Word: gosford
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Dates: during 2000-2009
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...supposed “anti-Semitism,” and ever since the film’s release it has been attacked for ignoring Nash’s apparent bisexuality and his illegitimate child with Jeannette Walls. Add to the mix the constant Moulin Rouge backlash and Gosford Park director Robert Altman’s unfortunate comments (essentially ruining his chances) calling Titanic “the most dreadful piece of work I’ve ever seen in my entire life” and fellow Oscar powerhouse American Beauty “badly acted and directed...
...seems they got something right this year though. Mind’s fellow nominations in the Best Picture category (Gosford Park, Moulin Rouge, Lord of the Rings, In the Bedroom) are all solid, admirable films, and are probably the best group of pictures the Academy has nominated in years. The acting nominees are for the most part deserved, and despite Jennifer Connelly’s probable win, the prospect of Halle Berry and Denzel Washington winning for their brilliant performances are exciting in the least...
...their eggs in one basket. The Coen Brothers’ The Man Who Wasn’t There, for example, may have been more heavily marketed in other years, but its distributor, USA Pictures, has instead decided to throw all of its support behind the more critic-friendly Gosford Park. As a result, only Roger Deakins’ superior cinematography is being considered for Sunday’s awards. But what determines which of the truly entertaining films deserve studio support—or, for that matter, which films can get nominated...
...Russell Crowe shared the screen as relative unknowns in 1997’s L.A. Confidential, but Crowe’s stock has skyrocketed since then. You want to have one dominant name on your marquee—Crowe and Moulin Rouge’s Nicole Kidman are good starts. Gosford Park, meanwhile, is hurt by an ensemble cast that doesn’t allow for individual recognition, save Helen Mirren’s outstanding final 15 minutes. Interestingly, The Royal Tenenbaums—with names like Gene Hackman, Gwyneth Paltrow, Anjelica Huston and Ben Stiller—was burned...
...girls who do say “aww” all the time, a movie can’t ask for meaningful responses from its audience, such as critical thought, self-criticism or—God forbid—temporary confusion. Instead, give them The Hobbit. Or give them Gosford Park, a film whose British accents do not mask its simplicity both as a drama and as a mystery...