Yesterday, the nominees for the 13th Jutra Awards ceremony were revealed. The winners of this Quebecker Oscar will be revealed next month. The following is the full list of nominees.
Best motion picture:
* 10 1/2
* Les amours imaginaires
* Curling
* Incendies
* Les signes vitaux
Best director:
* Denis Côté- Curling
* Xavier Dolan- Les amours imaginaires
* Kim Nguyen - La cité
* Podz (Daniel Grou) - 10 1/2
* Denis Villeneuve- Incendies
Best leading actress:
* Lubna Azabal - Incendies
* Suzanne Clément - Tromper le silence
* Mélissa Desormeaux-Poulin - Incendies
* Évelyne Rompré- 2 fois une femme
* Guylaine Tremblay- Trois temps après la mort d'Anna
Best leading actor:
* Jay Baruchel - The Trotsky
* Emmanuel Bilodeau - Curling
* Jacques Godin - La dernière fugue
* Claude Legault - 10 1/2
* François Papineau - Route 132
Best supporting actress:
* Dorothée Berryman - Cabotins
* Marie Brassard - Les signes vitaux
* Geneviève Chartrand - Le journal d'Aurélie Laflamme
* Isabelle Miquelon - La dernière fugue
* Danielle Proulx...
Best motion picture:
* 10 1/2
* Les amours imaginaires
* Curling
* Incendies
* Les signes vitaux
Best director:
* Denis Côté- Curling
* Xavier Dolan- Les amours imaginaires
* Kim Nguyen - La cité
* Podz (Daniel Grou) - 10 1/2
* Denis Villeneuve- Incendies
Best leading actress:
* Lubna Azabal - Incendies
* Suzanne Clément - Tromper le silence
* Mélissa Desormeaux-Poulin - Incendies
* Évelyne Rompré- 2 fois une femme
* Guylaine Tremblay- Trois temps après la mort d'Anna
Best leading actor:
* Jay Baruchel - The Trotsky
* Emmanuel Bilodeau - Curling
* Jacques Godin - La dernière fugue
* Claude Legault - 10 1/2
* François Papineau - Route 132
Best supporting actress:
* Dorothée Berryman - Cabotins
* Marie Brassard - Les signes vitaux
* Geneviève Chartrand - Le journal d'Aurélie Laflamme
* Isabelle Miquelon - La dernière fugue
* Danielle Proulx...
- 2/11/2011
- by anhkhoido@gmail.com (Anh Khoi Do)
- The Cultural Post
It seems like only yesterday that the American Film Institute released their 100 Years...100 Movies [1] list. Actually though, it was over 10 years ago when we first got our look at that "definitive" list of the 100 best American movies. They then did a ten year anniversary of it in 2007 with only minor adjustments and both years Citizen Kane held the number one place as the best American movie. Of course, the problem with those lists is that they only list American films. While Hollywood might be considered the epicenter of film, the art form itself spans the globe, way beyond American borders. That's why the Toronto International Film Festival came up with their Essential 100 movies. Created by merging lists made by Toronto Film Festival supporters along with another made by their programmers, these are supposed to be the 100 essential movies every cinephile must see. And it starts off with a bang as Citizen Kane has been toppled.
- 12/22/2010
- by Germain Lussier
- Slash Film
Yesterday, the Jutra Awards, Quebec's Oscars, were presented. I personally didn't have the time to watch it, because I was finishing some research papers. However, here's the list of winners for this year's Jutra Awards.
Best feature film:
* 1981.
* Dédé, à travers les brumes.
* [Winner] J'ai tué ma mère.
* Polytechnique.
* Le jour avant le lendemain (Before Tomorrow).
Best director:
* Ricardo Trogi for 1981.
* Marie-Hélène Cousineau et Madeline Piujuq for Before Tomorrow.
* Jean-Philippe Duval for Dédé à travers les brumes.
* Xavier Dolan for J’ai tué ma mère.
* [Winner] Denis Villeneuve for Polytechnique.
Best actress:
* Céline Bonnier in Je me souviens.
* Marie-Thérèse Fortin in Les grandes chaleurs.
* Élise Guilbault in La Donation.
* [Winner] Anne Dorval in J’ai tué ma mère.
* Isabelle Guérard in Détour.
Best actor:
* Jean-Carl Boucher in 1981.
* Michel Côté in De Père en flic.
* Normand D’Amour in 5150, rue des Ormes.
* Xavier Dolan in J’ai tué ma mère.
* [Winner] Sébastien Ricard in Dédé à travers les brumes.
Best feature film:
* 1981.
* Dédé, à travers les brumes.
* [Winner] J'ai tué ma mère.
* Polytechnique.
* Le jour avant le lendemain (Before Tomorrow).
Best director:
* Ricardo Trogi for 1981.
* Marie-Hélène Cousineau et Madeline Piujuq for Before Tomorrow.
* Jean-Philippe Duval for Dédé à travers les brumes.
* Xavier Dolan for J’ai tué ma mère.
* [Winner] Denis Villeneuve for Polytechnique.
Best actress:
* Céline Bonnier in Je me souviens.
* Marie-Thérèse Fortin in Les grandes chaleurs.
* Élise Guilbault in La Donation.
* [Winner] Anne Dorval in J’ai tué ma mère.
* Isabelle Guérard in Détour.
Best actor:
* Jean-Carl Boucher in 1981.
* Michel Côté in De Père en flic.
* Normand D’Amour in 5150, rue des Ormes.
* Xavier Dolan in J’ai tué ma mère.
* [Winner] Sébastien Ricard in Dédé à travers les brumes.
- 3/29/2010
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
This afternoon, the nominees for the Jutra Award, Quebec's own Oscars, were announced. Unlike last year, there are two new things that we should expect to see. The first one being that the jury will be formed by 18 people. Secondly, all members of the jury have seen the films that are nominated. Besides, the host of evening will be Patrice L'Écuyer and the ceremony will take place at La Tohu on March 28. Also note that the Jutra Award will be broadcasted live on Radio-Canada. Anyway, the following is the list of nominees.
Best feature film:
* 1981.
* Dédé, à travers les brumes.
* J'ai tué ma mère.
* Polytechnique.
* Le jour avant le lendemain (Before Tomorrow).
Best director:
* Ricardo Trogi for 1981
* Marie-Hélène Cousineau et Madeline Piujuq for Before Tomorrow.
* Jean-Philippe Duval for Dédé à travers les brumes.
* Xavier Dolan for J’ai tué ma mère.
* Denis Villeneuve for Polytechnique.
Best actress:
* Céline Bonnier in Je me souviens.
Best feature film:
* 1981.
* Dédé, à travers les brumes.
* J'ai tué ma mère.
* Polytechnique.
* Le jour avant le lendemain (Before Tomorrow).
Best director:
* Ricardo Trogi for 1981
* Marie-Hélène Cousineau et Madeline Piujuq for Before Tomorrow.
* Jean-Philippe Duval for Dédé à travers les brumes.
* Xavier Dolan for J’ai tué ma mère.
* Denis Villeneuve for Polytechnique.
Best actress:
* Céline Bonnier in Je me souviens.
- 2/17/2010
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
Chiseled down to three hours, and suffering badly in the process from super-fast storytelling, Hungarian auteur Istvan Szabo's "Sunshine" started as a 600-page first draft and still feels like three movies crammed into one. And, unfortunately, all three star Ralph Fiennes as hardheaded womanizers of the same Jewish Hungarian family, trying to survive periods of personal and societal strife during the past 100-plus years.
What sunshine there is in this Paramount Classics release -- the title refers to the family name as well as to the source of the family fortune, a healing tonic with a secret formula -- occurs early on, with the steady march of events including World War I, World War II and the Cold War. Intriguing in the way it presents unsympathetic but realistic individuals who struggle with their inner demons as much as the terrifying bludgeons of history's bad guys, the film finally exhausts one with themes, characters and shifting political and cultural details that go whizzing by faster and faster.
Like Russian filmmaker Nikita Mikhalkov, Szabo has had a long career that includes an Oscar winner ("Mephisto"). But also like Mikhalkov, whose disastrous 1999 Cannes opener "Barber of Siberia" still hasn't been distributed in the United States, Szabo in his most monumental film made hugely disastrous casting decisions. He also shot the film in English, which certainly makes following the endless procession of dialogue-driven scenes a breeze but doesn't do much to overcome the project's many other shortcomings.
The story of the Sonnenschein family starts with a bang in the mid-1800s as the father of young Emmanuel David De Keyser) blows himself to bits in an accident, but the recipe book for the family's "Taste of Sunshine" herbal tonic is spared. Emmanuel treks to Budapest, makes a small fortune and raises a family with Rose (Miriam Margolyes) while holding on to his religious convictions and customs. They have two sons, Ignatz (Fiennes) and Gustave (James Frain in the early goings-on).
Reared during the height of the Austro-Hungarian empire, lawyer Ignatz is loyal to his country and longs to assimilate into the mainstream culture.
Gustave becomes a revolutionary, disgusted with monarchies and corruption. Both are in love with orphan girl Valerie (Jennifer Ehle), raised with them as their sister. She and Ignatz are destined for each other despite objections from various parties. This is the movie's lightest, most entertaining stretch, but, like everything in "Sunshine", it's over fast.
Indeed, as Ignatz goes through World War I and Hungary's brief communist period shortly thereafter, he doesn't change much except the family name (to the non-Jewish Sors). He loses Valerie to Gustave and later dies without much fuss. The focus shifts to Ignatz and Valerie's two sons, Adam (Fiennes) and Istvan (Mark Strong). A talented swordsman, Adam marries sweet, grounded Hannah (Molly Parker), but he's hotly pursued by Istvan's wife, Greta (Rachel Weisz).
This central portion of "Sunshine" chronicles the rise of fascism and Adam's heroic but tragic attempts to assimilate into the restricted world of professional fencing, which results in him becoming the national champion as he seriously shies away from his Jewish heritage. Between competitions and unsuccessfully fending off Greta, Adam becomes a father with Hannah, but all become vulnerable in the hateful climate before and during World War II. Adam and his son Ivan are sent to a concentration camp, where the shattered but defiant man is horrifically made an example of while the boy is forced to watch.
Most of the rest of the family dies offscreen during World War II, leaving aging Valerie and Gustave (now played by Rosemary Harris and John Neville) to welcome back haunted Ivan (Fiennes). The final section chronicles Ivan's crusade to wreak revenge against the fascists, until he sees the communist regime as just another totalitarian nightmare. Meanwhile, he bonds with his doomed boss (William Hurt) and has a risky affair with a powerful party official's philandering wife Deborah Kara Unger).
By casting Fiennes in the three roles, Szabo asks too much of his actor and the audience, particularly when the rapid pacing results in all the performers rushing through scenes. Managing some aspects better than others in a performance of unquestionably rigorous effort, Fiennes is very busy with the repetitive nature of the love stories. The frenzied seductions are not nearly arousing enough.
"Sunshine" is a history lesson poorly illustrated by overblown dramatics and with only a few sequences that take the time to believably build up tension and provide unforeseen payoffs.
SUNSHINE
Paramount Classics
Alliance Atlantis and Serendipity Films
in association with Kinowelt
A Robert Lantos production
Director: Istvan Szabo
Screenwriters: Istvan Szabo, Israel Horovitz
Producers: Robert Lantos, Andras Hamori
Executive producers: Rainer Kolmel,
Jonathan Debin
Director of photography: Lajos Koltai
Production designer: Attila F. Kovacs
Editors: Michel Arcand, Dominique Fortin
Costume designer: Gyorgi Szakacs
Music: Maurice Jarre
Color/stereo
Cast:
Ignatz, Adam, Ivan: Ralph Fiennes
Older Valerie: Rosemary Harris
Greta: Rachel Weisz
Young Valerie: Jennifer Ehle
Hannah: Molly Parker
Carola: Deborah Kara Unger
Rose: Miriam Margolyes
Young Gustave: James Frain
Older Gustave: John Neville
Emmanuel Sonnenschein: David De Keyser
Running time -- 180 minutes
MPAA rating: R...
What sunshine there is in this Paramount Classics release -- the title refers to the family name as well as to the source of the family fortune, a healing tonic with a secret formula -- occurs early on, with the steady march of events including World War I, World War II and the Cold War. Intriguing in the way it presents unsympathetic but realistic individuals who struggle with their inner demons as much as the terrifying bludgeons of history's bad guys, the film finally exhausts one with themes, characters and shifting political and cultural details that go whizzing by faster and faster.
Like Russian filmmaker Nikita Mikhalkov, Szabo has had a long career that includes an Oscar winner ("Mephisto"). But also like Mikhalkov, whose disastrous 1999 Cannes opener "Barber of Siberia" still hasn't been distributed in the United States, Szabo in his most monumental film made hugely disastrous casting decisions. He also shot the film in English, which certainly makes following the endless procession of dialogue-driven scenes a breeze but doesn't do much to overcome the project's many other shortcomings.
The story of the Sonnenschein family starts with a bang in the mid-1800s as the father of young Emmanuel David De Keyser) blows himself to bits in an accident, but the recipe book for the family's "Taste of Sunshine" herbal tonic is spared. Emmanuel treks to Budapest, makes a small fortune and raises a family with Rose (Miriam Margolyes) while holding on to his religious convictions and customs. They have two sons, Ignatz (Fiennes) and Gustave (James Frain in the early goings-on).
Reared during the height of the Austro-Hungarian empire, lawyer Ignatz is loyal to his country and longs to assimilate into the mainstream culture.
Gustave becomes a revolutionary, disgusted with monarchies and corruption. Both are in love with orphan girl Valerie (Jennifer Ehle), raised with them as their sister. She and Ignatz are destined for each other despite objections from various parties. This is the movie's lightest, most entertaining stretch, but, like everything in "Sunshine", it's over fast.
Indeed, as Ignatz goes through World War I and Hungary's brief communist period shortly thereafter, he doesn't change much except the family name (to the non-Jewish Sors). He loses Valerie to Gustave and later dies without much fuss. The focus shifts to Ignatz and Valerie's two sons, Adam (Fiennes) and Istvan (Mark Strong). A talented swordsman, Adam marries sweet, grounded Hannah (Molly Parker), but he's hotly pursued by Istvan's wife, Greta (Rachel Weisz).
This central portion of "Sunshine" chronicles the rise of fascism and Adam's heroic but tragic attempts to assimilate into the restricted world of professional fencing, which results in him becoming the national champion as he seriously shies away from his Jewish heritage. Between competitions and unsuccessfully fending off Greta, Adam becomes a father with Hannah, but all become vulnerable in the hateful climate before and during World War II. Adam and his son Ivan are sent to a concentration camp, where the shattered but defiant man is horrifically made an example of while the boy is forced to watch.
Most of the rest of the family dies offscreen during World War II, leaving aging Valerie and Gustave (now played by Rosemary Harris and John Neville) to welcome back haunted Ivan (Fiennes). The final section chronicles Ivan's crusade to wreak revenge against the fascists, until he sees the communist regime as just another totalitarian nightmare. Meanwhile, he bonds with his doomed boss (William Hurt) and has a risky affair with a powerful party official's philandering wife Deborah Kara Unger).
By casting Fiennes in the three roles, Szabo asks too much of his actor and the audience, particularly when the rapid pacing results in all the performers rushing through scenes. Managing some aspects better than others in a performance of unquestionably rigorous effort, Fiennes is very busy with the repetitive nature of the love stories. The frenzied seductions are not nearly arousing enough.
"Sunshine" is a history lesson poorly illustrated by overblown dramatics and with only a few sequences that take the time to believably build up tension and provide unforeseen payoffs.
SUNSHINE
Paramount Classics
Alliance Atlantis and Serendipity Films
in association with Kinowelt
A Robert Lantos production
Director: Istvan Szabo
Screenwriters: Istvan Szabo, Israel Horovitz
Producers: Robert Lantos, Andras Hamori
Executive producers: Rainer Kolmel,
Jonathan Debin
Director of photography: Lajos Koltai
Production designer: Attila F. Kovacs
Editors: Michel Arcand, Dominique Fortin
Costume designer: Gyorgi Szakacs
Music: Maurice Jarre
Color/stereo
Cast:
Ignatz, Adam, Ivan: Ralph Fiennes
Older Valerie: Rosemary Harris
Greta: Rachel Weisz
Young Valerie: Jennifer Ehle
Hannah: Molly Parker
Carola: Deborah Kara Unger
Rose: Miriam Margolyes
Young Gustave: James Frain
Older Gustave: John Neville
Emmanuel Sonnenschein: David De Keyser
Running time -- 180 minutes
MPAA rating: R...
Poor James Bond.
It's bad enough that the end of the Cold War has robbed him of some of his most reliable and colorful adversaries.
But after a year of formidable competition from high-octane action entries such as "Face/ Off" and "Air Force One", the pressure is on for old 007 to deliver more than a souped-up car and a bevy of beauties.
Unfortunately, after showing promising signs of rejuvenation with Pierce Brosnan and 1995's "GoldenEye", the world's most durable movie franchise is in serious need of a shot of adrenaline if "Tomorrow Never Dies" is to prove an accurate title.
Even by Bondian standards, this 18th entry (or 19th if you count Warner Bros.' "Never Say Never Again") is a dull, draggy disappointment, hampered by a weak script and uninspired, connect-the-dots direction.
While devoted die-hards might generate respectable opening- weekend numbers, ultimately United Artists is looking at a low interest-bearing Bond issue that will leave audiences neither shaken nor stirred.
The first signs of trouble appear early on, when the traditionally turbo-charged prologue turns out to be curiously devoid of the usual high-tension stunts or even breathtaking vistas.
Then Bruce Feirstein's script fails to deliver on its workable premise: Jonathan Pryce plays power-crazed media baron Elliot Carver (imagine a maniacal Rupert Murdoch), who, determined to launch his 24-hour satellite news service with a splash, ensures a scoop by orchestrating a naval war between Great Britain and China.
Of course it's up to Bond (Brosnan) to stop him with a little ill-fated assistance from Carver's wife and once-upon-a-time Bond squeeze, Paris (Teri Hatcher), and a more successful subsequent alliance with Chinese intelligence agent Wai Lin (Michelle Yeoh).
Lacking the necessary tone-setting kick start, the picture seems to take forever to move into high gear. And although it is not without a couple of vintage Bond sequences -- one extended chase scene has 007 navigating his brand-spanking-new BMW 750 from the back seat with a Remote Control touchpad -- Roger Spottiswoode's fragmented direction lacks the necessary driving momentum.
You can't really put the blame on Brosnan, who proved himself an agreeable Bond presence the last time out. He's game but he simply hasn't been issued much in the way of a personality by screenwriter Feirstein. Those requisite groaner double-entendres hit a new level of lameness here that would make Beavis & Butt-head wince.
The usually dependable Pryce, meanwhile, in an apparent aversion to scenery-chewing, blandly underplays his villain. While that may have been a noble gesture elsewhere, it's a definite no-no for Bond bad guys.
Only Asian action star Yeoh possesses a real spark. Unfortunately, she only really appears on the scene in the second hour. Should Brosnan opt out of his contract, the Broccoli family should seriously consider her as a potential Jane Bond.
Across-the-board tech credits are solid if not spectacular. Ironically, those Bond songs, which have been somewhat of a disappointment in recent installments, rediscover their groove this time out, with Sheryl Crow delivering an effective "Tomorrow Never Dies" over the opening credits, while k.d. lang neatly captures the sultry essence of Shirley Bassey in the credit-closing "Surrender".
TOMORROW NEVER DIES
MGM
A United Artists release
An Albert R. Broccoli's Eon Productions Ltd. presentation
Director: Roger Spottiswoode
Producers: Michael G. Wilson and Barbara Broccoli
Screenwriter: Bruce Feirstein
Director of photography: Robert Elswit
Production designer: Allan Cameron
Editors: Dominique Fortin,
Michel Arcand
Costume designer: Lindy Hemming
Special effects supervisor: Chris Corbould
Music: David Arnold
Casting: Debbie McWilliams
Color/stereo
Cast:
James Bond: Pierce Brosnan
Elliot Carver: Jonathan Pryce
Wai Lin: Michelle Yeoh
Paris Carver: Teri Hatcher
Henry Gupta: Ricky Jay
Stamper: Gotz Otto
Wade: Joe Don Baker
Dr. Kaufman: Vincent Schiavelli
M: Judi Dench
Q: Desmond Llewelyn
Running time -- 119 minutes
MPAA rating: PG-13...
It's bad enough that the end of the Cold War has robbed him of some of his most reliable and colorful adversaries.
But after a year of formidable competition from high-octane action entries such as "Face/ Off" and "Air Force One", the pressure is on for old 007 to deliver more than a souped-up car and a bevy of beauties.
Unfortunately, after showing promising signs of rejuvenation with Pierce Brosnan and 1995's "GoldenEye", the world's most durable movie franchise is in serious need of a shot of adrenaline if "Tomorrow Never Dies" is to prove an accurate title.
Even by Bondian standards, this 18th entry (or 19th if you count Warner Bros.' "Never Say Never Again") is a dull, draggy disappointment, hampered by a weak script and uninspired, connect-the-dots direction.
While devoted die-hards might generate respectable opening- weekend numbers, ultimately United Artists is looking at a low interest-bearing Bond issue that will leave audiences neither shaken nor stirred.
The first signs of trouble appear early on, when the traditionally turbo-charged prologue turns out to be curiously devoid of the usual high-tension stunts or even breathtaking vistas.
Then Bruce Feirstein's script fails to deliver on its workable premise: Jonathan Pryce plays power-crazed media baron Elliot Carver (imagine a maniacal Rupert Murdoch), who, determined to launch his 24-hour satellite news service with a splash, ensures a scoop by orchestrating a naval war between Great Britain and China.
Of course it's up to Bond (Brosnan) to stop him with a little ill-fated assistance from Carver's wife and once-upon-a-time Bond squeeze, Paris (Teri Hatcher), and a more successful subsequent alliance with Chinese intelligence agent Wai Lin (Michelle Yeoh).
Lacking the necessary tone-setting kick start, the picture seems to take forever to move into high gear. And although it is not without a couple of vintage Bond sequences -- one extended chase scene has 007 navigating his brand-spanking-new BMW 750 from the back seat with a Remote Control touchpad -- Roger Spottiswoode's fragmented direction lacks the necessary driving momentum.
You can't really put the blame on Brosnan, who proved himself an agreeable Bond presence the last time out. He's game but he simply hasn't been issued much in the way of a personality by screenwriter Feirstein. Those requisite groaner double-entendres hit a new level of lameness here that would make Beavis & Butt-head wince.
The usually dependable Pryce, meanwhile, in an apparent aversion to scenery-chewing, blandly underplays his villain. While that may have been a noble gesture elsewhere, it's a definite no-no for Bond bad guys.
Only Asian action star Yeoh possesses a real spark. Unfortunately, she only really appears on the scene in the second hour. Should Brosnan opt out of his contract, the Broccoli family should seriously consider her as a potential Jane Bond.
Across-the-board tech credits are solid if not spectacular. Ironically, those Bond songs, which have been somewhat of a disappointment in recent installments, rediscover their groove this time out, with Sheryl Crow delivering an effective "Tomorrow Never Dies" over the opening credits, while k.d. lang neatly captures the sultry essence of Shirley Bassey in the credit-closing "Surrender".
TOMORROW NEVER DIES
MGM
A United Artists release
An Albert R. Broccoli's Eon Productions Ltd. presentation
Director: Roger Spottiswoode
Producers: Michael G. Wilson and Barbara Broccoli
Screenwriter: Bruce Feirstein
Director of photography: Robert Elswit
Production designer: Allan Cameron
Editors: Dominique Fortin,
Michel Arcand
Costume designer: Lindy Hemming
Special effects supervisor: Chris Corbould
Music: David Arnold
Casting: Debbie McWilliams
Color/stereo
Cast:
James Bond: Pierce Brosnan
Elliot Carver: Jonathan Pryce
Wai Lin: Michelle Yeoh
Paris Carver: Teri Hatcher
Henry Gupta: Ricky Jay
Stamper: Gotz Otto
Wade: Joe Don Baker
Dr. Kaufman: Vincent Schiavelli
M: Judi Dench
Q: Desmond Llewelyn
Running time -- 119 minutes
MPAA rating: PG-13...
- 12/15/1997
- The Hollywood Reporter - Movie News
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