“Cabalga con el diablo” pasó sin pena ni gloria en su día, obviada por completo o despachada como un exótico/fallido “western” revisionista-romántico con una miopía alarmante que terminó por dejarla en ese limbo que acoge entre bostezos tantas y tantas películas recientes que no se acogieron a lo acomodaticio o a los modismos estéticos o que simplemente planteaban un cine adulto. Pero a estas alturas de la carrera de un director tan estimulante y fiable como Ang Lee, que se mueve sin perder sus coordenadas más originales entre géneros y estilos con asombrosa comodidad, este título no solo merece una revisión sino que aparece como uno de sus mejores trabajos pese a ser desde luego, un film algo tocado por una estructura demasiado episódica que provoca un cierto desequilibrio interno pero que de ningún modo merece el olvido y se erige como una pieza con verdadera personalidad.

El resultado del esfuerzo de Lee es un western historicista sobre las milicias de irregulares en Missouri durante la guerra de Secesión (a las que por cierto había pertenecido la banda James/Younger) y los enfrentamientos en la frontera con Kansas (de hay también el sobrenombre de “border ruffians” que se ganaron), que de modo bastante comprensible no pareció gustar a casi nadie. Principalmente por su extraño ritmo interno y su decidida falta de maniqueísmo, repartiendo por igual a unos y otros hasta acabar, razonablemente, siendo la historia de dos inadaptados, un joven de origen alemán y un negro que lucha con el Sur que terminarán por quedarse a la deriva (fenomenalmente explicitado en toda la parte final presidida por el lirismo paisajístico y un calma cotidiana que hasta el momento se les había negado, en ese sentido es ejemplar el corte de pelo de Maguire como despedida a toda una época de su vida) cuando las verdadera razón de su guerra desaparezca. Y es que esta no es otra que, no tanto la amistad, que también, como sobre la lealtad asumida como compromiso vital. Jake Roedel se alista a las órdenes del duro Black John siguiendo a su mejor amigo Jack Bull Chilles después de que los “jayhawkers” (las milicias nordistas) maten a su padre y arrasen su granja (una lealtad que se extenderá incluso post-mortem, ya que Roedel se hará cargo de Sue Lee Shelley y del hijo que engendró con Skeet Ulrich) y por su parte Daniel Holt sigue solo a su amigo y prácticamente hermano George Clyde (un estupendo Simon Baker mucho antes de “El mentalista”) comprado por su familia tras ser su  madre vendida  siedo esclava de unos vecinos arruinados ya que ambos se habían criado juntos, existiendo de este modo una relación intima y tierna  imposible de ser explicitada en público.Muy bien interpretada por un grupo de actores conjuntado y sin alardes, destacan eso sí, la economía expresiva de Tobey Maguire, el poso de Jeffrey Wright y un Jonathan Rhys-Meyers escalofriante como el pálido asesino natural Pitt Mackeson, que se la tiene jurada a Roedel y al que Lee recupera en la espléndida última secuencia completamente ido y decrépito. Con diálogos magníficos (ese “-Mujer, he matado quince hombres” con el que Maguire responde altivo a su torpeza ante Jewell en la casi forzada noche de bodas), estupendamente ambientada, con toques tan peculiares, y que ayudan a la nada decorativista autenticidad del conjunto, como la incongruente y atildada elegancia de los “bushwhackers” y sus cuidadas melenas y coloridas camisas herencia de una vida pasada en contraste con la rudeza de su estado actual. Unido a una sabia valoración del hermoso paisaje (con un uso naturalista del color y encuadres de los hombres descansando sobre los caballos o a galope y planos generales de las formaciones o las figuras en el paisaje que no pueden menos que recordar a las magistrales obras de los paisajistas americanos  con Frederic Remington a la cabeza) y los cambios de las estaciones como elemento dramático por antonomasia del western y rematada por una banda sonora fuera de serie cortesía de Mychael Danna privilegiando el banjo, el violín y la melodía tradicional, al igual que la película enérgica y melancólica a partes iguales.

Combina con acierto lo contemplativo con lo activo en un tempo dramático quizás descompensado pero singular y está rematadamente bien rodada, con limpieza, elegancia y claridad (la contundente escaramuza primera resulta ejemplar, comenzada con un vibrante tiroteo y continuada por una huida por el bosque en loca cabalgada, no se asusta ante la violencia gráfica y el detalle verista, la mandíbula descuajaringada es buen ejemplo) que no desdeña ni la violencia ni la extrañeza como bien demuestra el célebre “raid” sobre Lawrence, Kansas, en la mañana del 21 de Agosto de 1863 a las órdenes del legendario Quantrill (que contaba nada menos que con 26 años) visualizado y narrado de un modo absurdamente sereno, la calma en el ojo del huracán con los dos protagonistas paseándose y desayunando tranquilamente (un elección no solo estética sino también dramática al simbolizar que ambos están pero ya no pertenecen, son “outsiders” entre los “outsiders”) mientras todos los hombres son sacados de su casa y negocios o ejecutados allí donde se encuentren.Una gran película que desborda humanismo (el uso de las cartas que guarda Maguire robadas a un soldado de la unión y que lee regularmente para sentir algo de genuino calor) y que pese a su dramatismo y reflexión no olvida ni el humor ni el amor en una bella historia que no nace de la pasión  sino de la necesidad y la comprensión y que aporta una verdadera paz nacida para perdurar. Lo que también puede ayudar a entender el fracaso crematístico del invento, la audacia de plantear algo así  en pleno Hollywood, tan lejano del folletín inflamado“bigger than life” como del  asexuadamente fantasioso romanticismo  adolescente.Ang Lee vuelve así a reflexionar sobre América prorrogando coherentemente la estupenda “La tormenta de hielo”, no solo en este componente histórico sino, y sobre todo, su agudeza, su falta de complacencia y un entendimiento profundo mezcla de fascinación y distancia, de cariño y dureza que se extiende aquí a traveés de una nada engolado discurso sobre el fin de unos tiempos y de unos hombres que como bien dice el personaje de Zach Grenier cuando acoge en su casa a los huidos, pelean por algo que ya no existe.

Cabalga con el diablo (Ride with the devil)

Director: Ang Lee

Año: 1999

País: Estados Unidos

139 min.

Fotografía: Frederick Elmes

Música: Mychael Danna

Guión: James Schamus según la novela de Daniel Woodrell “Woe to live on”, 1987

Reparto: Tobey Maguire, Jewell, Skeet Ulrich, Jeffrey Wright, Simon Baker, Jonathan Rhys-Meyers, Jim Caviezel, Tom Wilkinson, Margo Martindale, Jonathan Brandis,Zach Grenier, Mark Ruffalo

Why can’t I be loved as what I am
A wolf among wolves, and not as a man
Among men

Bonnie Prince Billy

• HARLEY PEYTON is set to write JULIET (Universal). Hearing studio can’t officially hire until January. JAMES MANGOLD is producing.
• Studio has offers out to SIGOURNEY WEAVER, JEFFREY WRIGHT, and CHRIS COOPER for roles in CEDAR RAPIDS. This project is set up at Fox Searchlight and was written by PHIL JOHNSTON. ALEXANDER PAYNE is producing. MIGUEL ARTETA is directing.
• RICHARD LINKLATER is off LIARS A-E that is set up at Miramax with Scott Rudin producing. PETE SOLLET is interested in directing.
• Studio is activating the UNTITLED LES GROSSMAN PROJECT (Paramount), an”original story” centered on TOM CRUISES’s character in TROPIC THUNDER. Tom has expressed interest in wanting to reprise the role and they are starting to talk to writers.
• FLORIAN HENCKEL VON DONNERSMARCK and JUAN CARLOS FRESNADILLO have offers to direct ANABASIS (Sony). JIMMY MILLER, JONATHAN & ROBBIE STAMP are producing. ROBERT SCHENKKAN adapted based on Xenophon’s eyewitness account of the expedition of the Ten Thousand Greek mercenaries who fought under Cyrus.
• J. MICHAEL STRACZYNSKI is writting SHATTERED UNION  for Jerry Bruckheimer and Disney.
• Mike Newell is in talks to direct remake ARTHUR (Warner Brothers).CHRIS BENDER, LARRY BREZNER, and KEVIN MCCORMICK are attached to produce. PETER BAYNHAM wrote the most recent draft based on the 1981 ARTHUR movie directed by STEVEN GORDON.
• Hearing: REESE WITHERSPOON is making a deal for the remake of THE ORPHANAGE (New Line). Contra is producing and they are looking for a new director. LARRY FESSENDEN was previously attached to direct. He wrote the script with GUILLERMO DEL TORO.
• GAVIN HOOD will direct THE CRUELEST MILES (Walden). MARK JOHNSON is producing.  O’KEEFE & STAPLES wrote the last draft.
• MIKE NEWELL will direct LENINGRAD (Warner Brothers), written by GIUSEPPE TORNATORE. GK Films is producing.
• GARY ROSS will rewrite and direct MATT HELM (Paramount).
• KATHERINE FUGATE will adapt WHAT ALICE FORGOT (Fox 2000).
• KURTZMAN & ORCI will direct THE 28TH AMMENDMENT (Warner Brothers).
• STEVEN KNIGHT is set to write THE THIRD MAN remake for TOBEY MAGUIRE and LEO DICAPRIO.  Canal Plus holds the rights.  It could go to Sony or Warner Brothers.
• MARC WEBB fell off THE SPECTACULAR NOW (Fox Searchlight). 21 Laps is producing. A draft is in and are going to move forward without Marc.

I am crazy about movies! That’s odd because my opportunities to go to the movies are few and far between. I have many, many favorites. I just love, love, love The Color Purple, and The Princess Bride. Lean On Me is definitely on my top ten list. And anything by Will Smith or Denzel Washington gives me pause. But today, for some strange reason, I was walking around quoting Samuel Jackson’s Shaft.

This movie came out many years ago. But Peoples Hernandez is probably my most favorite character EVER! He is hilariously superb. He’s the greatest villian you’ll ever want to know. He’s so mean you want to give him a hug just so you can see him smile. Oh Peoples, if only they hadn’t killed your brother…..

Jeffrey Wright should have won an Oscar for the portrayal of such an angry little drug dealer. His Hispanic accent was so authentic! It wasn’t until long after I saw the movie that I realized he didn’t speak Spanish. What a treat this movie is.

Taking nothing away from Samuel Jackson because he is the ultimate in actors, but Peoples Hernandez outshines everyone in the cast. Omar Epps, Vanessa Williams, Busta Rhymes, even Richard Roundtree…no one is a match for my dear, sweet, meaner than a snake Peoples Hernandez. Does anyone else just LOVE this movie? Whose your favorite movie villian?

Adrian Brody smirks after winning a bet with Jeffrey Wright.

(TriStar) Adrien Brody, Jeffrey Wright, Beyonce Knowles, Gabrielle Union, Cedric the Entertainer, Columbus Short, Emmanuelle Chriqui. Directed by Darnell Martin

Once in a great while, fortune and talent come together in a great confluence that allows the most unlikely of people to join together to become legends.

Leonard Chess (Brody), a Polish émigré to Chicago, has grand ambitions. Hoping to marry the love of his life Revetta (Chriqui), he opens a bar on the predominantly African-American South Side of Chicago. Hoping to draw in the local crowd, he hires local talent to play his stage. One of the first guys he finds is a gifted guitarist who goes by the name of Muddy Waters (Wright).

Muddy had been a Mississippi sharecropper before being “discovered” by Smithsonian-Folkways recording archivists, and being prompted to move to Chicago to play the Blues. His wife Geneva (Union) puts up with the rough living conditions and the late nights, turning a blind eye to his many infidelities.

So impressive is Muddy’s prowess that Chess buys a recording studio and founds a recording company he names after himself. However, Muddy’s career really goes into overdrive when he finds gifted harmonica player Little Walter (Short). Walter has a unique style that employs electric amplification, something only just coming into style back then. However, his abrasive personality and drinking problem leads him to be fired from Muddy’s band, although they still record together. Walter’s solo career, however, takes off on its own.

With songwriter/engineer Willie Dixon (Cedric) in the house, Chess has assembled a winning team which only gets better with the arrival of Howlin’ Wolf (Eamonn Walker) and the great Chuck Berry (Mos Def). Berry’s unique blend of blues, country and r&b creates a bastard child that can only be labeled “rock and roll.” His music begins to cross over lines to white audiences and becomes Chess Records’ most successful artist.

Add into this mix the incredibly talented (and incredibly troubled) Etta James (Knowles) and you have a recipe for game-changing music, as well as for ego-driven conflicts. As the ‘60s dawn and musical tastes begin to change, the influence of the Chess artists becomes apparent even as their record sales begin to dwindle. Not everybody, sadly, will make it out alive.

Martin has a cinematic love letter to an era and to a record label in particular. Music underwent a profound change in the 1950s, and Chess and Sun Records were both at the forefront of that change – the birth of rock and roll out of country (Sun Records with Elvis Presley, Jerry Lee Lewis and Carl Perkins) and the blues (Chess Records). Only Motown Records in the ‘60s would have the same kind of effect on the musical landscape that these two labels did.

Leonard Chess actually co-founded the label with his brother Phillip, who for some odd reason is not even mentioned here. In any case, Brody gives a solid performance as the label head, who gave his artists Cadillacs when they completed their first record, but who may have played fast and loose with royalty payments.

Knowles, who has shown some real acting skills in Dreamgirls and Austin Powers: Goldmember, continues to impress with a powerful portrayal as Etta James. She captures the artists’ outer bravura as well as her inner fears and demons. Short, similarly, captures the larger-than-life aspects of an artist who burned brightly and was snuffed out all too soon.

It’s a shame that in a movie about Chess Records, little of the original music from these artists was used. Instead, the producers chose to have the songs re-recorded (Knowles does her own vocals on James’ hits ”At Last” and “I’d Rather Be Blind”), mostly by the actors playing the artists. While it’s admirable that the actors did their own singing, I’d rather have heard the original versions by Muddy Waters, Etta James and Chuck Berry.

The filmmakers obviously have a reverence for Chess Records and its legacy. They gathered a strong cast and gave them some strong material to work with. This is a movie that helps illustrate the development of modern music, which is of more than passing interest to anyone who loves it. While the movie didn’t fare particularly well on its theatrical run, it is more than worth checking out. Yes, it’s an imperfect glimpse into the past but ultimately, a satisfying tribute to a label and the people on it who, together, changed music forever.

WHY RENT THIS: The story of Chess Records is an important historical event in the history of modern music and the movie covers it respectfully. Solid performances from an impressive cast, especially Knowles and Short.

WHY RENT SOMETHING ELSE: The movie plays a little fast and loose with the facts, and oddly, doesn’t use the music from the actual performers and instead recreates these iconic songs with the actors lending their voices.

FAMILY VALUES: Lots of sex and sexual situations, as well as drug use and some racially-motivated violence. Not for small fries.

TRIVIAL PURSUIT: The part of Leonard Chess was originally to have been played by Matt Dillon, but he had to bow up due to scheduling conflicts. Adrien Brody wound up taking the part.

NOTABLE DVD EXTRAS: The Blu-Ray includes an interactive playlist maker that allows you to create and share playlists of the songs in the movie.

FINAL RATING: 7/10

TOMORROW: Zombieland

Casino Royale es un peli de James Bond de 2006. Una franquicia de Ian Fleming que ha pasado de protagonista en protagonista y de director a director. Esta vez el ejercicio es para Martin Campbell, un director con un no muy afortunado portafolio para mi gusto pero que con esta peli se reivindicó completamente conmigo.

La primera vez que la vi fue en cine y salí muy emocionado. Para mi la peli es espectacular desde los créditos de Johnnie Frankel trabajados para Rattling Stick, acompañados por Chris Cornell interpretando la canción especial para esta versión hasta Daniel Craig elegantemente vestido con un extravagante arma automática diciendo “Bond, James Bond”.

Pueden decir que Craig no es un verdadero Bond, que la peli no hace parte de la serie y que lo que se pierde es el espíritu del sofisticado espía inglés que enamora a sus mujeres con tan sólo el brillo de sus ojos. Yo soy fanático moderado de las pelis de Bond, puedo decir que de niño trajeron de nuevo, en algún ciclo de cine, Diamonds Are Forever protagonizado por Sean Connery y quedé embelezado por la historia. Un agente del MI6, que la mayoría del tiempo viste un smoking, está siempre muy bien peinado, sostiene un vodka martini y usa una serie de aparatejos y artilugios que lo ayudan a lo largo de la peli a atrapar a sus antagónicos.

Vi otras pelis de Connery, vi otras tantas de Roger Moore (que para mí siempre fue El Santo), nunca vi una peli de John Fiedler, Bob Simmons, David Nimen o George Lazemby, detesté las pelis de Timothy Dalton, volví a reencontrarme con el personaje con Pierce Brosnan quien aparentemente había nacido para este papel y, finalmente, Daniel Craig. Un actor que nos tenía acostumbrados a fuertes y poderosas actuaciones en el cine independiente, Road to Perdition de Sam Mendes en 2002, The Mother de Roger Michell en 2003, Enduring Love también de Roger Michell en 2004, Munich de Steven Spielberg, no tan independiente, en 2005, The Invasion de Oliver Hirschbiegel en 2007 y Flashbacks of a Fool de Baillie Walsh de 2008.

Fue exactamente eso lo que me atrajo de este nuevo capítulo de Bond, cómo lograrían aprovechar todo el potencial de este actor en una peli medianamente sobria y de corte aventurero.

Bueno la respuesta es impactante, la peli es el nacimiento de este personaje, un hombre seco, maduro, mayormente tosco, elegantemente vestido pero que prefiere un whisky a un martini esnobista. Frágil de carácter y permeable al amor. Un hombre que cuando pelea sangra, que cuando le duele un golpe llora, un hombre que es capaz de sufrir y, sin embargo, un hombre con un excelente sentido del humor. Varias veces sonreí con sus chistes, varias veces logré carcajearme con sus frases de cajón. Intenté pedir alguna vez en un bar de renombre aquí en Bogotá un Vesper Martini, un trago de tres porciones de Gordons, una porción de Kina Lillet (un vermouth blanco bastante exótico) y una rodaja de cáscara de limón; no lo pudieron armar porque no sabían que era el Kina Lillet, en ese entonces tampoco yo lo sabía pero ansío poder probarlo y poder saber a que sabe Eva Green en un trago quien interpretaba a Vesper Lynd la Chica Bond de este capítulo.

El amigo con el que fui esa vez a cine, me dijo que fue demasiado el tiempo que le dedicaron al romance del hombre, anoche me ví la peli en DVD y mientras fue el romance, bajé y me hice un té doble, pintado con leche y galletitas, al subir, ya había empezado la acción y si fue un poco más placentera, pero en ir y venir tan sólo me demoré tres minutos, tres minutos que le sobran a la peli no está mal.

Al lado de Craig hay un gran equipo actoral que se comportó a la altura, muy bien señor Campbell, excelente dirección. La bellísima Eva Green, el noble Giancarlo Giannini, la majestuosa Judi Dench, el carismático Jeffrey Wright y el fabuloso antagónico Mads Mikkelsen con sus lágrimas de sangre.

Es una peli entretenida de principio a fin, la secuencia en Praga al principio de los créditos es hermosa, luego la secuencia en Madagascar estrenando su nueva categoría como Agente Doble 0 es sencillamente increíble y todo Montenegro es James Bond al 100%.

Ojalá la franquicia hubiera seguido así de bien, pero Quantum of Solace dirigida por Marc Forster en 2008 es una pérdida de tiempo, no sé qué le habrá pasado a Forster un excelente director que nos ha provisto excelentes pelis. Lo gracioso es que volví con mi amigo a seguir la secuela y a él le encantó :-S

Darnell Martin’s Cadillac Records takes a look at the music industry from the 1940s to the 1960s, following Leonard Chess and his Chess Records in a fictionalized account of what things were like when the game was changing rapidly in Chicago. The movie is ensemble style, using a rather large and famous cast to put some truly remarkable legends of music on screen.

Martin, who was the first African-American woman to direct and produce a film for a major studio with 1994’s I Like It Like That, handles the subjects ably but sometimes things feel a little too crowded and hard to follow. That doesn’t take away from the fact that there are some really solid performances in this motion picture, however, and the music is just flat-out fantastic.

Adrien Brody stars as Leonard Chess, the co-founder of 1950s record label Chess Records. Located in Chicago, Chess Records would become the iconic record company of such stars as Etta James (Beyoncé Knowles), Muddy Waters (Jeffrey Wright), Chuck Berry (Mos Def), Howlin’ Wolf (Eamonn Walker), Little Walter (Columbus Short), and other top stars of the era.

Cadillac Records deals with the launching of the record company and the various relationships and entanglements in its operation, following the rise and fall of some truly great musicians along the way. It also does well to highlight the rise of black music at the time and the reluctance of some DJs and clubs to play it. There are also some interesting dynamics, such as the relationship between Chess and Waters, that help give the movie more substance.

At the end of the day, though, it’s hard to say that Cadillac Records is more than just another musical biopic. Knowles is the movie’s best performer and her Etta James is fantastic. She delivers a performance of grit and heartache, proving that she is a consummate performer with the will to deliver with the very best in the biz. Her covers of a few James songs are also great, nearly topping her work in the excellent Dreamgirls.

The problems with Cadillac Records largely arise with its full cast and in maintaining interest in all the various supporting characters. While Knowles does bump up the energy when she turns up as James, her role adds more unnecessary complexity to the already crowded plot and gives us one more thing to be concerned with. It becomes less about the music and the history of Chess Records and more about the relationships and near-relationships behind-the-scenes.

Some of the performances are less than good, too, starting with Brody as Leonard Chess. While I am normally impressed with his work on screen, Brody doesn’t do much here. His character is bland and boring, for the most part, He doesn’t do much with the role, which was originally designed as a Matt Dillon part before scheduling complications prevented the casting from taking place.

Even so, Cadillac Records is still worth a look and a listen for a relatively entertaining look at the time when music changed. Chess Records represents an important part in music history in America and Martin’s look at the subject, while incomplete, is convincing and enjoyable enough to check out. Plus, Knowles is just awesome.

5.6/10

Trailer:

Sympathetic portrait of overwhelmed, misguided patsy. Brolin impresses. 8/10 [Lucy Glib]

Buy it

Marky, Dee Dee, Johnny and Joey Ramone: the best actors in the world?

That’s right, the Ramones. Of course there are actors I think rule the school - Brando, Jeffrey Wright, Gene Wilder, Simon Vincent…  But there’s no point in trying to mimic them – Brando was a unique expressive force, Wright is the best actor in the world, Wilder has a profound sadness that punctuates his comedy, Vincent works with a focus so white-hot and centred that it would throw lesser actors off-balance (um, hi Simon; you can quote that to directors if you want). So if there’s no point stealing from the best actors, where to look for a template of performance? I choose those ’snotty’, ‘dumb’, ‘punk pioneers’ from the class of ‘76.

1. Energy and Focus Will Get You Further Than Talent and Smarts

Listen to ‘It’s Alive’, the phenomenal live record of the late 70s Ramones. They’re a group at the peak of their powers, and practically everything starts with that ‘1-2-3-4′ chant. Hey ho let’s go indeed. It’s ignition, focus, commitment, drive and passion. And it’s impossible for any audience to ignore it. Performance should never be saying ‘take it or leave it’ to an audience, it should ALWAYS be saying ‘here it is, you can’t deny this’. A song like ‘Sheena Is A Punk Rocker’ or ‘Today Your Love Tomorrow The World’ is impossible to turn down. Even the lesser songs on that collection are delivered with a verve and spark that kicks apathy in the teeth. Speed and power chords and crashing drums and great melodies. Theatre should feel like that.

2. Trust the Writer.

If you’re working from a script, most of your work is done before you get in that rehearsal room. Listen to the Ramones covering ‘California Sun’ or ‘Chinese Rocks’ or ‘I Don’t Wana Grow Up’ or even the crap on ‘Acid Eaters’. They are simple songs, and the band doesn’t mess with them. Bringing vitality and passion to them is enough. Job’s done. Sing the notes in the right order, remember the words. That’s pretty much all you have to do. My favourite lines to deliver are the ones when I don’t really have to do anything. The words are in the right order, there is a natural music to them. “I’m goin’ out west out on the coast/ Where the California girls are really the most..”

3. Let The Haircut Do The Acting

That’s paraphrased from an interview with Javier Bardem, talking about that ‘do he sported in ‘No Country For Old Men’. They say it’s modelled on a guy in a bar in a period photo, but I see a lot of Johnny Ramone in it… Anyway, what I mean by this is that some physical elements naturally and unavoidably endow a character with certain attributes. The Ramones wore leather jackets, t-shirts, jeans and Chuck Taylors (see how much sense this makes?) and people thought they were a gang of street toughs. Johnny Ramone was a Reaganite who gave a shout-out to George W. Bush when the band was inducted in the Rock & Roll Hall of Fame. Joey Ramone was an ectomorph with OCD. Only Deedee really had true violent dumbfuck credibility, but head over to YouTube and search for Dee Dee King. If you’ve got the right costume on, and your hair’s out of your eyes and you’ve got a rought idea of how it looks, then you’re well on the way. Has anyone ever seen a picture of a Ramone with a beard? No? That leads to my next point…

4. Commit To The Bit

A lot went wrong during the Ramones’ two-decade career, but the group stayed together and didn’t fuck with the formula. They never tried to become a new wave group, they didn’t overtly connect themselves with grunge, and when it came time to split, they played a final show and that was that. They went through a bunch of drummers, and even replaced Dee Dee at one point, but they were always the same group. There was no spiritual difference between Joey, Johnny, Dee Dee and Tommy and Joey, Johnny, CJ and Marky. And they all used that same last name. Interesting to think about this in terms of the Bacchanals. What is the real difference between the Smith/ Middleton/ Stewart era and where we find ourselves now?

(A side note: Ramones shows were always about the here and now, and as Chicago Sun Times rock critic Jim DeRogatis tells us, nostalgia is the enemy of rock and roll. It is also the enemy of rock and roll theatre, which is what I reckon this sort of theatre should be. Please understand that when I say ‘rock and roll theatre’ I’m not talking about ‘Hair’ or ‘Jesus Christ Superpussy’ or even David’s production of ‘A Slice of Saturday Night’.)

5. Nobody Gives A Fuck How You Feel.

They only care about how you can make them feel.

Coming soon, maybs: What we can learn from the god-like genius of Iggy Pop, Jonathan Richman and John Darnielle.

HAVE THE ROLLING STONES KILLED

Upon its initial release, Ang Lee’s film Ride With The Devil was met with tepid reviews and an almost non-existent audience. Though it only lasted 1 week here in L.A., I managed to see the film twice.

Since then, the film has garnered a sort of cult-following. And rightly so. It’s an amazing film and right up there with Lee’s best. But it was virtually discarded by the film’s distributer and the advertising, what little there was, didn’t connect with audiences.

Part Western, part Civil War Historical Drama, Ride uses as its setting the brutal conflict between pro-Union Jayhawkers and pro-slavery Bushwhackers along the Kansas/Missouri border. The film stars Tobey Maguire, Skeet Ulrich, James Caviezel, Jonathan Rhys Myers, Simon Baker, Jeffrey Wright, Mark Ruffalo, Tom Wilkinson, and Jewel. Perhaps the casting made some people think this was just Young Guns for a new age.

Nothing could be further from the truth.

Even Jewel, in her film debut, gives a terrific performance and is perfectly cast. I suppose I’m lucky that, though I had heard of Jewel, I had never listened to her music, never seen her face, never read her poetry, and hadn’t heard anything positive or negative about her. So for me, I was able to appreciate her in a completely unbiased manner. After seeing the film, I learned that there were those who were not fond of Jewel, her music and poetry, and the thought of seeing her in a film was not particularly alluring. My suggestion to those folks? Let it go. This is a great film full of towering performances and directed by one of our great contemporary filmmakers.

I also seem to remember critics lambasting the film and taking particular offense to its use of language, calling it artificial and historically inaccurate. Many claimed it was more representative of how people wrote back then, not how they spoke. Luckily, several well-regarded historians on the period spoke up and confirmed that the use of language in the film is, in fact, quite close to how people spoke. How quick we are to judge… I, for one, thought the language beautiful and part of the visceral atmosphere so lovingly created by Mr. Lee.

For those of us who are fans of this film, and for those who may one day become fans, there’s good news on the horizon. The Film Society of Lincoln Center in N.Y. is doing an Ang Lee retrospective and are showing, for the first time anywhere, Ang Lee’s Director’s Cut of Ride With The Devil. Lee and writer, producer, and longtime Lee collaborator James Schamus, as well as Daniel Woodrell, author of the novel Woe To live On that inspired the film, will be on hand for a Q&A following the screening on Monday August 10th at 7:30 PM. Mr. Schamus has claimed that this new version of Ride “will include about 15 additional minutes and have a different sound mix and pace.”

Let’s just hope this Director’s Cut finds its way to DVD and Blu-ray so that we can all see the film as Mr. Lee apparently prefers it. Given my love for the theatrical cut, and judging by Mr. Lee’s filmmaking and storytelling sensibilities, I have no doubt this version will enhance what is already a great film. I can hardly wait…

El año era 1992 o tal vez 1993, de seguro fue cuando estaba aún en el colegio cuando a través de una columna que escribía Manuel Kalmanovitz en El Espectador me enteré de este gran director. Tal vez fue la forma en que Kalmanovitz escribía, tal vez era la sensación de no saber qué iba a estudiar yo o tal vez fue esa misma fantasía proyectado en Jim Jarmusch que faltándole un año de estudios decide hacer otra cosa. Lo más divertido es que encontré los apuntes de esos días, entonces, muy posiblemente, haga un esfuerzo y escriba sobre todos esos directores que me apasionaban en ese entonces.

La oportunidad en este momento es para Broken Flowers, una peli fascinante escrita y dirida por el mismo Jarmusch y con unas actuaciones espectaculares de Bill Murray como principal y Jeffrey Wright como secundario. En el reparto igualmente especiales están Sharon Stone, Cloë Sevigny, Jessica Lange, Tilda Swinton y Frances Conroy.

La peli es el desarrollo de una investigación de corte aficionado orquestada por el vecino de un pudiente ex-vendedor de computadoras que es informado que tiene un hijo de diez y nueve años, que huyó de la casa y que muy posiblemente fue a buscar a su padre. El dilema es que este envejecido Donjuán debe recordar hace veinte años con quién estaba y si alguna de sus novias podría ser la madre del supuesto hijo. Convencido por el entusiasta vecino emprende una aventura burguesa recorriendo medio país en busca de estas cinco mujeres y se vuelve el calvario de este sibarita que todo el plan fue organizado por un hombre de medianos recursos, con cinco hijos y con la mente más ahorrativa posible, luego entonces, el resto de la peli vemos a un hombre cansado de su travesía, viajando en clase ejecutiva, con carros de mediana clase y con el rigor de una vida llena de lujos haciéndole cuenta de cobro. La imagen es súper divertida y al igual que esta, la peli está cargada con decenas y decenas de situaciones de un humor muy fino y elaborado.

Pueda ser que acostumbre a buscar simbolismos, conjeturas, metáforas donde no las hay creo que esta peli es perfecta para elucubrar muchas teorías y conexiones, no se si sean todas correctas pero igual el viaje de Don Johnston es de hermenéutica pura lo cual es un aliciente para seguir pensando y pensando. En este sentido, para mi es importante destacar todo lo rosado que aparece como un nuevo protagonista, estas bellísimas mujeres en el pasado del Donjuán, que el nombre original de la peli era Dead Flowers y cambió a Broken Flowers y de nuevo el televisor (un protagonista especial en las pelis de Jarmusch) que también nos da pistas de ciertos pensamientos tácitos en la obra.

Quién es el verdadero hijo que lo está buscando? Quién es la madre que pensó en el agobiado padre y le mandó esa carta de alerta? Qué le dejó a Johnston y a Winston esta aventura? Para qué dañar la percepción de la peli en los espectadores, de seguro cada uno sale con una versión de los hechos que hace a la peli más que interesante, la hace una verdadera obra de arte y del entretenimiento. La peli obtuvo cuatro premios independientes tres para Jarmusch por su excelente dirección y uno para Jeffrey Wright como mejor actor de reparto.

Bill Murray pueda que se repita actoralmente en ese papel egolatra, prepotente y pretencioso en cada una de sus pelis, me parece que cuando el entorno se sincroniza con esa actuación él logra unas acciones realmente conmovedoras hablo de Broken Flowers, Lost in Translation y Groundhog’s Day.

Finalmente, el último y más grandioso aporte de la peli, ese magnífico CD que le quema Winston a Don (“There Is an End” de Holly Golightly with The Greenhornes, ”Yegelle Tezeta” de Mulatu Astatke, ”Ride Yu Donkey” de The Tennors), ”I Want You” de Marvin Gaye, ”Yekermo Sew” de Mulatu Astatke, ”Not if You Were the Last Dandy on Earth” de The Brian Jonestown Massacre, ”Tell Me Now So I Know” de Holly Golightly, ”Gubèlyé” de Mulatu Astatke, ”Dopesmoker” de Sleep, Requiem in D minor, Op. 48 version de Oxford Camerata, ”Ethanopium” de Dengue Fever, Instrumental de Mulatu Astatke, ”Unnatural Habitat”  de The Greenhornes, ”Dreams” de The Allman Brothers Band, ”El Bang Bang” de Jackie Mittoo, ”Playboy Cha-Cha” de Mulatu Astatke, ”Mascaram Seteba” de Mulatu Astatke, ”Aire” de William Lawes, ”Fantasy” de William Lawes, ”Alone in the Crowd” de Mulatu Astatke) para que haga su travesía y se vuelva la banda sonora de la peli definitivamente le pone el toque de genialidad que le hacía falta a la peli, con sonidos del pasado y de tierras muy lejanas que alegran el corazón; es lo que finalmente conmueve el corazón frío de este casanova. Mi preferida: ”There Is an End” de Holly Golightly with The Greenhornes.

]]> http://burten.wordpress.com/2009/08/02/basquiat/ Sun, 02 Aug 2009 19:10:03 +0000 burten http://burten.wordpress.com/2009/08/02/basquiat/

After loving Julian Schnabel’s newer film, The Diving Bell and the Butterfly, I was curious to see some of his older work.  I kind of expected to be at least a bit disappointed, but I was nonetheless curious to see where he came from in his film making.  My first stop was the 1996 biopic Basquiat, based on the life of artist Jean-Michel Basquiat.

Unfortunately, the movie can’t tell whether it wants to be an art house pic or a straight Hollywood narrative and often gets tangled up between the two.  Often, scenes or character reactions don’t seem to make much logical sense, which would be fine in an art house movie.  But then at the same time the movie seems to be following a textbook rags to riches to drug overdose story line, and with that we want the narrative norms we’ve come to expect.  Furthermore, the character of Jean-Michel himself is a bit of an enigma, the type of character that frustrates me to no end.  He doesn’t seem to have the motivations or drives that most people have, and a lot of his artsiness seems at least a bit affected.  But is that just me trying to inject me bullshit societal norms on a figure living in his own world?  Of course I’ll never know, neither about the movie character nor the real life figure, but it still takes me out of the film and makes me wonder.

To spend a minute on some pro’s, goddamn that was some acting.  Jeffrey Wright is so fucking amazing in everything he does I don’t even know where to begin.  He just seems to do everything right, goddamn him.  David Bowie is so weird as Andy Warhol, but I guess appropriately so.  Gary Oldman is surprisingly a little sacharine in his role, although we’ll spend more time on that role as a whole in a minute.  But nevertheless, great supporting roles from Benicio Del Toro, Michael Wincott, Dennis Hopper, Parker Posey, and even a bit role for Willem Dafoe.

Now back to Mr. Director, to Julian Schnabel.  Having seen a few interviews with him, he is weird in that post-modernly aware sort of way, awkwardly forcing the art – business medium in ways that don’t always seem to make sense to me but nevertheless seem inevitable in today’s world.  He is conscious of how rich and succesful he is and what people are saying about his art, and knows that that may take him out of the pure free art making zone, but still embraces the life and continues to make art for commercial reasons I guess?  I won’t lie, it’s something I can’t completely wrap my mind around.  So then I read that Gary Oldman, in the movie, is basically playing the part of Julian Schnabel, just with a fictionalized name (which he doesn’t do for anyone else in the movie).  Say what?  Out of everyone, Oldman seemed the most “normal,” the most conscious of the world around him and how he and all these other players fit in.  Also, his studio looked exactly like Schnabel’s.  And Oldman’s character seemed unnecessarily omni-present, as though the film sometimes revolved around him and his view of things more than it did Basquiat’s.

Also, I wanted to see Basquiat’s death cause I totally knew it was coming.

Overall, great acting, some cool ideas and cool scenes and shots, but it just misses the mark overall.  To many holes and problems to really make it a solid complete film.

Here is the 2009 announcement from the Academy of Motion Picture Arts and Sciences as it extended 134 invitations to several artists and executives “who have distinguished themselves by their contributions to theatrical motion pictures” read the press release.

Actors

• Casey Affleck – The Assassination of Jesse James by the Coward Robert Ford, Gone Baby Gone
• Emily Blunt – Sunshine Cleaning, The Devil Wears Prada
• Michael Cera – Juno, Superbad
• Viola Davis – Doubt, State of Play
• James Franco – Milk, Spider-Man
• Brendan Gleeson – In Bruges, Mission: Impossible II
• Anne Hathaway – Rachel Getting Married, The Princess Diaries
• Taraji P. Henson – The Curious Case of Benjamin Button, Hustle & Flow
• Emile Hirsch – Into the Wild, Lords of Dogtown
• Hugh Jackman – X-Men Origins: Wolverine, The Prestige
• Melissa Leo – Frozen River, 21 Grams
• Jane Lynch – Role Models, The 40 Year-Old Virgin
• Eddie Marsan – Happy-Go-Lucky, The Illusionist
• James McAvoy – Atonement, The Last King of Scotland
• Seth Rogen – Monsters vs. Aliens, Knocked Up
• Paul Rudd – I Love You, Man, Knocked Up
• Amy Ryan – Changeling, Gone Baby Gone
• Michael Shannon – Revolutionary Road, Before the Devil Knows You’re Dead
• Michelle Williams – Wendy and Lucy, Brokeback Mountain
• Jeffrey Wright – Quantum of Solace, W.

Animators

• J.J. Blumenkranz – Monster House, The Polar Express
• Konstantin Bronzit – Lavatory-Lovestory, The Cat and the Fox
• Kendal Cronkhite – Madagascar: Escape 2 Africa, Antz
• Rodolphe Guenoden – Kung Fu Panda, Sinbad: Legend of the Seven Seas
• Byron Howard – Bolt, Lilo & Stitch
• Kunio Kato – La Maison en Petits Cubes
• Doug Sweetland – Presto, The Incredibles
• Chris Williams – Bolt, Chicken Little

Art Directors

• Andrew Ackland-Snow – Harry Potter and the Order of the Phoenix, Notting Hill

At-Large

• Matthew D. Loeb
• Redmond Morris

Casting Directors

• John Papsidera – The Dark Knight, Agent Cody Banks
• Bernie Telsey – Sex and the City, Across the Universe

Cinematographers

• Russ T. Alsobrook – Paul Blart Mall Cop, Forgetting Sarah Marshall
• Anthony Dod Mantle – Slumdog Millionaire, The Last King of Scotland
• Henner Hofmann – Ave Maria, La Leyenda de una Mascara (The Legend of the Mask)
• Claudio Miranda – The Curious Case of Benjamin Button, Failure to Launch
• Rodney Taylor – Save Me, Wired to Win: Surviving the Tour de France
• Mandy Walker – Australia, Shattered Glass

Costume Designers

• Deborah Hopper – Changeling, Million Dollar Baby
• Louise Mingenbach – The Hangover, Superman Returns
• Michael O’Connor – The Duchess, Miss Pettigrew Lives for a Day
• Michael Wilkinson – Watchmen, Babel

Directors

• Rachid Bouchareb – Days of Glory, Dust of Life
• Danny Boyle – Slumdog Millionaire, Sunshine
• David Frankel – Marley & Me, The Devil Wears Prada
• Rod Lurie – Nothing but the Truth, The Contender
• Thomas McCarthy – The Visitor, The Station Agent
• Tyler Perry – Tyler Perry’s Meet the Browns, Madea’s Family Reunion
• Henry Selick – Coraline, Monkeybone

Documentary

• William Gazecki – Crop Circles: Quest for Truth, Waco: The Rules of Engagement
• Rachel Grady – Jesus Camp, The Boys of Baraka
• Rory Kennedy – Ghosts of Abu Ghraib, A Boy’s Life
• Scott Hamilton Kennedy – The Garden, OT: Our Town
• James Marsh – Man on Wire, Wisconsin Death Trip
• Megan Mylan – Smile Pinki, Lost Boys of Sudan
• Doug Pray – Surfwise, Scratch

Executives

• Daniel D.A. Battsek
• Steve Beeks
• Graham W. Burke
• Joe Drake
• Erik Feig
• Paul Hanneman
• Donald P. Harris
• Claudia Lewis

Film Editors

• Roger Barton – Speed Racer, Star Wars: Episode III Revenge of the Sith
• Hank Corwin – What Just Happened, The New World
• Chris Dickens – Slumdog Millionaire, Shaun of the Dead
• Elliot Graham – Milk, Superman Returns
• Kathryn Himoff – Appaloosa, The Sisterhood of the Traveling Pants
• Leo Trombetta – Little Children, Northfork
• Brent White – Step Brothers, Talladega Nights: The Ballad of Ricky Bobby
• Pam Wise – Then She Found Me, Transamerica

Live Action Short Films

• Reto Caffi – Auf der Strecke (On the Line), Leos Freunde
• Jochen Alexander Freydank – Spielzeugland (Toyland), Dienst (Duty)
• F. Carter Pilcher – The Dreaming, Bitter

Makeup and Hairstylists

• Howard Berger – Seven Pounds, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
• Mike Elizalde – Hellboy II: The Golden Army, Fantastic Four: Rise of The Silver Surfer
• Louis Lazzara – Race to Witch Mountain, Terminator 3: Rise of the Machines
• Gerald Quist – Tropic Thunder, The Santa Claus 3: The Escape Clause

Music

• Jeff Danna – Lakeview Terrace, Fracture
• Andrew Dorfman – Baby Mama, Nick & Norah’s Infinite Playlist
• Peter Gabriel – WALL-E, Philadelphia
• Clint Mansell – The Wrestler, The Fountain
• A.R. Rahman – Slumdog Millionaire, Elizabeth: The Golden Age

Producers

• Mark Ciardi – The Game Plan, The Rookie
• Christian Colson – Slumdog Millionaire, The Descent
• Gordon Gray – Invincible, Miracle
• Broderick Johnson – One Missed Call; P.S. I Love You
• Cathy Konrad – 3:10 to Yuma, Walk the Line
• Andrew Kosove – Racing Stripes, Dude, Where’s My Car?
• James Lassiter – Hancock, Lakeview Terrace
• Russell Smith – Juno, The Libertine
• Paula Wagner – Death Race, Elizabethtown

Production Designers

• Donald Graham Burt – The Curious Case of Benjamin Button, Zodiac
• Michael Carlin – The Duchess, In Bruges
• Jane Ann Stewart – The Savages, Sideways
• Kevin Thompson – Duplicity, Michael Clayton

Public Relations

• Michael D. Camp
• Marc Cohen
• Megan Colligan
• James C. Gallagher
• David Kaminow
• Sal Ladestro
• Maria Pekurovskaya
• Elizabeth Petit

Set Decorators

• Rebecca Alleway – The Duchess, The Last King of Scotland
• Peter Lando – The Dark Knight, The Invisible
• Barbara Munch-Cameron – Bottle Shock, Rent

Scenic Artists

• Robert Topol – Doubt, The Departed

Sound

• Michael Barry – The Reader, Mamma Mia!
• Derek Casari – The Soloist, Beowulf
• Aaron Glascock – Deception; Good Night, and Good Luck.
• Ren Klyce – Zodiac, The Fight Club
• Peter F. Kurland – No Country for Old Men, Walk the Line
• Karen Baker Landers – 27 Dresses, The Bourne Ultimatum
• Hamilton Sterling – Fool’s Gold, Scary Movie 4
• Deborah Wallach – Frost/Nixon, The Da Vinci Code
• Kim Waugh – Shade, Monster’s Ball

Visual Effects

• Christopher Bond – Idlewild, Superman Returns
• Matthew Butler – The Mummy: Tomb of the Dragon Emperor, Letters from Iwo Jima
• Chris Corbould – The Dark Knight, Casino Royale
• Rob Engle – Jonas Brothers: The 3D Concert Experience, Beowulf
• Scott Gordon – Nim’s Island, Spider-Man 3
• Hal Hickel – Iron Man, Pirates of the Caribbean: Dead Man’s Chest
• Van Ling – Milk, Vanilla Sky
• Shane Mahan – Iron Man, War of the Worlds
• Steve Preeg – The Curious Case of Benjamin Button, The Lord of the Rings: The Return of the King
• Tim Webber – The Dark Knight, Children of Men
• Edson Williams – Star Trek (2009), The Curious Case of Benjamin Button

Writers

• John August – Charlie and the Chocolate Factory, Charlie’s Angels
• Dustin Lance Black – Milk
• Courtney Hunt – Frozen River
• Howard A. Rodman – Savage Grace, Joe Gould’s Secret

Amazon Specials!

I enjoy movies about singers. But this one I found more difficult to watch as out of the people this movie was about the only one I had heard of before the movie was Etta James. I thought Beyonce singing “At Last” was very good, seductive and how it was meant to sound. It sounded very similar to Etta’s original version of the song.

From watching a lot of movies like this, it is rather sad how much drugs and violence seem to be around singers lives. (Ray Charles: Ray, Bobby Darin: Beyond the Sea etc). I guess with movies like this it does not really matter if you already knew about the events that occured as they would be changed quite a bit for the case of having it on the screen.

I wish Beyonce as Etta James had been in the movie longer though, as I think they could have put more time into her character explaining more about her background and how she “went off the rails”. As I thought Beyonce was very good in the small screen time in which she had.

Adrien Brody never really seems to do any wrong, he always seems to have a strong character in which ever role he is in. However, I still cannot get the images from “The Pianst” out of my head that movie was just so haunting.

But overall Cadillac records is not the best and is not a movie I would highly recommend, it is easy enough to watch but nothing really new. Unless of course you can remember this era?

JB’s Weekend Movie- Cadillac Records (2008)

Directed by Darnell Martin

Screenplay by Darnell Martin

Starring Adrien Brody, Jeffrey Wright, Gabrielle Union, Mos Def, Beyonce Knowles

Awards:
Black Reel Award for Best Ensemble Cast

Black Reel Award for Best Film

Black Real Award for Best Supporting Actor- Jeffrey Wright

Image Award for Best Supporting Actor- Columbus Short

Cadillac Records follows the rise and fall of Chess Records founder Leonard Chess (Brody). Chess played a major roll in the early Chicago blues movement. He also was the one to discover and sign the true “King of Rock & Roll”, Chuck Berry (Mos Def). But blues legend Muddy Waters was his first and most successful early act. The first thing you notice about this movie is Jeffrey Wright as Muddy. He learned to play the guitar for the roll, and the dedication paid off. The authenticity of his roll shines through all the rest. Beyonce’s performance as the amazing Etta James was really only notable for her singing, but god damn if it doesn’t make you pissed like me to see that she can sing songs like that, yet chooses to resort to her “Sasha Fierce” image. (I just threw up a little bit) She could probably single handedly bring great soul music back if she’d get her head out of her ass. Anyway, as for Adrien Brody, well, he’s always great. Also, watch for Columbus Short as Little Walter. He turns in a great, overlooked performance.

JB

134 invites have been sent to people connected to the movie industry to join the very elite ranks of the Academy of Motion Picture Arts & Sciences. Many of the invited ones have been in films that have recently won or been nominated at the Oscars, many of them being the winners themselves. And let me tell you, the list is great!

Especially because it includes many people best known for their comedic roles, many of which are from the Apatow gang, and it’s great to see them being invited, especially now that the Best Picture category has been expanded to ten, and thus allowing nominations for comedies, animated films, or other genres which weren’t given much recognition before because of the heavy dramatic players. So yeah, this probably means the Academy may be thinking of being better to the comedies, which seeing as how some genuinely good films have been comedies lately, is a fantastic thing to see.

Here are some of the most notable invitees:

• Casey Affleck (Academy Award Nominee)
• Dustin Lance Black (Academy Award Winner)
• Emily Blunt (Been in nominated films like The Devil Wears Prada)
• Danny Boyle (Academy Award Winner)
• Michael Cera (Been in winning film Juno)
• Viola Davis (Academy Award Nominee)
• James Franco (Been in winning film Milk)
• Peter Gabriel (Academy Award Nominee)
• Brendan Gleeson (Been nominated film In Bruges)
• Anne Hathaway (Academy Award Nominee)
• Taraji P. Henson (Academy Award Nominee)
• Emile Hirsch (Been in nominated film Into the Wild)
• Hugh Jackman (2009 Academy Awards Host)
• Melissa Leo (Academy Award Nominee)
• Jane Lynch (Been in winning film Lemony Snicket’s)
• Clint Mansell (Music for nominated film The Wrestler)
• Eddie Marsan (Been in nominated film The Illusionist)
• James McAvoy (Been in nominated film Atonement)
• A.R. Rahman (Academy Award Winner)
• Seth Rogen (Been in nominated film Kung Fu Panda)
• Paul Rudd (Been in nominated film The Cider House Rules)
• Amy Ryan (Academy Award Nominee)
• Henry Selick (Directed nominated film A Night Before Christmas)
• Michael Shannon (Academy Award Nominee)
• Paula Wagner (Produced nominated film The Last Samurai)
• Michelle Williams (Academy Award Nominee)
• Jeffrey Wright (Been in nominated film Syriana)

And many many others more have been invited. I’ll let you know who actually gets in once the final cut is made and released

Canada’s McCleans magazine pays tribute to Michael Jackson, with a performer dancing in the spotlight, surrounded by shadow. Fitting.

Meanwhile, here in Hollywood, here’s 10 hot posts RIGHT NOW on horiwood.com. Enjoy y’all!

1. MICHAEL JACKSON’S 3-D MINI-FILM FOR THIS IS IT… IS IN POST PRODUCTION

2. BRITNEY SPEARS: RADAR MUSIC VIDEO HITS THE WEB!

3. MAXIMUM GAGA: LADY GAGA DOES MAXIM

4. MICHAEL JACKSON’S DEATH: TRAGEDY IN TABLOID COVERS OF THE TORTURED ARTIST’S LIFE CONTINUES

5. MILEY CYRUS GETS COSY WITH AUSSIE LAD LIAM HELMWORTH

6. LINDSAY LOHAN TWEETS HER MJ TRIBUTE

7. THE ACADEMY ANNOUNCES ITS LIST OF NEW VOTERS

8. CUTE COUPLE: LARRY KING & WIFE SHAWN JOHNSON ARE SO CUTE TOGETHER! :)

9. DESPERATE! MICHAEL JACKSON’S FORMER OUTSPOKEN PUBLICIST, MICHAEL LEVINE, DIDN’T EVEN MEET JACKSON!

10. MEGAN FOX’S FIRST LOVE IS BRIAN AUSTIN GREEN, BEING A FAMOUS SEX SYMBOL SECOND… WHY, HOLLYWOOD?