Closing out the acting categories this week it's time for Team HitFix to turn our gaze to the supporting actresses, and like usual, it's pretty fluid here in the early stages. There aren't a ton of obvious contenders and further clouding matters is the fact that some campaigns aren't necessarily firmed up; some of these ladies could be positioned in lead or supporting, depending on the argument.
It’s unclear who dubbed Gale Anne Hurd the “First Lady of Sci-Fi,” but it’s a title she owns with every fiber of her being. James Cameron's former confidante (and wife), Hurd started as an executive assistant to Roger Corman before producing such films as "The Terminator," "Aliens," "The Abyss," "Tremors," "The Relic," "Armageddon," Ang Lee's "Hulk," "and "Aeon Flux.” Today, she’s more popular ever, the matriarch and hype woman of the highest rated cable television show, AMC’s “The Walking Dead.” For her undeniable contributions to the world of blockbuster cinema, the Producers Guild of America has announced that it will bestow Hurd with its highest honor.
Wednesday morning, the International Documentary Association announced its nominees and select winners for the 2014 IDA Awards, an annual tribute to the best-of-the-best of non-fiction film and television. Pertinent to award season are the Best Feature contenders, including Lara Poitras’ recent hit “CITIZENFOUR” “Point and Shoot,” an American filmmaker’s look inside Libyan prisons,
It’s been a slow post-Oscar star for Hailee Steinfeld and writer-producer-director Dustin Lance Black. Not disastrous, but not the typical rise to prominence and slew of work that comes with the Academy Award touch. Steinfeld earned a nomination in 2011 for her work on the Coen Bros’ “True Grit.” Two years earlier, Black won a Best Original Screenplay Oscar for “Milk.” Since then, neither have tackled material that’s brought them back into the awards conversation. Their next project may not have the bravado to take them back to the ceremony, but it sounds like a step in the right direction.
You know what they say: all good things must come to an end.
After two years hosting the Golden Globe Awards to stellar ratings and critical raves, Tina Fey and Amy Poehler will be hanging up their hats after next year's show, according to Poehler during an interview on Tuesday's "Today" show:
One of the under-discussed success of 2014 (but one that won’t go unnoticed in Hollywood) is "Heaven Is for Real," the adaptation of Lynn Vincent’s New York Times Bestseller. The true story of a kid’s near death experience and the visions of the afterlife he bestowed to his parents grossed over $90 million at the domestic box office, a huge hit for Sony Pictures and a career highlight for star Greg Kinnear. Those numbers must have instilled some faith in the actor: He’ll star alongside Renee Zellweger and Djimon Hounsou in the next Vincent adaptation, “Same Kind of Different As Me.”
Makeup artist Rick Baker, the man behind everything from "An American Werewolf in London" to "Coming to America" to "Maleficent," has worked out of his current studio — a Hogwarts-like prosthetics laboratory that doubles as a museum to past work — for 20 years. He set it up because his last work space was too small. On movies like Tim Burton’s “Planet of the Apes” remake or Ron Howard’s live-action “Grinch,” Baker would command a team of nearly 100 people, toiling away over Whos from Whoville and articulate monkey masks. Today, he’s looking to downsize. CG is a tidal force. If a movie’s going to have 100 apes storming into battle, they’re going to be digital. Baker isn’t out of commission, but he’s aware the days of giant makeup jobs are behind him.
I've had my eye on Benoît Delhomme's work since he brought an effortless grace to Anthony Minghella's "Breaking and Enterting" in 2006. He's made his way along a unique track in the industry and 2014 is a real coming out between Anton Corbijn's John le Carré adaptation "A Most Wanted Man" and James Marsh's Stephen Hawking biopic "The Theory of Everything."
It's only the last week of October, but conversations are already starting about year end top 10 lists around the HitFix offices. Looking back over the past 10 months there are a number of films that are worthy of consideration. Some more obvious than others. One film that probably won't make a number of lists, but probably needs to be seen again because it's too good to ignore, is Anton Corbijn's "A Most Wanted Man."
Last year's "Alone Yet Not Alone" shenanigans were a nice reminder that the Academy's Music Branch can certainly march to its own drum (no pun intended), for better or worse. So you never can tell how the Best Original Song Oscar race will turn out, and the highest of profiles isn't necessarily a guaranteed pass. Nevertheless, this year's race — already marked by contenders from popular music such as New Radicals' Gregg Alexander ("Begin Again") and the legendary Patti Smith ("Noah") — has just picked up a trio of heavy hitters.