Ben Lewin’s The Surrogate emerged as the undisputed hit of Sundance 2012, landing the biggest sale thus far (a $6 million sale to Fox Searchlight) with the unlikeliest of subjects: A paralyzed man’s quest to lose his virginity, based on the life and writings of Bay Area poet Mark O’Brien. Thanks to Lewin’s sensitive and honest script and an impressive turn by indie favorite John Hawkes -- who shines with wit and grace in a physically demanding performance as O’Brien, who has no use of his limbs due to polio but begins to explore his sexuality with the help of a hands-on sex therapist (Helen Hunt) – The Surrogate earned consecutive standing ovations and got critics buzzing with the possibilities for next year’s Academy Awards.
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In his new Brooklyn-set drama Red Hook Summer, director/co-writer Spike Lee tackles the complex topics of religion and redemption within the modern African American experience, as filtered through the eyes of a spoiled Atlanta teenager (Jules Brown) forced to spend one hot, explosive summer with his preacher grandfather in the projects of Red Hook, Brooklyn. It’s a richly conceived portrait of the Brooklyn neighborhood as microcosm for the black community at large, very much a Lee joint through and through. But, as the filmmaker reminded audiences this week at Sundance, where he railed against the Hollywood system, “it’s not a sequel to Do the Right Thing!”
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In the decade or so since Nick Frost first made a name for himself on the BBC comedy series Spaced, much has happened. For starters, he's not waiting tables at that Mexican restaurant. He's moved with ease from television to film, most famously in genre riffs Shaun of the Dead and Hot Fuzz (with Spaced comrades Edgar Wright and Simon Pegg), and in the alien geek ode Paul (which he co-wrote and stars in with Pegg). Also notably, Frost has ventured out from the fold in films like Pirate Radio and the forthcoming Snow White and the Huntsman. And, with this week's The Adventures of Tintin, he notches another milestone: Working with his hero, Steven. Steven Spielberg.
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One week removed from his 82nd birthday, Christopher Plummer is winding up what one could arguably call a career year. And it's been a long career -- more than half a century's worth of stage and screen roles comprising such milestones as The Sound of Music, The Man Who Would Be King, The Insider and The Last Station, the latter of which earned the Canadian legend his first-ever Academy Award nomination. But as the curtain closes on a memorable 2011 -- most notably his acclaimed stage adaptation Barrymore, his awards-worthy performance in Beginners and this week's blockbuster hopeful The Girl With the Dragon Tattoo -- you'd be hard-pressed to find a time when Plummer wasn't more beloved.
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For most of the last 18 years as Steven Spielberg's go-to cinematographer, Janusz Kaminski has held one of the sweetest creative gigs in Hollywood. The post has netted the Polish D.P. two Academy Awards (for Schindler's List and Saving Private Ryan, plus an additional nomination for Amistad) and credits on some of the most commercially successful films of the last generation, but more than that, it has made Kaminski's eye the one through which audiences witness Spielberg's influential vision of the past, present and future. It's a huge responsibility. It's also a singular opportunity.
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After more than four decades of creative peaks, valleys, experiments and triumphs that have established him as one of the most eclectic filmmakers of his generation, Wim Wenders has ventured into entirely new territory for his new documentary Pina: 3-D. The film's subject -- the late, legendary choreographer (and Wenders's longtime friend) Pina Bausch -- likely wouldn't have wanted it any other way.
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Ryan Gosling and Jessica Chastain have each had a well-documented great year, each no fewer than three well-received films -- and all their corresponding buzz -- arriving in theaters in 2011. Investigate slightly below the radar, however, and you'll find screenwriter John Logan faring just as well -- if not better.
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Matthew Lillard admits he's had three enduring cinematic moments -- in Scream, as its hilariously unhinged killer Stu Macher; in SLC Punk, as the spiky-haired Stevo; and in Scooby Doo, reprising Casey Kasem's beloved voice role Shaggy Rogers in living color. He is often both goofy and dark, and that dichotomy makes him a weird, but ingenious choice to play Brian Speer, a married real-estate hustler who has an affair with the wife of Matt King (George Clooney) in Alexander Payne's critical darling The Descendants.
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After earning back-to-back Academy Award nominations -- in 2010, for his breakout role in Kathryn Bigelow's The Hurt Locker and in 2011, for his supporting part in Ben Affleck's Boston crime drama The Town -- Jeremy Renner decided to dive headfirst into the action genre with four consecutive big-budget action projects. The first, Mission: Impossible - Ghost Protocol, which co-stars Renner as a mysteriously overqualified IMF agent assisting Tom Cruise's Ethan Hunt on his latest globe-sweeping assignment, premieres this weekend in IMAX. The next three films, Hansel and Gretel: Witch Hunters, The Avengers and The Bourne Legacy, will all hit theaters next year, making the California-raised actor the busiest action star of 2012.
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Depending on whom you ask, Christmas is a time of cheery togetherness or sharing in the misery. The latest holiday effort from RiffTrax is a bit of both. The RiffTrax team -- Mike Nelson, Kevin Murphy and Bill Corbett -- will take to Ustream tonight to revisit a Christmas gem they made fun of a year ago, Santa and the Ice Cream Bunny, for the communal enjoyment of bad-movie fans.
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When Tom Cruise adapted the Mission: Impossible television series for the screen in the mid-'90s, he made an interesting decision: Instead of branding the spy franchise himself, he would let different directors customize each installment according to their unique strengths and visions. Following three distinct Mission: Impossible takes from Brian De Palma, John Woo and J.J. Abrams, Academy Award-winning filmmaker Brad Bird -- who, before Ghost Protocol, had never helmed a live action feature -- stepped up to the plate for the fourth M:I installment.
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The stakes are higher and the villains far more treacherous (Moriarty!), but everything in Sherlock Holmes 2: A Game of Shadows is of a piece with the 2009 predecessor that introduced Robert Downey Jr.'s turn as the titular OCD turn of the century sleuth. For director Guy Ritchie it's felt like one long evolution from the days of Lock, Stock, and Two Smoking Barrels; now, at the helm of his biggest film to date -- which features some of the most innovative action sequences of the season -- Ritchie is firmly in his wheelhouse. As he told Movieline recently in Los Angeles, "I enjoy playing in a bigger sandbox... and I enjoy having powerful friends to help me manifest a vision."
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At the center of Tomas Alfredson's marvelously taut espionage thriller Tinker, Tailor, Soldier, Spy (based on the John Le Carré novel previously adapted into a celebrated 1979 British miniseries) is an unusually understated turn by Gary Oldman as George Smiley, a recently retired career spy of few words quietly trying to uncover a mole within British intelligence. Oldman acknowledges a departure of sorts from the wild, often manic characters he built much of his career on -- Sid Vicious, Count Dracula, Beethoven, DEA agent Stansfield of Leon, to name a few. Some of Oldman's best-known roles are, as he described to Movieline this week in Los Angeles, more rock 'n' roll. "Smiley," he explained, "is jazz."
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On a June visit to the Film 44 offices in Santa Monica, Battleship director Peter Berg laid out his vision for the May 18, 2012 epic actioner. "Battleship is intended to be a piece of big, fun escapism," he explained, playing snippets of footage in the cozy darkness of his editing suite. "It's not to say we don't take ourselves seriously; we do aspire for a certain level of emotion and reality, but this is not a film that's meant to traumatize."
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After approximately eighty roles in television and film, four Emmy awards, two Tony nominations and countless Kaiser Permanente ads, the inimitable Allison Janney has certainly earned her place among Hollywood's best character actresses. In her most recent film, the Civil Rights-era comedy-drama The Help -- Tate Taylor's adaptation of Kathryn Stockett's novel -- the Ohio-bred thesp channeled her own mother to play the worrisome mama bear to Emma Stone's boundary-pushing protagonist. In lesser hands, Charlotte Phelan could have been a thin character -- a Southern woman more concerned with her daughter's marital prospects than her happiness -- but Janney summoned fear, humor and subtlety for a fully-fleshed and fully-flawed character who earns her personal growth.
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