Browsing Tag

movies

Toddler Drops The King’s Speech Oscar

The trouble with Oscar statues is that they aren’t packaged the same way Mattel and Hot Wheels toys are – there is no explicit age warning.

As seen in the clip, 15-month-old Lara Egan, the daughter of The King’s Speech’s co-producer, Simon Egan, lost her grip of her father’s Oscar at a celebration on Feb 28, the day after the highly anticipated awards ceremony.

“Like everyone else I was celebrating off in one corner of the garden with some friends when I saw my daughter looking very cute with the Oscar having her picture taken,” Simon recalls.

Immediately after the award fell out of her hands, Simon heard it hit the concrete.

Shortly after contacting the American Academy of Motion Picture Arts and Sciences, the Academy replaced Simon’s damaged Oscar with a brand new one.

“I had no idea that they had an ‘Oscar Hospital’ on standby,” he told the press.

Thanks to the Academy’s quick response however, Simon no longer needs to worry about how a damaged award will look on his mantelpiece.

March 8, 2011 by

No Strings Attached

In Canadian director Ivan Reitman’s latest romantic comedy, No Strings Attached, Ashton Kutcher and Natalie Portman play Adam and Emma, two young and naive professionals who try having a casual relationship.

All relationships have rules, both explicit and unspoken, and friends with benefits are no exception. Adam’s neighbour reinforces this in passing, knowing very well that it’s foolish of Adam to think his friendship with childhood crush Emma is any different. Even Pinnocchio knows that there are always strings, but these two stubborn lovers would rather explore the benefits of their friendship. As if their fate wasn’t predictable from the trailer, Emma and Adam quickly realize that having “no strings attached” is unachievable.

Furthermore, its use of symbolic moments and holidays support critics’ motives for passing it off as another formulaic chick flick. Must there always be a wedding or Valentine’s Day to motivate the characters to make a move or realize they’ve made a mistake? Then there’s the Hugh Hefner like age gap between Adam’s famous father and his girlfriend, as well as the romance between Adam’s roommate and Emma’s best friend. Kudos to them for being entertaining while doing what several supporting actors have done before them.

Nevertheless, there are several witty lines, including a metaphor about an 8-track. Among its humorous scenes are one in which Adam makes Emma a mix CD and lists a number of song titles that can be construed to have a subtext about menstruating. Like many modern movies, there is also Adam’s debate with his friends about the best way to respond to a late night text. As for what first resembled Britney Spears’ ‘Baby One More Time’ music video’, Reitman’s parody of Glee was clever and amusing. Finally, while it may be surprising that a Jewish widowed mother would date a boorish man nicknamed Bones, Reitman subtly references his and Portman’s Jewish heritage a few times throughout.

Most romantic comedies leave room for criticism, but this one is definitely worth renting. If its plot is a topic of interest, then stay tuned for the upcoming summer blockbuster, Friends with Benefits, starring Justin Timberlake. I wonder if there will be any references in it to Nsync’s ‘No Strings Attached’ album.

Update: Re-watched the film, this time recognizing New Girl actor Jake Johnson who plays Adam’s roommate! [January 2013]

January 23, 2011 by

Favourite Moments in Annie Hall (1977)

There are several amusing quotes in this Academy Award winning film, but the scene in which Annie tells Alvy to come over so he can kill the spider in her bathroom remains memorable. First, Alvy says that he hasn’t killed one since he was thirty and then once he sees it, he adds that it’s the size of a Buick.

As Alvy and Annie stand in line at the movie theatre, Alvy is irritated by the cultural commentary of the man behind him, who evidently misinterprets the teachings of Marshall McLuhan. Then lo and behold, Alvy decides to teach him a lesson and introduces the man to McLuhan himself who tells the man that he is wrong. A scene like this could only be made in the seventies, so it’s something to appreciate. What a great cameo.

Speaking of cultural criticism, when Alvy arrives in LA, he remarks that people in California “don’t throw their garbage away, they turn it into television shows”. Unfortunately this rings true today to a certain extent, considering the lack of quality in entertainment produced on the west coast.

After her first session with her “analyst” i.e. therapist, Annie recaps how much progress she made during their visit. She tells Alvy about the therapist’s remark that Annie’s feelings about relationships can be attributed to penis envy. I remember when a media studies professor mentioned Freud’s theory about it and those who weren’t BBMing during the lecture rolled their eyes, or scrunched their eyebrows at the thought. Meanwhile, Woody Allen referenced it over thirty years ago in film, so why should the topic come as such a surprise?

While at a party with his friend, Rob, Rob refers to a female guest as the one with the VPL, which he then explains to Alvy stands for visible panty line. With so many girls wearing leggings as pants today, it may not be the best distinguishing characteristic anymore.

January 9, 2011 by

Studies in Motion on the Stage and Screen

The following is a response to Canadian Stage’s production of Studies in Motion, in collaboration with Electric Company. In this thought provoking show, director Kim Collier explores filmmaker extraordinaire Eadward Muybridge’s accomplishments as one of the first people to capture movement with a camera.

Muybridge is known as the father of cinema, so we all have much to learn from him. Google him if you’re interested in learning more about his discoveries.

Here are some tips to take away from the play, which should be of interest to those who were stuck writing exams and couldn’t make it to a theatre recently. Canadian Stage aims to present the best in Canadian contemporary theatre, so they’re definitely worth keeping an eye on.

How to Produce a Memorable Show

Take the time to select a good soundtrack, regardless of what the show’s running time may be. Everything makes a difference and adds to the production value. It also makes hearing about someone’s life story more entertaining.

Create dynamic stage pictures. The entire show’s choreography proves why lessons involving tableau-making are essential for a successful acting career. Kudos to the talented cast.

When producing a play set a century in the past, choreograph chorus members to act as if they are the horses carrying an orphan boy in a buggy. Not just any ordinary boy, but one who has been misled about the differences between a famous photographer and an omniscient religious figure because this makes for great comedic relief.

Assemble a cast of men and women who are willing to disrobe within seconds according to the script’s stage directions and parade across the stage in the nude.

You can maintain audiences’ interest by making them curious about just how much nudity will be in each scene. An audience advisory is one thing, but there’s always room for surprises. There’s a reason The Globe and Mail’s review is entitled ‘The Naked Truth about Eadward Muybridge’, as it’s very telling about what patrons could expect: a revealing tell all that’s not very kid-friendly.

Continue Reading

December 19, 2010 by

The Kids Are All Right

In his first few scenes of The Kids Are All Right, I thought Paul (Mark Ruffalo) was a strange, hippy guy. Driving a motorcycle may be dangerous, but Ruffalo makes it look très cool. As the movie progresses, Paul comes across as someone who would make for a cool uncle, which is convenient for a sperm donor who spontaneously enters his biological kids’ lives. Ruffalo has been in a number of cheesy chick flicks – Just Like Heaven, case in point – but this performance and his role in Canadian indie My Life Without Me prove why he is in the biz.

When Nic (Annette Benning) remarks how each kid is so similar to their respective biological mother, I suddenly realized how the film presented the characters precisely in this way. It wasn’t necessary for the movie to deliberately depict the ‘like mother, like child’ cliché, but this is precisely what writer and director Lisa Cholodenko did.

Considering that soap opera characters inspired the possible alternatives for my own name, I found it mildly funny that Joni (Mia Wasikowska) was named after Joni Mitchell. Let’s just hope that teen moms don’t think it’s cool to name their newborns after Ke$ha, or some other one hit wonder.

The hair department really should have done something different with Joni’s hair, instead of letting it look so plain and straggly. Just because she is more anxious about starting college and moving out than choosing which shade of lipstick to wear, doesn’t mean she can’t sport a ponytail every so often.

Without any spirited sophs carrying mini fridges in their jumpsuits, Joni’s campus is oddly quiet on move-in day when her unconventional family says their goodbyes. This would’ve been a good time to hire some college-aged extras looking to brag that they were on the same set as Julianne Moore.

Cholodenko tells an interesting story with minimal product placement courtesy of Volvo. She doesn’t conclude with a fairytale ending per se, as she leaves some questions unanswered (like Joni’s When Harry Met Sally situation), but reassures viewers everything will be all right, regardless of how dysfunctional a family is.

November 21, 2010 by