In Contention

Tag: Push: Based on the Novel by Sapphire

  • ‘Precious’ teaser poster and trailer

    If you’re wondering, “What the heck is ‘Precious,’” allow me to remind you that the Sundance sensation “Push: Based on a Novel by Sapphire” was re-titled in the wake of that silly effects movie, also called “Push,” earlier in the year.  As Cannes starts to heat up, perhaps bringing a host of awards contenders into the picture, Lionsgate has smartly decided to remind us all of this little Oscar hopeful by unleashing a stunning new teaser poster and the first trailer for the film.

    The poster is immediately reminiscent of the work of designer Saul Bass, and though you wouldn’t expect an image that seems to be marketing a thriller to work so well, it somehow pulls it off:

    Precious

    The trailer, meanwhile, does a fine job of selling the film without falling into the trap of marketing to urban audiences with too heavy a hand. It clearly showcases what looks to be a star-making performance from Gabourey Sidibe and, of course, Mo’Nique, a frontrunner for Best Supporting Actress recognition since January.

    The trailer premiered exclusively on the official websites of Oprah Winfrey and Tyler Perry, each of them supporting the film’s distribution.  Additionally, it seems the film’s official title is now “Precious: Based on the Novel ‘Push’ by Sapphire.”  Too much.  Stick with “Precious.”

  • OFF THE CARPET: Handicapping 2009 a year in advance!?

    Ewan McGregor and Hilary Swank in AmeliaAhh.  The dust is settling.  And on the horizon, just visible through the mist and waiting to drive us all up the wall once again: the 2009 Oscar season.

    I’ve been writing this year-in-advance column for probably six years now, and I always look forward to gazing ahead.  No one dives in so pathetically deep this far out as yours truly, but in exchange for not having a life for the past few months, I get to unload this burden the day after our annual season’s peak and forget about little gold men entirely for a few months.

    It’s quite liberating.

    The most interesting thing about the season to come, from my vantage point, is the lack of a dreaded “frontrunner status” for any of the contenders.  Some might say Clint Eastwood’s Nelson Mandela project (which is not called “The Human Factor,” mind you — the director says the film is currently untitled and is based on John Carlin’s book “Playing the Enemy”).

    Others might say Rob Marshall’s “Nine” (coming from a money-tight company hoping to avoid echoes of “Memoirs of a Geisha”).  But I don’t see a “Geisha” from here, or a “Charlie Wilson’s War,” expected heavies waiting to miss the mark.  The field is curiously flat, and as a result, excitingly broad.

    Let’s get to it, shall we?

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  • WEEKLY WRAP: ‘Slumdog,’ Sundance, Santa Barbara

    It slipped my mind to do this yesterday, but here’s the week that was:

    • “Slumdog Millionaire” steamrolled through the week’s precursors, taking the Producers Guild Award…

    • … before landing top honours at the SAG Awards, which we live-blogged for your pleasure.

    • Still on “Slumdog,” a potential smear campaign against the film was duly foiled.

    • No surprise, then, that this week’s Off the Carpet column declared the race pretty much over.

    • The Academy settled “The Reader” producers’ dilemma by breaking its ludicrous “three-nominee” rule.

    • Meanwhile, some are wondering whether Harvey Weinstein’s tactics could harm the film’s chances, particularly in the Best Actress race.

    • Away from the Oscar race, gritty urban drama “Push” cleaned up at Sundance.

    • The Santa Barbara fest carried on, with an interesting screenwriters’ forum among the highlights.

    • Still at Santa Barbara, Danny Boyle, Kate Winslet and this year’s six Virtuoso stars were among those celebrated.

    • Could “The Curious Case of Benjamin Button” really go 0-for-13 on Oscar night?

    • Finally, rounding off a very “Slumdog”-flavoured week, be sure to check out our interview with the film’s brilliant craftsmen.

  • ‘Push’ sweeps at Sundance

    It had become quite clear over the past few days that Lee Daniels’ sophomore feature “Push: Based on the Novel by Sapphire” was one of the few titles raising pulses at a very quiet Sundance Film Festival. The film, a hard-hitting urban tale of an African-American teenager overcoming merciless parental abuse in 1980’s Harlem, has received breathless critical notices across the board, with Variety declaring it “a diamond – clear, bright, but oh so hard.”

    So hardly anyone is surprised that the film cleaned up at yesterday’s Sundance Awards, nabbing both the Grand Jury and Audience Prizes in the U.S. dramatic competition — only the third film ever to achieve that double. It also received a Special Jury Prize for the performance of Mo’Nique as the protagonist’s monstrously neglectful mother.

    Sundance Awards have a spotty record of indicating future success: looking down the list of previous Grand Jury Prize winners, for every “You Can Count on Me” or “Frozen River” that rides its momentum all the way to Oscar night a whole year later, there’s a “Quinceanera” or “Forty Shades of Blue” that pretty much sinks without trace. “Push” certainly sounds like a tough sell for future awards attention, but if the critical championing continues, it’s hard to predict what might be in store.

    One winner we seem increasingly likely to hear more about as the year progresses is Lone Scherfig’s British charmer “An Education,” which inspired a heated bidding contest between specialty studios, and last night landed the Audience Award in the world dramatic competition, as well as a gong for cinematographer John De Borman. (Check out Todd McCarthy’s unabashed rave for the film here – we haven’t seen too many of those lately.)

    Meanwhile, the jury’s choice in the world dramatic section was Chilean class-themed comedy “The Maid,” while directing and screenwriting honours went to Oliver Hirschbiegel’s “Five Minutes of Heaven,” a study of political conflict in 1970’s Northen Ireland headlined by Liam Neeson. After the disaster that was Hirschbiegel’s first English-language effort, “The Invasion,” it’s nice to see the “Downfall” director getting back on track.

    A full list of the (many) feature awards dished out is below the cut. For more details, check out Variety’s report here.

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