back to The
Hours - 1
|
back to The
Hours - 1 |
|
|
|
|
Tuesday, January 28, 2003 9th Annual Screen Actors Guild Award® Nominees (an excerpt) Theatrical Motion Pictures For Outstanding Performance by a Female Actor in a Leading Role Salma
Hayek / FRIDA – Frida Kahlo (Miramax Films) For Outstanding Performance by a Male Actor in a Supporting Role Chris
Cooper / ADAPTATION – Guy LaRoche (Columbia Pictures) For Outstanding Performance by a Female Actor in a Supporting Role Kathy
Bates / ABOUT SCHMIDT – Roberta Hertzel (New Line Cinema) For
Outstanding Performance by the Cast of a Theatrical Motion Picture |
|
Empire Monday January 27, 2003 BAFTA Nominations Announced (an excerpt) by Tom King The nominations for the 2003 British Academy Awards were announced this morning by Sir Ian McKellan and, for a resoundingly British event, it was the Yanks that surprisingly came out on top. With Lord of the Rings: The Two Towers bringing up the field in third place with nine nominations, British film The Hours had to be content with second position and eleven nominations to its credit as the American pictures, Chicago and Gangs of New York, held the top spot with twelve nominations each... Hostilities will officially commence at the BAFTA ceremony on Sunday February 23 at the Odeon Leicester Square... Best Film: The
Alexander Korda award for the outstanding British Film of the Year: The David
Lean award for achievement in Direction: Screenplay
(Adapted): Performance
by an actress in a leading role: Performance
by an actress in a supporting role: Performance
by an actor in a supporting role: The
Anthony Asquith award for achievement in Music: Editing: Make
Up/Hair: |
|
Evenings Out Friday January 24, 2003 ‘Remember the hours’ Three lives intertwine around Virginia Woolf’s ‘Mrs. Dalloway’ by Kaizaad Kotwal Stephen Daldry has made only four films, but with each one he has hit a home run. With Billy Elliot, Daldry told a movingly funny and immensely heart-felt story of a young, provincial British lad who chooses ballet over boxing. Now, with The Hours, he has crafted a film so sublime that one can’t wait for his next venture and yet, one can’t help but worry as to how he can get even better. Based on Cincinnati-born Michael Cunningham’s Pulitzer Prize-winning 1998 novel of the same name, The Hours is an existential inquiry into the trials and tribulations of ordinary people leading what on the surface seem ordinary lives. In reality, these lives are nothing short of extraordinary. The Hours masterfully interweaves the lives of three disparate yet similar women living in different time periods, whose lives are inexorably linked to the literary masterpiece Mrs. Dalloway. One of the women in this richly textured story is the author of Mrs. Dalloway herself, the enigmatic and tempestuous Virginia Woolf, played by Nicole Kidman. She is living in a London suburb in the early 1920s while trying to recover from the deep depression that plagued her entire life. While in this idyllic (yet claustrophobic to her) environment, Woolf is struggling to begin writing Mrs. Dalloway. Laura Brown (Julianne Moore) is the second woman in The Hours, a young wife and mother in post-World War II Los Angeles who is just starting to read Woolf’s novel. Brown is consumed by the book. Struggling with her own mental illness, she is beginning to question the entire storybook existence she has chosen for herself. The third woman in this tale is Clarissa Vaughan (Meryl Streep). Living in New York in 2001, she seems to have become Mrs. Dalloway herself. She is planning a party for her friend and former lover Richard (Ed Harris), who is in the final stages of AIDS-related mental and physical breakdowns. Two themes are prominent in Woolf’s Mrs. Dalloway: the idea that all lives are somehow intertwined, literally, cosmically, karmically and in many other ways, and that even the most ordinary lives are truly extraordinary to those living them. These two themes are the theses upon which The Hours builds its existential angst and augury. Daldry and screenplay writer David Hare have taken Cunningham’s non-linear masterpiece and created a cinematic tapestry that is breathtaking in the subtle ways which it takes disparate threads and stitches them all together. As the film moves fluidly between the lives of the three main women and their supporting characters, it shows us how they resonate in one another and how gestures, events and even entire lives can echo with bitter pain and with profound joy. The supporting cast here is supremely matched to the three leads and as such, the entire ensemble is one of the most accomplished and stunning ever assembled in contemporary cinema. Ed Harris, who plays Richard, Clarissa’s ex-lover, is made to look depressingly frail and sickly. Yet his performance, which is often a bit too theatrical, seems to be the only false note in an otherwise perfect film. He isn’t bad, he’s just not as modulated as the rest. Allison Janney (The West Wing) plays Clarissa’s lover Sally. Janney never disappoints, and she and Streep together paint a vivid portrait of a contemporary, urban lesbian couple trying to make life seem more meaningful than it often seems. While the entire supporting cast is stunning, it is Stephen Dillane’s turn as Leonard Woolf, Virginia’s stern yet supportive husband, that is a dazzling piece of acting. Dillane’s subtle displays of love coupled with his outbursts of frustration at his wife’s inability to get better are heartrendingly real. Dillane’s performance here is a real revelation and while Harris is getting all the supporting actor nods thus far, it will be a shame if Dillane is not recognized for his brilliant work here. And then, there’s the three leads themselves. Each one is supreme in her own right and to have all three in the same film seems like a cinematic guilty-pleasure of hedonistic proportions. Kidman isn’t afraid to deglamorize herself with a prosthetic nose, wrinkled and freckled hands, and a raspy, base voice. She is simply getting better with each role, and here she brings depth and dignity to one of the most recognizable feminist icons. Julianne Moore, who has already turned in one of the year’s best performances in Todd Haynes’ dazzling Far From Heaven, gets to play yet another 1950s woman, struggling with repression and the stifling claustrophobia of suburban motherhood and domesticity. Then there’s Streep, who with this role should become the most Oscar nominated actor (male or female) of all time. Her Clarissa is such a complex muse of a woman who is struggling with the seemingly exorbitant ennui of her everyday existence. Streep is an actor of such subtlety and depth that one expects greatness from her, and yet one is always amazed at simply how much depth and layering she is able to imbue her characters with. Philip Glass’s score is evocative and moving, though at times it seems just a little bit too over the top, drawing undue attention to itself. Daldry’s directing is sure-footed, well-paced, and dazzlingly fluid. He is clearly emerging as an important director of contemporary cinema and I for one can’t wait to see what he has to offer next. The Hours will leave you breathless, not only by the artistry of cast and creative team, but also by the humanity that it explores with such sensitivity, humor and soulful depth. The film’s exploration of life, death and depression is so attentively dealt with that by the end one leaves the cinema completely uplifted. As Woolf herself believed, sometimes someone has to die to remind others how to live. Virginia Woolf’s voice-over ends the film with this: “Remember the hours. Always, remember the hours.” |
|
Independent Tuesday January 21, 2003 Bloomsbury to Beverly Hills (an excerpt)The big winner at the Golden Globes was The Hours, starring Nicole Kidman and inspired by the life of Virginia Woolf. But who'd have thought that Hollywood could fall in love with the bitchy queen of 20th-century modernism?. by John Walsh At the Golden Globes ceremony in Hollywood on Sunday night, the prize for Best Motion Picture Drama went to The Hours, a film in which three melancholy women contemplate or watch or perform the act of suicide. The award for Best Actress went to Nicole Kidman for her portrayal in the film of the writer Virginia Woolf, a performance that has far more silences in it than words. Surrounded by competition from the ritzy musical, Chicago, the vividly brutal Gangs of New York, the second Lord of the Rings epic and Jack Nicholson's comedy About Schmidt, the £12.5m British film directed by Stephen Daldry seemed to have come from a different world. But it has found favour not just with the Globes jurors. It featured in the 10 Best Films of the Year lists in The New York Times and The Los Angeles Times. And it's a strong contender for this year's Best Film Oscar... Why does it work? Partly, it's the biographical element, and partly the romantic conceit that literature can affect lives terminally. The most affecting parts of the movie are undoubtedly those between Nicole Kidman (as Virginia) and Stephen Dillane (as her husband, Leonard). They are a well-matched couple... |
|
|
Variety Tuesday, January 21, 2003 DGA noms named (an excerpt) Guild picks mix in latest twist by The Directors Guild of America leaned toward veteran directors and opted for a mix of historical drama and fantasy in the latest twist in the wide-open awards season. Receiving nods for directorial achievement were Stephen Daldry ("The Hours"), Peter Jackson ("Lord of the Rings: The Two Towers"), Rob Marshall ("Chicago"), Roman Polanski ("The Pianist") and Martin Scorsese ("Gangs of New York")... |
|
Sante Fe New Mexican Saturday January 18, 2003 "The Hours" Finds Its Cultural Moment (an excerpt) by Valerie Ross The
performances by men in this film are also groundbreaking. Ed Harris and Stephen
Dillane both offer new insight
into the paradoxical depths of male emotional reality. Their performances
shed valuable light onto the dark continent of strength and vulnerability
that we all know exists in real men but which is rarely, if ever, shown on
the screen. Both of these male actors, like their female co-stars, are
given the opportunity to shed the stereotypical gendered armor they wear
so often in their other roles. |
|
Wall Street Journal Friday January 17, 2003 Hollywood Journal: Campaign 2003: The Nominations --- How to Get a Post Position In the Oscar Horse Race; Nicole's Walk of Fame (an excerpt) by Tom King Michael Caine and Nicole Kidman are out campaigning as if they're running for president; Tom Hanks isn't. Perhaps most surprisingly, neither are the folks behind "The Lord of the Rings: The Two Towers," the film which should have all the buzz -- but doesn't. Although the attention this weekend will be on Sunday's Golden Globe awards, the prizes that matter, of course, are the Oscars. Some people are already declaring the winners, but slow down: Last year at this time, Sissy Spacek was picking up every critics group's prize for "In the Bedroom"; few people had yet seen Halle Berry in "Monster's Ball." There are upsets ahead. With ballots now in the hands of voters, and Feb. 11 looming as nomination day, here's an early look at the races, the buzz behind them and predictions for the 75th-annual Academy Awards: Best Picture DreamWorks, maker of "American Beauty," is out. Paramount, which hasn't been in the Oscar game since "Titanic," is back. And Miramax, more than ever, is in the thick of it all. But the biggest surprise is that New Line Cinema's "The Lord of the Rings: The Two Towers" isn't a shoo-in for a nomination. "Two Towers" got better reviews than last year's "Fellowship of the Ring," which had 13 of them. But an inexplicably quiet campaign on the part of New Line for "Rings" -- and a relentless, high-octane one from Miramax, masters of Oscar hype, for the editing hat-trick "Chicago" -- has people buzzing more about the musical than Middle-Earth. "Rings" "speaks for itself," says New Line's marketing chief, Russell Schwartz. But there may be "resistance" to the film because it "has been received as well as it has," he says. "In this town, that shock always elicits a sort of negative response." Still, both films, plus Martin Scorsese's "Gangs of New York," and Paramount's "The Hours," the best movie of the year, will be nominated in this category. The competition's feral for the final slot. But "Road to Perdition," perennial Oscar player DreamWorks's big submission this year, is getting little consideration. "Far From Heaven," a darling of the critics, is losing steam. The surprise nod will go to "The Pianist," from controversial director Roman Polanski. The Academy can't resist a Holocaust drama. Best Actress Meryl Streep and Ms. Kidman garnered dazzling reviews for their performances in "The Hours," and Ms. Kidman gets extra kudos for donning a fake schnoz to play Virginia Woolf -- and for campaigning like mad. Beyond doing the talk shows, she's been making personal appearances at screenings, and on Monday, after ballots were mailed, the star entertained audience questions at L.A.'s Egyptian Theater. (It's not a coincidence that she got a star on the Hollywood Walk of Fame this week.) Meanwhile, Ms. Streep's current 12 Oscar nominations have her tied with Katharine Hepburn as the actor with the most; she'll end the morning with 14. Count in, too, Renee Zellweger for "Chicago." She is well-cast in a movie that would have been disastrous had Madonna or Goldie Hawn, the first actresses mentioned to star, been its headliners. Julianne Moore, portraying a homemaker who learns her husband is gay in "Far From Heaven," is a slam-dunk. The last slot will probably go to Diane Lane, the adulteress of "Unfaithful." ... Best Supporting Actor Look for Paul Newman, as Irish mob boss John Rooney in "Road to Perdition," to get his first nomination in the supporting-actor category. Yes, he got solid reviews, but more than that, he's 77. Christopher Walken, too, who plays Mr. DiCaprio's con-man pop in "Catch Me," and Chris Cooper, who won raves as the foul-mouthed orchid thief in "Adaptation," are favored by Hollywood. Alfred Molina could snag a nod for his work in "Frida" as painter Diego Rivera. Conventional wisdom would say Ed Harris gets a nod for his performance as a poet dying of AIDS in "The Hours," but a groundswell is building for Stephen Dillane, the Brit who plays husband to Ms. Kidman's Virginia Woolf. Best Supporting Actress Here's a category where studios are playing some campaign tricks. Miramax, in its tree-killing onslaught of "For Your Consideration" ads in the trade papers, is trying to get voters to consider Catherine Zeta-Jones as a supporting actress in "Chicago." She has a leading role, but they're pushing Ms. Zellweger as Best Actress. (The Golden Globes refused, nominating both as lead actresses.) But if Miramax's category-conjuring is more successful with Oscar voters, Ms. Zeta-Jones will be a shoo-in as supporting actress. Actors get credit when they do something we didn't know they could do. By singing and dancing, Michael Douglas's wife did just that. Kathy Bates has two things going for her in this category: She's a vice president of the Academy's board of governors and she did one of the more memorable nude scenes in pictures this year in "About Schmidt." Ms. Moore and Ms. Streep will repeat here, for "The Hours" and "Adaptation," respectively. But forget past faves Toni Collette in "The Hours" or Emily Watson in "Punch-Drunk Love." With their studios not pushing them, it's unlikely their peers will. In a category known for surprises, mark down Lainie Kazan in "My Big Fat Greek Wedding." |
|
Edmonton Journal Friday January 17, 2003 Actresses find great drama in small things (an excerpt) Audience might want a valium before seeing The Hours by Liz Nicholls ... What makes The Hours remarkable is not just the strength of its performances, led by Kidman in her cosmetically elongated nose, riveting in the fierce, abrupt way she conveys the wayward, distracted energy of Woolf, the sense of intellectual activity, of a rioting inner life, with all its compulsions and terrors. Streep and Moore are wonderful, too, as the former sets forth the agitation of a woman discovering her limitations and the latter the desperation of a woman who's drowning in her constraints. The English actor Stephen Dillane is just heartbreakingly good as Leonard Woolf, Virginia's intelligent husband. In fact, director Daldry directs an interlocking set of alert, watchful performances that are emotionally forceful because they're repressed. The acting, like the period details of set and costume, is impeccable... |
|
Baltimore Sun Friday January 17, 2003 Hopeless 'Hours' (an excerpt) by Michael Sragow Kidman's
Woolf and Moore's Laura Brown skulk through the film with impeccable
impersonations of gnawing dissatisfaction. But the script does nothing to
indicate why they feel so unfulfilled and so unhappy. They simply respond
to vibrations beyond the understanding of their spouses, whether the
hard-working intellectual Leonard Woolf (Stephen
Dillane, who gives by far the most dramatically
intelligent performance) or the hard-working middle-class businessman Dan
Brown (John C. Reilly, who makes little of a nothing part). |
|
Playbill Tuesday January 14, 2003 For Your Consideration: Theatre Names Being Campaigned for Film Awards (an excerpt) by Ernio Hernandez The barrage of advertisements by movie companies touting their award-worthy artists for various film acknowledgements — especially the Academy Awards — has begun. Among some of the "For Your Consideration" campaigns circulating in industry papers and websites are some of theatre's notables... "The Hours" is getting some buzz and the complementary push for Best Director for Stephen Daldry (Far Away) and for The Blue Room co-horts David Hare (for Best Adapted Screenplay) and Nicole Kidman (for Best Actress). Stars Meryl Streep (The Seagull) and Julianne Moore (Serious Money) are also mentioned for Best Actress and Best Supporting Actress while Stephen Dillane (The Real Thing) is offered for Supporting Actor consideration... |
|
Chicago Tribune Thursday January 9, 2003 Nicole Kidman wants characters to get under her skin (an excerpt) by Mark Caro ... So Kidman went on a crash course of everything Woolf, becoming a smoker of roll-your-own cigarettes and learning to write with her right hand. (Kidman's a lefty.) Yet by her first day of rehearsals with Stephen Dillane, who plays Woolf's husband, Leonard, she still had not become Virginia. "I remember the first day, and I was really nervous because I thought, Ohh," Kidman recalled. "But she was starting to exist. I could feel her coming, but you wait as an actor for it to just happen. Prior to that it's panic time because you're waiting, waiting, waiting, and if you start rehearsals and it hasn't happened, you're not so good, you know?" "But Stephen Dillane, I remember, was sitting in this room -- we're in this country house out in England -- and I walked in, and he and I just looked at each other, and from that point on we were Virginia and Leonard. And it was the way he spoke, and then suddenly my voice dropped. His voice changed. The accents came. It was about the two of us, and that's why he's one of the unsung heroes in this film." ... |
|
Newsweek Thursday January 9, 2003 Catch Oscar If You Can (an excerpt) After the best crop of holiday movies in recent memory, many of the year’s Academy Award races are wide open. David Ansen offers his early forecast on the likely nominees Best Supporting Actor Put your money on Chris Cooper in “Adaptation.” Usually typecast in quiet, stolid parts, he showed everyone how many colors he had in his repertoire. Another Chris—Walken—seems a good bet for his riveting performance as DiCaprio’s dad in “Catch Me If You Can.” For months it’s been predicted that Paul Newman will get a nod for “Road to Perdition.” There’s a lot of competition for the last two slots: Dennis Quaid in “Far from Heaven,” Ed Harris in “The Hours” and the ubiquitous John C. Reilly, who seemed to be in every movie this year but is most likely to be recognized for his song and dance number in “Chicago.” And don’t rule out old pro Alan Arkin in “13 Conversations About One Thing” (if enough actors see the tape) or Alfred Molina as Diego Rivera in “Frida” or, finally, Ray Liotta’s ferocious performance as a cop in “Narc.” It’s a strong category this year, and the final list could surprise. What about Stephen Dillane as Leonard Woolf in “The Hours”? |
|
Washington Times Friday January 10, 2003 A waste of 'Hours' when subplots appear (an excerpt) by Gary Arnold ... The dependency of "The Hours" on Woolf's real life is self- evident: The two fanciful female protagonists Mr. Cunningham has invented go through would-be crises that fail to measure up. On the contrary, these women's stories remain haplessly cliched and shallow. It seems pretty coldblooded to use a writer's suicide as the jumping-off point for your book. Nevertheless, the suicide prologue is depicted with pastoral-sinister vividness by Mr. Daldry. It provides the movie with a harrowing downbeat but one that is essentially irrelevant to the rest of the story. Not to worry, though, since Miss Kidman is immediately restored to us as a younger and less desperate Virginia Woolf. Despite a prosthetic nose that makes her somewhat unrecognizable, Miss Kidman is a fascinating bundle of nerves and moods and specific gestures in this role. Her performance is strengthened immeasurably by Mr. Dillane's believability as Leonard, who has legitimate reasons to fear that his wife might snap. As the movie evolved, I kept resenting the cutaways from the Woolf time frame. It's only the day with the Woolfs that dignifies the whole tricky conception and preserves a satisfying, self-contained dramatic structure. The Brown and Vaughn digressions prove coy and unscrupulous, and the revelation that supposedly knots them together is a prize tear-jerking groaner. |
|
The Times Monday, January 6, 2003 Ladies on the verge of a nervous breakdown (an excerpt) Nicole Kidman, Meryl Streep and Julianne Moore ooze well-heeled melancholia in the new film by the director of 'Billy Elliot' by ... It’s a handsome production, with a supernal glow over the period scenes (the 1920s segments are a career best for the Irish cinematographer Seamus McGarvey). The Hours could well go on to become the year’s equivalent of The Piano, a feminist torchsong for vocally mute, emotionally complex wives in long skirts. But for all the swooning from American critics (“a sumptuous quilt of melancholia”), The Hours boasts half a dozen of the worst-written scenes ever committed to film. It’s as if the playwright David Hare, who wrote the screenplay, didn’t care to make a distinction between stage and screen. It’s strange because the beginning is very nimble cinema, with fluid matching cuts between all three women, before the first act grinds to a screeching halt with Streep’s visit to her former lover, a poet dying of Aids (one heroically miscast Ed Harris). The result is that most dreaded of theatrical staples — two unhappy people in a room. The same room. Going over the same problems. Round and round. For an eternity, ie, ten minutes of screen time. Listening to the dialogue is like watching blank tape piling up in a spool. Hare compensates for the static quality of the scene by having the characters baldly state their feelings. Movies — especially intimate dramas like this, which thrive on telling close-ups — require emotional subtext. Hare’s rhetorical, declamatory style of dialogue works well in the theatre of left-wing protest, but it is simply gauche on film as it robs any scene of its mystery. We know Harris is ill and unhappy and suicidal from the moment we see him. His demise is as predictable as a consumptive ingénue in a Victorian melodrama. If he was telling Streep how he intended to come to her soirée in his honour, it would be a rich scene. But the point of the scene is his admission that he doesn’t want to live. Not only does it take forever to reach this point — one can spot the false starts by the way Streep grabs each new prop for support — but once Harris makes his confession, Hare still has the scene drag on. It is not a question of pace. A movie can be slow yet boast narrative economy. It is distinguishing between grace notes and novelistic circumlocution. Still, there is something wantonly fun about watching gifted actors hurl their talent on to the rocks of moment after pointless moment. The Streep-Harris scenes are particularly bloated and repetitive because Kidman’s terse sequences with her husband (excellently played by Stephen Dillane) are so successfully charged with simmering unspoken feelings. Virginia Woolf is not just a depressed woman hosting a party uptown. She is struggling with insanity and a real purpose — trying to write something she values. Her husband in turn is struggling to police her gently in case of another suicide attempt, without stifling her creativity. Put simply, neither character announces their deepest feelings until a genuine breaking point is reached. The relationship unfolds entirely in the telling gestures between the lines. |
|
Independent Sunday January 5, 2003 Film Studies: How a small river in Sussex got the better of Nicole Kidman... (an excerpt) by David Thomson ... The film is directed by Stephen Daldry; it has a script adapted by David Hare from Michael Cunningham's novel – and I think it is worth saying (and Hare is himself a very good film director) that the script is more taut, more barely emotional and more trusting of the audience than the novel managed to be. This is not to diminish the remarkable novel, or its great debt to Virginia Woolf. But Hare's touch has made the film bolder, more eternal and, I think, more painful. The cast also includes Stephen Dillane (as Leonard Woolf), Miranda Richardson (as Virginia's sister, Vanessa), Claire Danes (as Clarissa's daughter), Jeff Daniels (as one of Richard's lovers) and even Eileen Atkins – this is a fond touch, for a few years ago Ms Atkins did the screenplay for a fine film of Mrs Dalloway (with Vanessa Redgrave as the London hostess). You may see from this list that it is as if our best actors have turned out for an all-star game. There isn't a flaw. There isn't one simple story to follow so much as our helpless instinct for seeing connections. This is a great, heartbreaking film. 'The Hours' is released in the UK on 14 February |
|
||||||
|
|||||||||||||
|
The Hollywood Reporter Friday December 20, 2002 They're the tops! -- Grove's 10 best of '02 (an excerpt) by Martin A. Grove Top Ten: Looking back at 2002, it was a year that brought boxoffice riches to Hollywood and also gave moviegoers their money's worth. Beyond the blockbuster franchises that kept rewriting boxoffice history, Hollywood delivered a bumper crop of awards-worthy movies. 10.
"Insomnia" |
|
AP Thursday December 19, 2002 'Chicago' Leads Golden Globe Nominees (an excerpt) by Anthony Breznican BEVERLY HILLS, Calif. - The movie musical "Chicago" received a leading eight Golden Globe nominations Thursday, while the film version of the Pulitzer Prize-winning novel "The Hours" got seven and the comedy "Adaptation" had six. Besides "The Hours" — a story about three women whose lives are linked to Virginia Woolf's novel "Mrs. Dalloway" — the contenders for best film drama were the Jack Nicholson road-trip saga "About Schmidt," director Martin Scorsese's "Gangs of New York," the fantasy sequel "The Lord of the Rings: The Two Towers" and Roman Polanski's "The Pianist." Meryl Streep received two film nominations, competing with "The Hours" co-star Nicole Kidman for best dramatic actress, and in the supporting actress category for "Adaptation." Other dramatic actress nominees were Salma Hayek for "Frida," Diane Lane for "Unfaithful" and Julianne Moore for "Far From Heaven." Directing nominees were Scorsese for "Gangs of New York," Peter Jackson for "The Lord of the Rings: The Two Towers," Stephen Daldry for "The Hours," Spike Jonze for "Adaptation," Rob Marshall for "Chicago" and Alexander Payne for "About Schmidt." In a blur between reality and fiction, Kaufman was credited along with his fictional twin brother "Donald" in the screenplay category for "Adaptation." Also nominated: Bill Condon for adapting the stage musical "Chicago," David Hare for "The Hours," Todd Haynes for "Far From Heaven," and Payne and Jim Taylor for "About Schmidt." Supporting actor nominees were Chris Cooper for "Adaptation," Ed Harris for "The Hours," Paul Newman for "Road to Perdition," Dennis Quaid for "Far From Heaven" and John C. Reilly for "Chicago." Golden Globe nominees are chosen by the Hollywood Foreign Press Association's roughly 90 members, who cover Hollywood for overseas publications. The awards are in 13 movie and 11 television categories, and will be awarded Jan. 19 during a live telecast on NBC. They are regarded by some as indicators of front-runners for the Academy Award nominations in February. [Editor's note: Philip Glass was also nominated for original score.] |
|
Daily News Sunday December 22, 2002 A career of one's own (an excerpt) Breaking down fences, Nicole Kidman plays Virginia Woolf in 'The Hours' by
Graham Fuller |
|
|||||||||
|
The Hot Button Thursday December 19, 2002 The Hours Is From Venus... (an excerpt) by David Poland I
first saw The Hours more than a month ago.
I had some strong feelings about what the movie was and what the
movie was not. But I knew
that I had to see the movie at least one more time before I would be ready
to write about it. I saw it
again yesterday. And it was a
very different experience. For
a month, I’ve simplified the experience of this film… story structure
was off… there wasn’t enough for Meryl Streep and Julianne Moore to
do… the supporting characters were more interesting than the leads…
etc. etc. etc. But
somehow, after taking so long to see the film again, I really relaxed into
the experience the second time around.
Part of it was the lack of pressure, now that I have seen all the
films there are to see and a quiet week is just around the corner.
But a bigger part of the change, I think, was that I knew what was
coming. And in The Hours,
that makes a huge difference. There
is a third act twist that, for me, is key to the entire experience of this
film. And it changed how I
viewed the first 90 minutes or so… a lot. While
I was relaxing, I lingered more freely in the performances of Streep and
Ed Harris and Julianne Moore. Kidman’s
turn as Virginia Woolf is perhaps the most underappreciated great turn
this year, with far too many critics and civilians leading with comments
about her putty nose. This
performance is much, much more than that... Meryl
Streep is breathtaking. Seeing
this again, reflected in the glory of Adaptation, reminded me of what a
treasure this actress is to the dramatic form.
Her skin breathes truth. Her
hair caresses the air. Her
eyes speak louder than any screenplay’s words.
Julianne
Moore also walks this dramatic tightrope with seeming effortlessness.
But there is an odd reflection of Far From Heaven in this role.
She is so reactive here. Her
best scene comes when she is given a great acting backboard… a
remarkable turn by Toni Collette. It
is odd, as Collette seems to be channeling a variation on Moore’s Far
From Heaven character, but one who is, when she wants to be, wide awake.
As great as the trio of actresses is, it is the supporting performances that really shine here. Alison Janney, Claire Danes and John C., Reilly are great. But Stephen Dillane, Miranda Richardson, Ed Harris and Collette are each worth the price of admission all by themselves... |
|
Broadcast Film Critics Association Tuesday December 17, 2002 2002 Critics' Choice Awards Nominations (an excerpt) The Critics' Choice Awards are bestowed by the Broadcast Film Critics Association to honor the finest in cinematic achievement. Winners are selected by written ballots in a week-long voting period in mid-December and announced the day after the votes are tabulated. The Critics' Choice Awards are presented at the BFCA's annual awards ceremony at the Beverly Hills Hotel in late January. The following dates apply for the eighth annual CRITICS' CHOICE AWARDS, honoring the finest in cinematic achievement in films released in 2002.
The eighth annual Critics' Choice Awards ceremony will be held Friday evening, January 17, 2003, at the Beverly Hills Hotel, preceded by cocktails and dinner. E! Entertainment Television will broadcast this year's Critics' Choice Awards on Saturday evening, January 18, 2003. Nominees
for 2002 (Gala dinner on January 17, 2003 at the Beverly Hills Hotel): Best
Picture Best
Actress Best
Acting Ensemble Best
Composer |
|
AFI Monday December 16, 2002 AFI AWARDS 2002 OFFICIAL SELECTIONS ANNOUNCED (an excerpt) Third Annual AFI Almanac Documents Excellence Distinguished AFI Juries Select Ten Most Outstanding Motion Pictures and Television Programs of the Year LOS ANGELES, December 16, 2002–The American Film Institute (AFI) today announced the official selections of AFI AWARDS 2002, AFI’s almanac which records the year’s most outstanding achievements in film and television as well as significant moments in the world of the moving image. The selections were made through AFI’s unique jury process in which one chair, three scholars, three artists, three critics and three AFI Trustees discuss, debate and determine the most outstanding achievements of the year and provide a rationale for each selection. Two AFI Juries–one for motion pictures and one for television–convened at the Park Hyatt Hotel in Los Angeles, California for two days of deliberation. The jurors have remained confidential until today. AFI AWARDS 2002 is the only form of national recognition that honors the film and television creative ensemble as a whole–those people in front of and behind the camera–acknowledging the collaborative nature of film and television. "We salute the collaborative team of artists that created these American landmarks and their place in our rich, cultural legacy," commented Jean Picker Firstenberg, AFI Director and CEO. AFI will honor the creative ensembles for each of the honorees at a luncheon on January 16, 2003 at the Four Seasons Hotel in Los Angeles, California. The honorees are listed below in alphabetical order: AFI MOVIES OF THE YEAR–OFFICIAL SELECTIONS ABOUT A BOY ABOUT SCHMIDT ADAPTATION ANTWONE FISHER CHICAGO FRIDA GANGS OF NEW YORK THE HOURS RATIONALE: THE HOURS provides further proof that film is the language of the 21st Century. A strong adaptation of a difficult literary project, THE HOURS blossoms on-screen in a brilliant, ever-unfolding exploration of madness. Nicole Kidman, Meryl Streep and Julianne Moore create an acting ensemble across time…and for the ages. THE LORD OF THE RINGS: THE TWO TOWERS THE QUIET AMERICAN |
|
||||||
|
||||||
|
|
USA |
UK |
|
Books |
|
|
|
Books |
 |
 |
|
Screenplays |
 |
|
|
Soundtracks |
 |
This may be unavailable in the UK. |
| This page was last updated on January 28, 2003. |
ENTER PAGE HOME FILMS & TV THEATRE DATELINE RADIO & AUDIO BOOKS SITE NOTES
ARCHIVE AWARDS PAST SITE UPDATES RELATED LINKS SEARCH TIMELINE
