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The Houston Area Film Critics Nominations休斯顿影评人协会提名 BEST PICTURE: 127 Hours, Fox Searchlight (produced by Christian Colson, John Smithson, Danny Boyle) Black Swan, Fox Searchlight (produced by Mike Medavoy, Scott Franklin, Arnold Messer, Brian Oliver) Inception, Warner Bros. (produced by Christopher Nolan, Emma Thomas) Kick Ass, Lionsgate (produced by Matthew Vaughn, Brad Pitt, Kris Thykier, Adam Bohling, Tarquin Pack, David Reid) The Kids are All Right, Focus Features (produced by Gary Gilbert, Jordan Horowitz, Celine Rattray, Daniela Taplin Lundberg, Philippe Hellmann) The King’s Speech, The Weinstein Company (produced by Iain Canning, Emile Sherman, Gareth Unwin) The Social Network, Columbia Pictures (produced by David Fincher, Scott Rudin, Danna Brunetti, Michael de Luca, Cean Chaffin, Kevin Spacey) Toy Story 3, Walt Disney Pictures (produced by Darla K. Anderson, John Lasseter, Nicole Paradis) True Grit, Paramount Pictures (produced by Ethan Coen, Joel Coen, Scott Rudin, Steven Spielberg) Winter’s Bone, Roadside Attractions (produced by Anna Rosellini, Alix Madigan) BEST DIRECTOR: Darren Aronofsky, Black Swan Danny Boyle, 127 Hours Joel & Ethan Coen, True Grit David Fincher, The Social Network Christopher Nolan, Inception BEST ACTOR: Jeff Bridges, True Grit Robert Duvall, Get Low Jesse Eisenberg, The Social Network Colin Firth, The King’s Speech James Franco, 127 Hours BEST ACTRESS: Annette Bening, The Kids are All Right Nicole Kidman, Rabbit Hole Jennifer Lawrence, Winter’s Bone Natalie Portman, Black Swan Noomi Rapace, The Girl with the Dragon Tattoo BEST SUPPORTING ACTOR: Christian Bale, The Fighter Andrew Garfield, The Social Network Bill Murray, Get Low Jeremy Renner, The Town Geoffrey Rush, The King’s Speech BEST SUPPORTING ACTRESS: Helena Bonham Carter, The King’s Speech Melissa Leo, The Fighter Julianne Moore, The Kids are All Right Hailee Steinfeld, True Grit Jackie Weaver, Animal Kingdom BEST SCREENPLAY: Lisa Cholodenko & Stuart Blumberg, The Kids are All Right Debra Granik & Anne Rosellini (based on the novel “Winter’s Bone” by Daniel Woodrell, Winter’s Bone John Lasseter (story) & Andrew Stanton (story) & Lee Unkrich (story) and Michael Arndt (screenplay), Toy Story 3 Christopher Nolan, Inception Aaron Sorkin (based on the book “The Accidental Billionaires” by Ben Mezrich), The Social Network BEST ANIMATED FILM: Despicable Me, Universal Pictures (directed by Pierre Coffin & Chris Renaud, produced by John Cohen, Janet Healy, Chris Meledandri) How to Train Your Dragon, DreamWorks Animation (directed by Chris Sanders & Dean DeBlois, produced by Bonnie Arnold, Doug Davison, Roy Lee, Michael Connolly, Tim Johnson) Megamind, Paramount Pictures (directed by Tom McGrath, produced by Lara Breary, Ben Stiller, Denise Nolan Cascino) Tangled, Walt Disney Pictures (directed by Nathan Greno & Byron Howard, produced by Roy Conli, John Lasseter, Glen Keane)
Julianne Moore《单身男子》第一篇影评流出! SHORT TAKE: “A Single Man” (***1/2) Posted by Guy Lodge · 6:26 am · September 11th, 2009 Venice Film Festival In a curious way, revered fashion designer Tom Ford had a defined auteur’s stamp before he ever so much as shot a frame of his debut film: from his louche advertising campaigns to his infamous curation of Vanity Fair’s 2007 Hollywood issue to the forms and textures of his designs themselves, Ford has constructed a highly idiosyncratic brand identity fusing burnished retro cool and chilly modern eroticism. No surprise then, that the handsome, eggshell-delicate character study “A Single Man” is very much an extension of that identity: trading in polished surfaces and swoonily aestheticized desire, the film looks on occasion like an animated GQ shoot. (And yes, Ford provides the leading man’s wardrobe.) But just as you’re tempted to dismiss the film as a gorgeous vanity exercise, it reveals a keen beating heart beneath the decor — and the match of Ford’s precise sensibility to Christopher Isherwood’s 1964 literary examination of the effect of grief on an overly compartmentalized life begins to make perfect sense. In a graceful, meticulous performance that easily ranks as his finest screen work to date — and merits serious awards consideration — Colin Firth plays George, a British academic living in Los Angeles who finds his life slowing to an impasse as he struggles to recover from the death of his lover Jim (Matthew Goode). As he bides his time with increasingly indifferent teaching and melancholy get-togethers with his boozy friend and neighbor Charley (a tart, affecting miniature from Julianne Moore), the film follows George through a single day, wherein a key life decision gradually veers off-course. It’s a spare, moving narrative of only-connecting, through which Ford initiates larger enquiries into sexuality, loneliness and etiquette: it’s easy to read Firth’s intriguingly opaque characterization as a mirror for Ford’s own personal and social insecurities. To this end, the arch visual stylization that runs rampant here feels fitting; some might cry “indulgence” or even “kitsch” over Ford and DP Eduard Grau’s shimmery images of bodies in motion, not to mention intricate lighting tableaux that blush from desaturation to rosy intensity according to George’s mood, but this sensual excess (alternately recalling Visconti and Wong Kar-Wai in its most beautiful moments) aptly chimes in with the heightened perspective of its character. (Nobody in their right mind, meanwhile, should have a problem with Abel Korzeniowski’s exquisite score.) I don’t want to oversell the film, whose talkiness and modesty of scale will probably keep it at the bijou end of the arthouse, but it’s a distinctive, deeply felt debut from someone with a clear, confident feel for the medium. Whether or not Tom Ford is actually a born filmmaker remains to be seen — I’m fascinated to see where he goes from here — but the material of “A Single Man” couldn’t be more elegantly tailored to his build.
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