curse of the golden flower Tagged Articles at Cinematical

My love of cinema originally came about through my love of production design, particularly for science fiction and fantasy films. As I grew up, one of my dream careers was art director, and some my early heroes were Dante Ferretti and Bo Welch. Naturally, then, a lot of my favorite filmmakers have been those who display creative art direction in their movies. Terry Gilliam has always been at the top of my list.

Other fans of Gilliam will agree with me that no other living director is more deserving of recognition by the Art Directors Guild. In fact, I'm surprised that he wasn't the first choice to receive the guild's Outstanding Contribution to Cinematic Imagery Award when it was originally given in 1998 (to Norman Jewison instead). Other filmmakers that I expect to see honored in the future include Tim Burton, Jean-Pierre Jeunet, Peter Jackson and Guillermo del Toro.

Gilliam will receive the award at the Art Director's Guild Awards on February 17, when the guild also names the winners of its prizes for excellence in production design for 2006. Like other guild awards, the ADG's honors recognize distinct categories for its field. Nominated films are separated into three groups: period piece; contemporary; and fantasy (you may remember these are the same categories for the Costume Designer Guild Awards).

I'm all for these guild awards, with their specific categories and distinct recognitions, but I'm not sure I understand the Costume Designer Guild's honor for "Distinguished Actor." If the reasoning is that the recipient of this award is someone who looks good in costumes, or makes costume designers look good, then Helen Mirren makes sense as this year's winner. But this reason doesn't explain why the guild is also giving Sandra Bullock an award. Suddenly, the logic falls apart -- especially for anyone who has seen Miss Congeniality 2.

The costume designers don't need to give actors any more praise. And Mirren certainly doesn't need any more trophies this year. To me, the guild's recognition of the different genres of costume design is interesting and appealing enough without some unnecessary star-kissing.

The categories for the Costume Designer Guild Awards separately acknowledge achievements for modern costume, period costume and fantasy costume. The lumping of these genres together into the Best Costume Design Oscar doesn't give credit to the differences between them, and it often ignores the difficulty of modern costuming, which many people assume is as easy as the everyday act of getting dressed in the morning.

Happy Holidays to all and to all a ... few good movies. I've been asked to step in and semi-resurrect our regular old Review Roundup feature, which works out pretty well considering I usually spend most Fridays (and some Wednesdays) poring through all my favorite critics, agreeing with some and questioning the basic sanity of others. But since the release date schedules get extra jumbly during the year-end holiday season, I figured I'd spend my first column covering, well, everything. Let's start with the ones that actually opened yesterday ...

The Good Shepherd

Pro: "It's not a tub-thumping anti-CIA screed, but at the same time it's not a gung-ho patriotic extravaganza about the moral certainty of our side." -- Stephen Hunter, Washington Post

Con: "This is featherweight entertainment, sans visual elation and moral consequence-like Munich for Beginners." -- Ed Gonzalez, Slant Magazine

Pro: "The bottom line is that The Good Shepherd is engaging cinema. The length is a drawback, but not a big one since the movie earns the majority of its 165-minute running time." -- James Berardinelli, ReelViews.net

Con: "De Niro's vision seems unfocused and ill-executed. It seems as though he had a thousand good ideas about what a spy film should be that didn't quite coalesce into a singular product, but he crammed 'em all in there regardless and tossed the editing shears into the garbage." -- Phil Villareal, Arizona Daily Star

BONUS: "A truncated American tragedy, noticeably half-finished and undercooked, but often tantalizing for the promise that clearly lay buried in the material, like unbroken codes." -- Ryan Stewart, Cinematical

Night at the Museum

Pro: "Trying to get kids to go to a museum over their holiday vacations might be a little easier after seeing Night at the Museum, a family-friendly comedy that tries to entertain while educating - and often succeeds, at least with the former." -- Mack Bates, Milwaukee Journal Sentinel

Con: "A volley of contented cackles greeted the final third of Night at the Museum, a pea-brained fantasy-comedy with a riot of kid-pleasing special effects." -- Jan Stuart, Newsday Magazine

Pro: "What do you know, not only is this a delightful popcorn movie, Ben Stiller is actually really good in it." -- Kevin LaForest, Montreal Film Journal

Con: "The possibilities for building an intriguing and original story around this concept -- the Museum of freakin' Natural History comes alive every night! -- are endless, and they chose this. That is downright criminal." -- MaryAnn Johanson, The Flick Filosopher

BONUS: "Lots of pure imagination, with an extra helping of the most fun you might have at the theater all year." -- Erik Davis, Cinematical

We Are Marshall

Pro: "Warm and big-hearted, We Are Marshall succeeds as a tribute because it respects its subjects. It succeeds as a movie because it doesn't confuse respect with lifelessness." -- Jessica Reaves, Chicago Tribune

Con: "Director McG, known for the whiz-bang acrobatics of his Charlie's Angels movies, applies a warm, shiny veneer to everything here which prevents any emotion from getting through." -- Christy Lemire, San Francisco Gate

Pro: "The film is injected with a refreshing energy whenever McConaughey is on-screen, balancing some of the inherent sadness of the story." -- Kevin Crust, Los Angeles Times

Con: "No matter how earnest the intentions are, however, the harsh truth is that We Are Marshall is shockingly empty, one-dimensionally written, and finally unconvincing." -- Dustin Putnam, TheMovieBoy.com

BONUS: "A film that walks a tightrope with tricky subject matter, and somehow makes it to the other side." -- Ryan Stewart, Cinematical

Now let's skip back over the past week or so and see how the other holiday break also-rans fared with the critics...

In the course of Hollywood history, movie genres have grown from the the lower regions, among the ticket buyers and popcorn munchers, in the Saturday matinees and with the dime store, penny-a-word trash classics. The Western was the first of these, making its movie debut as early as the movies themselves, with The Great Train Robbery (1903). Not fifty years had gone by before some wise guy had the idea to take this ground-level idea and turn it into an impressive, blue-ribbon pageant, a noble, tasteful new object worthy of respect. These came in the form of High Noon (1952) and Shane (1953), praised through word of mouth, as Westerns for people who don't ordinarily like Westerns. Critics ate them up. And, if you'll notice, the Western genre is more or less gone.

The same thing happened to musicals. As soon as pictures learned to talk and all through the 1950s, musicals ruled, and plenty of great, small ones crooned and tapped their way across screens, much to the unfettered joy of fans. But in the 1960s, the graceless, inflated, gargantuan West Side Story (1961) -- a musical for people who don't ordinarily like musicals -- came along. And now the musical is more or less gone (and, I'm sorry, but Dreamgirls doesn't count).

Because they just can't get enough Zhang Yimou, Sony Pictures Classics have picked up the North and Latin American rights to his latest project, Curse of the Golden Flower (you may have heard of it back when it was called The City of Golden Armor). Despite the distributor's history with Zhang (they've work with him on eight previous films, including House of Flying Daggers and Hero), in the face Hollywood's growing trepidation about the market strength of Chinese action-romance films, the fact that the buy has been made before the film is even finished shooting seems like a major vote of confidence, both for Zhang and the Chinese industry. That said, of course, the presence of stars Chow Yun-Fat and Gong Li probably didn't hurt, either, since the pair of them are among the most recognizable stars in Asian cinema, at least to American eyes.

If you buy the press release blather about the film, it's apparently going to be the Best! Movie! Ever! "From Gong Li's stunning performance to Chow Yun Fat's commanding presence to opulence one has rarely ever seen on screen, this movie will have it all: Brilliantly executed action set pieces as well as compelling intimate drama against the most colorful historical canvas imaginable." Mmm ... hyperbole.