I’ll never forget the moment I first sat up and took notice of Philip Seymour Hoffman — the moment that I knew I loved him as an actor and knew, as well, that he was a different kind of great actor from anyone I’d ever seen. It was the moment in Boogie Nights (1997) when Hoffman’s Scotty J., the boom-mike operator who has spent most of the film hanging around the sidelines of the porn set, a sweetly insecure dude in long red hair, his gut poking out of his ’70s tank tops, confesses to Dirk Diggler that he’s got a crush on him. This comes as news to Dirk — and news to the audience as well, since we didn’t know that Scotty was gay, because it’s clearly something that he was hiding from the world. Drunk, and a little less shy because of it, Scotty shows Dirk his new sports car, which he thinks will impress him (it doesn’t), and he then tries to lay a smooch on him, which Dirk, in this paleo-days-of-gay-liberation era, thinks is beyond weird. But that’s the rejection that Scotty’s been living in terror of, and now that it’s happened, he breaks down. READ FULL STORY
Tag: The Master (1-10 of 21)
Zero Dark Thirty and Kathryn Bigelow won major critics’ prizes on Sunday, confirming the Osama bin Laden manhunt thriller as an Oscar frontrunner. Both the Boston and New York Online critics honored the movie as the year’s best, and screenwriter Mark Boal was recognized for best screenplay by the New York group. But it was two other films – The Master and Amour — that dominated the Los Angeles Film Critics awards to insert themselves in to the Oscar conversation. Joaquin Phoenix upset Lincoln‘s Daniel Day-Lewis for best actor and Amy Adams won for best supporting actress. Paul Thomas Anderson also won for best director, and the film was named the runner-up for best picture. The Los Angeles critics named Amour best picture, and actress Emmanuelle Riva tied with Jennifer Lawrence for best actress, completing a sweep of today’s critics’ awards for the 85-year-old French actress.
Lincoln fared well also, with Day-Lewis taking home two acting prizes, and Sally Field and Tommy Lee Jones winning awards for their supporting performances. Screenwriter Tony Kushner was recognized by the Boston Society critics.
Click below to see today’s list of winners: READ FULL STORY
When Joaquin Phoenix told Interview magazine last month that the Oscars are “total, utter bullsh-t,” he either ruined his chances of being nominated for his performance in The Master — or clinched it. The two-time Oscar nominee revisited his remarks in an interview with the Sydney Morning Herald, expressing his surprise that his comments made waves but also crediting the Academy for giving him the success that he has. “I haven’t been in a lot of movies that have made a lot of money,” he said. “And getting nominated for a movie has probably helped my career tremendously. But in some ways it’s the antithesis of what you want to be as an actor. You’re always trying to free yourself of the artifice, which is really difficult. Especially when you suck, like me.” READ FULL STORY
At an Austin Film Festival panel discussion on Friday afternoon, James Franco revealed how Paul Thomas Anderson courted him for the role of Freddie Quell, since brought to vivid life by Joaquin Phoenix, in The Master. The actor-director-hyphenate extraordinaire was in town to present Francophrenia, his experimental documentary about his time playing the smirking villain Franco on the ABC soap opera General Hospital.
Towards the end of the 75-minute conversation, an audience member asked Franco to discuss a specific movie role on his resume that had initially intimidated him. Franco couldn’t really think of one, which reminded him of a funny story.
Joaquin Phoenix just
destroyed improved his chances at an Oscar nomination.
In a new Q&A with film critic Elvis Mitchell in Interview magazine, the star of The Master — widely considered to be a Best Actor contender — is asked about being on the awards circuit for the film. Phoenix, who has two previous Oscar nominations for Gladiator and Walk the Line, scoffs at Hollywood’s season of backslapping.
“I’m just saying that I think it’s bullsh–t,” Phoenix says. “I think it’s total, utter bulls–t, and I don’t want to be a part of it. I don’t believe in it. It’s a carrot, but it’s the worst-tasting carrot I’ve ever tasted in my whole life. I don’t want this carrot.”
That distant rattling you hear is the sound of Oscar pundits grasping their pearls at this sacrilege. Many will say he has crushed his chances of a nomination by insulting the great golden god of Hollywood, but that — to borrow a term from the actor — is also “bulls–t.”
\If I were to compile a list of my ten favorite movie experiences in the time I’ve been at EW, for number one — just edging out the night I spent drinking into the wee hours with Russell Crowe — I’d probably have to choose the first time I saw Boogie Nights at the 1997 Toronto Film Festival. It was a little like the first time I saw Pulp Fiction — Boogie Nights had that kind of virtuoso rock & roll Gen-X Scorsese dazzle, and it gave you that kind of brain-spinning cinematic high. Its writer-director, Paul Thomas Anderson, had taken on the most daringly degraded subject matter imaginable (he made a movie about beautiful dumb clucks who “acted” in porn films and thought that they were real stars), and out of that audacity he spun a story that was dark, exhilarating, moving, scary, and true. READ FULL STORY
Paul Thomas Anderson released the final trailer for The Master yesterday, revealing footage that didn’t make the final cut of his critically acclaimed film. The new scenes reaffirm Joaquin Phoenix’s character Freddie Quell’s erratic, unpredictable, and animalistic nature, while stressing Philip Seymour Hoffman’s character Lancaster Dodd’s charisma, charm, and perversion. Watch it below.
EW movie critics Owen Gleiberman and Lisa Schwarzbaum are back for the latest installment of “Movie Talk with Owen and Lisa.” This time, they are discussing Paul Thomas Anderson’s latest film — The Master.
Lisa calls it a “thorny, complicated, difficult and … extraordinary film” and believes you have to see it more than once. Owen says there is “one thing I loved about this movie and one thing in it that I really think didn’t work.” He explains that while he enjoyed the “whole take on Scientology or religion just like it,” he didn’t think that the “movie invites you into a true identification with Joaquin Phoenix’s character.” Watch the full video below!
Box office report: 'End of Watch' and 'House at the End of the Street' tie with $13 million, ahead of 'Trouble with the Curve'; 'Dredd 3D' bombs
The box office blues continued during this sad September weekend, when four new releases entered theaters, yet none surpassed $13 million.
In fact, September 2012 is proving to be one of the slowest months at the movies in a decade. As of this weekend, ticket sales have amounted to $357.3 million — 21 percent lower than the same point in the month last year, and the lowest September total since 2004, when month-to-date ticket sales equaled $356.3 million. (Keep in mind, 2004 didn’t have the benefit of 3-D ticket prices.) Nothing seems to be engaging audiences in a substantial way.
But that’s not to say the box office was totally dead this weekend.
Tied for first place was Open Road’s Jake Gyllenhaal/Michael Pena crime drama End of Watch, which earned an estimated $13.0 million out of 2,730 theaters, yielding a mild per-theater average of $4,762. The gritty cop film, which has earned strong reviews overall, was independently financed for a reported budget somewhere between $7 million and $15 million (an Open Road spokesperson did not confirm the budget when reached via email), and then acquired by Open Road for $2 million. READ FULL STORY
Box office update: 'House at the End of the Street' wins Friday with $4.6 million, but 'End of Watch' hot on its tail
We know Jennifer Lawrence lives in The House at the End of the Street, but where does that film call home?
The top spot of the box office, that’s where.
On a Friday that made it clear that no film will earn $15 million this weekend, The House at the End of the Street (or #HATES if you’re one of those young whippersnappers using the Twitter) proved most robust. House scared up $4.6 million and finished in first place, yet the critically savaged horror tale should follow the typical horror trajectory and prove frontloaded. It will likely finish the weekend with just about $12.5 million, enough for second or third place. READ FULL STORY
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