makes them steer clear controversial films, films that push the envelope, that go further out on a limb than most in exploring dark and sometimes daring subject matter?

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