Seth MacFarlane Returns to an Uptempo Take on Big-Band Jazz With New Album, ‘Blue Skies’ (Exclusive)
For Seth MacFarlane, “blue” means less balladic. He’s announcing a new album on the way, “Blue Skies,” and says it marks a return to a more swinging style than the softer approach he employed on his last record.
Out May 20, the seventh album from the “Family Guy” creator and jazz cat will again see him working with a catalog of classics, and again see him working closely with arranger and conductor Andrew Cottee. Still, it’ll mark a turnaround from their previous release.
“I have long been a fan of Andrew Cottee’s supremely artful and buoyant orchestrations,” MacFarlane tells Variety. “So after our last collaboration, ‘Once in A While,’ a ballad-themed record, I really wanted to hear what he could do with an up-tempo album. As always, Andrew did not disappoint. His arrangements of these 14 songs, carefully selected by the two of us, are yet another shining example...
Out May 20, the seventh album from the “Family Guy” creator and jazz cat will again see him working with a catalog of classics, and again see him working closely with arranger and conductor Andrew Cottee. Still, it’ll mark a turnaround from their previous release.
“I have long been a fan of Andrew Cottee’s supremely artful and buoyant orchestrations,” MacFarlane tells Variety. “So after our last collaboration, ‘Once in A While,’ a ballad-themed record, I really wanted to hear what he could do with an up-tempo album. As always, Andrew did not disappoint. His arrangements of these 14 songs, carefully selected by the two of us, are yet another shining example...
- 4/21/2022
- by Chris Willman
- Variety Film + TV
Providing atmosphere, lending emotion and propelling the action, an orchestral score adds much to a TV series, so when the coronavirus threat shut down Hollywood five weeks ago, composers faced a quandary: How to retain that special sound if musicians can no longer record together in the same studio?
The answer, as heard in Tuesday night’s “Empire,” next week’s “American Dad!” and in upcoming episodes of FX’s “Mrs. America,” among others, is to record remotely. Like the millions mandated to quarantine at home, individual musicians are continuing to work and making technology work for them.
With the help of skilled engineers, separate tracks are assembled into a seamless blend, synched and locked. “In the rock world, this is nothing new,” says “Empire” composer Fil Eisler. “We do remote sessions every day. In fact, it’s how I used to make a living, when I first came to...
The answer, as heard in Tuesday night’s “Empire,” next week’s “American Dad!” and in upcoming episodes of FX’s “Mrs. America,” among others, is to record remotely. Like the millions mandated to quarantine at home, individual musicians are continuing to work and making technology work for them.
With the help of skilled engineers, separate tracks are assembled into a seamless blend, synched and locked. “In the rock world, this is nothing new,” says “Empire” composer Fil Eisler. “We do remote sessions every day. In fact, it’s how I used to make a living, when I first came to...
- 4/17/2020
- by Jon Burlingame
- Variety Film + TV
So you thought compact discs were a dead format? Not to soundtrack collectors. Film music labels continue to thrive, turning from current scores to, increasingly, limited-edition expansions and even new recordings of classic scores from the past.
Many film studios have (as they did in the 1950s and ’60s) formed their own in-house music labels and frequently release digital-only albums of their movie and TV soundtracks. So the traditional soundtrack labels are focusing more on older, classic material, often expanding the old 30-to-40 minute albums to CD length of 75 minutes or more. They’re also tracking down and licensing previously unreleased soundtracks of interest to collectors.
It’s a business model that seems to be working for more than a dozen labels in the U.S. and Europe that are devoted to releasing music from movies and TV. Here then, alphabetically, are our choices for the best classic film music...
Many film studios have (as they did in the 1950s and ’60s) formed their own in-house music labels and frequently release digital-only albums of their movie and TV soundtracks. So the traditional soundtrack labels are focusing more on older, classic material, often expanding the old 30-to-40 minute albums to CD length of 75 minutes or more. They’re also tracking down and licensing previously unreleased soundtracks of interest to collectors.
It’s a business model that seems to be working for more than a dozen labels in the U.S. and Europe that are devoted to releasing music from movies and TV. Here then, alphabetically, are our choices for the best classic film music...
- 12/31/2019
- by Jon Burlingame
- Variety Film + TV
John Carpenter’s “Halloween” music? A “Star Wars” compendium? It’s no shock to see these show up on a list of soundtrack label Varèse Sarabande’s historical 10 biggest selling albums. More surprising? Non-genre soundtracks like “Rudy” and “The Man from Snowy River,” which film music fans snatched up in numbers matching some of the more obvious fare. Here are the imprint’s 10 most popular releases from their first 40 years:
1. “Ghost”
Maurice Jarre, 1990
Varèse’s sole platinum album to date, selling an estimated 1.5 million units. Its inclusion of the Righteous Brothers’ “Unchained Melody” accounted for many of these sales.
2. “Terminator 2: Judgment Day”
Brad Fiedel, 1991
Fiedel’s electronic score proved enduringly popular.
3. “The Star Wars Trilogy”
Varujan Kojian conducting Utah Symphony, 1983
One of several classic film-score recordings produced for Varèse by George Korngold with London orchestras.
4. “The Last of the Mohicans”
Joel McNeely conducting Royal Scottish National Orchestra, 2000
New recording...
1. “Ghost”
Maurice Jarre, 1990
Varèse’s sole platinum album to date, selling an estimated 1.5 million units. Its inclusion of the Righteous Brothers’ “Unchained Melody” accounted for many of these sales.
2. “Terminator 2: Judgment Day”
Brad Fiedel, 1991
Fiedel’s electronic score proved enduringly popular.
3. “The Star Wars Trilogy”
Varujan Kojian conducting Utah Symphony, 1983
One of several classic film-score recordings produced for Varèse by George Korngold with London orchestras.
4. “The Last of the Mohicans”
Joel McNeely conducting Royal Scottish National Orchestra, 2000
New recording...
- 12/8/2018
- by Jon Burlingame
- Variety Film + TV
Some of the most compelling music for television these days is being written for science-fiction and fantasy shows, where the sound palette ranges from orchestral arrangements to eerie vocals and synthesizers, and reflects a wide spectrums of styles.
Christopher Lennertz, who recorded a 53-piece orchestra in London’s Abbey Road for the Netflix reboot of “Lost in Space,” says the music he produced is “testosterone-driven when it needs to be, but it’s very poignant when it comes to the kids and the family.
I didn’t want to hold back on the emotion, the heroism, the sadness, romance or hope.”
Lennertz incorporated a snippet of John Williams’ theme from the original ‘60s series, a nice tip of the hat to today’s most respected film composer back when he was still toiling in TV.
Similarly, Jeff Russo found that he could not launch CBS All Access’ “Star Trek: Discovery...
Christopher Lennertz, who recorded a 53-piece orchestra in London’s Abbey Road for the Netflix reboot of “Lost in Space,” says the music he produced is “testosterone-driven when it needs to be, but it’s very poignant when it comes to the kids and the family.
I didn’t want to hold back on the emotion, the heroism, the sadness, romance or hope.”
Lennertz incorporated a snippet of John Williams’ theme from the original ‘60s series, a nice tip of the hat to today’s most respected film composer back when he was still toiling in TV.
Similarly, Jeff Russo found that he could not launch CBS All Access’ “Star Trek: Discovery...
- 6/4/2018
- by Jon Burlingame
- Variety Film + TV
Seth MacFarlane makes his Caf Carlyle debut with a one-night only late show on Tuesday, December 19. Perhaps best known as the creator of the television series Family Guy, MacFarlane's talents encompass every aspect of the entertainment industry. He has created some of the most popular content on television and film today while also expanding his career in the worlds of music, science and philanthropy. For this special concert, MacFarlane performs selections from the Great American Songbook, joined by his band, including Tom Rainer piano, Chuck Berghofer bass, Larry Koonse guitar, Peter Erskine drums, Dan Higgins saxophone, and Joel McNeely flute.
- 12/18/2017
- by BWW News Desk
- BroadwayWorld.com
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Some brilliant scores accompany movies that don't always deserve them. Here are 25 examples...
Can a film soundtrack rescue a movie that is otherwise a lost cause? One thing’s for sure: throughout the history of cinema, music has often been the redeeming feature of many an underwhelming movie. Here are 25 amazing film scores composed for films that, frankly, didn’t deserve them.
25) Meet Joe Black (Thomas Newman, 1998)
This somnambulistic three hour romantic drama should really feature an extra screen credit for star Brad Pitt’s fetishised blonde locks. Rising way above the torpid melodrama of the plot is one of Thomas Newman’s most hauntingly melodic and attractive scores, one that leaves his characteristic quirkiness at the door to paint a portrait of death that is both melancholy and hopeful. The spectacular 10-minute finale That Next Place remains one of Newman’s towering musical achievements.
24) Timeline (Brian Tyler,...
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Some brilliant scores accompany movies that don't always deserve them. Here are 25 examples...
Can a film soundtrack rescue a movie that is otherwise a lost cause? One thing’s for sure: throughout the history of cinema, music has often been the redeeming feature of many an underwhelming movie. Here are 25 amazing film scores composed for films that, frankly, didn’t deserve them.
25) Meet Joe Black (Thomas Newman, 1998)
This somnambulistic three hour romantic drama should really feature an extra screen credit for star Brad Pitt’s fetishised blonde locks. Rising way above the torpid melodrama of the plot is one of Thomas Newman’s most hauntingly melodic and attractive scores, one that leaves his characteristic quirkiness at the door to paint a portrait of death that is both melancholy and hopeful. The spectacular 10-minute finale That Next Place remains one of Newman’s towering musical achievements.
24) Timeline (Brian Tyler,...
- 3/29/2016
- Den of Geek
The International Film Music Critics Association has revealed nominations for best in movie music from 2014, and prolific composers James Newton Howard ("The Hunger Games: Mockingjay - Part 1," "Maleficent") and Alexandre Desplat ("Godzilla," "The Grand Budapest Hotel," "The Imitation Game," "The Monuments Men") led the way with seven and six nominations respectively. Film score of the year contenders include just two Best Original Score Oscar nominees: "The Grand Budapest Hotel" and Hans Zimmer's "Interstellar." "The Imitation Game" and Jóhann Jóhannsson's "Theory of Everything," however, were both nominated in the drama category. "Maleficent" landed the most nominations for a film with four, while DreamWorks Animation's "How to Train Your Dragon 2" picked up three (each of them another if you count composer of the year honors for Howard and John Powell respectively). Check out the full list of nominees below. Winners will be revealed on Feb. 19. And be sure...
- 2/6/2015
- by Kristopher Tapley
- Hitfix
A great film score complements without burrowing too far into the ideas, wrestles with genre without locking the picture into a fixed identity, amplifies actors and actress’ choices without spilling the beans. A composer’s job is a balancing act. More and more, movie music finds itself backing off too far, devolving into incidental muzac, or going too far, where full-blast orchestral sounds pummel us like the Transformers’ energon punches. There’s a sweet spot, and the best film scores of the year ride it for an entire runtime. I shouldn’t be surprised that my favorite film scores of the year line-up closely with my favorite films of the year. As someone who goes to the movies with his ears as wide open as his eyes, I found myself captivated by 2014’s audio-visual offerings. Below, what I’d consider the "best" of the year (along with a few runner-ups,...
- 12/29/2014
- by Matt Patches
- Hitfix
Three hundred twenty-three feature films are eligible for the 2014 Academy Awards, the Academy of Motion Picture Arts and Sciences announced today.
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
- 12/13/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Original scores from The Boxtrolls, Divergent, Exodus: Gods And Kings and The Grand Budapest Hotel are among 114 scores eligible for nominations in the Original Score category for the 87th Oscars. The noms will be announced on January 15. The eligible scores along with their composers are listed below, in alphabetical order by film title:
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
- 12/13/2014
- by The Deadline Team
- Deadline
Seth MacFarlane may be famous for creating irreverent comedies like Family Guy and Ted, but he takes crooning very seriously. Holiday for Swing, his Christmas-themed follow-up to 2011's Grammy-nominated Music Is Better Than Words (due this fall via Republic Records), finds him tapping a 65-piece orchestra and veteran arranger-producer Joel McNeely to perform a handful of well-known ("Let It Snow," "Baby It's Cold Outside") and semi-obscure yuletide chestnuts (Frank Sinatra's "Christmas Dreaming," Bing Crosby and Rosemary Clooney's "Snow"). MacFarlane called Billboard from the Boston set of Ted 2 to reflect on
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- 8/26/2014
- by Andrew Hampp, Billboard
- The Hollywood Reporter - Movie News
Howdy, y'all! Here's Dancin' Dan with a contrarian opinion on last weekend's 'other' new release, which was not greeted so kindly. - editor.
Seth MacFarlane's A Million Ways to Die in the West is not Ted. That much should be obvious. It does not include a talking teddy bear and takes place in the Old West. But it bears repeating: A Million Ways to Die in the West is not Ted.
Frankly, I hate even making the comparison, but I kept doing so all throughout MacFarlane's seriously funny send-up of Old Hollywood Westerns. Right from the opening moments, it's a step up from Ted's television-quality visuals: Cinematographer Michael Barrett sends us soaring through Monument Valley, site of many of the greatest Westerns ever made, and Joel McNeely concocts a perfect old-fashioned Wild West score. But what really makes the difference here is the humor. For the most part,...
Seth MacFarlane's A Million Ways to Die in the West is not Ted. That much should be obvious. It does not include a talking teddy bear and takes place in the Old West. But it bears repeating: A Million Ways to Die in the West is not Ted.
Frankly, I hate even making the comparison, but I kept doing so all throughout MacFarlane's seriously funny send-up of Old Hollywood Westerns. Right from the opening moments, it's a step up from Ted's television-quality visuals: Cinematographer Michael Barrett sends us soaring through Monument Valley, site of many of the greatest Westerns ever made, and Joel McNeely concocts a perfect old-fashioned Wild West score. But what really makes the difference here is the humor. For the most part,...
- 6/5/2014
- by Denny
- FilmExperience
On paper a western comedy is a very intriguing prospect, only more so with Seth MacFarlane’s name attached to it. ‘The Man Who Killed The Oscars’ earned plaudits as well as a hefty box office reward for 2012’s Ted (the sequel hits cinemas next year), and in addition to writing and directing A Million Ways to Die in the West the film sees him make the transition to live-action acting. Though enjoyable in parts, there is a sense that MacFarlane’s sophomore feature fails to fully maximise its potential.
Set in the Wild West of 1880’s Arizona, MacFarlane stars as sheep farmer Albert Stark, a cowardly man whose self-centred girlfriend Louise (Amanda Seyfried) dumps him after he backs out of a gunfight. Wallowing in his feelings of inadequacy, Albert seems set on leaving the unforgiving frontier when he happens upon the mysterious and beautiful gunslinger Anna (Charlize Theron), and...
Set in the Wild West of 1880’s Arizona, MacFarlane stars as sheep farmer Albert Stark, a cowardly man whose self-centred girlfriend Louise (Amanda Seyfried) dumps him after he backs out of a gunfight. Wallowing in his feelings of inadequacy, Albert seems set on leaving the unforgiving frontier when he happens upon the mysterious and beautiful gunslinger Anna (Charlize Theron), and...
- 5/28/2014
- by Amon Warmann
- HeyUGuys.co.uk
First, before we go any further, let's take "Blazing Saddles" out of this conversation, okay? It's not even worth bringing it in. "Blazing Saddles" is one of the finest comedies ever made. "A Million Ways To Die In The West" belongs in the same conversation as movies like "The Villain" or "Rustler's Rhapsody," a conversation about innocuous and uneven Western comedies. That's a fair conversation. That's a weight class where you can make comparisons and contrasts and there's some sort of common ground. But "Blazing Saddles"? Don't be silly. "Ted" was a surprise to many people who bet against the idea of Seth MacFarlane making the jump to a successful big-screen movie. I think he set himself a much more difficult task this time out, but it seems like it was inevitable. After all, he is one of the primary performers on "Family Guy" and he's the voice of "Ted...
- 5/28/2014
- by Drew McWeeny
- Hitfix
From the opening credits of director Seth MacFarlane's latest offensive and broad comedy, it is clear that he is wearing his Family Guy hat, although one can argue it is permanently affixed to his head.The ode to the woeful Wild West plays out with a big score by composer Joel McNeely, the big old style font shoots up on screen accompanying it with stunning cinematography that covers the mountain ranges of Arizona. As impressive as these credits are, they immediately recall a Family Guy special starring Brian the dog; both this and that are feature length forays into another time and place that are introduced the same way.MacFarlane himself appears on screen first as the 'pussy' protagonist, guiding us through his delightfully twisted version of...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 5/27/2014
- Screen Anarchy
Back Lot Music will release the forthcoming Original Motion Picture Soundtrack to A Million Ways To Die In The West, featuring a score by Joel McNeely and a new song written by McNeely & the film’s director, producer, co-writer and co-star, Seth MacFarlane.
Country music superstar Alan Jackson, who stands currently as one of the 10 best-selling artists across all genres since the inception of SoundScan, performs this title track from the film. The album will also feature “If You’ve Only Got a Mustache”, based on a song by Stephen Foster with additional lyrics by MacFarlane, Alec Sulkin and Wellesley Wild.
The song “A Million Ways to Die” is available digitally now, with the album release to follow on May 27 both physically and digitally. The film arrives in theaters on May 30.
Listen to the song Here or buy the song on iTunes.
MacFarlane plays the role of the cowardly sheep...
Country music superstar Alan Jackson, who stands currently as one of the 10 best-selling artists across all genres since the inception of SoundScan, performs this title track from the film. The album will also feature “If You’ve Only Got a Mustache”, based on a song by Stephen Foster with additional lyrics by MacFarlane, Alec Sulkin and Wellesley Wild.
The song “A Million Ways to Die” is available digitally now, with the album release to follow on May 27 both physically and digitally. The film arrives in theaters on May 30.
Listen to the song Here or buy the song on iTunes.
MacFarlane plays the role of the cowardly sheep...
- 4/29/2014
- by Michelle McCue
- WeAreMovieGeeks.com
I really don't put much stock in the International Animated Film Society's 2013 Annie Awards, which is why I didn't rush to report on their results on Saturday. One year Disney and Pixar boycott the event, feeling there was an unfair advantage paid to larger contributing sponsors, DreamWorks being the primary example. So with such a nasty stench over the event what good does it do to pay it much mind? That said, I'll be brief in mentioning Wreck-It Ralph topped Saturday night's winners with five awards, including Best Animated Picture. The awards have something like a 75% streak when it comes to helping predict the eventual Oscar winner for Best Animated Feature and as the days have gone on, it's looking more and more like Ralph will be this year's winner (see my predictions here). Pixar's Brave, Laika's ParaNorman and DreamWorks' Rise of the Guardians each took home two awards in lesser,...
- 2/4/2013
- by Brad Brevet
- Rope of Silicon
Disney's "Wreck-It-Ralph" was the big winner at the 40th Annie Awards held Saturday taking home the Best Animated Feature award. It is now officially the Oscar frontrunner in the Best Animated Film category.
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies this season, click here:
Animated Feature
"Brave" . Pixar Animation Studios
"Frankenweenie" . Walt Disney Studios
"Hotel Transylvania" . Sony Pictures Animation
"ParaNorman" . Focus Features
"Rise of the Guardians" . DreamWorks Animation
"The Pirates! Band of Misfits" . Aardman Animations
"The Rabbi.s Cat ". Gkids
Winner "Wreck-It Ralph" . Walt Disney Animation Studios
Animated Special Production
"Batman: The Dark Knight Returns, Part 1" . Warner Bros. Animation
"Before Orel" . Trust . Starburns Industries, Inc.
Winner "Despicable Me: Minion Mayhem" . Illumination Entertainment
"Disney Tron: Uprising . Beck.s Beginning" . Disney TV Animation
"Dragons: Gift of the Night Fury" . DreamWorks Animation
"Justice League: Doom" . Warner Bros. Animation
Animated Short Subject
"Brad and Gary" . Illumination...
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies this season, click here:
Animated Feature
"Brave" . Pixar Animation Studios
"Frankenweenie" . Walt Disney Studios
"Hotel Transylvania" . Sony Pictures Animation
"ParaNorman" . Focus Features
"Rise of the Guardians" . DreamWorks Animation
"The Pirates! Band of Misfits" . Aardman Animations
"The Rabbi.s Cat ". Gkids
Winner "Wreck-It Ralph" . Walt Disney Animation Studios
Animated Special Production
"Batman: The Dark Knight Returns, Part 1" . Warner Bros. Animation
"Before Orel" . Trust . Starburns Industries, Inc.
Winner "Despicable Me: Minion Mayhem" . Illumination Entertainment
"Disney Tron: Uprising . Beck.s Beginning" . Disney TV Animation
"Dragons: Gift of the Night Fury" . DreamWorks Animation
"Justice League: Doom" . Warner Bros. Animation
Animated Short Subject
"Brad and Gary" . Illumination...
- 2/3/2013
- by Manny
- Manny the Movie Guy
I love the art of animation, and it's amazing to see how far things have come and advanced over the years. The industry is changing in terms of technology, but what it all really comes down to is telling good stories. There's been a lot of great animated movies this year, and many of them are up for several awards at the 40th Annual Annie Awards.
Some of the movies nomainated include Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, and Wreck-It Ralph. Out of those films my favorite is a toss up between Wreck-It Ralph and ParaNorman, those were two pretty incredible films. I think ParaNorman has the edge though.
Some of the other animated properties nominated are Batman: The Dark Knight Returns, Part 1, Disney Tron: Uprising, Justice League: Doom, Robot Chicken ‘DC Comics Special', South Park ‘Raising the Bar’, and several others.
Some of the movies nomainated include Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, and Wreck-It Ralph. Out of those films my favorite is a toss up between Wreck-It Ralph and ParaNorman, those were two pretty incredible films. I think ParaNorman has the edge though.
Some of the other animated properties nominated are Batman: The Dark Knight Returns, Part 1, Disney Tron: Uprising, Justice League: Doom, Robot Chicken ‘DC Comics Special', South Park ‘Raising the Bar’, and several others.
- 12/4/2012
- by Joey Paur
- GeekTyrant
The International Animated Film Society (Asifa-Hollywood) has announced the nominees for the 40th Annie Awards also known as Animation's Highest Honor. Disney/Pixar led the nominees with "Brave," "Frankenweenie," and "Wreck-It-Ralph" getting Best Picture nods. The 40th Annual Annie Awards will take place on February 2, 2013 at UCLA.s Royce Hall, in Los Angeles, California.
And the nominees for the 40th Annual Annie Awards are:
Best Picture nominees:
Brave - Disney/Pixar)
Frankenweenie -The Walt Disney Studios
Hotel Transylvania - Sony Pictures Animation
ParaNorman - Focus Features
Rise of the Guardians - DreamWorks Animation
The Pirates! Band of Misfits - Aardman Animations
The Rabbi.s Cat - Gkids
Wreck-It Ralph - Walt Disney Animation Studios
Annie Award for Best Animated Special Production
Batman: The Dark Knight Returns, Part 1 . Warner Bros. Animation
Best General Audience Animated Television Production
Archer .Space Race, Part 1. . Weissman Markovitz Communications for FX
Bob.S Burgers .Earsy Rider...
And the nominees for the 40th Annual Annie Awards are:
Best Picture nominees:
Brave - Disney/Pixar)
Frankenweenie -The Walt Disney Studios
Hotel Transylvania - Sony Pictures Animation
ParaNorman - Focus Features
Rise of the Guardians - DreamWorks Animation
The Pirates! Band of Misfits - Aardman Animations
The Rabbi.s Cat - Gkids
Wreck-It Ralph - Walt Disney Animation Studios
Annie Award for Best Animated Special Production
Batman: The Dark Knight Returns, Part 1 . Warner Bros. Animation
Best General Audience Animated Television Production
Archer .Space Race, Part 1. . Weissman Markovitz Communications for FX
Bob.S Burgers .Earsy Rider...
- 12/3/2012
- by Manny
- Manny the Movie Guy
Disney withdrew from the International Animated Film Society, Asifa-Hollywood back in 2010 and even before then it was hard to put much stock in the Annie Awards. Now it's just sort of a blip on the overall award season radar that manages headlines twice a year, once for their nominees and again for their winners, which this year will be announced on Saturday, February 2, 2013. That said, the org announced their 2013 nominees this morning and their Best Feature Film list was made up of eight nominees (a large list considering the lack of quality animated films I've seen this year) including Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, The Rabbi's Cat and Wreck-It Ralph. It is nice not to see something like The Lorax among that list, but I still think this was a year in which the field could have easily been limited to five nominees.
- 12/3/2012
- by Brad Brevet
- Rope of Silicon
"Get off my plane!" Just reading that sentence, you can hear Harrison Ford barking the famous catchphrase at Gary Oldman during a climactic sequence in "Air Force One." It's a familiar line, since we've all seen the classic 1997 thriller about a president (Ford) thwarting the Russian terrorist (Oldman) who's hijacked the flying White House. Still, there's probably plenty you don't know about the movie (which opened 15 years ago, on July 25, 1997), including how accurate it is (and isn't), how the filmmakers got access to the real Air Force One, the battle over the film's instrumental score, and the financial windfall that made one cast member the richest star by far (it's not who you think). Read on for the plane (get it?) truth behind the movie. 1. "Air Force One" was actually director Wolfgang Petersen's second movie in four years about a president whose life is threatened; it followed the German-born...
- 7/24/2012
- by Gary Susman
- Moviefone
Jennifer Yuh Nelson's "Kung Fu Panda 2" dominated the Annie Awards nominations, but the International Animated Film Society decided to give its highest honor -- the Best Animated Feature award -- to Gore Verbinski's "Rango." Both films are from DreamWorks Animation and they still have to duke it out at the upcoming Oscars in the Best Animated Feature Film category.
Besides the Best Animated trophy, "Rango" also collected awards for Best Editing and Writing. But Nelson, the first woman to direct a feature film animation from a major Hollywood production company, won the Directing in a Feature Production award! Yay! (Check out my interview with Jennifer Yuh Nelson for "Kung Fu Panda 2" right here)
The Annie Awards winners were announced yesterday at the UCLA Royce Hall in Los Angeles.
Here's the complete list of winners (highlighted) and nominees of the 39th Annual Annie Awards (to see winners/nominees of other award-giving bodies,...
Besides the Best Animated trophy, "Rango" also collected awards for Best Editing and Writing. But Nelson, the first woman to direct a feature film animation from a major Hollywood production company, won the Directing in a Feature Production award! Yay! (Check out my interview with Jennifer Yuh Nelson for "Kung Fu Panda 2" right here)
The Annie Awards winners were announced yesterday at the UCLA Royce Hall in Los Angeles.
Here's the complete list of winners (highlighted) and nominees of the 39th Annual Annie Awards (to see winners/nominees of other award-giving bodies,...
- 2/5/2012
- by Manny
- Manny the Movie Guy
I'm a huge fan of animation, animated films are getting better and better. Not only is the look and animation getting ridiculously awesome, but I find that many of these animated films actually have incredibly good stories. Not all of them are good though, for example, Cars 2 and Rio sucked. It will be interesting to see who ends up taking home the awards this year. Out of the movies on the list that I've seen and liked we have Puss in Boots, Rango and Kung Fu Panda 2. I guess it's no surprises that Kung Fu Panda 2 is leading the nominations with 9. Check out the list and let us know what your favorite animated movies of the year are!
Production Categories
Best Animated Feature
A Cat in Paris – Folimage Arrugas (Wrinkles) - Perro Verde Films, S.L. Arthur Christmas – Sony Pictures Animation, Aardman Animations Cars 2 – Pixar Animation...
Production Categories
Best Animated Feature
A Cat in Paris – Folimage Arrugas (Wrinkles) - Perro Verde Films, S.L. Arthur Christmas – Sony Pictures Animation, Aardman Animations Cars 2 – Pixar Animation...
- 12/5/2011
- by Venkman
- GeekTyrant
"Kung Fu Panda 2" dominated the nominations for the 39th Annual Annie Awards. Given by the International Animated Film Society, the DreamWorks Animation sequel received 12 nods including Best Animated Feature. "Puss in Boots" and "Rango" each took nine noms. Pixar's "Cars 2" received seven nominations, while Disney's "Winnie the Pooh" took eight nods but was oddly missing in the Best Animated Feature category.
Winners of the 2011 Annie Awards will be announced on Saturday, Feb. 4.
Here's the complete list of nominees of the 39th Annual Annie Awards:
Production Categories
Best Animated Feature
A Cat in Paris . Folimage
Arrugas (Wrinkles) - Perro Verde Films, S.L.
Arthur Christmas . Sony Pictures Animation, Aardman Animations
Cars 2 . Pixar Animation Studios
Chico & Rita . Chico & Rita Distribution Limited
Kung Fu Panda 2 . DreamWorks Animation
Puss In Boots . DreamWorks Animation
Rango . Paramount Pictures and Nickelodeon Movies present A Blind Wink/Gk Films Production
Rio . Blue Sky Studios
Tintin . Amblin Entertainment,...
Winners of the 2011 Annie Awards will be announced on Saturday, Feb. 4.
Here's the complete list of nominees of the 39th Annual Annie Awards:
Production Categories
Best Animated Feature
A Cat in Paris . Folimage
Arrugas (Wrinkles) - Perro Verde Films, S.L.
Arthur Christmas . Sony Pictures Animation, Aardman Animations
Cars 2 . Pixar Animation Studios
Chico & Rita . Chico & Rita Distribution Limited
Kung Fu Panda 2 . DreamWorks Animation
Puss In Boots . DreamWorks Animation
Rango . Paramount Pictures and Nickelodeon Movies present A Blind Wink/Gk Films Production
Rio . Blue Sky Studios
Tintin . Amblin Entertainment,...
- 12/5/2011
- by Manny
- Manny the Movie Guy
Everett The Beatles at Abbey Road Studios in 1967.
Celebrations to mark Abbey Road’s 80th anniversary will feature never-before-heard orchestral arrangements of songs by The Beatles, Pink Floyd, Oasis and Radiohead among other popular rock and roll names.
The legendary recording venue adopted by the Fab Four and other music heavyweights, turns 80 in November but celebrations are kicking off this weekend in London. In conjunction with American Express, the studios have put together a weekend event entitled Symphony at the Park,...
Celebrations to mark Abbey Road’s 80th anniversary will feature never-before-heard orchestral arrangements of songs by The Beatles, Pink Floyd, Oasis and Radiohead among other popular rock and roll names.
The legendary recording venue adopted by the Fab Four and other music heavyweights, turns 80 in November but celebrations are kicking off this weekend in London. In conjunction with American Express, the studios have put together a weekend event entitled Symphony at the Park,...
- 8/18/2011
- by Javier Espinoza
- Speakeasy/Wall Street Journal
If you're any kind of dedicated "Family Guy" fan then you know quite well that creator Seth MacFarlane loves himself some theater and some showtunes. The TV series is fairly peppered with references and performances pulled straight from the stage. Knowing all of that, is it any surprise that MacFarlane is wholly embracing that interest for his next project, a big band album?
Deadline reports, via MacFarlane's appearance on Jay Leno, that the plan is to record an album consisting of "swing arrangements of classic tunes." Said MacFarlane, "I had an offer to do an actual big band album and I took it. I said yes. ... We kind of deliberately touched stuff that the Deans and the Franks and the Sammys didn’t do yet [for the album]." The track listing hasn't been revealed yet, but the album will include music from Rodgers and Hammerstein & Lerner and Loewe, as well a reworked version...
Deadline reports, via MacFarlane's appearance on Jay Leno, that the plan is to record an album consisting of "swing arrangements of classic tunes." Said MacFarlane, "I had an offer to do an actual big band album and I took it. I said yes. ... We kind of deliberately touched stuff that the Deans and the Franks and the Sammys didn’t do yet [for the album]." The track listing hasn't been revealed yet, but the album will include music from Rodgers and Hammerstein & Lerner and Loewe, as well a reworked version...
- 8/6/2010
- by Adam Rosenberg
- MTV Movies Blog
Proving that you can teach an old Pooh new tricks, A.A. Milne's enduring characters make room for a fresh arrival to the Hundred Acre Wood in the irresistible form of a young purple pachyderm.
On the heels of 1999's "The Tigger Movie" and 2003's "Piglet's Big Movie", "Pooh's Heffalump Movie" is by far the best of the DisneyToon Studios bunch.
It's a charming-looking, tenderly told story about friendship and diversity, but its secret weapon is the roly-poly, spirited Lumpy, a terrifically drawn and voiced (by 8-year-old Kyle Stanger) Heffalump who becomes Roo's new best buddy.
With Lumpy destined to become one of Disney's bigger non-Pixar merchandising successes, the film should emerge as a tidy family hit for the studio, carrying a very manageable 63-minute running time that's perfect for young (and not-so-young) attention spans.
When a loud rumbling has the denizens of Pooh Corner believing that they've been invaded by the highly dreaded but never seen Heffalump, Pooh (voiced by Jim Cummings), Tigger (Cummings), Eeyore (Peter Cullen), Piglet (John Fiedler) and Rabbit (Ken Sansom) reluctantly set forth on an expedition to catch the elusive creature.
The determined Roo (Nikita Hopkins), deemed too young to join the hunt, has been left in the care of his mother, Kanga (Kath Soucie), but sneaks out of his house early in the morning to embark on his very own Heffalump mission.
It doesn't take long before he comes face to face with the playful Heffridge Trumpler Brompet Heffalump III, or Lumpy for short, whose unaffected English accent (courtesy of British-born Stanger) would have been right at home among the orphans in "Oliver!"
The two strike up a fast friendship while the others go about the tricky business of trying to bag a Heffalump.
In Milne's stories the Heffalumps were spoken of but never seen, existing in the imaginations of Pooh, Piglet and company as a representational fear of the unknown.
Thanks to director Frank Nissen, screenwriters Brian Hohlfeld and Evan Spiliotopoulos and the scene-stealing Stanger, Lumpy is very much in the spirit of the other characters created by Milne and illustrated by E.H. Shepard.
The entire voice cast, including Brenda Blethyn as the very Angela Lansbury Mama Heffalump, do a uniformly fine job continuing in the tradition of originators Sterling Holloway and Paul Winchell. Fiedler, meanwhile, has been voicing Piglet ever since 1968's "Winnie the Pooh and the Blustery Day."
While the traditional two-dimensional animated style is quaint by current state-of-the-art standards, there's something endearing in its simplicity, while the straight-ahead storytelling has a gentle emotional resonance that gets its message across without condescending to its target demo.
Completing the delightful effect is a buoyant score by Joel McNeely and a number of original songs contributed by Carly Simon that have a habit of sticking with you like the contents of one of Pooh's ubiquitous honey pots.
Pooh's Heffalump Movie
Buena Vista Pictures
DisneyToon Studios
Credits:
Director: Frank Nissen
Producer: Jessica Koplos-Miller
Screenwriters: Brian Hohlfeld and Evan Spiliotopoulos
Based on characters created by: A.A. Milne
Editors: Robert Fisher, Jr., Anthony F. Rocco
Music: Joel McNeely
Original songs: Carly Simon
Voices:
Winnie the Pooh/Tigger: Jim Cummings
Piglet: John Fiedler
Roo: Nikita Hopkins
Kanga: Kath Soucie
Rabbit: Ken Sansom
Eeyore: Peter Cullen
Mama Heffalump: Brenda Blethyn
Lumpy: Kyle Stanger
MPAA rating: G
Running time -- 63 minutes...
On the heels of 1999's "The Tigger Movie" and 2003's "Piglet's Big Movie", "Pooh's Heffalump Movie" is by far the best of the DisneyToon Studios bunch.
It's a charming-looking, tenderly told story about friendship and diversity, but its secret weapon is the roly-poly, spirited Lumpy, a terrifically drawn and voiced (by 8-year-old Kyle Stanger) Heffalump who becomes Roo's new best buddy.
With Lumpy destined to become one of Disney's bigger non-Pixar merchandising successes, the film should emerge as a tidy family hit for the studio, carrying a very manageable 63-minute running time that's perfect for young (and not-so-young) attention spans.
When a loud rumbling has the denizens of Pooh Corner believing that they've been invaded by the highly dreaded but never seen Heffalump, Pooh (voiced by Jim Cummings), Tigger (Cummings), Eeyore (Peter Cullen), Piglet (John Fiedler) and Rabbit (Ken Sansom) reluctantly set forth on an expedition to catch the elusive creature.
The determined Roo (Nikita Hopkins), deemed too young to join the hunt, has been left in the care of his mother, Kanga (Kath Soucie), but sneaks out of his house early in the morning to embark on his very own Heffalump mission.
It doesn't take long before he comes face to face with the playful Heffridge Trumpler Brompet Heffalump III, or Lumpy for short, whose unaffected English accent (courtesy of British-born Stanger) would have been right at home among the orphans in "Oliver!"
The two strike up a fast friendship while the others go about the tricky business of trying to bag a Heffalump.
In Milne's stories the Heffalumps were spoken of but never seen, existing in the imaginations of Pooh, Piglet and company as a representational fear of the unknown.
Thanks to director Frank Nissen, screenwriters Brian Hohlfeld and Evan Spiliotopoulos and the scene-stealing Stanger, Lumpy is very much in the spirit of the other characters created by Milne and illustrated by E.H. Shepard.
The entire voice cast, including Brenda Blethyn as the very Angela Lansbury Mama Heffalump, do a uniformly fine job continuing in the tradition of originators Sterling Holloway and Paul Winchell. Fiedler, meanwhile, has been voicing Piglet ever since 1968's "Winnie the Pooh and the Blustery Day."
While the traditional two-dimensional animated style is quaint by current state-of-the-art standards, there's something endearing in its simplicity, while the straight-ahead storytelling has a gentle emotional resonance that gets its message across without condescending to its target demo.
Completing the delightful effect is a buoyant score by Joel McNeely and a number of original songs contributed by Carly Simon that have a habit of sticking with you like the contents of one of Pooh's ubiquitous honey pots.
Pooh's Heffalump Movie
Buena Vista Pictures
DisneyToon Studios
Credits:
Director: Frank Nissen
Producer: Jessica Koplos-Miller
Screenwriters: Brian Hohlfeld and Evan Spiliotopoulos
Based on characters created by: A.A. Milne
Editors: Robert Fisher, Jr., Anthony F. Rocco
Music: Joel McNeely
Original songs: Carly Simon
Voices:
Winnie the Pooh/Tigger: Jim Cummings
Piglet: John Fiedler
Roo: Nikita Hopkins
Kanga: Kath Soucie
Rabbit: Ken Sansom
Eeyore: Peter Cullen
Mama Heffalump: Brenda Blethyn
Lumpy: Kyle Stanger
MPAA rating: G
Running time -- 63 minutes...
- 2/25/2005
- The Hollywood Reporter - Movie News
Opens
August 15
"Uptown Girls" is a perky comedy aimed at young women that gets the job done with crisp efficiency. It may be junk food with high sugar levels, but the inspired teaming of rising young actress Brittany Murphy and precocious tot Dakota Fanning (who stole "I Am Sam" from Sean Penn) makes you forget those hazardous sweeteners. The modestly budgeted MGM release should perform well in theatrical and ancillary markets.
The oddity here is the involvement of Boaz Yakin, director of much harder-edged films such as "Fresh" and "A Price Above Rubies", and renowned cinematographer Michael Ballhaus, whom one associates with Scorsese and Fassbinder, among others. Who knew such softies lurked beneath those gritty exteriors? Certainly nothing the least bit edgy creeps into this conventional fantasy, all of which takes place in a romanticized New York. The filmmakers do deserve credit for shooting in NYC but could easily have shot on Hollywood soundstages for all the reality that intrudes.
The movie's uptown girls are diametric opposites: Murphy's Molly Gunn -- a Capote-esque name if ever there were one -- is the spoiled, carefree daughter of a late rock legend who never grew up. Her emotional age is about 13. Fanning's Ray Schleine is an equally privileged 8-year-old, only she is an anal hypochondriac and control freak. Her emotional age is that of a snooty 35-year-old.
You could have skipped Psych 101 and still be aware that parental absence causes neither female to act her age. The death of Molly's parents in a plane crash froze her in permanent adolescence. A catastrophic stroke suffered by Ray's dad, which has turned him into a vegetable, and the emotional distance, bordering on complete neglect, by her mom (Heather Locklear), a powerful music exec, has warped her attitude toward life. "It's a harsh world", she snaps should anyone question her cold-bloodedness.
The two encounter each other through Molly's music-industry acquaintances, especially A&R scout Huey (Donald Faison). But the connection gets sealed when Molly's business manager embezzles all her money, forcing her to take a job as Ray's nanny. Neither can stand the other.
Kicked out of her Fifth Avenue apartment, Molly first rooms with best girl pal, Ingrid (Marley Shelton), then with Huey. Meanwhile, she takes up a one-sided romantic relationship with upcoming though aloof rocker Neal (Jesse Spencer). Chaos seems to follow her everywhere. This is a person who can set fire to cookie mix. Ray, on the other hand, is a little woman, oh-so-precise and conscientious in her homework, ballet class, nutritional intake and insistence on a germ-free environment. What else can happen in a movie fantasy but for each female to teach the other how to grow up?
Kalina Ivanov's sets and Sarah Edwards' costumes emphasize the theme of mutual privilege. Joel McNeely's music is busy, a rapidly ticking metronome that seems to pace Yakin's direction. Certainly, the movie moves much too fast for an audience to question the basic improbability of much that transpires.
Mostly, the movie is an enjoyable duet between two young performers, who play off each other impeccably. Murphy goes wild with her comic physicality in this open, free-spirited performance. Fanning is equally as fun, appearing to have modeled Ray on Margaret Hamilton's Wicked Witch, only without the cackle. The two characters also share a pet pig. So when the movie needs a quick pick-me-up, out trots the pig, all pink and cuddly. He, by the way, always acts his age.
UPTOWN GIRLS
MGM
A Greenstreet Films production
Credits:
Director: Boaz Yakin
Screenwriters: Julia Dahl, Mo Ogrodnik, Lisa Davidowitz
Story by: Allison Jacobs
Producers: John Penotti, Fisher Stevens, Allison Jacobs
Executive producers: Joe Caracciolo Jr., Tim Williams, Boaz Yakin
Director of photography: Michael Ballhaus
Production designer: Kalina Ivanov
Music: Joel McNeely
Co-executive producers: Gary Winick, Vicki Cherkas
Costume designer: Sarah Edwards
Editor: David Ray
Cast:
Molly Gunn: Brittany Murphy
Ray Schleine: Dakota Fanning
Ingrid: Marley Shelton
Huey: Donald Faison
Neal: Jesse Spencer
Mr. McConkey: Austin Pendleton
Roma Schleine: Heather Locklear
Running time -- 92 minutes
MPAA rating: PG-13...
August 15
"Uptown Girls" is a perky comedy aimed at young women that gets the job done with crisp efficiency. It may be junk food with high sugar levels, but the inspired teaming of rising young actress Brittany Murphy and precocious tot Dakota Fanning (who stole "I Am Sam" from Sean Penn) makes you forget those hazardous sweeteners. The modestly budgeted MGM release should perform well in theatrical and ancillary markets.
The oddity here is the involvement of Boaz Yakin, director of much harder-edged films such as "Fresh" and "A Price Above Rubies", and renowned cinematographer Michael Ballhaus, whom one associates with Scorsese and Fassbinder, among others. Who knew such softies lurked beneath those gritty exteriors? Certainly nothing the least bit edgy creeps into this conventional fantasy, all of which takes place in a romanticized New York. The filmmakers do deserve credit for shooting in NYC but could easily have shot on Hollywood soundstages for all the reality that intrudes.
The movie's uptown girls are diametric opposites: Murphy's Molly Gunn -- a Capote-esque name if ever there were one -- is the spoiled, carefree daughter of a late rock legend who never grew up. Her emotional age is about 13. Fanning's Ray Schleine is an equally privileged 8-year-old, only she is an anal hypochondriac and control freak. Her emotional age is that of a snooty 35-year-old.
You could have skipped Psych 101 and still be aware that parental absence causes neither female to act her age. The death of Molly's parents in a plane crash froze her in permanent adolescence. A catastrophic stroke suffered by Ray's dad, which has turned him into a vegetable, and the emotional distance, bordering on complete neglect, by her mom (Heather Locklear), a powerful music exec, has warped her attitude toward life. "It's a harsh world", she snaps should anyone question her cold-bloodedness.
The two encounter each other through Molly's music-industry acquaintances, especially A&R scout Huey (Donald Faison). But the connection gets sealed when Molly's business manager embezzles all her money, forcing her to take a job as Ray's nanny. Neither can stand the other.
Kicked out of her Fifth Avenue apartment, Molly first rooms with best girl pal, Ingrid (Marley Shelton), then with Huey. Meanwhile, she takes up a one-sided romantic relationship with upcoming though aloof rocker Neal (Jesse Spencer). Chaos seems to follow her everywhere. This is a person who can set fire to cookie mix. Ray, on the other hand, is a little woman, oh-so-precise and conscientious in her homework, ballet class, nutritional intake and insistence on a germ-free environment. What else can happen in a movie fantasy but for each female to teach the other how to grow up?
Kalina Ivanov's sets and Sarah Edwards' costumes emphasize the theme of mutual privilege. Joel McNeely's music is busy, a rapidly ticking metronome that seems to pace Yakin's direction. Certainly, the movie moves much too fast for an audience to question the basic improbability of much that transpires.
Mostly, the movie is an enjoyable duet between two young performers, who play off each other impeccably. Murphy goes wild with her comic physicality in this open, free-spirited performance. Fanning is equally as fun, appearing to have modeled Ray on Margaret Hamilton's Wicked Witch, only without the cackle. The two characters also share a pet pig. So when the movie needs a quick pick-me-up, out trots the pig, all pink and cuddly. He, by the way, always acts his age.
UPTOWN GIRLS
MGM
A Greenstreet Films production
Credits:
Director: Boaz Yakin
Screenwriters: Julia Dahl, Mo Ogrodnik, Lisa Davidowitz
Story by: Allison Jacobs
Producers: John Penotti, Fisher Stevens, Allison Jacobs
Executive producers: Joe Caracciolo Jr., Tim Williams, Boaz Yakin
Director of photography: Michael Ballhaus
Production designer: Kalina Ivanov
Music: Joel McNeely
Co-executive producers: Gary Winick, Vicki Cherkas
Costume designer: Sarah Edwards
Editor: David Ray
Cast:
Molly Gunn: Brittany Murphy
Ray Schleine: Dakota Fanning
Ingrid: Marley Shelton
Huey: Donald Faison
Neal: Jesse Spencer
Mr. McConkey: Austin Pendleton
Roma Schleine: Heather Locklear
Running time -- 92 minutes
MPAA rating: PG-13...
Jamie Lee Curtis may have thought she was having a tough time with Michael Myers, but little did she know that she'd soon be battling a whole shipload of alien life forms in this latest sci-fi/horror extravaganza courtesy of that specialty producer in the field, Gale Anne Hurd ("Aliens", "Terminator", "Armageddon", etc.). The long-delayed "Virus", which opened Friday without press screenings, does not represent a first-class addition to Hurd's resume. The film might score decent opening numbers with the teenage horror crowd whose girlfriends aren't dragging them to "At First Sight".
The thriller -- which more closely resembles "Deep Rising", last year's misbegotten entry in the burgeoning horror-at-sea genre -- takes place aboard a Soviet science vessel that has been taken over by an alien life form. The being transmitted its way onto the ship via the Mir space station (and they thought they already had problems). Coming aboard the seemingly deserted ship are the crew of the Sea Star, a small-scale salvage tug whose captain (Donald Sutherland) has dreams of a huge financial score, since maritime law dictates that abandoned ships can be redeemed for 10% of their value. (Fortunately, one can learn interesting facts even from bad movies).
Problem is, the alien has taken over the ship's computer and electrical systems in a bid to, well, conquer mankind, which it considers a virus. It only needs a few human spare parts to complete its deadly task and soon starts liberally helping itself to the hapless crew members. Curtis plays the spunky navigator who ultimately starts to kick ass, aided by, among others, a hunky engineer (William Baldwin) and the sole Russian survivor (Joanna Pacula).
As with most of these genre pics, "Virus", after an ominous beginning, eventually settles into a series of brief scenes featuring lots of loud noises, running through dark corridors and violent encounters between the humans and the various incarnations of the alien, who starts out by inhabiting various mechanical instruments and eventually harvests enough body parts to resemble the half-robot, half-human Terminator. Before it's all over, the less intrepid crew members have become alien fodder and the ship has been rocked by enough explosions to keep the Dolby, SDDS and DTS people working overtime.
In one of the more predictable plot developments, the scheming captain, who has apparently never been to the movies, attempts to strike a bargain with the creature -- with less than felicitous results. The formulaic screenplay, based on Chuck Pfarrer's comic book, features dialogue mainly on the order of "You're all going to die!" and "There's some really weird shit going on around here."
Director John Bruno, a special effects whiz (and Oscar winner for "The Abyss") who has plenty of experience in the field, keeps things moving briskly and handles the obviously hellish technical demands with absolute skill. With the exception of some obvious miniature shots -- for all their progress, the experts still can't render water convincingly -- "Virus" is first rate in the technical department and should satisfy the demands of the genre's fussy fans.
None of the performers is given very much in the way of character development to work with, although Sutherland manages to have some obvious fun as the crafty captain. Curtis and Baldwin go through their energetic paces with conviction, and Pacula is as lovely a presence as ever.
VIRUS
Universal Pictures
Credits: Director: John Bruno; Producer: Gale Anne Hurd; Screenplay: Chuck Pfarrer, Dennis Feldman; Executive producers: Mike Richardson, Chuck Pfarrar, Gary Levinsohn, Mark Gordon; Director of photography: David Eggby; Production designer: Mayling Cheng; Editor: Scott Smith; Co-producers: Todd Moyer, Dennis E. Jones, Bud Smith; Music: Joel McNeely. Cast: Kit Foster: Jamie Lee Curtis; Steve Baker: William Baldwin; Captain Everton: Donald Sutherland; Nadia: Joanna Pacula; J.W. Woods Jr.: Marshall Bell; Squeaky: Julio Oscar; Mechoso Richie: Sherman Augustus; Hiko: Cliff Curtis. MPAA rating: R. Color/stereo. Running time -- 95 minutes.
The thriller -- which more closely resembles "Deep Rising", last year's misbegotten entry in the burgeoning horror-at-sea genre -- takes place aboard a Soviet science vessel that has been taken over by an alien life form. The being transmitted its way onto the ship via the Mir space station (and they thought they already had problems). Coming aboard the seemingly deserted ship are the crew of the Sea Star, a small-scale salvage tug whose captain (Donald Sutherland) has dreams of a huge financial score, since maritime law dictates that abandoned ships can be redeemed for 10% of their value. (Fortunately, one can learn interesting facts even from bad movies).
Problem is, the alien has taken over the ship's computer and electrical systems in a bid to, well, conquer mankind, which it considers a virus. It only needs a few human spare parts to complete its deadly task and soon starts liberally helping itself to the hapless crew members. Curtis plays the spunky navigator who ultimately starts to kick ass, aided by, among others, a hunky engineer (William Baldwin) and the sole Russian survivor (Joanna Pacula).
As with most of these genre pics, "Virus", after an ominous beginning, eventually settles into a series of brief scenes featuring lots of loud noises, running through dark corridors and violent encounters between the humans and the various incarnations of the alien, who starts out by inhabiting various mechanical instruments and eventually harvests enough body parts to resemble the half-robot, half-human Terminator. Before it's all over, the less intrepid crew members have become alien fodder and the ship has been rocked by enough explosions to keep the Dolby, SDDS and DTS people working overtime.
In one of the more predictable plot developments, the scheming captain, who has apparently never been to the movies, attempts to strike a bargain with the creature -- with less than felicitous results. The formulaic screenplay, based on Chuck Pfarrer's comic book, features dialogue mainly on the order of "You're all going to die!" and "There's some really weird shit going on around here."
Director John Bruno, a special effects whiz (and Oscar winner for "The Abyss") who has plenty of experience in the field, keeps things moving briskly and handles the obviously hellish technical demands with absolute skill. With the exception of some obvious miniature shots -- for all their progress, the experts still can't render water convincingly -- "Virus" is first rate in the technical department and should satisfy the demands of the genre's fussy fans.
None of the performers is given very much in the way of character development to work with, although Sutherland manages to have some obvious fun as the crafty captain. Curtis and Baldwin go through their energetic paces with conviction, and Pacula is as lovely a presence as ever.
VIRUS
Universal Pictures
Credits: Director: John Bruno; Producer: Gale Anne Hurd; Screenplay: Chuck Pfarrer, Dennis Feldman; Executive producers: Mike Richardson, Chuck Pfarrar, Gary Levinsohn, Mark Gordon; Director of photography: David Eggby; Production designer: Mayling Cheng; Editor: Scott Smith; Co-producers: Todd Moyer, Dennis E. Jones, Bud Smith; Music: Joel McNeely. Cast: Kit Foster: Jamie Lee Curtis; Steve Baker: William Baldwin; Captain Everton: Donald Sutherland; Nadia: Joanna Pacula; J.W. Woods Jr.: Marshall Bell; Squeaky: Julio Oscar; Mechoso Richie: Sherman Augustus; Hiko: Cliff Curtis. MPAA rating: R. Color/stereo. Running time -- 95 minutes.
- 1/19/1999
- The Hollywood Reporter - Movie News
A nicely executed throwback to traditional family adventure films, with enough action and teen sex appeal to win over a respectable modern audience, "Wild America" has likeable animals and young heartthrobs to spare in a kind of "My Three Sons"-meets-"Mutual of Omaha's Wild Kingdom".
Directed by William Dear ("Angels in the Outfield"), the Warner Bros. wide release stars the dynamic trio of Jonathan Taylor Thomas ("The Adventures of Pinocchio", TV's "Home Improvement"), Devon Sawa ("Casper") and Scott Bairstow ("White Fang 2") as real-life brothers who spend a summer traveling around the country with a 16mm camera.
Budding naturalists in search of endangered species, a legendary cave filled with sleeping bears and an escape from unadventuresome lives in Fort Smith, Ark., the three Stouffer boys -- Marshall Thomas), Mark (Sawa) and Marty (Bairstow) -- are decent but full of mischief. The leader of the group, narratively speaking, is the youngest shutterbug Marshall, who is often the subject of filmed stunts and other pranks by his competitive older bros.
With an amiable voice-over, the episodic scenario penned by playwright David Michael Wieger in his feature debut stays true to the mid-1960s rural south milieu. Barely touching on the political and cultural turmoil of the times, there is little romance, no references to "Star Trek" and no sporting activities except leader Mark and rebel Marty's inventive ways of putting daredevil Marshall in harm's way.
Their parents are sturdy salt-of-the-earth types, with Marty Sr. (Jamie Sheridan) running a carburetor shop and promising would-be flyer Marshall that one day he'll restore a World War II training plane. Dad, of course, wants his oldest to take over the family business someday, but when the trio of amateur filmmakers is given a professional camera they embark on a mission worthy of the ensemble war movies of the era.
Along with the predictable generational friction caused by pursuing a risky dream come such conventional maneuvers as Marshall stowing away and then winning approval from all concerned for the central road journey the brothers take to national parks and relatively far-flung locales. Encounters with gators, moose, snakes, bears, wild horses and a pair of English hippie girls await them.
Including Frances Fisher as the boys' protective but supportive mom, the performances are sturdy throughout, with the headliners achieving a winning chemistry.
A fun running gambit has Thomas' character devising ways to secretly get back at his brothers with befouled toothbrushes and canteens.
Even with co-producer Mark Stouffer on board, the film has a few unbelievable moments, but it's an entertaining and amiably paced tall tale. Evocatively filmed in wide-screen by David Burr ("The Phantom"), the production overall is first-rate. A special merit badge to animal trainer Senia Phillips for the many splendid scenes with tame and threatening creatures.
WILD AMERICA
Warner Bros.
James G. Robinson presents
a Morgan Creek production
in association with the Steve Tisch Company
A William Dear film
Director William Dear
Prodcuers James G. Robinson, Irby Smith,
Mark Stouffer
Writer David Michael Wieger
Executive producers Gary Barber, Steve Tisch,
Bill Todman Jr.
Director of photography David Burr
Production designer Steven Jordan
Editor O. Nicholas Brown
Music Joel McNeely
Costume designer Mary McLeod
Casting Pam Dixon Mickelson
Color/stereo
Cast:
Marshall Jonathan Taylor Thomas
Mark Devon Sawa
Marty Scott Bairstow
Agnes Frances Fisher
Marty Sr. Jamie Sheridan
Running time -- 107 minutes
MPAA rating: PG...
Directed by William Dear ("Angels in the Outfield"), the Warner Bros. wide release stars the dynamic trio of Jonathan Taylor Thomas ("The Adventures of Pinocchio", TV's "Home Improvement"), Devon Sawa ("Casper") and Scott Bairstow ("White Fang 2") as real-life brothers who spend a summer traveling around the country with a 16mm camera.
Budding naturalists in search of endangered species, a legendary cave filled with sleeping bears and an escape from unadventuresome lives in Fort Smith, Ark., the three Stouffer boys -- Marshall Thomas), Mark (Sawa) and Marty (Bairstow) -- are decent but full of mischief. The leader of the group, narratively speaking, is the youngest shutterbug Marshall, who is often the subject of filmed stunts and other pranks by his competitive older bros.
With an amiable voice-over, the episodic scenario penned by playwright David Michael Wieger in his feature debut stays true to the mid-1960s rural south milieu. Barely touching on the political and cultural turmoil of the times, there is little romance, no references to "Star Trek" and no sporting activities except leader Mark and rebel Marty's inventive ways of putting daredevil Marshall in harm's way.
Their parents are sturdy salt-of-the-earth types, with Marty Sr. (Jamie Sheridan) running a carburetor shop and promising would-be flyer Marshall that one day he'll restore a World War II training plane. Dad, of course, wants his oldest to take over the family business someday, but when the trio of amateur filmmakers is given a professional camera they embark on a mission worthy of the ensemble war movies of the era.
Along with the predictable generational friction caused by pursuing a risky dream come such conventional maneuvers as Marshall stowing away and then winning approval from all concerned for the central road journey the brothers take to national parks and relatively far-flung locales. Encounters with gators, moose, snakes, bears, wild horses and a pair of English hippie girls await them.
Including Frances Fisher as the boys' protective but supportive mom, the performances are sturdy throughout, with the headliners achieving a winning chemistry.
A fun running gambit has Thomas' character devising ways to secretly get back at his brothers with befouled toothbrushes and canteens.
Even with co-producer Mark Stouffer on board, the film has a few unbelievable moments, but it's an entertaining and amiably paced tall tale. Evocatively filmed in wide-screen by David Burr ("The Phantom"), the production overall is first-rate. A special merit badge to animal trainer Senia Phillips for the many splendid scenes with tame and threatening creatures.
WILD AMERICA
Warner Bros.
James G. Robinson presents
a Morgan Creek production
in association with the Steve Tisch Company
A William Dear film
Director William Dear
Prodcuers James G. Robinson, Irby Smith,
Mark Stouffer
Writer David Michael Wieger
Executive producers Gary Barber, Steve Tisch,
Bill Todman Jr.
Director of photography David Burr
Production designer Steven Jordan
Editor O. Nicholas Brown
Music Joel McNeely
Costume designer Mary McLeod
Casting Pam Dixon Mickelson
Color/stereo
Cast:
Marshall Jonathan Taylor Thomas
Mark Devon Sawa
Marty Scott Bairstow
Agnes Frances Fisher
Marty Sr. Jamie Sheridan
Running time -- 107 minutes
MPAA rating: PG...
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