The Screengrab : lily tomlin

Madonna On Film: Screengrab Celebrates Her Top Ten "Best" and Worst Performances (Part Two)

Andrew Osborne — Wed, 20 Aug 2008 19:00:00 GMT

And now...the stinkers.

6. Marie in Shadows and Fog (1992), Elspeth in Four Rooms (1995)

As noted in Part One, Madonna works best in movies when used as spice in a cameo...except, of course, when the cameo is lousy. Yet, though these two performances are, in fact, terrible, it’s hard to judge Ms. Ciccone too harshly for either of them, given the fact that Lily Tomlin, Jodie Foster and Kathy Bates hardly fare much better in Woody Allen’s limp, pretentious Shadows and Fog, and nobody but the lucky actors in Robert Rodriguez’s section of the misbegotten omnibus film Four Rooms bothered to give a coherent performance, either.

7. Abbie Reynolds, The Next Best Thing (2000)

The only movie in Madonna’s filmography where she attempts to play a completely “normal,” contemporary human being (as opposed to a 1940s ballplayer, an S&M obsessed murder suspect, a tightrope walker, an elfin princess, a witch, an Argentine dictator, a kooky East Village free spirit, etc.), Ms. Ciccone earns low points here if only for somehow finding a way to make the song “American Pie” even more annoying than it already was. To be fair, I never saw this movie either, but my lovely Polish bride informs me that Madonna's performance here as a straight woman in a custody battle with her gay baby daddy features exactly one funny sight gag involving the Material Boobs, but otherwise earns its #7 spot fair and square, given Madge's complete lack of chemistry with friend and co-star Rupert Everett and the fact that she seems "like an automaton” throughout “like she always is.”

8. Eva Peron in Evita (1996)

While Ms. Ciccone may have worked harder on this role than any other in her cinematic career (even finally learning to sing after more than a decade as a successful recording artist) it is, in many ways, her most annoying performance, partly because she’s clearly so impressed with herself, partly because so many critics played along with the charade (even going so far as to award her efforts with a Golden Globe for Best Actress in a Comedy or Musical), but mostly because she transformed an ironic cautionary tale of the rise and fall of a dictator’s wife into a triumphant love story about the rise and rise of a plucky, ambitious gal (not unlike – hey! – Madonna herself!), all the while downplaying the nastier side of Peron’s (and her own) egomaniacal megalomania and its often toxic effect on the peasants who love her...thus deliberately undercutting the plot and theme of her own movie (not to mention Antonio Banderas’ role as spokesman for the downtrodden and future t-shirt model Che Guevara who, with no antagonist to play against, merely comes across like a whiny little bitch).

9. Rebecca Carlson in Body of Evidence (1993)

For all her onstage masturbation, conical Gauliter bras and nude photo shoots, Madonna has never really had a handle on sex. For her, the beast with two backs has nothing to do with joy, love, pleasure or fun, which makes this so-called “erotic” thriller such a complete slog as she fucks Willem Dafoe on shards of broken glass (hot!!!), spits out Razzie-winning lines like “Have you ever seen animals make love, Frank?” and reminds us that, apparently, being Sharon Stone isn’t quite as easy as it looks.

10. Gloria Tatlock, Shanghai Surprise (1986), Amber Leighton, Swept Away (2002)

For some reason, both of Madonna’s husbands (co-star Sean Penn and director Guy Ritchie) managed to distill all of Ms. Ciccone’s worst cinematic instincts into a pair of monumentally shrill, annoying, wooden performances in two of the worst movies ever made. Penn at least had the excuse of being drunk throughout production of Shanghai Surprise (though, sadly, I wasn’t drunk or stoned or, even better, unconscious while sitting through it), and I’m not sure what Guy Ritchie’s excuse was for making Swept Away, unless (as with his short BMW promotional film “Star”) he simply couldn’t resist the opportunity to publicly humiliate his beloved spouse. Given her total lack of chemistry with nearly every co-star in her career (except Rosie O'Donnell and, of course, her own reflection), it’s no surprise Ms. Ciccone fares no better with Penn in Shanghai or Adriano Giannini in Swept Away, which my wife summed up with a quote that could apply to any number of Madonna’s past and future cinematic blunders: “Painfully unfunny...another joyless performance.”

Click here for Part One

In Other Blogs: They Shoot Bloggers, Don’t They?

Scott Von Doviak — Fri, 30 May 2008 15:30:00 GMT

Along with movie fans everywhere, film bloggers bid farewell to Sydney Pollack this week. Bright Lights After Dark sums up the prevailing sentiment in the title of this post: Good Director, Great Actor. “One of the best, certainly one of the most unusual, episodes of the half-hour anthology series, Alfred Hitchcock Presents, was 1960's 'The Contest for Aaron Gold.' Directed by Norman Lloyd and based on a story by Philip Roth, it’s about a camp counselor, a teacher of ceramics, who observes a special talent in Aaron (Barry Gordon), one of the boys he is instructing in arts and crafts. While the other boys are using their clay to make crude snakes and pots, Aaron is making a finely detailed sculpture of a knight. But there’s a problem. The sculpture is missing an arm, and for some reason, Aaron refuses to complete it. The night before the boys’ parents are due to arrive, the counselor decides to complete the sculpture himself – with unexpected results. I recall this episode today, among other reasons, because of the extraordinary natural performance by the actor who played the camp counselor. It was the late Sydney Pollack, and to see him in this role is to wonder why he didn’t have the major acting career of a Hoffman or a De Niro. Instead, of course, Pollack became a director, and - not surprisingly - directing actors was one of his greatest strengths.”

Arbogast on Film offers a somewhat more pointed appreciation. “Sydney Pollack rates about half a dozen references in Peter Biskind's Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock'n'Roll Generation Saved Hollywood, which means, I guess, that Biskind doesn't consider Pollack (who died yesterday at the age of 73) one of those saviors. Well, fuck Peter Biskind. I'm not knocking Martin Scorsese, Francis Ford Coppola, Dennis Hopper, Paul Schrader or Brian DePalma - I like a lot of their movies, too - but at least Pollack never got high off his own supply and turned into a pathetic caricature of himself.”

At Beyond the Multiplex, Andrew O’Hehir has a post-Cannes wrap-up. “Along the Croisette, the enormous billboards for international co-productions that may never be made, let alone seen by the paying public, will quickly come down. This year's most ubiquitous and puzzling ad was pushing an Egyptian-made thriller (or something) called The Baby Doll Night, featuring a tank on a ruined street with a woman's slip hanging from its cannon. It asks: ‘Can one night of pleasure mend 60 years of pain?’ Well, I'm just not sure. Another total baffler was a film called The Seven of Daran: The Battle of Pareo Rock, which appears to feature a baby giraffe, two kids, a helicopter and the slogan: ‘A myth never been told.’ (Fellow blogger and Cannes drinking buddy Glenn Kenny prefers the tagline for the Jason Statham vehicle Transporter 3: ‘The rules remain the same. Except some changes.’)”

Cinema Styles proprietor Jonathan Lapper has put together a terrific movie clip montage called Frames of Reference. “I knew I wanted to take just one piece of music, and using no ambient sounds from the films themselves, edit together clips building a rhythm according to the natural rhythm of the music. I had another goal in mind as well. I did not want to move through film history chronologically, working from a hundred plus years back and moving forward or going in reverse, and I did not want to break it down into sections according to genre. What I wanted to do, and did, was take advantage of the language of film, the words and letters, and the fact that so many films, whether consciously or not, use the same shots, the same angles, the same movements when telling their story. And so the montage exploits these similarities and puts them to the rhythm of the music.” Watch it here.

And finally in List-o-Mania, ReezChannel commemorates the release of Sex and the City with a Tribute to Big-Screen Cougars, “that special breed of single woman, generally in her 30s or 40s, who tosses aside traditional notions of femininity with a bold, independent, sexually adventurous approach to life.” Has the world forgotten Lily Tomlin in Moment by Moment? (The correct answer is “yes.”)

James Caan vs. The Cookie Monster

Scott Von Doviak — Wed, 23 Apr 2008 15:30:00 GMT

The other day we caught up with the congenial David O. Russell, the director who rassled George Clooney while making Three Kings and whose tirade against I Heart Huckabees star Lily Tomlin became a YouTube sensation. At the time, all we knew was that James Caan had left the set of Russell’s latest opus, Nailed, for the usual reason: “creative differences.” Now that we know what those differences were, the story is even better.

According to the Hollywood Reporter, “The trouble started Wednesday on the first of Caan's two days of shooting the role of a U.S. speaker of the house who chokes to death on a cookie. Russell asked him to cough as he choked, but Caan argued that the character couldn't cough and choke to death at the same time. Russell suggested that they shoot it both ways, but the actor expressed distrust that his version would be considered and left the South Carolina set.”

Please, YouTube. We’re begging you. Come through for us here, because we need to see this. How long did this cookie dispute go on? Was there some tension over the choice of cookie? Perhaps Russell wanted an Oreo and Caan insisted on a Nutter Butter. It’s just a shame they couldn’t work this out, but according to the Reporter, Caan’s part is being recast.

Yesterday's Hits: Nine to Five (1980, Colin Higgins)

Paul Clark — Tue, 22 Apr 2008 19:00:00 GMT

The 1970s saw a rise in women in the workplace, with female employment levels in America reaching their highest point since World War II. But while women were making inroads into the job market, they often found themselves frustrated at the treatment they received from the men they worked with, and for. By the end of the decade, this issue was getting too big to ignore, and Hollywood decided it was time to place it front and center in a major motion picture. The result was Nine to Five.

What made Nine to Five a hit?: To begin with, the film’s premise was timely. However, topicality doesn’t guarantee box office, as anyone who’s been following the grosses for Iraq War films can tell you. Say what you want about issues, but most audiences just want to have a good time, and Fox and director Colin Higgins made the wise decision to package their message in the form of a spunky, crowd-pleasing comedy, and a wish-fulfillment fantasy in which three intelligent women get revenge on their “sexist, egotistical, lying, hypocritical bigot” of a boss. Audiences, especially women, ate it up.

Of course, the filmmakers were aided by their three leading ladies, an unexpected but inspired combination: Jane Fonda, Lily Tomlin, and Dolly Parton. Fonda had spent most of the seventies in serious roles- and running afoul of the conservative element with her opinions on Vietnam- and Nine to Five gave her a chance to have fun onscreen. Tomlin, in only her fourth big-screen role, was well-known to television audiences for her beloved characters like Ernestine the Telephone Operator and Edith Ann. But the real casting coup was Parton, then best known as a popular country singer, making her acting debut opposite these two established veterans. Whether they were Dolly fans or simply curious to see whether she could actually act, Parton’s presence in the film contributed as much to its box office take as any other factor, making it the second-highest-grossing film of 1980, trailing only The Empire Strikes Back.

What happened?: Part of the problem with topicality is that there’s always a risk that a once-relevant message will eventually become dated. While women still have a way to go before they achieve equality in the workplace, there have nonetheless been great strides made in that direction in the past quarter century. As a result, Nine to Five feels pretty quaint by today’s standards. And while the film’s three stars proved an irresistible draw for audiences, the subsequent years did little to capitalize on their big-screen popularity.

Fonda’s eighties work was far less memorable than the roles she played in the seventies, and by the end of the decade she was better-known for her popular 20 Minute Workout series than she was for her acting. Tomlin, who was more a character actress than a leading lady anyway, made only a handful of movies during the 1980s. And despite several attempts, Parton never found another role that utilized her unique talents. Nowadays, many younger viewers know the film primarily from Parton’s still-famous title song.

Does Nine to Five still work?: Sort of. The film begins promisingly, as hyper-competent veteran Tomlin shows new employee Fonda the ropes, and the film gives us a feel for the dynamic around the office. Higgins also establishes Parton’s role nicely, making her a dutiful employee whose looks and position lead her female coworkers to believe that she’s sleeping with the boss (Dabney Coleman).

But halfway through, the plot becomes bogged down in gimmickry, beginning when Tomlin begins to think she may have killed the boss. Following a long sequence in a hospital and a misunderstanding involving a corpse, Coleman re-enters the scene and comes to believe the women wanted to kill him. So rather than risking arrest, the trio holds him hostage in his home until they can find a way to blackmail him into not turning them in. I liked that the women’s taking control of the office in his absence ends up making the boss more popular than ever with the staff, but unfortunately there’s too much tortured schtick involving Coleman being suspended from the ceiling while wearing makeshift bondage gear to wave through before you get to the big climax.

That said, there’s still a lot to like about Nine to Five, especially its lead actresses, each of whom is at the top of her game. In her prime, Fonda always made for a strong, sympathetic protagonist, and she’s very good here as the audience surrogate. The ever-dependable Tomlin once again proved to be an ace verbal comedian (she gets most of the best one-liners) while showing a real vulnerability. But Parton is best of all, proving she had real movie star stuff. Her outsize persona made her tricky for casting directors, but it’s still a shame that she never again found a role that was half as good as this one. Nine to Five isn’t close to perfect, but it’s still fun to see its three stars working together and clearly having a ball. Observing their undeniable comedic chemistry, is it any wonder that, almost thirty years later, they say they’re still open to the possibility of making a sequel?

David O. Russell: People Person

Scott Von Doviak — Mon, 21 Apr 2008 18:30:00 GMT

A new David O. Russell film is in production, which must mean that the notoriously prickly filmmaker isn’t getting along with somebody. George Clooney was the first to report that Russell might not be all sunshine and roses on the set; actor and director famously had “creative differences” while making Three Kings. Clooney elaborated in an interview with Playboy in 2000. “David is in many ways a genius, though I learned that he's not a genius when it comes to people skills…He yelled and screamed at people all day, from day one…he screamed at the script supervisor and made her cry. I wrote him a letter and said, 'Look, I don't know why you do this. You've written a brilliant script, and I think you're a good director. Let's not have a set like this. I don't like it and I don't work well like this.'…He turned on me and said, 'Why don't you just worry about your fucked-up act? You're being a dick. You want to hit me? You want to hit me? Come on, pussy, hit me.' I'm looking at him like he's out of his mind. Then he started banging me on the head with his head. He goes, 'Hit me, you pussy. Hit me.' Then he got me by the throat and I went nuts. I had him by the throat. I was going to kill him. Kill him.”

So that went well, and although it’s sad that there’s no video evidence of this dust-up – at least, none that’s surfaced so far – the same can’t be said for I Heart Huckabees. Anyone reading this has no doubt seen the infamous footage of Russell flipping out on Lily Tomlin, but we’ll take any excuse to post it again.

The good times roll on, as the New York Post blog Popwrap reports. Russell's romantic comedy Nailed, co-written with Kristin “daughter of Al” Gore, concerns a small-town waitress who gets a nail lodged in her head, then finds a “clueless young senator” to champion her cause. The cast includes Jessica Biel, James Marsden, Jake Gyllenhaal…and, until last week, James Caan. According to Caan’s publicist, the actor “did amicably part ways with this production due to creative differences. He wished all of the actors and production crew well when he departed.” One wonders if these creative differences took the form of knuckle sandwiches and, more importantly, whether video evidence exists. It does kind of seem like Russell was asking for trouble in casting the similarly hot-headed Caan in the first place. But apparently even seemingly mild-mannered Gyllenhaal has been infected by Russell’s good vibes. “The crew was filming at the South Carolina State House on Wednesday when Jake began acting like a diva, according to one report. ‘He was complaining that the room was too small, complaining about the temperature, complaining about his chair,’ the source says. ‘It was like watching a two-year-old having a meltdown every five minutes.’ ”

You know the Cloon is loving it. As he told Entertainment Weekly after the YouTube clips from Huckabees surfaced, “I felt bad for Lily but I also felt a little vindicated for anyone that thought that that had anything to do with me on [Three Kings]. But, you know, the last thing in the world I would have done is stick it on the Internet. I don't even know how to get onto YouTube.” The question is: does James Caan?

Movies We Missed: Flirting With Disaster (1996)

Peter Smith — Mon, 15 Oct 2007 18:00:00 GMT

Americans will still pay to see Ben Stiller run his shtick into the ground, judging from the healthy box-office return for The Heartbreak Kid. But we have to look back over a decade to remember when we actually thought Ben Stiller was funny, and before we got a little sick of him playing another neurotic little guy in an impossible situation.

Why we missed it: Director David O. Russell wasn’t yet famous for films like Three Kings or for trying to set Lily Tomlin on fire verbally with a string of f-bombs.

Stiller himself had only achieved cult status for his short-lived sketch-comedy show and modest acclaim for his directorial debut, Reality Bites, when this film came out.

Why we should have known: A cast that included Patricia Arquette, Tea Leoni, Alan Alda, Josh Brolin and Mary Tyler Moore on a minimal budget should have given some indication that this was probably a good script.

The concept — an adopted and (surprise!) neurotic man’s quest to find his real parents accompanied by his pregnant wife, a sexy-but-incompetent case worker and a documentary-film crew — is a great one.

Why we ended up kicking ourselves: Stiller is clearly the right man for this role. Nobody has played a more believable well-meaning-but-ultimately-doomed Jewish guy since Woody Allen invented the role years earlier. His reactions, timing and ability to pull off physical comedy are all perfect here.

Patricia Arquette and Tea Leoni are both genuinely funny. Their half-hearted attempts to win Stiller’s affection create many funny moments and also give the film a little heart.

Russell’s script stays sharp, creative and original throughout the film.

The film’s final sequence involving a pair of gay, vacationing cops, Stiller’s wife, lover, birth parents, adopted parents, newfound brother and some heavy doses of LSD is unforgettable and absolutely hilarious.

Why we may have been better off without it: This role sparked a dozen just like it for Stiller, including real gems like Duplex, Along Came Polly and Meet the Fockers. Reviews that included the word 'genius' seem to be the only ones that David O. Russell read or believed in.

— Bryan Whitefield