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Extremely Good, Incredibly Intense: Tom Hanks, Rita Wilson, Gabby Sidibe, and 400 Security Guards

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It was the penultimate movie premiere of the fall Oscar season– Stephen Daldry’s “Extremely Loud and Incredibly Close.” Or is it “Extemely Close and Incredibly Loud”? No one can remember. This is what we know: it’s Extremely Late and Incredibly Tearful. The movie is based on Jonathan Safran Foer‘s novel about a 10 year old boy whose father dies in the World Trade Center. That’s Tom Hanks. The mom is Sandra Bullock. The mysterious grandfather is Max von Sydow, who is so good he should be nominated for an Oscar. It will take members of the Academy to save him.

Along the way the boy–who was found on “Jeopardy!”–meets Viola Davis and Geoffrey Wright, among others. He walks from the Upper West Side to Fort Greene, Brooklyn. You either find it preposterous or very moving. Or both.

At the premiere at the Ziegfeld, all the stars and the director arrived. Everyone had to pass through massive metal detectors even though this film is not the biggest of the year and probably no one wants to pirate it. There were no metal detectors at the premieres of “War Horse” or even “The Girl with the Dragon Tattoo.” This is called ‘overkill.’ There were dozens of very serious security people eying the guests as if they were recent residents of Rikers Island. It was kind of funny.

All the stars bunched up near the little green room just beyond the inside theater doors. Tom Hanks and Rita Wilson were briefly separated. “Where’s Tom?” Rita asked, nervously. She told me her album is coming on May 6th from Decca Records. She’s a good singer. Tom Hanks, stuck in this little passageway, said, “I want to keep everyone incredibly close.” I told him I’d seen the movie last week, and that he was very affecting in it. (He is.) He said, “Tell me, is at as good as, say, “New Year’s Eve”? He’s very funny. “New Year’s Eve” got the lowest score of the year just about, on Rotten Tomatoes.

Viola Davis came along. She’s been nominated by every award group this week for “The Help.” She’s also in this movie. She greeted Sandra Bullock. They immediately started talking about their adopted toddlers. They’re all very happy, which is nice. Gabourey Sidibe wandered through, and said hi to everyone. It was like an Oscar reunion.

Then came Stephen Daldry. He kisses everyone. He’s light as a breeze. Each of his movies has gotten lots of Oscar nominations, but this one has been late late late out of the gate. Can it overcome the obstacle? I think so. But the Hollywood Foreign Press didn’t like it–it was too much a “New York” movie. Inside the theater, Daldry spoke, and introduced lots of people from Tuesday’s Child, a 9-11 group. He also gave a shout out to the McGinly family, who participated in the film. They lost their son and brother Mark, who was 26, in the World Trade Center.

And so: I think there was an after party. I wasn’t invited (no press was, or little press, as producer Scott Rudin likes to keep it all a little hostile just to keep us awake). Instead I went to see “Lysistrata Jones” on Broadway. It is totally atrocious. I can’t even write a whole item about it. It started in a gym downtown, and it should have stayed there. No one wants to be hard on a new musical, but really. There are limits.

As I left the Ziegfeld, I had to go through the metal detectors. To get out. Of course, now I set them off. The alarms rang. The paramilitary crew hanging around the lobby looked worried. Who do you have to know to get out of this place?

Go see “Extremely/Incredibly.” It’s a good drama. Warner Bros. took a gamble on it, and it paid off. And it’s better than “New Year’s Eve.”

Golden Globes Nix All Network TV Dramas, Go Cable Only

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The Hollywood Foreign Press didn’t win any points with the big TV networks this morning. Indeed, their choices for Best TV Drama look like the Cable Ace Awards more than the Emmys. They chose five shows that appear on cable and nothing from NBC, ABC, or CBS. They went for “American Horror Story” on FX, “Homeland” on Showtime, “Boss” on Starz, “Game of Thrones” on HBO, and “Boardwalk Empire” on HBO. That means no “Good Wife” from CBS, “Friday Night Lights” if it still exists, or any of the stuff on ABC since “Lost” went off the air. The networks have ceded so much time and effort to crappy reality shows, they’ve been forgotten. That’s a statement. The Globes didn’t even try to appease NBC, their host network, with a nod to “Harry’s Law.” And they totally missed Fox’s “Fringe.” Not only that–none of the five best actor nominees in drama came from a network show, either. Hello! Three of the five Best Mini Series or Movies came from HBO. The other two were from PBS and BBC. Talk about outsourcing!

Golden Globe Nominees: The Artist, Ides of March Rebounds, Viggo Returns

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The Golden Globe nominations were pretty much scandal free this morning. Everyone got something with the exception of Stephen Daldry’s “Extremely Loud and Incredibly Close” which was incredibly late to be screened. But for the first time in years I can say I agree with the nominations, especially Rooney Mara for “The Girl with the Dragon Tattoo.” And the Globes rescued a few films, by nominating Viggo Mortensen for “A Dangerous Method” and Glenn Close and Janet McTeer for “Albert Nobbs.” Woody Harrelson was not nominated, yet got a big laugh by giving a plug for “Rampart” before he read off his list of nominations. Very witty. The Hollywood Foreign Press also loves George Clooney so much they brought back “Ides of March” and nominated Ryan Gosling for Best Actor, Clooney for Director, the film for Best Drama. Because the Globes divide between Drama and Comedy in most categories, lots of people got nominated who will not be going to the Oscars. This guarantees NBC a nice full room of stars on January 15th. Strangest nomination: Angelina Jolie for Best Foreign Film with “In the Land of Blood and Honey.” I guess it’s hard to break all bad habits at once.

BEST FILM-DRAMA

The Artist

The Descendants

Hugo

The Ides of March

War Horse

BEST ACTRESS-DRAMA

Glenn Close

Viola Davis

Rooney Mara

Meryl Streep

Tilda Swinton

BEST ACTOR-DRAMA

George Clooney

Leonardo DiCaprio

Michael Fassbender

Ryan Gosling– “Ides of March”

Brad Pitt

BEST DIRECTOR

Woody Allen

George Clooney

Michel Hazanvicius

Alexander Payne

Steven Spielberg

BEST SUPPORTING ACTOR

Kenneth Branagh

Albert Brooks

Jonah Hill

Viggo Mortensen

Christopher Plummer

BEST SUPPORTING ACTRESS

Berenice Bejo

Jessica Chastain

Janet McTeer

Octavia Spencer

Shailene Woodley

 

Meryl Streep and Viola Davis Will Not Make Good Oscar Rivals

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Don’t we long for some hair pulling and cat fighting among the Oscar nominees? Well, with Meryl Streep and Viola Davis in the mix, it’s going to be very dullsville. First of all Streep–in the mix for “The Iron Lady”–has written a love letter to Davis in the current issue of Entertainment Weekly. Then, I’m told, that Davis is presenting to Streep on January 9th at the New York Film Critics Circle dinner. Davis, of course, is in the mix for “The Help” as lead actress. So much love! So little sniping! Actually none!

Last night I ran into Viola Davis and husband Julius at the premiere of “The Girl with the Dragon Tattoo.” Again, she only had nice things to say about everyone. And Davis got to meet Joely Richardson, so outstanding as Harriet Vanger in “Tattoo.” Viola said: “I have to sit down and ask Meryl how she has managed to live her life normally all these years. This is what I want to learn from her. She doesn’t let anything get to her.”

Meanwhile, the whole “Tattoo” crowd was there including director David Fincher, producer Scott Rudin, snazzy Sony chief Amy Pascal, plus Daniel Craig, Rooney Mara, Christopher Plummer, Robin Wright and Stellan Skarsgard. Their movie has opened late in the awards season, so they’re hoping to still catch a Golden Globe or Oscar nod. (We’ll see this morning on the former.) Rooney Mara is eye popping sensational as Lisbeth Salander, the punk bi-sexual investigator who doesn’t take any you know what.

Plummer, meantime, is glowing. On Tuesday he turned 82. He’s in the Oscar mix for Best Supporting Actor in “Beginners.” He’s superb in “Tattoo.” He doesn’t stop. What a year, huh? “It’s not bad,” he said, with a Cheshire grin.

By the way, the excellent American version of “Tattoo” boasts a couple of cameos from actors we don’t see so often: Embeth Davidtz, who made her name in “Schindler’s List,” and Julian Sands. Plus Alan Dale, who played the evil Charles Widmore on “Lost” so memorably, is a police detective.

Mariah and Justin Bieber Were Too Expensive for “X Factor”

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Last week I reported that Mariah Carey and Justin Bieber would be performing on “X Factor.” They were scheduled to sing “All I Want for Christmas Is You” on December 15th. But now I’m told that Carey’s set up — band, dancers, back up singers, make up, lighting, not to mention nannies (just kidding!) etc– was just too rich for the “X Factor” budget. The price would have come in around $300,000. Hey, it’s tough times for everyone!

“Mariah hasn’t performed live in about a year,” says a source. “She wanted to make sure everything was perfect. She certainly doesn’t sing to a track.”  And so a dream dies. But the possibility still exists of Carey singing on next year’s premiere, Meantime, I am told also that Mariah’s album with under-the-radar manager Randy Jackson is proceeding well. This could be her last album for Universal Music Group if she decides to join L.A. Reid at Epic/Sony. And Justin Bieber? Despite his enormous teen popularity, his Christmas album is being outsold by Michael Buble at a rate of 2 to 1.

You’re So Wrong: New Carly Simon Book Is More Like Fiction

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Carly Simon is fuming mad, and I don’t blame her. The legendary pop star is the subject of a new unauthorized biography by a former childhood friend named Stephen Davis. Davis, I can tell you personally, lifted quite a few interviews and quotations for his book from other sources without credit. This reporter is one of the people he stole material from. There are others.

In “More Room for a Broken Heart,” to be published officially in January by Penguin/Gotham, Davis makes some serious mistakes and I’d say possibly commits plagiarism. Some mistakes I’ve checked with Simon and her staff. Others I have first hand knowledge of. Davis, for example, liberally quotes from lots of interviews Simon has given over the years without ever giving proper credit or citation. Penguin Books should be ashamed of itself for not asking Davis for research attribution.

More seriously: Davis asserts that Simon had an abortion at the end of a relationship with actor Jeremy Irons in 1984. Simon insists to me this is not true. Davis also says that the affair with Irons broke up his marriage to actress Sinead Cusack. Again, untrue, and they’re still together to this day.

She’s also extremely unhappy that Davis made up a story in which Simon purportedly called one of her best friends, Dick Ebersol, a “jerk” for allegedly giving away the “secret” subject of the song “You’re So Vain.” None of that ever happened.

A story in Davis’s book about Simon having an affair with Mick Jagger right before her marriage to James Taylor–also untrue. Davis claims that Bianca Jagger called Taylor and told him they must be sleeping together. That is why Taylor and Simon married quickly, Davis asserts. Again: untrue.

As well, Simon–as a matter of courtesy–tells me she gave Davis a few autobiographical pieces she’d written for him to read, with no rights to publish them. He ignored that and published them anyway. He’s reprinted them or paraphrased them without her approval or authority. Simon’s lawyers believe he may have violated her copyright. Since 1986, no one had ever read a short piece of memoir that Simon had written but yours truly, some of her family, and the late Jacqueline Onassis. I’ve held it in my files; I didn’t have the right to reproduce it. Davis didn’t either, but that didn’t stop him. The way he’s woven it into his book makes it seem like he wrote it himself. This is a major transgression.

Davis takes great pleasure in taking mean whacks at both of Simon’s ex husbands, James Taylor and Jim Hart. He gets most of it wrong, especially about Hart, one of the nicest guys ever. He makes it seem like Hart was an interloper who resented Simon’s fame and friends. This is an utter lie. And Hart was a poet with friends in the literary world, like “Ironweed” author William Kennedy. He was a man of substance before he met Simon.

But Jim was also a recovering alcoholic. In 2002, he fell into a serious problem with crack cocaine. He went into rehab and pulled himself together in a year’s time. Davis says this all happened in 1992. It did not.

The sad part of Davis’s book is that it’s a clip job. There is no interview with Carly Simon. She doesn’t exist as a person in the story, just as a bold faced name. There are no insights because no primary interviews exist. Davis did get Penguin to pay Simon’s brother Peter for personal family photographs. That gives the book a sense of authenticity. Penguin also uses a quote about Davis from Simon on the back cover which makes the book sound authorized. Simon says it’s out of context and should not have been used.

I found at least three instances of my work from pieces I’ve written about Simon in Davis’s book, without credit or attribution.  I can tell you that anecdotes — about Marvin Gaye trying to stick his tongue down Simon’s throat, and another quote about her son Ben’s kidney surgery, and another about James Taylor’s heroin addiction– were lifted directly from an article I wrote in 1989 for Fame magazine. Davis has simply taken the quotes either verbatim or interpolated them. There are no citations.

I am told that Davis also liberally lifted from Sheila Weller‘s “Girls Like Us.” Weller has recently posted about this on her Facebook wall. She writes: “To my many journalist/author FB friends: What do we do with these unabashed clip-jobbers? Just roll our eyes and shake our heads, I guess. This anecdote was lifted whole (quote, verbatim) from exclusive (though, dare I say, far more nuanced ) material in my book. Davis has no source notes, no bibliography, not one single author/journo acknowledgement in his whole book. Disdainful bemusement for a Sunday morning…”

Shame on Davis and Penguin. There may be other instances like this. Davis should be made to produce all of his research material. He also spells the “Carlisle” Hotel name wrong (anyone knows it’s Carlyle). That should tell us something right there.

Penguin/Gotham is already starting to release publicity items on “More Room.” They planted one in the NY Post and another in the Boston Herald. My advice to them is stop doing that and verify what’s in that book.

 

SAG Snubs “Tattoo,” “Extremely,” “War Horse,” “Hugo,” “Zoo,” Angelina, Madonna

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SAG Awards nominations had some big snubs. Albert Brooks, who’s picked up a few awards from critics in the movie “Drive.” was ignored. Ryan Gosling didn’t make it from either “Drive” or “The Ides of March,” which is really shocking. SAG also totally skipped both Scott Rudin movies, which screened late: “The Girl with the Dragon Tattoo” and “Extremely Loud and Incredibly Close.” Also not mentioned for anything: “War Horse,” Hugo,” “We Bought a Zoo,” and movies directed by Angelina Jolie and Madonna. Biggest surprise: that “Bridesmaids” has turned out to be “The Hangover” of 2011. Maybe that it will be it for wedding comedies once this is done.

SAG Awards Nominate The Artist, The Help, Midnight in Paris, Descendants, Bridesmaids

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Here are the SAG Award nominations, announced this morning at 9am eastern time. The SAG Awards are the closest indicators of the Oscars, right there with the Critics Choice Awards. Dick van Dyke will present Mary Tyler Moore with the Lifetime Achievement Award when the show airs January 26th on TNT. The biggest surprise? Damien Bichir, a veteran actor who’s best known for his role on “Weeds,” was nominated for Best Actor in a Motion Picture in the movie “A Better Life.” And Melissa McCarthy was nominated for “Bridesmaids,” which also got a Best Ensemble nod with “The Help,” “The Descendants,” “The Artist,” and “Midnight in Paris.”SAG has resurrected Glenn Close and Janet McTeer from “Albert Nobbs.”

Snubs include “War Horse,” “Hugo,” “Girl with the Dragon Tattoo,” and “Extremely Loud.” Also, nothing for “Shame,” which has turned out to be a dud even with all that salacious sex. And movies that have now sunk into the abyss include Angelina Jolie’s “Blood and Honey,” Roman Polanski’s “Carnage,” Cameron Crowe’s “We Bought a Zoo,” and Madonna’s “W.E.” Also, sadly, both Ryan Gosling movies–“Drive” and “The Ides of March.” Also Albert Brooks from “Drive.”

BEST ENSEMBLE

The Help

Bridesmaids

Midnight in Paris

The Descendants

The Artist

BEST ACTOR

Brad Pitt

Jean DuJardin

George Clooney

Leonardo DiCaprio

Damien Bichir

BEST ACTRESS

Glenn Close

Meryl Streep

Michelle Williams

Tilda Swinton

Viola Davis

BEST SUPPORTING ACTRESS

Berenice Bejo

Melissa McCarthy

Janet McTeer

Octavia Spencer

Jessica Chastain

BEST SUPPORTING ACTOR

Kenneth Branagh

Armie Hammer

Nick Nolte

Christopher Plummer

Jonah Hill

BEST STUNT ENSEMBLE

The Adjustment Bureau

Cowboys and Aliens

Harry Potter and the Deathly Hallows, Pt. 2

Transformers

X Men: First Class

UPDATE: Madonna New Album to UMG–As We Said

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I told you on November 6th that Madonna’s new album would come from Universal Music Group. http://www.showbiz411.com/2011/11/08/exclusive-madonna-new-album-headed-to-universal.  No big deal, Page Six reports it today. I told you it would be with Jimmy Iovine at Interscope. And it is. Madonna is now on the same label as Lady Gaga, who sounds a lot like her. The new album will debut this spring–probably late–and watch for Madonna on “American Idol” since she has as much trouble selling product–CDs or digital downloads — as anyone. Who knows? Maybe she’ll (tor)mentor some kid. Anyway, Madonna had to make a record deal since her famous $120 million Live Nation deal didn’t have a recording component. In February, Madonna will try and combine her terrible “W.E.” movie release with her SuperBowl appearance and a new single called “Masterpiece.” It will be a marketing blitz to kick re-start her music career. Look for a summer/tour fall no doubt. That’s how the real money is generated.

“Mission Impossible Ghost Protocol” May Rescue Hollywood Box Office

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“Mission Impossible: Ghost Protocol” pretty much starts with Tom Cruise uttering these words: “Light the fuse.” That’s when the famous and beloved Lalo Schifrin theme music kicks in. Prior to that, Cruise and his IMF team–the gorgeous and smart Paul Patton, the funny and cocky Simon Pegg–have just pulled off a clever prison break that shows this episode of “MI” is indeed a group effort. Director Brad Bird has wisely moved Tom Cruise’s Ethan Hunt into the team and away from being the preposterous hero. Of course, “MI” is preposterous by its very nature, but regrouping in this way has allowed Bird to make a big commercial hit that is better than all its predecessors, exhilarating, and a spectacular adventure. Then Jeremy Renner joins the team, and everything is ratcheted up a notch.

Don’t be fooled–Cruise is still the star. But his Ethan Hunt is better written, and a lot of more interesting to watch than in prior incarnations. His acts of derring do — like careening off the tallest building in the world, in Dubai–are pretty freakin’ cool. And a piece set in a modern day sand storm may wind up being clipped as a classic in film history. It’s sort of brilliant. But Cruise’s hubris has been scaled back to something resembling human by Bird. And Cruise approves–he’s a producer on the film. To make a transition into his 50s, and away from “Valkyrie” and couch jumping, Cruise had to readjust himself. He’s done it well, I think. This is the first time I can remember being interested in what Ethan Hunt was up to. That’s saying a lot.

This has been such a disappointing year for well executed big studio action films. And in Oscar season, all we see are arthouse and indie films. So I was actually happy to point out product placements–Dell, BMW, Canon cameras. It was like seeing old friends. Of course, “MI” does flag at one point, gets a little muddled and talky. But that’s to be expected in the second act. When the third act revs up, you’re guaranteed a good time, and a surprise ending with the return of a couple welcome franchise characters.

The IMF team is excellent. In this episode, they’re fingered for allowing the Kremlin to be blown up. They’re disavowed and must re-establish themselves. The team is well executed. Patton is just a huge hit. Pegg is solid as comic relief–and he gets his share of action. Renner looks like  he’s being groomed to pick up where Ethan leaves off. Indeed, by the end, Renner’s secret agent gets the big set piece–floating in mid air in a tunnel– while Cruise’s hunt is supervising.

For once the hype matches the experience. Brad Bird makes a wonderful transition to live action from his highly successful animation career. Tom Cruise, whom I’ve criticized a lot in the past for crazy or bad behavior, returns triumphantly to what he does best. You can’t ask for more than that. Paramount’s Brad Grey wins big points for bringing Cruise back after Sumner Redstone fired him five years ago. “Ghost Protocol” may be what saves the box office from its current slump.