Film Experience Blog

I wanna be loved by you, just you... and nobody else but you. i wanna be loved by you a-loh-oh-oh-ooooone. boopboopadoo. Witness: Michelle Williams as Marilyn Monroe. Me likey.



Michelle Williams is really on fire these days, isn't she? Whether she's causing NC-17 ratings by being such a brutally honest actor (the MPAA can blow me when they're done gagging about Ryan going down on her in Blue Valentine) or putting artistry before fame, you have to appreciate. I love that she's doing things as resoundingly uncommercial as Meek's Cutoff in which she plays a quiet but strong-willed wife, lost in Indian country with her husband and a few other sorry travellers in covered wagons, simply because she obviously believes in director Kelly Reichardt.

Are you excited for My Week With Marilyn. That Eddie Redmayne, who will costar as a crew member on the set of the actual movie within the story (The Prince and the Showgirl) who Marilyn takes up with, sure is a lucky guy. First he gets to attack Cate Blanchett, then he gets to screw Julianne Moore and Hugh Dancy and Unax Ugalde and now he gets to spend an entire week with Michelle in bombshell mode!?!

.........i wanna be linked by you...boopboopadoo
Antagony & Ecstacy hates the Oscar hopeful documentary Waiting for Superman even more than I do. That's a lot by the way.
That Obscure Object -- yay, I'm not the only one who shares their celebrity dreams online. This one stars Naomi Watts & Liev Schreiber as flirtatious employers.
Studio Daily - 10 high points in digital cinematography. (The Oscars are a-changing)
Towleroad - I'm happy that Anderson Cooper is getting ballsier about calling people on their homophobia. The trailer to the new Vince Vaughn movie edited out a gay joke as result. Not that they took the joke out of the movie. But... baby steps.
Moviefone Pepé le Pew via Mike Myers vocal chords? I love Pepe but uh... I dunno.
Observations on Film Art likes that Costa-Rican Oscar submission Of Love and Other Demons.
MTV Naomi Watts will not appear in Eastern Promises 2. It's all Viggo, all the time.

Oh and here's my weekly at Towleroad with yet more linkable stories: Johnny Depp, Daniel Radcliffe and more.

It's a true story double feature for this installment of Yes, No, Maybe So, in which we break down personal reaction to movie trailers.

We'll start with Danny Boyle's Slumdog Millionaire follow up -- and boy does this trailer not let you forget that this is the follow up -- which is called 127 Hours. In the movie, James Franco plays Aron Ralston who gets pinned under a rock and the rest is, well, his arm is history.



Yes James Franco is on the rise and this could be the movie where he finally proves the extent of his talents. He does have to hold the screen for virtually the full running time. If I've understood the prerelease mumblings correctly, what we're seeing in the trailer is only clips from the first half hour ish of the movie. I'd actually love to have that be the rule for Hollywood. You may not use anything past the 30 minute mark in your trailers. Begone Spoilers! (Not that people don't know what happened in this particular story since it's so easy to sum up and everyone has already been summing online for months.)

Also Moab, Utah is ridiculously beautiful even when shot by cinematographers far less gifted than Oscar winner Anthony Dod Mantle or Enrique Chediak. I know because I once lived in Utah and every photographer, good or un, has a million photographs capturing the rocky beauty of southern half of the state.

No For lost in the desert existential survivalist drama, I'll take something more contemplative like Gus Van Sant's Gerry. Will this be too tricked up to combat those nerves filmmakers so often have about how long they can hold the audiences attention? (Hence the current ridiculous average shot length being under 2 seconds problem.)

Maybe So Even though I wasn't crazy about Slumdog Millionaire -- it's actually my least favorite of his filmography (that I've seen) -- I do think Boyle is an energetic and often interesting filmmaker. My Boyle heirarchy would break down like so.

1. Trainspotting ...choose life
   
2. 28 Days Later ...choose the future
   
3. Shallow Grave ...choose a starter home
   
4. Sunshine ...choose a fucking big television
   
5. The Beach ...choose a family
   
6. Slumdog Millionaire ...but why would i want to do a thing like that?
   

Love the top three and admire the fourth quite a lot. Slumdog and The Beach are like weird twins of the B-/C+ overrated & underrated fraternal variety. So I'm curious about this movie. Where will it fit in?

Verdict: I'm a yes all told. I'll see it opening weekend in early November if I somehow miss the critic's screenings.

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In Fair Game, Naomi Watts plays CIA Operative Valerie Plame and Sean Penn her husband the journalist in this true story that's already been covered at the cinema in a movie with Kate Beckinsale and Vera Farmiga that nobody went to see called Nothing But the Truth. (It's on that annually expanding list of December Glut Plague victims)



Yes We need to be reminded of stories like this. Particularly since the sins of the past administration are still haunting us. It's definitely a compelling and resonant story about a nation that chucks their integrity and bedrock values for political point scoring (sound familiar? see also: current events).

No On the other hand, do we need to be reminded of it again this quickly? And doesn't the casting of Sean Penn in a liberal political type movie feel a bit too preaching to the choir, a bit too on the nose?

Maybe So I'm intrigued that they choose to end the trailer with Naomi Watt's defiant line reading...

They push you until they find the point at which you break. You can't break me. I don't have a breaking point.

(even though the underscore is laughably OTT) because I feel the exact opposite about her as an actress. She often seems so broken before a movie even begins. I think she's Oscar worthy in Mulholland Dr and nomination worthy in The Painted Veil (easily her two best performances) but my principal problem with her intensely pitched work is that she always seems ahead of the character arc, rather than developing it organically towards narrative peaks. I'm hoping she's calm and nuanced her at least before they threaten to break her.

Verdict: I'm a no in terms of desire, but I try to see everything if Oscar buzz becomes involved. So if awards seasons starts calling on Naomi, I'll definitely catch it.

How do these trailers breakdown for you in the yes no maybe so sense? Have at it in the comments. Whether you're pinned under a rock or your dangerous secret has just been outed, nothing is more urgent than blog commenting!
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Robert here, scouring the internet to give you the latest on the films premiering in Cannes. 

In Competition

• Uncle Boonmee Who Can Recall His Past Lives Thai director Apichatpong Weerasethakul (no I don't know how it's pronounced) directs this film about a dying man who's visited by the ghosts of his wife and son, in non-human form.  Could we have a late competitor for the Palme?  The AV Club calls it the directors's "strangest and most mysterious picture yet," and means so in a good way.  "It is a mysterious, haunting, and breathtakingly beautiful film," comes from The House Next Door. A film that's good though otherworldy and bizarre may appeal to Burton and his jury.  But it's not all praise.  Guy Lodge at In Contention says the film is "a wispy lark with no emotional payoff."
• Fair Game Director Doug Liman (Jumper, yeah really) directs this film about that whole Valerie Plame affair a few years back.  Reviews are so so.  Xan Brooks of The Guardian is unsold on it.  IndieWIRE considers its "unsentimental tone that only occasionally moves beyond the level of a solid made-for-TV routine."  And The AV Club laments that once the film gets into politics "fast-paced Beltway machinations are replaced by lofty speeches in which we’re exhorted to “demand that truth!”
• Our Life Dante Luchetti, best known for directing the film My Brother is an Only Child, returns with this film about a normal Roman whose life is turned upside down.  Lee Marshall of Screen Daily notes "Our Life has its heart in the right place. But it feels like an episode of a tough, cutting-edge TV drama."  And over at The House Next Door, the complaint seems to be "It's incredibly bizarre, and from a dramatic standpoint makes absolutely no sense."

Jose here with my orphan entry in the We Can't Wait series.

You Will Meet a Tall Dark Stranger
Directed by: Woody Allen
Starring: Antonio Banderas, Josh Brolin, Anthony Hopkins, Freida Pinto, Lucy Punch, Naomi Watts



Synopsis: Set in London, the movie centers around a number of people in a family, their assorted love lives, as they try to work out complicated romances.
Yes, that sounds like almost every Woody film but with him you never really know what the movie's about until it finally comes out.
Brought to you by: Sony Pictures Classics
Expected release date: September 23 in the US with a tentative premiere at the Cannes Film Festival in May.

Announced the day after the 2009 Oscars as Freida Pinto's new project, the film is surrounded by that air of mystery that always accompanies the Woodsman's work. Nicole Kidman was involved at some point (allegedly playing a hooker), dropped out and her part was given to the practically unknown Lucy Punch, then there were mix ups as to whether this was the movie where French First Lady Carla Bruni would appear. Turns out it's not... she'll be in the next Parisian-set movie with Marion Cotillard.

<--- the Punch & Tony show

Given the way in which Woody works (write while filming, film while post-producing and release while pre-producing next movie) the plot is unclear but with that cast and given the recent renaissance the director has achieved shooting in Europe this could be fantastic. I'm also dying to know what he saw in Pinto, who beautiful and all, didn't exactly show great acting chops in Slumdog Millionaire. For all we know this could turn out to be his next Vicky Cristina Barcelona or result in a flop, like the underrated Whatever Works; with Woody we always can put our hopes up for the movie he'll release the following year.

Do you think his one movie a year thing is effective or should he devote himself to a "special" project where we'd have to wait years for his next release?

"We Can't Wait: Summer and Beyond"
The "orphan" picks Nathaniel (Burlesque), JA (Love and Other Drugs), Jose (You Will Meet a Tall Dark Stranger), Craig (What's Wrong With Virginia?), Robert (True Grit) and Dave (Brighton Rock); Team Film Experience Countdown #12 It's Kind of a Funny Story, #11 Sex & the City 2, #10 Scott Pilgrim vs the World, #9 Somewhere, #8 The Kids Are All Right, #7 The Illusionist, #6 Toy Story 3, #5 Inception, #4 Rabbit Hole, #3 Never Let Me Go, #2 Black Swan and #1 The Tree of Life.

The day in which Nathaniel got sick (cough sneeze), wanted to jump on Ari Graynor (with love!), saw Paul Dano at a party (quite adorable), went to a gay party by himself (absolute torture) and saw a few movies. Which is what we're here to talk about. So here goes...

Holy Rollers
I've seen more than enough drug dramas in my lifetime but this one is about an ecstasy smuggling ring with Hasidic Jews as couriers. So ...that's new. Movies with unusual premises or angles win initial "potential" points right off the bat. Jesse Eisenberg plays Jesse Eisenberg again... only with payot. (somebody needs to start stretching. I'm just sayin'). He plays Sam Gold who, despite the fact that he's living an Orthodox life, he soon dives deep into crime with an older friend and fellow Hasid (Justin Bartha), as his guide. Ari Graynor, whom I love yet more with each new movie, plays their bosses arm candy. She enjoys torturing (i.e. flirting with) the Jewish boys and delighting me in my theater seat. There's a certain punch to a couple of the performances and the milieu is interesting, but I wish the movie were stronger. It lacks a certain urgency that's necessary for crime dramas (even non-violent ones like this) but the religious backdrop was refreshing. Holy Rollers also accepts and doesn't judge the way that people often retreat into religious ritual and habit, whenever they feel threatened by the waters they've tested outside. C+

P.S. At one point Ari Graynor offers Jesse ecstasy on her tongue. I've never done E but I've never been more tempted. I am becoming obsessed with Ari Graynor. Help me!

Mother and Child
The premise goes like so: Mother "Karen" (Annette Bening), pregnant when she was only 14, gave up Child "Elizabeth" (Naomi Watts) for adoption. Both of them live the next 37 years deeply affected by this decision. Mother spends the rest of her life thinking about this girl and who she might have become. Bening's performance, typically strong, is all brittle self-punishing defeat. Karen's anger isn't only internal, she's got enough of it to spread around, keeping potential friends and would be lovers at a (safe) distance. Bening has played icy women before but Karen feels like a fresh creation. There's no theatricality to her rudeness, no joy in her solitude.

Elizabeth, meanwhile, has become a skilled successful lawyer. Like her mother she also lashes out, only she knows she's doing it. There's an unsettling 'I dare you' challenge in her gaze and she seems to greatly enjoy undermining the happiness of neighbors and angling for power in her relationship with her boss (Samuel L Jackson). It's a difficult unlikeable character to wrap your head around. Watts is typically intense but she doesn't find a way to make the ice queen thaw feel like more than a forced screenplay choice. There's a third would be Mother in the film "Lucy" (Kerry Washington) and the film also runs into some trouble here. All the parallels and connections began to feel too schematic and less than organic.

Writer/director Rodrigo García's career from Things You Can Tell Just By Looking At Her through his television work and to Nine Things suggests that he loves actresses as much as I do. I thank him for that but next time I hope he loves them more spontaneously and energetically. Mother and Child has both sorrow and warmth but it needed more fire in its (pregnant) belly. C+

The Runaways
Joan Jett, Dakota Fanning and Kristen Stewart all came to town for the festival to promote this rock star bio film. And Sunday night Jett even performed -- she still loves rock and roll -- but I was not invited. The universe is cruel that way.


Though I had my worries about Kristen Stewart portraying this iconic 80s rock star, the mimicry seems to have encouraged her to drop some of the usual tics that she brings with her when playing fictional characters. She's fine here even though, as it turns out, she's nearly a supporting character despite her top billing. We meet Joan first but by the time Dakota Fanning takes the mic as the "ch-ch-ch-ch-ch-cherry bomb" jailbait, the catalyst for their success as the film argues, the film is hers. Or maybe it's Michael Shannon's? He gives the only comic performance in the film as their manager.

Director Floria Sigismondi has fashioned a visually exciting bio that is refreshingly punk in spirit: she doesn't shy away from the unsavory reckless behavior, the sexually fluid promiscuity (yes, Dakota & Kristen get it on), or the money-minded exploitation of underage Cherie. Speaking of: what will people make of the parallel exploitation of Dakota Fanning in this role? For all the snap of the music, the fun of the period details and the colorful aesthetic, The Runaways is hit and miss. Like many biopics, it suffers from a repetitive nature and some missed opportunities in focus and character development, particularly within the supporting cast who barely seem to exist. B

Catfish
The next day sidelined by general sickness miserabilism, I only took in one movie: the extremely buzzy documentary about... well, here's the catch. You're not allowed to talk about what it's about. I wrote a little bit more about it in my weekly Tribeca column. B+

What have you been watching this past week? Have you ever been to Sundance.
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Sony Pictures Classics announced today that they've picked up the TIFF hit Mother and Child starring Annette Bening, Naomi Watts, Samuel L Jackson and Kerry Washington. The Rodrigo García adoption drama prompted more than one pundit to declare that The Bening would most definitely be back in the Best Actress Oscar race. But the press release makes no promises about when SPC would be showing off their new bundle to the public.

<--- Her Hotness Kerry Washington and Shady Naomi Watts work it out in San Sebastian, promoting Mother and Child

Sadly we'll have to assume it's not for another year (sigh... All these movies completed and placed on shelves). After all, SPC is already octomom of the Oscars for 2009. So very fertile they are. Eldest children include: An Education, Moon and Coco Before Chanel. But there's a whole litter about to drop (and now I promise I'll quit with this pregnant metaphor): The White Ribbon, The Imaginarium of Doctor Parnassus, Broken Embraces and The Last Station.

A few readers have noticed the absence of "The Bening" from the blog this year. I have no idea why she hasn't piped in or what's going on with her. Maybe her stage work has been keeping her busy but she hasn't been on the red carpet as much as usual and she wasn't on the festival ride with Mother and Child either. Kerry, Naomi and Samuel did starpower duty in San Sebastian and Toronto but there's nothing quite like having Hollywood royalty at big premieres. Mr. Beatty and The Bening were missed. At least by obsessives like me.

In fact, one of the most recent non-set photos I could find of Annette on Zimbio was 12 whole months ago for a stage reading of All About Eve. But, old photo or no, I LOVE it.


Intentionally or not, she's totally replaying her bitchtastic Being Julia climax, blocking co-star Keri Russell's limelight with a swirl of her extra fabric. Hee. I love The Bening so muchly but every once in awhile I need these reminders. Can't wait to see her back in action... whenever that may be.
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Towleroad my weekly column on this week's releases. I'm excited for Where the Wild Things Are but I want to see this Jonze doc on Sendak (it might be up for the Documentary Short Oscar) and I don't have HBO. Curses

"Huckabees says!"

Barack Obama is 48 years old today.

May Flowers, evenings at 11... or thereabouts

Playing against type is an ancient Oscar-winning trick but it only works if you do it really well (or if enough people are hoodwinked into believing you've done it really well). A lot of people, including myself and Academy voters, rethought Sean Penn last fall due to his twinkly and affable work in Milk. The famously sour Penn was suddenly funny, likeable, warm... sweet even.


In other words, not "Sean Penn".

How on earth will he follow Harvey Milk up?

He himself probably isn't feeling the pressure, "Great Actor" status having been granted long long ago, but I was curious. Would he return to directing, to more typically Penn parts? Turns out the 48 year-old actor is booked until he's 50. At least. He's got five new identities lined up for our cinematic enjoyment over the next two years.

Contemplative Narrating Penn: In Terrence Malick's The Tree of Life (previous post) he plays "adult Jack" and since the film is focused on a father (Brad Pitt) and his three boys... I guess that means Sean Penn is playing Brad Pitt's son. Brad really did age in reverse!

Political Penn: In Doug Liman's Bush era dramatization Fair Game he's Joseph Wilson, the administration's nemesis and husband to CIA Agent Valerie Plame, played here by Naomi Watts. It's their third time playing Very Intense Screen Couple (see also: 21 Grams and The Assassination of Richard Nixon).

Tough Penn: I'm not sure who he is playing in Cartel, but it involves guards protecting a lawyer trying a mafia case.

Slapstick Penn: He's "Larry" in the Farrely Brothers The Three Stooges... but you knew that already. Jim Carrey is "Curly" and Benicio Del Toro is "Moe"

Rock Star Penn: I saved the oddest one for last. Odder than The Three Stooges? Maybe not. Okay okay, I saved the furthest away for last. Paolo Sorrentino, the Italian writer/director behind the award winning Il Divo, is prepping a movie called This Must Be the Place. The plot is unusual. A retired rocker (Penn) decides to find his dad's executioner, a former Nazi.

Excited for Penn's upcoming projects? Or are you more excited about the continuing drama of the on again off again on again off again on again off again (I actually think that's the right number of times) Robin Wright Penn divorce? Can those two crazy kids make it work? Or make it work again as the case may be?

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She's from the island of Manhattan. He's from the Island of Skull. It's never going to work. I give it another hour, tops. 15 minutes even. Love is blind but this will end badly! HAPPY VALENTINE'S DAY anyway!
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Missed previous episodes? See: 1995 , 1996, 1997, 1998 , 1999, 2000, 2001, 2002, 2003, 2004 and 2005

With the annual Vanity Fair "Hollywood" issue about to debut for 2009 -- I'm guessing we see the new cover in less than two weeks (UPDATE: the new cover has been leaked and Vanity Fair has chucked their traditional photo shoot *sniffle* for the millionth magazine cover featuring President Obama), let's briefly return to our Vanity Fair retrospectives. "Send in the Gowns" was the title of 2004's photo shoot and they returned to the first year's game plan of glamour girls. The cover was more crowded though, bringing us an unlucky 13. But who was this cover unlucky for?


Maybe all of them, with the exception of Maggie Gyllenhaal (hurrah) and Hilary Swank (known affectionately around these parts as Beelzebub), who was just 11 months away from her second Oscar. Vanity Fair had gotten less daring in their cover selections as the year's passed (at least in terms of fresh "they'll be famous!" proclamations), but many of these careers had arguably peaked and were headed downhill.



Julianne Moore was 43 at the time. She had been on the first "Hollywood" edition in spring '95 (before anyone had seen [Safe]) and got a deserved promotion. In the 9 years between the covers she'd gone from gorgeous up and coming redhead to a famously talented familiar actress as well as an Oscar nom' magnet. Unfortunately, round about this time as her fame and price kept escalating, she stopped wowing. 2004 brought her her only solo film-carrying "hit" in the traditional sense (The Forgotten) but it also brought stinkers like Laws of Attraction and films that no one even knows exist like Marie and Bruce (the only Moore film I haven't managed to get my eyes on). She's been misfiring both critically and box office wise since though she did have small roles in two acclaimed films Children of Men and I'm Not There.

This past year's double Moore dip, Savage Grace and Blindness (FB Body of Work nomination), reminded us that she's a unique and formidable dramatic actress... when she's not trying to be a romantic comedienne or action heroine. Next: She has three films in the can for 2009: the lead in a thriller (uh oh -- not playing to her strengths!) called Shelter, and supporting roles in the dramas The Private Lives of Pippa Lee and fashion god Tom Ford's filmmaking debut A Single Man.

Jennifer Connelly was 33 newly married to fine actor Paul Bettany and had just starred in a hit that everybody thought of as a flop (Hulk) and an Oscar misfire of sorts (House of Sand and Fog) but she was still considered a major get. Only she wouldn't be got. So to speak. She took only co-lead or supporting roles that didn't do much for her in Oscar Bait projects that didn't hook any statues (Little Children, Reservation Road, Blood Diamond) and now she's doing CGI flicks (The Day the Earth Stood Still and Inkheart). Is there a second wind to this career? And if there is, doesn't it need to come very soon? Next: He's Just Not That Into You and then Creation, a Charles Darwin biopic where she and her husband will play the Darwins.

Gwyneth Paltrow, 31, was still arguably suffering from the Oscar Curse -- that messy career period that can follow an Oscar win (which she won for Shakespeare in Love, discussed at length right here). The Royal Tenenbaums and Sylvia had reminded that she had plenty of acting skill but something about the career wasn't taking with Oscar or the public. Did she not care enough? She was a newlywed when this cover hit (to Coldplay's Chris Martin) and already pregnant with their first child, though she wasn't yet showing (she's pictured right, a few months later). Her acting career definitely went on the back burner. She's had 7 films released since this cover debuted and only one true leading role among them (Proof). She's now far more of a celebrity than an actress. The fame part stuck. Next: Two Lovers is inching it's way into view. King Lear and Iron Man 2 are coming for 2010.

Naomi Watts, 35, had recently moved out from under that 'Nicole Kidman's best friend' tag and into her own celebrity. The fresh Oscar nomination for 21 Grams (due in no small part to the Mulholland Dr lead in we're sure) went a long way towards that. She was still dating Heath Ledger, who came with her to the Oscars, but their relationship was about to end. (Thank god she convinced him to take Brokeback Mountain first!). In 2004 she had two heavy dramas and one comedy (the brilliant I Heart Huckabees) on the way. She chased those with the massive King Kong. Ever the multi-tasker since stardom hit she's still busy busy busy despite being a new mom. Next: Mother and Child for actress-loving director Rodrigo García and possibly Need with Nicole Kidman. That would be their first movie together since the charming Australian romance Flirting in 1991.

Salma Hayek, 37, still had residual heat from the success of Frida in late 2002. She had broken up with Ed Norton and was dating Josh Lucas but her movie career was about to collapse. Flops like Ask the Dust, Lonely Hearts and After the Sunset were all on the way. A savvy star she's stayed in the game by seguewaying to television production, bringing the big hit Ugly Betty to ABC and doing guest work (30 Rock). Next: "Madame Truska" in Universal's Cirque Du Freak opening in time for Halloween

Jennifer Aniston had just celebrated her 35th birthday, and her career was coming to the crossroads. She was finishing up her last season on TV's mega hit "Friends" and her marriage to Brad Pitt was also close to wrapping (though we didn't know it at the time). They divorced in late 2005 shortly before her first two post TV stardom movies (Derailed and Rumor Has It) opened. Her feature career has been middling peppered with the occasional high concept hit but she's forever ubiquitous in the media thanks to that decade in our living rooms as "Rachel" and her gossip-drenched marriage and split from Mr. Pitt. Next: the star studded romantic comedy He's Just Not That Into You

Kirsten Dunst, almost 22, was about to dump Jake Gyllenhaal (my theory as to one of the reasons people hate her so), Eternal Sunshine was playing (she does not get enough credit for her wistful funny turn in that film) and Spider-Man 2 was about to open. She was extremely famous / busy. It's been a bumpy ride since with rehab, a misunderstood star vehicle (Marie Antoinette), internet backlash and flops outside of those webslinging blockbusters. Next: All Good Things, the narrative feature debut of documentarian Andrew Jarecki (Capturing the Friedmans) opens this summer. Possibly Spider-Man 4 after that. Don't do it Kiki! Save yourself

Diane Lane, who had been famous since she was only 14 had just turned 39. She had seen her lengthy career hit a new peak with an Oscar nomination for Unfaithful in 2002 which she followed with another minor hit Under the Tuscan Sun. She was about to marry Josh Brolin whose career was still a couple years away from supersizing. More films were lining up for Lane but things aren't as rosy now since none have really matched that Unfaithful triumph and some (Kill Shot and Fierce People) had trouble even getting into theaters. Next: nothing announced.

Lucy Liu, 35, had just given the performance of her career in Kill Bill but then... that tends to happen to people when they star in Quentin Tarantino movies, doesn't it? Liu had always toggled between features and TV and she kept doing so. She's never left wanting for work but no great successes since. Next: nothing announced since her last two televisions series Lipstick Mafia and Dirty Sexy Money were both cancelled.


Hilary Swank, nearing 30, was on this cover because she had a frankly amazing agent. I kid, I kid. Her career post 1999 Oscar had been unremarkable. The Core was her last release prior to this cover but 2004 was looking big for her on paper (a respectable TV movie Iron Jawed Angels and a Clint Eastwood picture Million Dollar Baby -discussed here) and looks weren't deceiving. She won another Oscar for the latter and promptly returned to doing what she does: random disposable projects of multiple genres. Next: Two Oscar hopefuls for 2009 and in both of them she plays the title character. There's Amelia, a biopic in which she plays the famous aviatrix and Betty Ann Waters an Erin Brockovich style working mother turned legal eagle drama.

Alison Lohman, 24, was just off of a few high profile gigs (Big Fish, White Oleander and Matchstick Men) but her follow ups were very low profile. Tell me, have you seen: The Big White, Where the Truth Lies, Things We Lost in the Fire or Flicka? Next: Two thrillers one called simply Game leans scifi, the other Drag Me to Hell is auteur Sam Raimi's return to the horror genre. That might be something to look forward to but can it raise Lohman's profile back to early 2004 levels?

Scarlett Johansson, all of 19 years old, had just become the movies hottest young star. Offscreen she was a dynamo in the Young Hollywood scene --vaguely around this time she moved from dating Jared Leto to a fairly lengthy romance with Josh Hartnett. Onscreen she was a fresh sensation. Girl with a Pearl Earring and Lost in Translation had both opened to enviable acclaim for the young starlet and an awards run, too (though Oscar passed). When this cover was shot she was a critics darling, a paparazzi treasure and very much in demand by both auteurs and corporations (her endorsement side career might be as profitable as her film career by now). She's been super busy these past 4 years with numerous films, marrying Ryan Reynolds and that fledgling recording career. But is it quantity over quality. A lot of people are beginning to think so. Next: He's Just Not That Into You

Maggie Gyllenhaal, 27 at the time, had become ubiquitous around 2002 appearing in critical hits like Adaptation and Secretary. She and Jake her brother ascended in very close succession. The next year or so was less eventful cinematically for Maggie but two years after this cover hit she was all over the screens again delivering you-can't-look-away performances in films ranging from World Trade Center (blech) to Stranger Than Fiction to Sherrybaby and off screen she was having her first child with Peter Sarsgaard. Oscar still hasn't taken a liking to Maggie but few would argue that she isn't one of the most impressive actresses of her generation. Next: Crazy Heart a drama with Colin Farrel and Away We Go a comedy for director Sam Mendes.

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median age: 32. Julianne Moore was the mamma (isn't she always?) and ScarJo the baby.
noticeably absent: Who else was topical around 2003/2004? Let's see... Halle Berry was about to screw up her career with Catwoman, Angelina Jolie (who has never been on one of these "Hollywood" covers) had a bunch of movies about to come out, Emmy Rossum was just off of Mystic River and about to co-star in two epics, Kate Beckinsale had had a minor hit with Underworld and was chasing it with another supernatural flick before co-starring in Martin Scorsese's The Aviator.
collective Oscar noms before this cover: 10 nominations (40% of those for Julianne) and 3 winners (her front cover co-stars Connelly & Paltrow and then Swank in the backfold)
collective Oscar noms after this cover: only one but she won (Hilary Swank)
fame levels in 2009, according to famousr, from most to least: Jennifer Aniston, Gwyneth Paltrow, Hilary Swank, Kirsten Dunst, Scarlett Johansson, Lucy Liu, Salma Hayek, Julianne Moore, Naomi Watts, Jennifer Connelly, Diane Lane, Maggie Gyllenhaal and Alison Lohman
previous episodes of 'VFH': 1995 ,1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004 and 2005.
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