See, here’s the difference between a magazine throwing out superhero movie rumors *cough*British rags*cough* and a site like LatinoReview. You can actually trust the latter, but not so much the former. Having said that, here’s the latest rumor/news from Lr, which has Tim Robbins hopping onboard “Iron Man 2″ to play Howard Stark, father to [...]...
- 12/18/2008
- by Nix
- Beyond Hollywood
Good show for Brits at International Emmys
British broadcasters, led by the BBC, racked up a half-dozen of the key programming awards at the 35th annual International Emmy awards Monday night in New York.
The Street, a Granada Television production for BBC1, won for best drama series.
Street star Jim Broadbent shared best actor honors with Pierre Bokma, who was cited for his role in VPRO Television/IdtV Film BV's The Chosen One (the Netherlands).
Death of a President (Borough Films for More4, U.K.), about the fictional assassination of the U.S. president, won for best TV movie/miniseries. It debuted as a film at the Toronto International Film Festival last year and ran as a miniseries in the U.K.
Muriel Robin took home a solo trophy as best actress for playing the Black Widow title role on Ramona/ FTBF/To Do Today Prods. production of Marie Besnard: The Poisoner, a French production.
The academy's attempts to broaden the international list of winners worked in the category of children and young people, where Poland's TVP SA won for the live-action fairy tale The Magic Tree.
In addition to the programming nods, Nobel laureate and former Vice President Al Gore received the I-Emmy Founders Award for his work against global warming and for launching the news channel Current TV.
The Street, a Granada Television production for BBC1, won for best drama series.
Street star Jim Broadbent shared best actor honors with Pierre Bokma, who was cited for his role in VPRO Television/IdtV Film BV's The Chosen One (the Netherlands).
Death of a President (Borough Films for More4, U.K.), about the fictional assassination of the U.S. president, won for best TV movie/miniseries. It debuted as a film at the Toronto International Film Festival last year and ran as a miniseries in the U.K.
Muriel Robin took home a solo trophy as best actress for playing the Black Widow title role on Ramona/ FTBF/To Do Today Prods. production of Marie Besnard: The Poisoner, a French production.
The academy's attempts to broaden the international list of winners worked in the category of children and young people, where Poland's TVP SA won for the live-action fairy tale The Magic Tree.
In addition to the programming nods, Nobel laureate and former Vice President Al Gore received the I-Emmy Founders Award for his work against global warming and for launching the news channel Current TV.
- 11/20/2007
- The Hollywood Reporter - Movie News
'Body of Evidence'
''Evidence of Body'' might be the more accurate title for this vanity vehicle for Madonna, a soft Gothic sex thriller that will likely score a big first weekend among the wannasees but then shrivel up fast.
On the exhibition front, best bets, appropriately, lie in big-chain hotel rooms. ''Body of Evidence'' should be a rental winner among business travelers, the perfect expense-account nightcap. An equal-parts mix of garden-variety S & M with low-brain-wave courtroom exposition, ''Body of Evidence'' should induce sleep by mid-section.
Structurally, ''Body'' is divided into two parts: Madonna without clothes and Madonna with clothes. Both are equally arty: In the raw section, we spy her through a curtain reposed upon an acupuncturist's table, big pins all along her golden-backlit backside and an aggressive pout on her lips; in the proper part, she is bedecked in simple black or white, and swathed in the glow of sunlight cascading through the darkened room's well-placed window, with, de rigeur, the prevailing pout. Both versions of the pout, one reflecting an in-control dominance, the other a put-upon victimization, service the bare-bones plot, namely, did the not-so-sweet young thing whack the rich old guy for his $8 million will.
In this case, the only variation on that standard pulp plot is the murder weapon. The cops conclude that, based on the old geezer's heart condition, Rebecca literally . . . well . . . sexual intercoursed him to death. No dummy, Rebecca hires the town's wiliest, hardened defense lawyer (Willem Dafoe) to defend her, anticipating a hard sell to the jurors, namely, those common, everyday clods whose outlooks, she surmises, have been poisoned by years of sexual repression.
Not only must she square off against the town's Philistines, Rebecca must sensitize her defender, make him sympathetic to her situation. She supplies him with a crash course in S & M 101 that, she surmises, today's law schools are remiss in providing. A couple globs of candle wax on his chest and lawyer Dulaney's case begins to evolve.
Unfortunately, most of the exposition in Brad Mirman's vehicle, or rather, script, is hearsay. The narrative has little believable buildup -- the cinematic equivalent of a high-schooler in the back seat. The speechy scenario quickly becomes tedious. The courtroom scenes, especially, are dull-witted, artificially goosed by the outbursts of a preposterously hostile judge and laughably stoked by an ultra-moody lighting design that suggests a hotel cocktail lounge.
Most surprisingly, the sex stuff, between the cold manipulator and the wishy-washy barrister, have surprisingly little body heat. Under director Eli Edel's facile hand, their positionings seem more like magazine layouts. Pick up Forbes and you'll find scotch ads with more kinky, subliminal sizzle.
As the domineering Rebecca, Madonna gets to flex her max?, convincingly spinning her Black Widow magic. Talented Dafoe, like his character, is literally tied up by the drippy, waxy screenplay, as is the fine supporting cast, principally Joe Mantegna and Anne Archer.
BODY OF EVIDENCE
MGM/UA
Dino De Laurentiis presents
An Uli Edel film
Producer Dino De Laurentiis
Director Uli Edel
Screenwriter Brad Mirman
Executive producers Stephen Deutsch, Melinda Jason
Line producer Mel Dellar
Director of photography Doug Milsome
Editor Thom Noble
Production designer Victoria Paul
Music Graeme Revell
Costume designer Susan Becker
Casting Mary Jo Slater
Color/stereo
Cast:
Rebecca Carlson Madonna
Frank Dulaney Willem Dafoe
Robert Garrett Joe Mantegna
Joanne Braslow Anne Archer
Sharon Dulaney Julianne Moore
Dr. Alex Paley Jurgen Prochnow
Jeffrey Roston Frank Langella
Running time -- 102 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
On the exhibition front, best bets, appropriately, lie in big-chain hotel rooms. ''Body of Evidence'' should be a rental winner among business travelers, the perfect expense-account nightcap. An equal-parts mix of garden-variety S & M with low-brain-wave courtroom exposition, ''Body of Evidence'' should induce sleep by mid-section.
Structurally, ''Body'' is divided into two parts: Madonna without clothes and Madonna with clothes. Both are equally arty: In the raw section, we spy her through a curtain reposed upon an acupuncturist's table, big pins all along her golden-backlit backside and an aggressive pout on her lips; in the proper part, she is bedecked in simple black or white, and swathed in the glow of sunlight cascading through the darkened room's well-placed window, with, de rigeur, the prevailing pout. Both versions of the pout, one reflecting an in-control dominance, the other a put-upon victimization, service the bare-bones plot, namely, did the not-so-sweet young thing whack the rich old guy for his $8 million will.
In this case, the only variation on that standard pulp plot is the murder weapon. The cops conclude that, based on the old geezer's heart condition, Rebecca literally . . . well . . . sexual intercoursed him to death. No dummy, Rebecca hires the town's wiliest, hardened defense lawyer (Willem Dafoe) to defend her, anticipating a hard sell to the jurors, namely, those common, everyday clods whose outlooks, she surmises, have been poisoned by years of sexual repression.
Not only must she square off against the town's Philistines, Rebecca must sensitize her defender, make him sympathetic to her situation. She supplies him with a crash course in S & M 101 that, she surmises, today's law schools are remiss in providing. A couple globs of candle wax on his chest and lawyer Dulaney's case begins to evolve.
Unfortunately, most of the exposition in Brad Mirman's vehicle, or rather, script, is hearsay. The narrative has little believable buildup -- the cinematic equivalent of a high-schooler in the back seat. The speechy scenario quickly becomes tedious. The courtroom scenes, especially, are dull-witted, artificially goosed by the outbursts of a preposterously hostile judge and laughably stoked by an ultra-moody lighting design that suggests a hotel cocktail lounge.
Most surprisingly, the sex stuff, between the cold manipulator and the wishy-washy barrister, have surprisingly little body heat. Under director Eli Edel's facile hand, their positionings seem more like magazine layouts. Pick up Forbes and you'll find scotch ads with more kinky, subliminal sizzle.
As the domineering Rebecca, Madonna gets to flex her max?, convincingly spinning her Black Widow magic. Talented Dafoe, like his character, is literally tied up by the drippy, waxy screenplay, as is the fine supporting cast, principally Joe Mantegna and Anne Archer.
BODY OF EVIDENCE
MGM/UA
Dino De Laurentiis presents
An Uli Edel film
Producer Dino De Laurentiis
Director Uli Edel
Screenwriter Brad Mirman
Executive producers Stephen Deutsch, Melinda Jason
Line producer Mel Dellar
Director of photography Doug Milsome
Editor Thom Noble
Production designer Victoria Paul
Music Graeme Revell
Costume designer Susan Becker
Casting Mary Jo Slater
Color/stereo
Cast:
Rebecca Carlson Madonna
Frank Dulaney Willem Dafoe
Robert Garrett Joe Mantegna
Joanne Braslow Anne Archer
Sharon Dulaney Julianne Moore
Dr. Alex Paley Jurgen Prochnow
Jeffrey Roston Frank Langella
Running time -- 102 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 1/11/1993
- The Hollywood Reporter - Movie News
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