TV monitor: Final Grades for the 1999-2000 TV Season
(05/20/00 4:00am)
Top of the Class
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Top of the Class
We know their faces, we remember their lines, we sometimes even know their real-life names. But invariably, we take what they do for granted. Well, that's not going to happen today. To all the great supporting actors of the television world, I salute you!
Trisha Yearwood is all about love.
Bret Easton Ellis wrote his 1991 novel "American Psycho" to satirize the excess of the 1980s in all its materialistic and greedy glory. He used extreme violence and sexual situations to emphasize his point, but readers got so caught up in the book's carnage, they never got the joke. Luckily, director Mary Harron is in on the joke, and she has no problem letting viewers find the humor either.
"Boys Don't Cry" is at times appalling, brutal, cold, disturbing, exhausting, fierce, grueling, harrowing. It runs the alphabet of dark emotions that are all equally upsetting, for no reason more than the fact that its story is true.
Just like the classic Ford model that inspired their name, Gran Torino is revving up for an appearance tomorrow night at Trax.
In mining possible story ideas to write about as I debut my television column, I found myself inundated by the same concept over and over again: "The Sopranos." But I'll refrain from writing here about HBO's award-sweeping seriocomic story about family and the mob ties that govern them for two main reasons: every other print magazine has already salivated over the show, and more importantly, I don't get cable here so I haven't seen the majority of its episodes this season.
I have to take you to task. Your choices this year for Academy Award nominations have made me almost as scared of you as I am angry. The reason is simple: You did not do your job this year.
Recently, audiences have witnessed modern-day incarnations of "Hamlet," "Romeo and Juliet" and "The Taming of the Shrew," so it was only a matter of time until Shakespeare's sonnets received similar treatment.
I've often wondered what causes a film to flounder. Do the people involved know that it's bad? Do they actually work hard to change what is going wrong, or do they just idly sit back in anticipation of their obscenely large paychecks?
Dustin Hoffman. Melanie Griffith. Nathan Lane. Without the foresight and vision of director Mike Nichols, none of these actors (and probably countless others) ever would have entered the coveted pantheon of household names.
Well, the award's name may be Grammy but this year's playing field of nominees, made up almost entirely of young upstarts and industry newcomers, sure don't reflect the prowess nor the values of an older generation.
1999 was certainly a banner year for film. Movies explored the heart of a disenchanted husband ("American Beauty"), the soul of a misunderstood killer ("The Talented Mr. Ripley"), and, quite literally, the mind of an enigmatic movie star ("Being John Malkovich"). But in "Magnolia," writer-director Paul Thomas Anderson confronts us with an even more hidden frontier: ourselves.
The 17 hopefuls who stand center stage right now at Culbreth Theatre are auditioning for eight spots (four women and four men) as members of the company of a new Broadway musical. These people do not anticipate ever playing a leading role on the Great White Way, but instead vie for a spot as background dancers and singers -- the cast members whose names audiences never learn and the biographies that go unread in the playbill.
I was disappointed when, as I exited the cineplex where I just had seen Michael Mann's fluidly constructed "The Insider," the person behind me said to her date, "That movie just lumped two plots together."
There's a reason why Mariah Carey has always given her albums ("Butterfly," "Daydream") the blandest, most uninspired titles imaginable: They contain the blandest, most uninspired songs imaginable.
One of year's most anticipated films hits theaters Friday. Michael Mann's "The Insider," starring Al Pacino and Russell Crowe, provides a glimpse into the behind-the-scenes machinations of a "60 Minutes" exposé of the tobacco industry that never made it on the air.
Last night, students, professors and filmmakers alike celebrated the art of artifice as the 12th Annual Virginia Film Festival commenced.
Odd, isn't it? Over half of all marriages end in divorce, but movies that deal with the painful process itself are few and far between.
Last year, in "Six Days, Seven Nights," Harrison Ford's character survived a plane crash. Now, in "Random Hearts," Ford plays Dutch Van Den Broeck, who suffers a far more harrowing catastrophe - he must deal with his wife's demise after her plane goes down. Unfortunately, sitting through this movie makes her fate seem like a welcome alternative.