Since all those high falutin’ bloggers are too busy handicapping the Oscar nomination potential of Hollywood offerings, here’s a scoop from the other end of stick:this one's a lock for the Ivar Theat.
March 20, 2007 (Press Release) --
Honoring good films is easy. Many organizations do it, and in fact the honorees usually revolve around the same couple dozen titles, if that many. Then there are all sorts of perfectly fine but fairly forgettable features — movies that entertain and escape the lint-catcher of our minds within the span of a week.
Truly bad movies, though — as any film critic who’s had to sit through a 9 a.m. screening of Fear Dot Com, or any peeved general audience member who’s wished the purchase price of a ticket to Battlefield Earth back in their wallet will tell you — merit their own special fascination. No studio or other financial backer, of course, sets out to spend millions of dollars and many months making something dreadful, but aggressively awful tripe slips through every year, and the Razzie Awards set upon such highly polished turds with gleeful abandon.
From Mariah Carey’s Glitter and a pre-shorn Britney Spears’ Crossroads to Halle Berry’s Catwoman and Bennifer’s Gigli, the Razzies love star vehicles, and they may just have a multi-nomination 2007 heavy hitter in the jumbled, harebrained Premonition, starring Sandra Bullock. Unpersuasively mixing together domestic drama with time-bending suspense elements and a loose narrative of personal-stakes investigation, the film is slapdash and nonsensical, and easily represents Sandra Bullock’s worst starring vehicle in more than a decade.
The story centers on Linda Hanson (Bullock), a stay-at-home-mother with two daughters cast in her likeness. One day she receives word that her husband Jim (Julian McMahon) has died in an auto accident. When Linda wakes up the following morning, though, Jim is very much alive. At first, Linda believes the accident must have just been a nightmare. Then it happens again.
Some days Linda awakens to find Jim alive and well; on other days she’s a widow. Using clues around her house — strange cuts on her daughter’s face, covered mirrors, a bottle of prescribed lithium from a doctor she doesn’t know — Linda comes to the conclusion that she is inexplicably living the days of one week of her life out of order. This traumatizing intuition spurs Linda forward through a puzzling series of events. Determined to both uncover the cause of Jim’s accident and work to prevent it, she discovers that her life may not have been all that it seemed.
Unfortunately, there’s no particular logic to the order in which the days play out in screenwriter Bill Kelly’s scattershot script for Premonition, which is frugal in design and lacking in detail and rationality. Visual touchstones are scattered haphazardly throughout (a dead crow here, a bottle of wine there), but they hold neither any concrete meaning nor any surreal, anxiety-provoking allure. They’re just coded markers, wanly tossed into the mix to indicate where we are on a timeline continuum.
Source: http://yahoo.com.cn
Truly bad movies, though — as any film critic who’s had to sit through a 9 a.m. screening of Fear Dot Com, or any peeved general audience member who’s wished the purchase price of a ticket to Battlefield Earth back in their wallet will tell you — merit their own special fascination. No studio or other financial backer, of course, sets out to spend millions of dollars and many months making something dreadful, but aggressively awful tripe slips through every year, and the Razzie Awards set upon such highly polished turds with gleeful abandon.
From Mariah Carey’s Glitter and a pre-shorn Britney Spears’ Crossroads to Halle Berry’s Catwoman and Bennifer’s Gigli, the Razzies love star vehicles, and they may just have a multi-nomination 2007 heavy hitter in the jumbled, harebrained Premonition, starring Sandra Bullock. Unpersuasively mixing together domestic drama with time-bending suspense elements and a loose narrative of personal-stakes investigation, the film is slapdash and nonsensical, and easily represents Sandra Bullock’s worst starring vehicle in more than a decade.
The story centers on Linda Hanson (Bullock), a stay-at-home-mother with two daughters cast in her likeness. One day she receives word that her husband Jim (Julian McMahon) has died in an auto accident. When Linda wakes up the following morning, though, Jim is very much alive. At first, Linda believes the accident must have just been a nightmare. Then it happens again.
Some days Linda awakens to find Jim alive and well; on other days she’s a widow. Using clues around her house — strange cuts on her daughter’s face, covered mirrors, a bottle of prescribed lithium from a doctor she doesn’t know — Linda comes to the conclusion that she is inexplicably living the days of one week of her life out of order. This traumatizing intuition spurs Linda forward through a puzzling series of events. Determined to both uncover the cause of Jim’s accident and work to prevent it, she discovers that her life may not have been all that it seemed.
Unfortunately, there’s no particular logic to the order in which the days play out in screenwriter Bill Kelly’s scattershot script for Premonition, which is frugal in design and lacking in detail and rationality. Visual touchstones are scattered haphazardly throughout (a dead crow here, a bottle of wine there), but they hold neither any concrete meaning nor any surreal, anxiety-provoking allure. They’re just coded markers, wanly tossed into the mix to indicate where we are on a timeline continuum.
Source: http://yahoo.com.cn
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