What makes this version of Romeo and Juliet different than all the others? It’s not entirely clear. The principles are an odd assortment including Carlo Carlie, an Italian director whose most notable film was in 1992. Screenwriting duties have bee taken on by Julian Fellowes who has curious dichotomy of work that includes both Gosford Park and The Tourist.

The movie will shoot in Italy in the next couple months and will be screening in English classrooms across the country in late 2012. (THR)

The spec script gives Sleeping Beauty a lot more to do than just lay there like Sammi from”Jersey Shore.” This version is told from Beauty’s point of view as she navigates the dream world searching for a way out. What will set this apart from Maleficent, Tim Burton‘s take on the same classic fairy tale? Or the erotic thriller version starring Emily Browning? This one will have less groping and probably won’t feature Helena Bonham Carter. (Deadline)

Done? Great. Now here’s the story’s startling conclusion: Lawrence did get the part. *Confetti* To land that role, she had to beat out every other young actress in Hollywood (actually young, not wearing a bunch of blush and putting your hair in pigtails young), including Hailee Steinfeld (True Grit) and Abigail Breslin (Little Miss Sunshine). Presumably she signed on for the upcoming sequels as well, because Lionsgate assumes they’re gonna be making a lot of sequels… Two to be exact.

Lawrence plays the role of Katniss (cat hiss?), a girl from our bleak future who puts her life on the line to save her village in a dystopian survival contest. Since the sequels star Katniss, I assume she’ll be just fine. Lawrence will be fine too, if the movies are as popular as the books by Suzanne Collins.

But how about guys who are dragged to a film billed as the new Twilight? Will we be fine? I do not have that information yet. Stay tuned. (TheWrap)

However, it looks like one actress is emerging victorious. 20-year-old Jennifer Lawrence has Winter’s Bone-d her tough competition and is currently the closest to nabbing the part. Lawrence would play Katniss, a young girl in a shitty future, participating in a televised survival death match. I assume many of the ripped male contestants in these so-called “Hunger Games” compete with their shirts off. Maybe that’s why the Oscar nominee is so anxious for the role? It’s why I’ll probably be anxious for it to leave theaters as soon as possible.

Hunger Games will be directed by Gary Ross (Pleasantville) for Lionsgate. (Variety)

Update: Sources at Lionsgate claim Jennifer Lawrence has not been given an offer, but is pulling ahead of the pack. So Steinfeld still has time to shoot her in the belly.

/Film is reporting that Oscar-nominee Hailee Steinfeld and other-Oscar-nominee Jennifer Lawrence are being considered for the role of Katniss Everdeen in the adaptation of the popular books. I’m no doctor, but it seems as though the producers still have not shaken their case of Oscar fever. Pray for them. That illness cost my father his foot.

These two gals surely aren’t the only candidates for the part, but they would seem to be the ones to beat given their current ascension to super-stardom. I give the edge to Lawrence, who seemed to nail the apocalyptic-survivor look in Winter’s Bone. But then again, Steinfeld wasn’t far off in her journey in True Grit. Hmmm…maybe they could have them both play the same character. Like the converse of what Armie Hammer did in The Social Network.

The 83^rd Academy Awards are less than a week away and the energy in the air is electric. Possibly due to the shoddy wiring job I did when stealing my neighbor’s cable, or possibly due to that airborne infectious disease known as Oscar Fever. Although superficially similar to Bieber Fever, the ailment afflicts not just 12-year-old girls and “To Catch a Predator” alum but pretty much everyone with a pulse including you, dear reader. So now now let us wind down our Oscar coverage and pick our favorites for the lesser-cared-about categories so we can turn our attention to more important matters, such as which Oscar gowns to dress our cats in. If you need me on February 27^th, I and Muffin and Skittle Paws and Mister Sniffles will be front and center outside the Kodak Theater, restraining orders be damned!

Actor in a Supporting Role

Christian Bale in “The Fighter”

John Hawkes in “Winter’s Bone”

Jeremy Renner in “The Town”

Mark Ruffalo in “The Kids Are All Right”

Geoffrey Rush in “The King’s Speech”

This one’s a no-brainer: Batman Bateman owns the Oscar hype for his portrayal of junkie/ex-con/former boxer Dicky Ward and he’s a sure thing to take the Shiny Gold Dude. Granted all Christian Bale had to do to prepare for the role was spend fifteen minutes in the Fenway Park cheap seats – and he’s gained some unwanted notoriety for his recent scream-a-thons with hapless lighting directors and the woman who birthed him – but Hollywood seems willing to forgive Bale his eccentricities so long as he keeps the Jews out of it and keeps on delivering outstanding performances like he did in The Fighter. Give that man an Oscar!

Actress in a Supporting Role

Amy Adams in “The Fighter”

Helena Bonham Carter in “The King’s Speech”

Melissa Leo in “The Fighter”

Hailee Steinfeld in “True Grit”

Jacki Weaver in “Animal Kingdom”

While Batman Bateman’s co-star, Melissa Leo, has taken several lesser awards for her turn in The Fighter, I predict the Academy will follow the precedence of Oscarses past by giving the Gilded Nude Man to this year’s breakout ingénue, Hailee Steinfeld. I don’t know if anyone was paying attention but Steinfeld’s performance was arguably the best of the year and in this nude man’s opinion, a more nuanced and mature display of thespianism than Best Actress shoo-in Natalie Portman’s. My only gripe is that she’s been mis-categorized. Best Supporting Actress? Who was she supporting, exactly? I love Jeff Bridges, but his Rooster Cogburn was essentially The Dude in an eye patch. And more significantly, Rooster was not the central character of True Grit. Much like our love, it would be a crime for Steinfeld’s performance to go ignored. Give that not-yet-legal lass an Oscar!

Animated Feature Film

“How to Train Your Dragon” Chris Sanders and Dean DeBlois

“The Illusionist” Sylvain Chomet

“Toy Story 3” Lee Unkrich

While death and taxes can be avoided thanks to a good accountant and/or a benevolent wizard (Haargoth the Bearded has been filing my 1040 for ages eternal), the one sure thing in life is that if Pixar releases a film, it will win the Academy Award for Best Animated Feature. But even if this weren’t a fact of life as sure as gravity, Toy Story 3 is not only one of Pixar’s best but — it could be argued — 2010’s best film regardless of whether it contains cartoony men. Give those anthropomorphized playthings an Oscar!

Art Direction

“Alice in Wonderland”
Production Design: Robert Stromberg; Set Decoration: Karen O’Hara

“Harry Potter and the Deathly Hallows Part 1”
Production Design: Stuart Craig; Set Decoration: Stephenie McMillan

“Inception”
Production Design: Guy Hendrix Dyas; Set Decoration: Larry Dias and Doug Mowat

“The King’s Speech”
Production Design: Eve Stewart; Set Decoration: Judy Farr

“True Grit”
Production Design: Jess Gonchor; Set Decoration: Nancy Haigh

There’s been a lot of talk about The Social Network being the defining film of our epoch, seeing as it’s about the internet and shit. And while I’d agree that The Social Network was a very good film, I think folks should hold off on etching its historical significance on stone tablets. Movies this of-the-now rarely have much of a shelf life. For example, can you watch Singles or Reality Bites without cringing? Well those films were considered defining films of their epoch, too, believe it or not. When the dust settles, I believe Inception will be the film folks are still talking about, once Facebook is a relic as dated as a single of the Spin Doctors’ “Little Miss Can’t Be Wrong.” I know as much about art direction as I do about the location of my girlfriend’s supposed “G-Spot”, but Inception has to win something, right? Give that dream-within-a-dreamy film an Oscar!

Cinematography

“Black Swan” Matthew Libatique

“Inception” Wally Pfister

“The King’s Speech” Danny Cohen

“The Social Network” Jeff Cronenweth

“True Grit” Roger Deakins

There was a lot of eye candy at the multiplex this year, and I’m not just referring to Ramona, the busty ticket girl at the Reseda AMC 12. Black Swan, The Social Network and especially Inception were prettier to look at than Conan the Barbarian black light poster, but I believe the Cohen Bros’ go-to DP Roger Deakins will take the Glimmering Bald Fellow for his gorgeous rendering of the old-timey west. Give that man an Oscar!

Costume Design

“Alice in Wonderland” Colleen Atwood

“I Am Love” Antonella Cannarozzi

“The King’s Speech” Jenny Beavan

“The Tempest” Sandy Powell

“True Grit” Mary Zophres

I didn’t see Alice in Wonderland; if I have to suffer through that “effete eccentric” character Johnny Depp phones in for gobs of cash yet again he might as well be wearing something piratey. However I also don’t give a shit about costume design, so I figure Alice in Wonderland is as good a choice as any.  Looked good on the posters anyway, and unlike the historical dramas, Colleen Atwood had to more or less draw from the well of her imagination. So what the hell, give her an Oscar.

Documentary (Feature)

“Exit Through the Gift Shop” Banksy and Jaimie D’Cruz

“Gasland” Josh Fox and Trish Adlesic

“Inside Job” Charles Ferguson and Audrey Marrs

“Restrepo” Tim Hetherington and Sebastian Junger

“Waste Land” Lucy Walker and Angus Aynsley

Pretty sure I’m not alone in hoping Banksy wins just to see how he culture-jams the Oscars. Maybe he’ll hire a paraplegic midget with Tourette’s to accept the award in his stead. Or maybe this will be the moment he finally sells out and starts doing Sprite ads. I’d be happy to witness either. Give that mystery man an Oscar!

Documentary (Short Subject)

“Killing in the Name” Jed Rothstein

“Poster Girl” Sara Nesson and Mitchell W. Block

“Strangers No More” Karen Goodman and Kirk Simon

“Sun Come Up” Jennifer Redfearn and Tim Metzger

“The Warriors of Qiugang” Ruby Yang and Thomas Lennon

I haven’t seen the film (or any of the other shorts for that matter), but I do have the samely-titled Rage Against the Machine song to thank for my short-lived dreadlocks-and-Che-shirt period. Fuck you I won’t do what you tell me! Fuck you I won’t do what you tell me! Give Jed Rothstein a fucking Oscar…. mothafucka!

Film Editing

“Black Swan” Andrew Weisblum

“The Fighter” Pamela Martin

“The King’s Speech” Tariq Anwar

“127 Hours” Jon Harris

“The Social Network” Angus Wall and Kirk Baxter

Though well directed and chock full of (almost too) clever dialog, The Social Network could’ve easily turned into a tedious courtroom drama had it not been for the brilliant editing. In fact I’ll go so far as saying that the editing might’ve been the most important component of the film. Also, one of the credited editors is named Angus, and you just don’t fuck with dudes named Angus (never mind one whose surname is an immovable barrier). Give Angus Wall an Oscar before he goes all soccer hooligan on us!

Foreign Language Film

“Biutiful” Mexico

“Dogtooth” Greece

“In a Better World” Denmark

“Incendies” Canada

“Outside the Law (Hors-la-loi)” Algeria

You can imagine my surprise when I found out that all of the above-mentioned films are not in English but some incomprehensible gobbledygook. Yeah, I know the category’s called “foreign language film” but I assumed that meant stuff with an accent, like The King’s Speech. So I’m going to have to give it to Biutiful because Javier Bardem’s in it and I at least know who he is, even if I couldn’t understand a friggin’ word he was saying.

Makeup

“Barney’s Version” Adrien Morot

“The Way Back” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng

“The Wolfman” Rick Baker and Dave Elsey

I like that this category only has three nominees, because it makes it a lot easier for me to guess. I don’t know much about movie makeup, other than that makeup girls tend to be a little, well, trampy, and that’s always a good thing, right? So yeah, The Wolfman.

Music (Original Score)

“How to Train Your Dragon” John Powell

“Inception” Hans Zimmer

“The King’s Speech” Alexandre Desplat

“127 Hours” A.R. Rahman

“The Social Network” Trent Reznor and Atticus Ross

I’m probably dating myself (or at least sleeping with myself) by saying this, but back in my day Trent Reznor was the black-bedecked, Prince-Valiant-quaffed poster boy for suburban goth angst. He used to be the guy with the suicide hotline on speed-dial; now he looks he jumped out of a PX-90 infomercial to tell us how to maximize our gains but visualizing our goals… and also that he wants to fuck us like an animal. Personally, I preferred Alexandre Desplat’s score – I’m a sucker for them fiddles! — but the novelty of Reznor and Atticus Ross’ bleeps-n-bloops will more likely be favored by Academy voters. Give ‘em an Oscar!

Music (Original Song)

“Coming Home” from “Country Strong” Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey

“I See the Light” from “Tangled” Music by Alan Menken Lyric by Glenn Slater

“If I Rise” from “127 Hours” Music by A.R. Rahman Lyric by Dido and Rollo Armstrong

“We Belong Together” from “Toy Story 3″ Music and Lyric by Randy Newman

FOR THE LOVE OF GOD, ANYONE BUT RANDY NEWMAN!

Sound Editing, Sound Mixing, and Visual Effects

I’m going to give it to Inception for the above-mentioned categories. It’s the Academy’s way of mitigating the Christopher Nolan Best Director snub by acknowledging that even if it wasn’t the “best directed” film of the year, it was at least the most impressive technical spectacle.

Writing (Adapted Screenplay)

“127 Hours” Screenplay by Danny Boyle & Simon Beaufoy

“The Social Network” Screenplay by Aaron Sorkin

“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich

“True Grit” Written for the screen by Joel Coen & Ethan Coen

“Winter’s Bone” Adapted for the screen by Debra Granik & Anne Rosellini

Aaron Sorkin is heavily favored, not only because The Social Network’s blitzkrieg of postmodern dialog is one of the film’s most noticeable traits, but because it’s the one category where Academy voters can safely favor it over The King’s Speech. Give him an Oscar! And some cocaine! Sorkin looooves the yayo!

Writing (Original Screenplay)

“Another Year” Written by Mike Leigh

“The Fighter” Screenplay by Scott Silver and Paul Tamasy & Eric Johnson;
Story by Keith Dorrington & Paul Tamasy & Eric Johnson

“Inception” Written by Christopher Nolan

“The Kids Are All Right” Written by Lisa Cholodenko & Stuart Blumberg

“The King’s Speech” Screenplay by David Seidler

The King’s Speech is shaping up to be this year’s Oscar darling, so I don’t see it going any other way when it comes to awarding the Glittering “O” for best original screenplay. Hey David Seidler — come on up here, pal! Guess what I’ve got for you? A Nutty Buddy? Nooo. Although I could actually go for a delicious Nutty Buddy right now, this gold-hewed, slightly phallic statuette I have in my hand is not a Nutty Buddy. Please do not try to eat it, David Seidler, because while it is indeed your “buddy” there is nothing nutty or even edible about it. It’s an Oscar, David!  A fucking O… Jesus. He ate it… the whole fucking thing.  Is there a paramedic in the house? Or does anyone have a stomach pump handy? Natalie Portman? Oh, that’s right, you’re pregnant, which means you’re binging and purging for two. I can’t believe he ate his fucking Oscar. That’s how it plays out in my mind, anyway. Until next year, Screen Junkies! Pudding out.

The studio has set up Forgotten for the fourteen-year old actress. Based upon a novel by Cat Patrick, the story is centered around a young girl whose memory is wiped clean every night at 4:33. The following morning all that she can remember is her future. When she then meets a boy, she becomes frustrated that she can’t find him in any of her future memories. Which makes sense to me. Would you date a girl that could see the future? You’d never be able to eat Doritos for breakfast again. (Deadline)

It’s a good thing True Grit is a good movie, otherwise the critics would have had a field day rhyming with Grit. If grit were all you needed, this film would deliver on the grizzled men, dirty and grumbling with rotted teeth. Of course, you can also admire the story, the characters, the world, the humor and/or the action.

The Coen Brothers introduce the West with a wondrous tone. Soft music and deep shots full of frontier life portray the world Mattie Ross (Hailee Steinfeld) enters. She handles her business immediately, negotiating money, room and board for picking up her father’s body. She even knows what writ to cite when haggling with Colonel Stonehill (Dakin Matthews).

Rooster Cogburn’s (Jeff Bridges) introduction is magnificent. Mattie first meets him in an outhouse, which is brilliant, but we don’t see him until he’s on trial. The camera sweeps around the courtroom, welcoming the viewer in and working up to the close-up on Rooster. The cross-examination explains all of Rooster’s kills, and it’s so entertaining how Rooster just has his way with the lawyer.

The Coen humor is present immediately, with dark jokes about a public hanging (the native American doesn’t even get to say his last words, which is accurately racist and hilarious). A mortician’s line pays off bitterly. First he tells Mattie, “If you want to kiss it, it’ll be all right” meaning her dead father. Later when she stays in his house he says, “If you want to sleep in a coffin, it’ll be all right.” A kind offer, but man, that’s dark. It can be lowbrow humor too. Mattie has to share a bed with a snoring blanket hogging grandma.

Mattie hires Rooster to help her find and kill Tom Chaney (Josh Brolin), her father’s murderer. Texas Ranger LaBoeuf (Matt Damon) is along for the ride. Rooster trash talks the Rangers before ditching LaBoeuf, and then of course he bonds with Mattie. She’s so cool that you see how a grizzled gunslinger would take to her. Rooster’s rant about his ex-wife is funny filler for the journey.

The dialogue is just the right kind of old timey where it doesn’t sound like us, but we can follow what they say. The cinematography still has some Coen touches. The opening shot with house lamps on a dead body at the door step under the snow. Then there are the heroic low angle shots and the score will swell to the hero moments like when LaBeouf shows up again at exactly the moment he’s needed.

True Grit is just quality filmmaking. It captures exactly what the filmmakers were going for and delivers a show full of different aspects for audiences to enjoy.

Releasing one bad-ass poster for True Grit just isn’t enough to appease those Coen Brothers. As the film’s December release draws near, the marketing team is beginning their full press. In addition to the earlier broadsheet, we now have five new posters — four character posters and one group shot. The shots show each character ready to tussle in the name of retribution or have retribution dispensed on them. Collect all five to adorn your moody Western revenge drama themed man cave. They look cool and all, but I’d like to see one for Bear On Horseback. He’s the real star. (via IMDb and Empire)

^{What is this? ‘The Wicker Man‘?}

Hot on the heels of last week’s True Grit teaser comes the full length jump off. This time around we see a lot more of Bridges’s Cogburn, Damon’s La Beouf, and Brolin‘s cowardly Chaney. We also see someone dressed as a bear on horseback. What kind of crazy scheme are they trying to pull?

LA BEOUF: Alright. When Chaney sees me approach dressed as a bear, he’ll think I’m just after his pic-a-nic basket. That’s when we take him in.

Female bear with a bow in her hair mounts La Beouf. Cue “The Lion Sleeps Tonight.”

COCKBURN: Ah, raped by a bear. Seen it hundreds o’ times. Tis a shame.

Note that I haven’t read the script, so the events detailed above may not actually happen.

Check out the full length trailer after the jump…

The teaser for Joel and Ethan Coen‘s True Grit just rode into town, and it looks like a good one. The action follows Hailee Steinfeld’s Mattie Ross as she teams with Jeff Bridges to hunt down the coward that killed her pappy. You might be quick to say that the Coens are trying to recapture the magic of No Country For Old Men, but that I really don’t see the similarities. For instance, this teaser keeps it fresh with sun-bleached Western scenery, gunfights, Josh Brolin, and dorky haircuts. Oh.

Check out the teaser after the jump…

True Grit: Trailer – Watch more Movie Trailers

(Apple)

After casting a nationwide net, Joel and Ethan Coen have found an actress to portray the young protagonist in their true grit remake. Thirteen-year old Hailee Steinfeld will be joining forces with Jeff Bridges and Matt Damon to hunt down Josh Brolin. Though Steinfeld isn’t as popular as her co-stars, all of that is going to change. Her character, the fourteen-year old Mattie Ross, is described as a “simple, tough as nails, young woman in post-Civil War Arkansas. Her unusually steely nerves and straightforward manner are often surprising to those she meets. She possessed plenty on true grit and determination."

Let’s hope that Hailee Steinfeld is every bit as precocious as the character calls for. Remember, fourteen-year olds in Arkansas are considered mature for their age. They’re at least mature enough to legally wed. (Deadline)