Kathryn Bigelow wins the DGA Award


Kathryn Bigelow won the DGA award last night for directing The Hurt Locker and became the first woman ever to scoop the honour.

Bigelow beat out fellow nominees Lee Daniels (Precious), Jason Reitman (Up in the Air), Quentin Tarantino (Inglourious Basterds) and James Cameron (Avatar).

Some pundits favoured Cameron after his win at the Golden Globes and Avatar’s extraordinary box office success, which recently passed Titanic to become the highest grossing film of all time.

However, The Hurt Locker has been the most acclaimed film of the awards season, winning most of the critics and guild awards that pave the way to the Oscars next month.

Bigelow’s victory is her 15th award for her work on the film which examines the experiences of a bomb disposal unit in the Iraq War.

She is now the frontrunner for the Best Director Oscar, which the DGA has correctly predicted for 56 of its 62-year history.

We should also mention that her directorial team were:

  • Unit Production Manager: Tony Mark
  • First Assistant Director: David Ticotin
  • First Assistant Director (Canadian Unit): Lee Cleary

* Have a listen to our interview with Kathryn Bigelow and screenwriter Mark Boal about The Hurt Locker *


UK Cinema Releases: Friday 29th January 2010

Edge of Darkness (Icon): Mel Gibson returns with his first leading role in several years in this adaptation of the BBC TV series of the same name. He plays a Boston homicide detective who uncovers a shadowy political conspiracy after his activist daughter (Bojana Novakovic) is killed.

Directed by Martin Campbell, who also made the original series, it co-stars Ray Winstone and Danny Huston. Although a functional thriller, it compresses six episodes of television into a two hour film and loses a lot in translation despite the best efforts of all concerned. [Nationwide / 15]

Precious: A Novel by Sapphire (Icon): An adaptation of the 1992 novel Push by Sapphire which depicts the struggles of an obese, illiterate teenage girl (Gabourey Sidibe) as she dreams of a better life away from her abusive mother (Mo’Nique) in Harlem circa 1987.

Since premièring at Sundance last year, this has been a hit on the festival circuit and is a shoo-in for BAFTA and Oscar nominations, with Monique odds on to win the Best Supporting Actress. Directed by Lee Daniels, it contains some excellent performances, especially Sidibe and Monique although parts of it don’t work, especially the fantasy sequences. [Selected cinemas Nationwide / 15]

The Princess and the Frog (Walt Disney): Disney return to hand drawn animation with this loose adaptation of E. D. Baker’s novel The Frog Princess, which itself was inspired by the Grimm fairy tale “The Frog Prince”. The story involves a young girl named Tiana (Anika Noni Rose) who lives in New Orleans’ French Quarter during the Jazz Age and a prince (Bruno Campos) under a curse.

Directed by John Musker and Ron Clements (who made The Little Mermaid, Aladdin, Hercules, and Treasure Planet), it features songs and score by Randy Newman and the voices of Anika Noni Rose, Oprah Winfrey and Keith David. [Empire Leicester Square & West End / U] * Nationwide from 5th February *



Breathless (Terracotta Distribution): A South Korean gangster film directed by Yang Ik-Joon, who also stars as a bitter and abusive debt collector. [ICA Cinema & Key Cities]

Adoration (New Wave Films): A belated UK release for this 2008 Canadian drama from director Atom Egoyan about a high school student who weaves his family history into a news story involving terrorism. [Key Cities / 15]

Late Autumn (bfi Distribution): A BFI reissue for this 1960 drama directed by Yasujiro Ozu which stars Setsuko Hara and Chishu Ryu in the tale of three older men who help the widow of a late friend to marry off her daughter. [BFI Southbank & Key Cities / PG]

Our Beloved Month Of August (Cine Lumiere): A Portuguese comedy directed by Miguel Gomes, set against the backdrop of the Pardieiros dance-music festival. [Cine Lumiere / 12A]


Check out all the UK cinema releases for January 2010
DVD and Blu-ray Picks for Monday 25th January including Magnolia and Fish Tank
Get local cinema showtimes for your area via Google Movies

Trailer: Wall Street 2 Money Never Sleeps


The first trailer for the Wall Street sequel Money Never Sleeps has arrived.

(Click here if the above one doesn’t work)

There are some nice touches (especially the mobile phone) but doesn’t this feel like it should have been made a few years ago before the collapse of Lehman Brothers?

It started filming in New York last September with Michael Douglas back as Gordon Gekko and Oliver Stone returning to direct.

The plot is the modern-day story of Gekko, who has recently been sprung from prison and re-emerges into the current chaos of the financial markets, whilst trying to rebuild a relationship with his estranged daughter (Carey Mulligan).

Meanwhile Shia LaBeouf plays a young trader and Frank Langella stars as his mentor, whilst Josh Brolin has a key supporting role as a hedge fund manager.

It is released in the UK and US on Friday 23rd April.

Miramax effectively closes down

Disney effectively decided to shut down Miramax on Thursday as they announced that the New York and Los Angeles offices of the art house movie studio will close.

Although Disney may decide to keep it as a distribution label within their major film division, effectively as a shell of its former self, 80 employees will lose their jobs and the company as we once knew it, is now essentially over.

At the moment there doesn’t appear to be an official line on what will happen but according the the New York Times, around 20 employees will be folded into their major studio operations and the six films awaiting release will come out under the Miramax banner.

Although closure had been on the cards for some time, especially when former president Daniel Battsek left back in the Autumn, the move is still a powerful reminder of harsh times the film business faces with squeezed finances due to the recession.

As to who will be in charge of winding it up, selling it or keeping it as a production label nothing has officially been announced yet.

If Disney did sell the studio, the handful of films in currently in production, the Miramax name and the valuable library of around 500 films – including Pulp Fiction, The English Patient, Good Will Hunting, Shakespeare in Love, Chicago and Kill Bill – could fetch over $1.5 billion according to Variety.

Nikki Finke is reporting that Summit are interested in buying Miramax, the logic would appear to be that they have a lot of cash from the Twilight franchise and it would be a way for the young studio to acquire projects and a library in one go.

Back in 2008, before the demise of Lehman Brothers and the near-collapse of the global financial system, New Line and Paramount Vantage were just two high profile casualties of studios reining back their specialty divisions.

The indie film boom of the 1990s and subsequent creation of dependent divisions such as Fox Searchlight, Vantage, Focus Features and Warner Independent, was in large part due to the success of Miramax who managed to make or acquire lower budget films and market them to awards and box office glory.

Founded in 1979 by Bob and Harvey Weinstein, the company broke into movie distribution with The Secret Policeman’s Other Ball in 1982 and established a knack for acquiring films from international filmmakers and rebranding them for US audiences.

In 1989 they achieved a breakthrough successes with sex, lies, and videotape (1989), which established Steven Soderbergh as a director (he won the Palme D’Or at Cannes that year) and also set the template for the Sundance film festival as a mecca for filmmakers and buyers, where indie movies could be bought and then distributed at a decent profit.

When Disney acquired Miramax in 1993, things went up to another level as the new injection of corporate cash gave the Weinsteins greater power to buy independent films, which they then marketed with an extraordinary focus and panache, controlling the post-production and campaigning them aggressively for Oscar voters.

Despite controversies over their larger than life methods, they were hugely successful with a remarkable run of 13 Best Picture Oscar nominations in 11 years (from 1992 until 2002), with films as diverse as The Crying Game, Pulp Fiction, Il Postino, The English Patient, Good Will Hunting, Life Is Beautiful, Shakespeare in Love, Chicago, City of God, Kill Bill all hits at the box office and with the Academy.

Pulp Fiction was to the 90s indie scene what Star Wars had been to the Hollywood of the 70s – a film that rewrote the business and artistic rule book by grossing over $100 million at the US box office on a budget of just $8.5 million (and $10 million marketing costs) before going on to make over $200 million worldwide.

The fact that the film (effectively funded by Disney) could feature relentless profanity, male rape and several violent deaths and scoop several Oscar nominations (and win for Best Screenplay) shows how far Miramax had come.

For a decade from the mid-90s onwards their hold on the awards season was incredible. Films like The English Patient (1996) and Shakespeare in Love (1999) won Best Picture and in 2002 they had no less than 3 of the 5 Best Picture nominees: The Hours; Gangs of New York and the eventual winner Chicago.

But they weren’t all about winning awards. Their less glamorous sister division Dimension was very profitable with films like Scream (1996), Spy Kids (2001) and Scary Movie (2000) all launching franchises.

With success though, came behind-the-scenes rancour and conflict, not only with film-makers who felt burnt by their hands on business methods and ‘creative input’, but more significantly with Disney head Michael Eisner.

He famously turned down the Lord of the Rings trilogy when Miramax wanted to film the trilogy of books as a 2-film adaptation (apparently it was ‘too dark’ for the Mouse House) and was also increasingly alarmed at the growing budgets of films like Cold Mountain (2003) as well as the hot potato release of Michael Moore’s Fahrenheit 9/11 (2004).

By 2005 the Weinsteins left to form their own studio (The Weinstein Company), although they have struggled ever since to have the same level of success and many observers think that could struggle to survive in the current financial climate.

In the meantime the rebooted Miramax, under new British president Daniel Battsek, managed to achieve some notable critical and commercial successes with Tsotsi, The Queen, Gone Baby Gone, The Diving Bell and the Butterfly and two landmark co-productions with Paramount Vantage in 2007: No Country for Old Men and There Will Be Blood.

However, the Oscars at which No Country For Old Men triumphed in March 2008 would mark the end of an era – budgets were down and the number of releases was way back from what was the norm in the company’s heyday.

By 2009 Disney was rethinking its approach to the specialty market to just three films a year and when Battsek, who had done a remarkable job in many ways, left in October, the writing was on the wall.

When the long time chairman of Disney’s movie division Dick Cook was effectively ousted, a new corporate approach to movies was apparent under the leadership of Bob Iger and it was one in which Miramax didn’t appear to have a place.

Speaking to The Wrap, Harvey Weinstein said he felt nostalgic about the studio he founded:

“I’m feeling very nostalgic right now. I know the movies made on my and my brother Bob’s watch will live on as well as the fantastic films made under the direction of Daniel Battsek. Miramax has some brilliant people working within the organization and I know they will go on to do great things in the industry.”

Another Miramax alumnus was director Kevin Smith, who got his break when his debut feature Clerks was acquired at Sundance in 1994. Writing for The Wrap he said he was crushed by the closure of the studio:

What Harvey and Bob built from scratch resembled an old studio star-factory; but this time, the stars were the filmmakers.

It was a gang (of New York), and like any good gang, it was dripping with street cred. Just being a part of that gang sent a message: I run with rebels.

But Miramax wasn’t just a bad-boy clubhouse, it was a 20th century Olympus: throw a can of Diet Coke and you hit a modern-day deity. And for one brief, shining moment, it was an age of magic and wonders.

I’m crushed to see it pass into history, because I owe everything I have to Miramax. Without them, I’d still be a New Jersey convenience store register jockey. In practice, not just in my head.

The most recent Miramax film was the Robert De Niro comedy-drama Everybody’s Fine (an ironic title given the company’s current woes) which grossed just $9 million following its December release.

Upcoming releases include The Debt (a thriller directed by John Madden and starring Helen Mirren); The Tempest (by director Julie Taymor, also starring Helen Mirren and Russell Brand); Don’t Be Afraid of the Dark (written by director Guillermo del Toro); The Baster (a comedy starring Jennifer Aniston); Gnomeo and Juliet (starring James McAvoy and Emily Blunt) and Last Night (starring Sam Worthington, Eva Mendes and Keira Knightley).

For a deeper history of Miramax, you should read Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film, the 2004 book by Peter Biskind which explored the rise of US independent cinema in the 1990s.

You can also listen to an interview I did with him back in the summer of 2008 where we discussed Miramax at length here.

DVD: Fish Tank

Fish Tank (Artificial Eye) is writer-director Andrea Arnold’s second feature-length film, and another deeply impressive piece of work after her Oscar winning short Wasp (2005) and Red Road (2006).

It is the tale of a teenage girl named Mia (Katie Jarvis) who lives with her mother and younger sister on an poor Essex housing estate.

Frustrated with her life and lack of options, things begin to change when she strikes up a friendship with her mother’s new boyfriend (Michael Fassbender).

Unlike many British films which feature aristocrats in period costume or gangsters who swear a lot, this takes what seems like humdrum material and does something really special with it.

Central to the film is the debut performance of newcomer Katie Jarvis who is magnetic in the central role, conveying the emotions of a disaffected teenager with remarkable clarity and sensitivity.

The story picks up with Mia having been expelled from school and spending her time drinking and practising her dancing in a derelict flat near to her family’s council flat home.

With her life spiralling out of control, things don’t look like getting any better when her mother Joanne (Kierston Wareing) brings home a new boyfriend named Connor – but he seems like the kind of decent and encouraging person who can offer Mia hope and a way out of her life.

Part of the strength of Fish Tank is the way in which it subverts expectations of this kind of material. There are no patronising clichés of working class life and the material rested firmly on the two central characters, both of who are played with perfect pitch by Jarvis and Fassbender.

The final third of the film uncoils with a slow burning sense of unease as it is very hard to tell what is going to happen and the depiction of poverty in modern day Britain is sobering without ever being heavy handed.

Interestingly, Arnold and her cinematographer Robbie Ryan have opted to shoot the film in the 1.33:1 aspect ratio (so the frame is almost square) which is a rare sight in modern cinema.

Gus Van Sant’s Elephant (2003) is the only film in recent years that I can remember using it, but it gives this a distinctive visual feel and tone which takes it into another place.

Proof that Andrea Arnold is currently one of the most accomplished directors working in Britain today, the film could see her move on to a bigger canvas and even more acclaim sooner rather than later.

Frustratingly, there isn’t a Blu-ray release at the moment (maybe Artifcial Eye’s budget’s are stretched?) but the DVD comes with the following extras:

  • Andrea Arnold’s Oscar® winning short film ‘WASP’ starring Natalie Press & Danny Dyer
  • Gallery

Fish Tank is out now from Artificial Eye

> Buy Fish Tank on DVD from Amazon UK
> Fish Tank at the IMDb