Word: oscars
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Four years after the release of his Oscar-nominated documentary, Super Size Me, in which he spent 30 days eating nothing but McDonald's food, Morgan Spurlock is about to release his second feature film. This one's about his search for the most wanted man on earth. The filmmaker forgoes fast-food binges for another type of physical danger: searching for Osama bin Laden. In an interview with TIME, Spurlock opens up about his quest...
...quixotic, and potentially lots more dangerous, than Spurlock's last big ordeal: subsisting for a month solely on food from McDonald's. That stunt generated the 2004 Super Size Me, which grossed a fat $11.5 million at the box office (on a lean $65,000 budget) and earned an Oscar nomination. The movie also allowed Spurlock to become his own little doc-conglomerate, hosting and producing the TV series 30 Days and lending his exec-producer imprimatur to such like-minded nonfiction films as The Third Wave (Americans in post-tsunami Sri Lanka) and What Would Jesus...
...Fifteen years after he was nominated for an Oscar for his uncanny portrayal of Charlie Chaplin and seven years after his last of several well-publicized trips to either rehab or jail, Downey, 43, is finally claiming the career he was always meant to have, one befitting a fiercely talented, eccentric and magnetic leading man. Later this summer, Downey will appear as an Australian Method actor who is overly committed to playing a black soldier in Ben Stiller's raucous satire of filmmaking and war movies, Tropic Thunder. And in the fall comes another plum role, as a journalist...
...elegance of the production, a late Victorian spoof on the aesthetic movement. The show opens with 20 maidens lamenting their unrequited love for the “fleshly” poet of the town, the sullen Reginald Bunthorne (Roy A. Kimmey III ’09). Modeled after Oscar Wilde, Reginald’s “weird fancy” had somehow alighted on Patience (Annie Levine ’08), the village milk-maid. But Patience, dressed simply and unadorned, claims that she “won’t go to bed until...
When the Counting Crows didn’t win the Oscar for Best Song in 2005 for “Accidentally in Love” from the movie “Shrek,” I was ambivalent. While I would have loved to see one of my favorite bands recognized for their talent, I didn’t want it to be for a song so purely “pop” that it betrayed the honesty and rawness of their best work. I felt a similar ambivalence toward “Hard Candy...