...and I was not impressed by Wonderboys. Talk about your home court favs. Just because Michael Douglas is looking and acting like someone his own age does not merit Oscar attention.

Jonathan raunchy lover? Hmmm....I'll have to see it to believe it.

All is needed is him to be nominated for BAFTA afterwards.

Michael Douglas is looking and acting like someone his own age does not merit Oscar attention. True, but it always does the trick for Jack (always-the-same Nickleson). I forgot to add how disappointing it is that once again the BBC needs to resort to sex in selling a worthwhile story such as Queen Victoria. I do not know one person that liked what they did with Mme Bovary. This deprived world we live in is lacking morals and religion. Is it so politically incorrect to be a religious and moral person as was the case with Queen Victoria?

A review of the audiotape by Kim Bunce of the Observer: Speaking with the Angel Edited by Nick Hornby Running time 6 hours Penguin Audiobooks �12.99 It is no secret that Nick Hornby's son is autistic. I mention this because Speaking With the Angels, a compilation of 12 short stories by established writers, has been edited by Hornby to raise money for the Treehouse Trust for autistic children. Robert Harris's 'PMQ', read by a prime-ministerial Neil Pearson, is a wonderful satire on political misdemeanours, leaving the listener to judge the honesty of 'a pettifogging political pygmy'. Patrick Marber rediscovers music and teenage sex in a story called 'Peter Shelley'. In 'Last Requests', an Alan Bennett-style monologue by Giles Smith, Miriam Margolyes reveals herself as the queen of vocal-cord contortionists as she takes on the character of a cook preparing last meals for prisoners on a fictional death row while reflecting on the last hospital meal her husband had before he died. But the outstanding story in this collection is 'NippleJesus' by Hornby himself. Read by Ray Winstone, who is ideal for the role, this deeply layered observation challenges social stereotypes through a picture of Jesus constructed entirely from nipples and breasts. The listener's opinions are swung pendulum-like - first one way, then the other.

Heide...he never forgets a birthday or anniversary (though a girl might expect him to spring for more than paper hearts). Thanks, Heide! You can bet I'd be more loyal than that Katherine person.;-) They just announced that Steve Martin will host the Oscars. Should be interesting. The Boston Film Critics have weighed in with their choices, below. Very little agreement among the critics groups this year. Film: Almost Famous Director: Cameron Crowe, Almost Famous Actress: Ellen Burstyn, Requiem For A Dream Actor: Colin Farrell, Tigerland Supporting Actress: Frances McDormand, Almost Famous and Wonder Boys Supporting Actor: Fred Willard, Best In Show Screenplay: (Tie) Cameron Crowe, Almost Famous and Steve Kloves, Wonder Boys Foreign Film: Crouching Tiger, Hidden Dragon Best New Filmmaker: Kenneth Lonergan, You Can Count On Me

Very little agreement among the critics groups this year. You might want to read a little behind-the-scenes article by Lisa Schwarzbaum of EW of what went on during the NY Film Critics' voting and why Tom Hanks won. Has some amusing bits, but also gives a good idea of what all these critics are doing, i.e., making sure certain films/performances get named and don't fall through the cracks. (You'll like the bit about the volleyball.) http://www.ew.com/ew/article/commentary/0,6595,92050,00.html

Jennifer and her Mum have been jointly nominated for Best Supporting Actress/Drama for the Golden Satallite Awards to ble presented on the 14th January!

Golden Satellite Award? Never heard of it.

Go to Variety website, it is there. (nor have I!)

I have read the Variety piece. What a bizarre award. Not to denigrate the RH/JE thing, they have nominated everything except the kitchen sink (Phaedra Cinema too!!) To me, it looks like an even more blatant attempt to have stars, any stars, come to their banquet. Even Richard Gere for Mr T and the Women!

. . THE LAST time we mentioned anything about From Liz Smith's column: THE LAST time we mentioned anything about Julia Roberts and a sequel to one of her movies ("Pretty Woman") people around her reacted as if we had slapped the Queen. But the sting has subsided and we're ready for another smack. Word is that Julia and Hugh Grant's "Notting Hill" might soon get the sequel treatment: the further adventures of a movie star (Julia) and her commoner hubby (Hugh.) Ouch!!

(Ann)Jennifer and her Mum have been jointly nominated for Best Supporting Actress/Drama for the Golden Satallite Awards to ble presented on the 14th January! (Karen)What a bizarre award.... Whoopee!! Bring'em on... Hey...we'll take it . Anything to keep JE's up there in Variety:-)) Thanks Ann.

Word is that Julia and Hugh Grant's "Notting Hill" might soon get the sequel treatment: the further adventures of a movie star (Julia) and her commoner hubby (Hugh.) Ouch!! And I'll be the first in line to buy a ticket... ...and put it on my birthday wish list;-)

Re the Satallite Awards, what was most interesting,I thought, wa that they had given the nominee to both of them, just a start? Next The Golden Globes on the 21st?

Re the Satallite Awards, what was most interesting,I thought, was that they had given the nominee to both of them, just a start? Next The Golden Globes on the 21st?

Hey...all these awards go in one big pot to me...except the Oscars. They all end up on the CV's .And reading on the others...Judi Dench, Julie Walters, Kate Winslet,Catherine Deneuve...Jennifer's in good company. Not bad.

The story has also been taken up at Annova, mentions that JW has to compete against fellow Brits JD,KW, Samantha Morton and JE/RH. for the Best Supp[rting Actress role. As you say Evelyn, she is in good company. BTW has anybody noticed how many timesw SM turns up in Award Nomination, I think she is a very underated actress.

Hey Evelyn, you will have to get the DFL Publicist to update Jennifer's profile hee hee

Hey Evelyn, you will have to get the DFL Publicist to update Jennifer's profile !

Oh, what is happening!

Am taking a very unpopular position re: shared nominations The more I think about it, the more I feel it is wrong, wrong, wrong. As I said before, the recognition is for the individual performance, not the role. Many have shared a role before and yet only a single actor is nominated. By promoting JE/RH for the shared nomination, they are doing both actors a disservice (makes it a gimmicky thing). I realize that if both were nominated separately, then the votes would be split and neither stands a chance of winning. To me, it smacks of a "no guts, no glory" tactic and almost makes it look as though JE cannot do it without her mother. in good company Who ISN'T being nominated?

Gwyneth Paltrow! Sorry but I disagree Karen, between them they made that role, Jennifer was vibrant, beautiful and full of energy, Rosemary brought wisdom to the role, as many reviewers have said they were the sunshine in Sunshine. I think it needed both actors to be that good to make the role that good. (hope that makes sense)

That's OK. I don't expect people here to agree with me. Some could be called a little biased on this issue? ;-)

(Ann) Hey Evelyn, you will have to get the DFL Publicist to update Jennifer's profile hee hee Unfortunately,only Oscar, Olivier, BAFTA and sometimes GG nominations count for the CV. But if she wins....her I go:-)) (Karen)Am taking a very unpopular position re: shared nominations The more I think about it, the more I feel it is wrong, wrong, wrong. Well!! I'm glad you're not on the panel of judges.*winkie* I can see your POV re: shared nominations, though I don't share it. However, IMO after it's all over people will forget they've *shared*, the industry people will understand it was for the unusual role and what the hell the publicity is worth it.

Here is the Golden Satellite Websites, tells you all about them etc. http:/awards.fennec.org/awards 1-3html

http:/awards.fennec.org/awards 1-3html

http://awards.fennec.org/awards 1-3html

The Fourth Annual Golden Satellite Awards: "The International Press Academy (IPA)is the largest entertainment press organization in the world, comprising more than 250 full-time professional entertainment journalists from both the United States and abroad. Formed in 1996 by veteran Hollywood correspondent Mirjana Van Blaricom, the International Press Academy covers the world of entertainment through the print and broadcast media and the Internet. The annual Golden Satellite Awards, bestowed in January, honor outstanding achievement in the fields of film, television and multimedia"

A holiday greeting from Murph to everyone at Drool: http://www.murphsplace.com/happy.html

Interesting article on the Oscar race and awards season, from today's NY Times. High-Decibel Oscar Buzz December 20, 2000 By RICK LYMAN HOLLYWOOD, Dec. 19 Jamie Bell, the 14-year-old star of "Billy Elliot," who lives in a small town in northern England, was seated in a crisp new Los Angeles Dodgers jersey amid the holiday splendor of the Four Seasons Hotel's dining room, staring skeptically at a type of toasted bread he'd never seen before. "What is an English muffin?" he asked. Stephen Daldry, the movie's director, sat across from him, smiling like a bemused uncle. "Billy Elliot," a small-scale British film that was picked up as the inaugural release by Universal Focus, the new specialty film division of Universal Pictures, is getting the big Oscar push from the studio, which is what brought Mr. Bell and Mr. Daldry back to Southern California and a fresh round of screenings and interviews. "I know it's very important, and I'm very grateful for everything the studio has done," Mr. Daldry said. "But I really try very hard to stay away from all of the talk about Oscars and awards. Not that it wouldn't be nice to win." If Mr. Daldry is indeed able to steer clear of Oscar talk, he may be the only one in Hollywood doing so. The awards season is in full throttle, and this is widely regarded as one of the strangest and most unsettled Oscar races in years. Normally, by early December, there would be putative favorites in at least a few major categories, and the cognoscenti would be able to rattle off the names of most of the films and actors expected to get nominations. Not so this year, when the race is bizarrely wide open. "This is the first time that I think there are no sure bets in any of the major categories," said Ruth Vitale, co-president of Paramount Classics, which is pushing hard for several of its films and performances. "You just keep saying to everyone that this year all bets are off." Harvey Weinstein, chairman of Miramax Films, which has had a great deal of success and has drawn sharp criticism for its aggressive Oscar campaigns over the last five years, said that while he can point to two or three likely nominees in many of the top categories, no surefire winners have emerged. "There has not yet been one movie that people have embraced this year," he said. "Not all of the films are out yet, and it may still happen. But at the moment, it could go in almost any direction." As recently as a month ago, the common wisdom was that it had been an abysmal year for movies, especially for the major studios. "It hasn't been a strong year for Hollywood in terms of the caliber of the product," said David Dinerstein, Paramount Classics' other co-president. "But we've also seen a lot of very good films, and a lot of us try to save our best for the last, and we're just now beginning to see that." While most people still consider 2000 to be a weak year for films, a late spate of releases, many from independent distributors and studio specialty-film divisions, has re-energized the Oscar race and led people to think that the Academy Awards ceremony on March 25 at the Shrine Auditorium in Los Angeles, with Steve Martin as host, might not be such an embarrassment after all. The nation's independent-film theaters, which had been in the doldrums through most of the year, suddenly sprang to life in the last two months with the release of a string of films including "Quills," "Best in Show," "Crouching Tiger, Hidden Dragon," "Requiem for a Dream," "You Can Count on Me," "Pollock" and "Chocolat" that have drawn moviegoers and created the first glimmerings of a competitive Oscar season. And there are more independent films to come in the next few weeks, films that their distributors believe have a solid shot at Oscar nominations: Steven Soderbergh's "Traffic," an ensemble thriller about the drug trade; E. Elias Merhige's "Shadow of the Vampire," a supernatural fantasy about the filming of a classic silent horror film; Sam Raimi's "Gift," a neo-Gothic mystery starring Cate Blanchett as a Southern small-town psychic; David Mamet's "State and Main," a comedy about a film company invading a New England town; and Julian Schnabel's "Before Night Falls," based on the tragic life of the Cuban poet Reinaldo Arenas. Add to this the major studio films that have yet to be released most notably Robert Zemeckis's "Cast Away," starring Tom Hanks as a man marooned on a tropical island; Roger Donaldson's "Thirteen Days," with Kevin Costner playing a presidential aide during the Cuban missile crisis; and Billy Bob Thornton's "All the Pretty Horses," based on the highly regarded novel by Cormac McCarthy as well as earlier studio releases like Mr. Soderbergh's "Erin Brockovich," Curtis Hanson's "Wonder Boys," Cameron Crowe's "Almost Famous," Ridley Scott's "Gladiator" and the animated "Chicken Run" and it is easy to see why the pre-Oscar buzz has built to a deafening roar. "I think it's great that it's a wide open race," said Tom Ortenberg, co-president of Lions Gate Films. "It's great that there are so many studio pictures, so many specialized films and so many crossover pictures. I think the whole community is energized by it all." The awards season follows a familiar pattern in Hollywood. Beginning in late autumn, the studios and independent distributors begin releasing their Oscar-worthy films coinciding with the fall film festivals, notably in Toronto and New York. This is a signal to publicists everywhere that it is time to begin buzzing and spinning about every conceivable film, performance, screenplay, score or technical achievement that might eventually get an Oscar nomination and thus a boost at the box office. Around Thanksgiving, the "for your consideration" ads begin to appear in the Hollywood trade papers. This year, because the field was so wide open, several studios re- released films that had opened earlier in the year to remind everyone that they are, indeed, eligible for awards. In early December, the first of the year-end awards are released. This year, the National Board of Review chose Philip Kaufman's "Quills," based on the Doug Wright play about the final days of the Marquis de Sade, as the year's best film. Javier Bardem, who plays Arenas in "Before Night Falls," was named best actor, and Julia Roberts, who has the title role in "Erin Brockovich," was chosen best actress. A week later, the New York Film Critics Circle chose "Traffic" as the year's best film, Mr. Hanks as best actor and Laura Linney, in "You Can Count on Me," as best actress. Last weekend, two more critics groups chimed in. The Los Angeles Film Critics Association picked "Crouching Tiger, Hidden Dragon" as best film and gave top acting honors to Michael Douglas, for "Wonder Boys," and Ms. Roberts. The Online Film Critics Association picked "Billy Elliot" as best film and Geoffrey Rush, in "Quills," as best actor; Ms. Roberts and Ellen Burstyn, in "Requiem for a Dream," tied for best actress. The Broadcast Film Critics Association today released its list of the year's Top 10 films (actually there were 11 on the list, because of a tie in the voting) and named Ms. Roberts as best actress and Russell Crowe, in "Gladiator," best actor. Both "Gladiator" and "Erin Brockovich" were on the top list, as were "Almost Famous," "Billy Elliot," "Cast Away," "Crouching Tiger," "Quills," "Thirteen Days," "Traffic," "Wonder Boys" and "You Can Count On Me." The group will name a best picture on Jan. 22. There will be others: the National Society of Film Critics, the American Film Institute's first-ever Top 10 list, the British Academy Awards (which this year were moved up to join the pre-Oscar buildup) and most notably the Hollywood Foreign Press Association's Golden Globe nominations, coming on Thursday. But few expect these awards to clear up the muddle. "The critics groups are not going to change anything," Mr. Weinstein predicted. He pointed out that last year his studio's "Cider House Rules" won none of the late- year awards but got seven Oscar nominations, the second highest number for any film, and won two. The betting is that each of these awards- granting groups is choosing its own favorite, perhaps with no two settling on the same films. If so, that will keep the Oscar race unsettled until nominations are announced in February. And it will continue to embolden distributors to push their films, even the most unlikely ones, for the awards. "It's such a crazy year that we figure, why not?" said a marketing executive about an Oscar campaign for one of his studio's box office hits, though it had received lukewarm reviews. "Something's going to win the Oscar. And with no movie having a lock, it's worth a shot at least." The unknown element in all of this is how the movies are playing with the 5,600 members of the Academy of Motion Picture Arts and Sciences who will eventually vote on the Oscars. Each of the potential nominees is given at least one official academy screening, and most of the studios pay for additional screenings and send videotape or DVD copies of the films to academy members. "The trick is getting someone to see your film," said David Horowitz, a longtime Oscar campaign strategist. The hottest gossip in Hollywood at least as far as the Oscars are concerned is how various movies are being greeted in their academy screenings. It was only after the enthusiastic reception "Cider House Rules" received in its academy screenings last year that it became evident it would do much better in the Oscars than it had in the earlier awards. The problem is, no one is neutral. Gossip about how films played at the screenings inevitably passes through filters of self- interest. Interviews with three people who attended a recent academy screening of "Quills," for instance, resulted in wildly different assessments of its reception, how many people showed up, what they talked about in the lobby afterward and how many, if any, walked out before the movie ended. But the dim outlines of the Oscar race are beginning to take shape, and people are now willing to begin making some early, hesitant predictions. Among studio films, "Erin Brockovich" and "Gladiator" are considered strong contenders for a best picture nomination, and perhaps "Cast Away" will join them upon its release on Friday and "Thirteen Days" when it goes into limited release on Dec. 25. Among independent features, "Quills," "Traffic," "Billy Elliot" and "Crouching Tiger" are the most frequently mentioned, although many are unwilling to discount the Oscar muscle of Miramax, which is mounting strong campaigns for "All the Pretty Horses" and Lasse Hallstrom's "Chocolat," a fable about the healing properties of pleasure in a small French village. Any of a dozen other films could turn up among the final five nominees. "My gut feeling is that when we see the Oscar nominations announced, it's going to be a true blend of commercial and independent films, studio blockbusters and specialized releases, and I think that's going to be great for the industry," Mr. Ortenberg said. For best actor, the most frequently mentioned names are Mr. Hanks, Mr. Bardem, Mr. Douglas, Mr. Rush and Ed Harris for "Pollock." For best actress, Ms. Roberts is widely considered to have a lock on a nomination; among those who are expected to join her are Ms. Linney, Ms. Blanchett, Ms. Burstyn, Juliette Binoche for "Chocolat" and Joan Allen for "The Contender." If there is one sure thing this year, many believe, it is that Mr. Soderbergh will get a nomination for best director. But for which film, "Erin Brockovich" or "Traffic"? Perhaps both? "This year anything is possible," said Mr. Weinstein. "Right now we're in the middle of all the buzz and the spin, which has become almost a master art. And I know that people criticize us, say that we're the masters of all of that. But I really believe that, in the end every year, it always comes down to the movies. In the end, nothing else matters."

Did nobody out there like Oh Brother where art thou? so much more original than yet another film about how the only way out of the hell of the north of England is to take up ballet dancing, blow a cornet or take your clothes off:-))

Oh Brother... (which hasn't even opened yet) was No. 1 from the main film critic at the Chicago Tribune, and he had Sunshine at #4, with no ballet dancers from up north anywhere to be seen. ;-) Ebert's Top 10 (v. disappointing): 1. "Almost Famous" 2. "Wonder Boys" 3. "You Can Count on Me" 4. "Traffic" 5. "George Washington" 6. "The Cell" 7. "High Fidelity" 8. "Pollock" 9. "Crouching Tiger, Hidden Dragon" 10."Requiem for a Dream"

Ebert's Top 10 (v. disappointing): No Gladiator? Good news for High Fidelity& Nick Hornsby.

Speaking of "Traffic"... Following are the guests on tonight's Charlie Rose show: Stephen Soderbergh, Director,"Traffic"; Catherine Zeta-Jones, Actor, "Traffic"

Evelyn says: Traffic hasn't opened yet. I read that it will only open in LA at the end of the year and go national in mid-January. *********** The New Yorker that came today calls it "the most exciting and complexly imagined American movie of the year." And the EW End of the Year issue (with you know who on the cover) has a great picture of Benedicio Del Toro, the Tijuana cop. Hi all. Glad to find a minute to loosen up these stiff fingers and post a note. Happy holidays, and thanks, Karen, for posting the URL to my "card." Have to run, Ed is coming on and, since it is filmed in my own "Village of Ridgewood," I have to watch to see what local sights they have captured...and then, after that, there is West Wing -- the Favorite of favorites.

Me again (Jeez, will she ever shut up?) Reel.com has a cute Alternative Awards page: http://www.reel.com/reel.asp?node=features/millennium/bestof99/alternative

A very long, but surprisingly good, analysis from Screendaily: AWARDS COUNTDOWN BEST ACTRESS/BEST SUPPORTING ACTRESS It�s been a rich year for actresses, but Julia Roberts is the only dead cert for a best actress nomination. Meanwhile, in the supporting actress category, the British are sure to make their now traditional appearance. Mike Goodridge reports. She was Oscar-nominated for her second starring role and her third, but Julia Roberts has had to wait 10 years and another 19 films before her third. And there can be nothing more certain that Roberts, probably the world�s biggest box office star, will snag a best actress Academy Award nomination for Erin Brockovich. She�ll probably walk away with the prize itself, unless some serious rallying from other studios comes into play on behalf of their performers. Roberts has already been named best actress of 2000 by the National Board Of Review Of Motion Pictures and should snag other critics� honours before almost inevitable nominations for the Golden Globe and the Bafta as well as the Oscar. Why such certainty? Even though the film was released in March, her hugely charismatic, screen-chewing turn as the real-life crusader Brockovich was so intrepid, convincing and unlike anything else that the romantic comedy queen has done that critics roared with approbation. Besides, it�s clearly Roberts� turn. After a lull in the mid-1990s, she has re-established herself as the undisputed queen of the box office � even Erin Brockovich took over $100m � and the Academy always loves a good actor who also sells tickets. Pundits have been tipping Roberts since the film opened and nothing quite so spectacular as her work in this film has emerged in subsequent months. Is hers the best performance of the year by an actress in a leading role? Probably not, but then again it was the best performance of the year by a giant movie star in a much-liked hit film. If voters of every age embrace Erin Brockovich, only a fraction will stomach Requiem For A Dream, Darren Aronofsky�s resolutely uncompromising adaptation of Hubert Selby Jr�s novel about the horrors of drug addiction. But amid the carnage of self-destruction that will turn off many is a performance by Ellen Burstyn, which could be the best in any year � by man or woman. As an ageing, lonely woman who gets hooked on diet pills in order to slim down for an appearance on a TV quiz show, Burstyn is mesmerising. Her descent into madness � accompanied by hallucinations and withdrawal from the world � is what makes the film so heartbreaking and ultimately accessible to those who can�t relate to the addictions of the younger characters. Although she�s acted steadily since her heyday in the 1970s, Burstyn�s role in this film, as well as a stand-out supporting performance in James Gray�s The Yards and the hit re-release of The Exorcist, have catapulted her back into the public eye. Burstyn is no stranger to awards. She has five Oscar nominations under her belt and one Oscar � for Alice Doesn�t Live Here Anymore in 1974. Her other nominations were for The Last Picture Show (1971), The Exorcist (1973), Same Time Next Year (1978) and Resurrection (1980). Burstyn�s experience contrasts starkly with another frontrunner, Icelandic pop diva Bjork who made her film acting debut in Lars von Trier�s bravura musical melodrama Dancer In The Dark. Von Trier hired her for the role of his Czech immigrant single mother working in a factory in a small town in rural Washington state after seeing her in Spike Jonze�s music video for her song It�s Oh So Quiet. And despite the conflict of personalities which existed between the two on set, his judgement that she was perfect for the part proved right. Bjork threw herself into her character Selma with an abandon rarely seen even in the most courageous of actresses. As Selma starts to lose her sight and struggles to save money for an operation that will save her son from the same fate, she was natural and appealingly stubborn. After committing murder to recover the money when it is stolen, she was captivating to watch. And when she faces the death penalty, her combination of resignation to her fate and despair was devastating t watch. Critics may have been divided about the film itself but Bjork received unanimous acclaim, winning the best actress prize at Cannes and the European Film Award. Last week she won a special recognition from the National Board Of Review for outstanding dramatic performance in a musical. For the star who claims that she won�t act again, an Oscar nomination (maybe two if her song I�ve Seen It All gets one) could be persuasion enough for her to eat her words. Laura Linney made a breakthrough in 1999 after a decade of solid work in studio films (The Truman Show, Primal Fear and Congo) and as Mary Ann Singleton in the popular Tales Of The City TV series. In You Can Count On Me Linney plays a single mother living in a small town in upstate New York whose routine life is thrown into turmoil when her restless brother arrives to stay with her and she is entirely believable. She makes writer-director Kenneth Lonergan�s character come alive in the most effortlessly natural way, so that when her character makes irrational choices or pious decisions, she appears neither irrational or pious, but merely human. When the two siblings say goodbye at the film�s end, Linney and Mark Rufalo have established such well-rounded characters that the farewell possesses an authentic poignancy rare to discover in contemporary film. Linney also gives a memorable supporting performance as the deceitful Bertha Dorset in Terence Davies� film adaptation of Edith Wharton�s The House Of Mirth, but that film is dominated, as is fitting since she barely leaves the screen for a moment, by Gillian Anderson. Best known as Agent Dana Sculley on TV�s long-running The X-Files, Anderson is a revelation as Wharton�s doomed heroine Lily Bart, initially a confident society woman, then later thrust into disgrace and poverty. The actress captures the various shades of this contradictory woman, struggling to choose between financial needs and the love of a man who cannot meet them. From her glamorous entrance to her final emotional breakdown, Anderson proves that she can hold her own on the big screen. Juliette Binoche also stands a chance of awards recognition for her radiant performance as the chocolate-shop owner in Lasse Hallstrom�s Chocolat. Binoche�s charismatic characterisation helps to ensure that the film avoids sentimentality, while imbuing it with a warmth that will melt the hardest of hearts. Binoche, who won a best supporting actress Oscar for The English Patient in 1996, speaks flawless English in this film and should become a major star in the US on the back of it. Possessing the same rare luminosity as Binoche is Cate Blanchett, already recognised as one of the world�s premiere actors, who gives another outstanding performance this year in Sam Raimi�s The Gift. Co-written by Billy Bob Thornton, Blanchett plays a psychic (based on Thornton�s own mother) in a small Southern town whose abilities involve her in a murder investigation. The actress is better than the film itself, utterly believable as a widow protecting herself and her children from the criminal elements of the town and terrorised by her own gift. It�s a rich year for actresses and others could figure in the forthcoming awards rounds. Michelle Yeoh�s glorious action heroine-in-love in Crouching Tiger, Hidden Dragon is the soul of the film, her humanity and good sense in pitch perfect contrast to the flighty younger woman played by Zhang Zivi. Joan Allen, a double Oscar nominee for Nixon (1995) and The Crucible (1996), is compelling as the Democratic vice presidential candidate struggling to stay afloat in the face of allegations of a sex scandal in The Contender. Helen Hunt was the best thing about Mimi Leder�s saccharine Pay It Forward, touching as the alcoholic single mother of too-good-to-be-true kid Haley Joel Osment. Renee Zellwegger�s charming performance in the title role of Nurse Betty softened the hard edges of director Neil Labute�s traditionally cynical style. Michelle Rodriguez, another special award winner at the National Board Of Review, made a sensational film debut in Karyn Kusama�s Girlfight, playing the teenage hardhead who f nds an outlet in boxing. Unlikely to glean Oscar recognition but as deserving as anyone is Lena Endre, whose extraordinary work in Liv Ullmann�s Faithless has been critically revered but consistently beaten at awards rounds in Europe by Bjork. As Marianne, the actress retelling the story of an extra-marital affair which wrecks her marriage and devastates her beloved daughter, Endre is the year�s best actress in the eyes of many Europeans. Numerous UK actresses gave fine supporting performances in 2000 and, like last year (Samantha Morton) and the year before (Judi Dench, Lynn Redgrave, Brenda Blethyn), one or more should make the final Oscar shortlist. The winner in 1998, Judi Dench, for example, plays a mouthy old broad with a heart of gold to perfection in Chocolat � the type of performance loved by Academy voters. Kate Winslet, who already had two Oscar nominations to her name by the age of 23, is excellent as the virginal serving maid titillated by the Marquis de Sade�s writings in Quills. Julie Walters, a nominee in 1983 for best actress in Educating Rita, gives a moving performance as the ballet teacher who gives Billy Elliot a chance in the film of the same name. Eleanor Bron has only a few scenes in The House Of Mirth but she bristles with moral superiority as Julia Peniston, Lily�s wealthy aunt who leaves her niece destitute. Jennifer Ehle is spirited as the feisty wife of the first of Ralph Fiennes� three characters in Istvan Szabo�s epic of 20th century Jewry Sunshine, and in a clever casting coup, Ehle�s own mother, the marvellous Rosemary Harris, plays the same character two generations later. Samantha Morton, last year�s nominee for Sweet And Lowdown, is again impressive, this time as the junkie girlfriend of Billy Crudup in Allison Maclean�s accomplished Jesus� Son. And Catherine Zeta Jones forgoes glamour to give her best performance to date as a pregnant San Diego socialite who discovers that her husband is a drug lord and goes to desperate measures to protect her lifestyle in Traffic. But for the Brits, the competition from Americans is stiff. Who can forge the harrowing journey of Jennifer Connelly�s drug-addled character in Requiem For A Dream, or the sweet, sensitive breakthrough performance by Kate Hudson as groupie Penny Lane in Almost Famous? Similarly, powerhouse actress Frances McDormand put in fine work in both Wonder Boys, as Michael Douglas� married mistress, and in Almost Famous as the strict but loving mother of lead character Patrick Fugit. And Marcia Gay Harden must be included for her superb portrayal of Lee Krasner, the artist lover of Jackson Pollock in Ed Harris� Pollock. There are also a couple of fine comic performances � by Elaine May as Tracy Ullman�s endearingly stupid cousin in Woody Allen�s Small Time Crooks and by Rebecca Pidgeon as the straight-talking local bookseller in David Mamet�s State And Main. Three other contenders all play in English, but it is their second language. Spain�s Penelope Cruz is affecting as the ranch-owner�s daughter caught in a mis-matched love affair in Billy Bob Thornton�s All The Pretty Horses, France�s Catherine Deneuve very nearly pulls it off as a world-weary factory hand in Dancer In The Dark and US-born Mexican actress Lupe Ontiveros is a delight in Miguel Arteta�s Chuck And Buck. It was Ontiveros who was the surprise winner of the supporting actress prize from the National Board Of Review last week.

A good day for Sunshine at the Golden Globes. Noms for Best Picture-Drama, and Best Director, Istvan Szabo. Alas, none in the the acting categories.

1.����� BEST MOTION PICTURE - DRAMA a.���������� BILLY ELLIOT Universal Pictures / Working Title / BBC Film / WT2; Universal Focus������� b.������ ERIN BROCKOVICH �������� Universal Pictures / Jersey Films; Universal Pictures / Sony Pictures c.����� GLADIATOR �������� DreamWorks Pictures / Universal Pictures ; DreamWorks Pictures / Universal Pictures d.����� SUNSHINE ����� �������� Alliance Atlantis / Serendipity Point Films / Kinowelt;� Paramount Classics � e.����� TRAFFIC ������ �������� Bedford Falls Company / Laura Bickford Production;� USA Films f.���������� WONDER BOYS Paramount Pictures / Mutual Film; Paramount Pictures � 2.����� BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - DRAMA a.������ JOAN ALLEN����� The Contender b.������ BJ�RK����� Dancer In The Dark c.����� ELLEN BURSTYN����� Requiem For A Dream d.����� LAURA LINNEY����� You Can Count On Me e.����� JULIA ROBERTS����� Erin Brockovich 3.����� BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - DRAMA a.������ JAVIER BARDEM����� Before Night Falls � b.������ RUSSELL CROWE����� Gladiator � c.����� MICHAEL DOUGLAS����� Wonder Boys � d.����� TOM HANKS����� Cast Away e.����� GEOFFREY RUSH����� Quills 4.����� BEST MOTION PICTURE - MUSICAL OR COMEDY ���� a.������ ALMOST FAMOUS �������� DreamWorks Pictures;� DreamWorks Pictures / Columbia Pictures b.������ BEST IN SHOW �������� Castle Rock Entertainment;� Warner Bros. Pictures��������� � c.����� CHICKEN RUN (CLAYMATION)������� �������� Aardman Production;� DreamWorks Pictures / Pathe d.����� CHOCOLAT������ �������� David Brown Productions;� Miramax Films e.����� O BROTHER, WHERE ART THOU? ������ �������� Touchstone Pictures / Universal Pictures / Studio Canal / Working Title;� Buena Vista Pictures Distribution 5.����� BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE - MUSICAL OR COMEDY a.������ JULIETTE BINOCHE����� Chocolat b.������ BLENDA BLETHYN����� Saving Grace c.����� SANDRA BULLOCK����� Miss Congeniality � d.����� TRACEY ULLMAN����� Small Time Crooks e.����� RENEE ZELLWEGER����� Nurse Betty � 6.����� BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE - MUSICAL OR COMEDY a.������ JIM CARREY����� The Grinch � b.������ GEORGE CLOONEY����� O Brother, Where Art Thou? � c.����� JOHN CUSACK����� High Fidelity d.����� ROBERT DE NIRO����� Meet The Parents e.����� MEL GIBSON����� What Women Want 7.����� BEST FOREIGN LANGUAGE FILM a.������ AMORES PERROS �������� Lions Gate Films / Alta Vista �������� MEXICO b.������ CROUCHING TIGER, HIDDEN DRAGON �������� Zoom Hunt International Productions; Sony Pictures Classics �������� TAIWAN � c.����� THE HUNDRED STEPS �������� Titti Film / Rai Cinema �������� ITALY�� d.����� MALENA ������ �������� Medusa Film / Miramax Films;� Miramax Films �������� ITALY e.����� THE WIDOW OF ST. PIERRE ��� �������� Flach Pyramid;� Lions Gate Films �������� FRANCE 8.����� BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE a.������ JUDI DENCH����� Chocolat b..������ KATE HUDSON����� Almost Famous c.����� FRANCES McDORMAND����� Almost Famous d.����� JULIE WALTERS����� Billy Elliot e.����� CATHERINE ZETA-JONES����� Traffic � 9.����� BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE a.������ JEFF BRIDGES����� The Contender b.������ WILLEM DAFOE����� Shadow of the Vampire c.����� BENICIO DEL TORO����� Traffic d.����� ALBERT FINNEY����� Erin Brockovich e.����� JOAQUIN PHOENIX����� Gladiator 10.��� BEST DIRECTOR - MOTION PICTURE a.������ ANG LEE����� Crouching Tiger, Hidden Dragon b.������ RIDLEY SCOTT����� Gladiator c.����� STEVEN SODERBERGH����� Erin Brockovich d.����� STEVEN SODERBERGH����� Traffic e.����� ISTVAN SZABO����� Sunshine 11.��� BEST SCREENPLAY - MOTION PICTURE a.������ CAMERON CROWE����� Almost Famous b.������ STEPHEN GAGHAN����� Traffic c.����� STEVE KLOVES����� Wonder Boys d.����� KENNETH LONERGAN����� You Can Count On Me e.����� DOUG WRIGHT����� Quills

Thanks, Mari, for getting the nominations up so fast. Best Dramatic Actress is as expected. But pretty disappointing in the best supporting actress category. :-(

Comments on GG: Am disappointed that JE was not nominated, but not dispondent..Oscars don't always follow GG;-) How's that for optimism!! Glad to see Sunshine , director and musical score (He did Zhivago too!)nominated.But how can they keep ignoring RF?? Big Day in the Michael Douglas household! Happy to see John Cusak (HF) up there and Renee. ~~~~~~~~~~~~~~~~~~ Screen Daily:"If voters of every age embrace Erin Brockovich, only a fraction will stomach Requiem For A Dream, Darren Aronofsky�s resolutely uncompromising adaptation of Hubert Selby Jr�s novel about the horrors of drug addiction" That's *me* folks. I refuse to see any more druggie movies, I'm tired of seeing people vomiting in toilets, injecting themselves with needles and viewing cockroaches coming out of woodwork. [I will wait for your reviews of"Traffic" before I go.If there are any of the above components pl. let me know] Bring on Bridget..enough of this realism, I want to leave a movie with a smile on my face. Thank you for list listening:-))

Sorry, italics closed

This appeared in the TV section of "Daily Oklahoman" HBO PLANS NEW SERIES Call it"Sex and the City:The Testosterone Chronicles". HBO has ordered 10 episodes of "The Mind of the Married Man", about three male reporters at a Chicago newspaper who struggle to, well, stay with the lines. Mike Binder ("The Contender"[uh? no "Sex Monster"? ])is creator of the sitcom and will costar, along with Jake Weber and Taylor Nichols. No word on a debut date."

I am glad to see "Oh Brother where art thou" and George Clooney. Tho Karen did you say it had not yet opened in the States? It opened in the UK at the beginning of September.

No, it hasn't; they saved it for the end-of-year BIG picture race here. In fact, George Clooney was on David Letterman last night promoting it. Also read today that Enemy at the Gate is going to show at the requisite couple of theaters by year-end in order to qualify, but won't play nationally until APRIL!! (Evelyn) Oscars don't always follow GG;-) They don't and can't...for the most part. The Hollywood Foreign Press are a v. small group and vote on the basis of cocktail party attendance. ;-) One of the websites I visited equated the GGs as no better than the Blockbuster Awards. C'mon, any show produced by Dick Clark!!

HAPPY HANUKKAH, KAREN

One more try... Anyway...if it doesn't work go here and find your card...third one down...I like the dancing happy menorah's!! http://static.bluemountain.com/image.bluemountain.com/enggifs/jewish/jicons/jicons4cp.gif Enjoy!

(My brain must be frozen or in shoveling mode.) The lack of "O Brother" on awards lists has nothing to do with NOT having opened, as so many others have not and all the critics would've seen in at Cannes this summer. It's a comedy! Also, it probably opened first in England because Working Title is behind it as well. It opened Billy Elliot there first, and I'm guessing Bridget will open there first too, by only a few days or a week, as was done with NH.

Thnks Mari! How could they nominate Ang Lee as Best Director when his film is up for Foreign language? They have snubbed Bjork in a category made to order such as musical actress. Julia Roberts could never have done what she has with that role. Binoche has done much better before and Kate Winslet should have been nominated for Best Supporting in Quills. I am beginning to feel sorry for Ralph Fiennes too. Michael Douglas over him I just do not see.

And... Happy Hanukkah, Karen!

If Jennifer wasn't nominated, I hope Julie Walters gets it for Billy E. Judi Dench should get the "Lifetime Best Actress Alive Award" .Period. And let others have a chance, Frances Mc Dormand already got one.Kate Hudson and Catherine ZJ are cashing in on popularity right now.Unless the latter has had acting lessons, she's gorgeous, but can't act. I bet Renee gets it for Nurse Betty.

I sent this URL to Evelyn. It has more info on Sunshine's GG nomination because the film is a part Canadian production: http://www.southam.com/montrealgazette/newsnow/cpfs/entertainment/001221/e122131.html

CHUD says that best supporting should go to Benedicio Del Toro, who was way above the others nominated in talent and performance. (For Traffic) He has an interesting face.

Happy Hanukkah, Karen! With my very best wishes, KJ

Thank you all for the holiday wishes. :-) (Moon) How could they nominate Ang Lee as Best Director when his film is up for Foreign language? That's happened before and is not wrong imo. The horrible one is when a film is nominated for best picture and the director isn't, like with John Madden. (Evelyn) Judi Dench should get the "Lifetime Best Actress Alive Award" .Period. And let others have a chance Huh? She was nominated twice before and won once. That's not exactly like Meryl Streep, who gets nominated nearly every time she makes a movie. C'mon, you should remember how many times Bette Davis, Katherine Hepburn and many others have been nominated and won.

The horrible one is when a film is nominated for best picture and the director isn't, like with John Madden. IMO, neither film or director should have been nominated in his case. Merry Christmas and a fantastically firthfilled 2001!

Merry Christmas to all of you. May whatever holiday that you celebrate this season be joyfilled. Happy Boxing Day to all of you in Canada and the UK.

RE: the Golden Globes. When they announced Sunshine as a nominee, I thought, great, there's a chance for Jen, the film is on their radar screen and they liked it! Unfortunately it was not to be, but let's hang onto hope for the Oscars, which do not mirror the Globes. I was checking on the Academy members' screening schedule for Sunshine, and it's aggresive, so at least they are getting the film in front of people to see. When I think of a great supporting perfromance, I think of someone without whom the film would have been seriously diminished. By that definition, Ehle/Harris should have been in there. They're the heart of the film. Do these nominess fit that bill? Kate Hudson certainly does, for Almost Famous (McDormand, less so). The others, I haven't seen yet. I am so glad Renee is nommed, but was disappointed that Nurse Betty didn't get anything, either for film or screenplay, both of which should have been there. (Moon) Binoche has done much better before Moon, what did you think of Chocolat? From the trailers and reviews, it seems trivial, but you can't always tell from that.

I've seen Chocolat. It was a lovely and enchanting film, but not a BEST Picture type. How many magical food movies will there be? Judi Dench does have a v.g. role (i.e., more than 8 minutes) and not a clone of other eccentric old lady parts she's done as in Tea w/Mussolini. That being said, I thought Lena Olin was marvelous and who would recognize Carrie-Anne Moss! Even Johnny Depp with his Irish accent was good. I do however begrudge the nomination for Rachel Portman's practically nonexistent score. Have these people not heard the Wonderland score? This is stuff that plays around in your head afterward, and it's by the same guy who did The Piano (Michael Nyman). And you thought Phaedra couldn't manage itself out of a papersack. Here's another company that's got its head up its.... On the trailer alert: with this weekend's movies, we're being shown teasers for the biggies of first-half 2001. Have been seeing The Mexican (opens late March), Pearl Harbor (Memorial Day) and now a teaser for AI (summer of 2001). Am keeping my eyes open for another biggie.

Wishing you all the compliments of the season - however you may celebrate.

Best wishes to everyone for a happy holiday season and a Firth-filled new year.

(Mari)When they announced Sunshine as a nominee, I thought, great, there's a chance for Jen, the film is on their radar screen and they liked it! Unfortunately it was not to be,but let's hang onto hope for the Oscars, which do not mirror the Globes. I was checking on the Academy members' screening schedule for Sunshine, and it's aggresive, so at least they are getting the film in front of people to see. LATIMES 12/22 They're Anybody's Golden Globes by Robert W. Welkos and Susan King, Times Staff Writers - "Gasps of delight went up when Hungarian filmmaker Istvan Szabo was nominated as best director for Sunshine, the three-hour epic about a Hungarian Jewish family. When his name was announced, someone on the hotel staff dropped a tray, shattering the silence. Sunshine received three Globe nominations (best drama, director and original score)." ~~~~~~~~~~~ LA Times is doing their best, they have blurbs about Sunshine every few days.It was on of their best choices for the year.

I've seen Chocolat. It was a lovely and enchanting film, but not a BEST Picture type. How many magical food movies will there be? Too many, if this one is a success.;-) I'll see it at some point, I'm sure. I saw Cast Away yesterday and liked it very much. I liked that it had the guts to show a person in complete solitude for the better part of the film. When Hanks is on the island, there are no sound effects, no special effects, no music, very little talking, and I don't even think they used much, if any, artificial lighting. Tom does a terrific job in evoking this man's utter loneliness and desperation, conveying everything with just his facial expressions and body language. A beautifully understated performance, and he makes it look so effortless, so natural. IMO, he's one of the least-mannered actors around; you never get the familiar collection of tics with him. I also liked the lack of a pat ending; what we get here is very ambiguous. I saw Quills earlier in the week, and liked that also. I liked that it didn't take the usual Hollywood knee-jerk position that complete freedom of expression is always a good thing (though I'm generally one of those knee-jerks;-). Performances were very good, though I thought Geoffrey Rush a bit over the top; I would have preferred a more subtle, Hannibal Lecter-type of menace, but maybe that was a function of the script, which I thought was very well-done, very naughtily witty. In any event, he certainly looks like he's enjoying himself. I thought Joaquin Phoenix was great; this kid really excels at playing tortured, emotionally-torn souls. And, boy, is he ever good-looking!;-) Kate Winslet was also very good, as usual. So, I'm not sure if these meet the definition of "great" films, but I sure enjoyed them, for very different reasons. In any event, it was good to see two big studio films that dared to do something different. Evelyn, I heard those gasps and squeals when Sunshine was announced!

So Mari, you would give the Oscar to Hanks over Rush? Moon, what did you think of Chocolat? From the trailers and reviews, it seems trivial, but you can't always tell from that. I will probably see Cast Away today. I still have seen Chocolat because my DH was turned off by the previews. I loved Like Water for Chocolate, and Chocolat appears to be a (not as interesting), copy. Definitely not Best Picture material. I still insist that Bjork was overlooked. I am counting on the Oscars to set this straight.

(Mari)Tom does a terrific job in evoking this man's utter loneliness and desperation, conveying everything with just his facial expressions and body language. A beautifully understated performance, and he makes it look so effortless, so natural. IMO, he's one of the least-mannered actors around; I hope to see "Castaway" this weekend, if the winter storm doesn't hit us. I consider Tom Hanks the American counter-part to RF. What a hard worker!! But did you know that for a time the audiences wouldn't accept him in anything other than comedies.."Bachelor Party", "Splash", "Big". He's been on a press junket for "Castaway" and he said this in Dallas: "Well, there was certainly a time when I was in my 20's and 30s that I was wanting to do something else," he admits. "But I never felt like, 'Hey, they typecast me! What a gyp. They'll never let me do that'. Because I had the power to say yes or no to the stuff...I was not one to bemoan the image that I had, based on the choices that I had made, because who made the choices? Who said yes to "Dragnet" ? That was me. I said I was gonna do it, y'know?"

From today's Variety: OSCAR, MEET BAFTA: Brits shift in bid to redraw the kudos map By ADAM DAWTREY LONDON -- The Hollywood kudos season, which kicked off with the National Board of Review in early December and climaxes with the Academy Awards in late March, has always been an all-American affair. But now the Brits are crashing the party. The British Academy of Film & Television Arts has shifted its film awards to Feb. 25 from its old April slot in a bold bid to redraw the Oscar campaign map. Slap bang between the Golden Globes (Jan. 21) and the Academy Awards (March 25), the British Academy is pitching itself as a stepping-stone toward the ultimate prize. Although the awards are technically named the Orange British Academy Film Awards, in deference to their sponsor, everyone calls them the Baftas. (The org abbreviation is BAFTA in capital letters.) So will Hollywood embrace the interloper or give it the cold shoulder? Much, say studio sources, depends on whether this year's Bafta ceremony proves worthy of long-term support. But big American players are already pouring far more cash and effort than ever before into wooing BAFTA's members -- 3,000 industry insiders in Blighty and approximately 800 expats in Los Angeles and New York. "We've had a fantastic response from the studios and big independents," said Steve Woolley, chairman of BAFTA's film section, who visited Los Angeles in September with chief exec Amanda Berry to talk up the date switch. Not only are there far more special screenings and more videos being sent out this year, but studios and talent are bending over backward to press the flesh. Geoffrey Rush ("Quills"), Michael Winterbottom ("The Claim"), Joel Schumacher ("Tigerland"), Michael Douglas and Curtis Hanson ("The Wonder Boys"), and Kate Hudson and Patrick Fugit ("Almost Famous") have already graced screenings at BAFTA's Piccadilly HQ in London. A host of screenplays, glossy brochures, CDs and other goodies are heading to BAFTA's members. By contrast, the org's U.S. counterpart, the Academy of Motion Pictures Arts & Sciences, does not allow such campaigning. "We have a larger budget and more leverage to get the talent over," confirmed Richard Napper, managing director of Columbia TriStar U.K. "Everyone is looking at it as a stepping-stone," said Andrew Cripps, president of United Intl. Pictures, which reps Universal and Paramount. With no U.S. TV coverage lined up this year, Woolley admitted that the BAFTAs cannot compete with the Golden Globes for public impact. The one-two Globes to Oscars punch is a proven prescription for Hollywood marketeers, and that's not likely to change easily, especially given the perception that the Baftas represent -- in the words of one top studio exec -- "nothing more than a free trip to London." But with a significant minority of BAFTA members also members of AMPAS, the Brit event could offer the industry a real clue to the way the Oscar winds are blowing. And if the British awards do eventually establish themselves as a more accurate Oscar predictor than the Globes, whose track record in the past couple of years has been decidedly mixed -- there might not be too many tears among those who chafe at the power of the 90 journalists who comprise the Hollywood Foreign Press Assn. Not everyone is convinced the new Baftas will suddenly be so much more important than the old. David Livingstone, Universal's London-based president of international marketing, plays down the Oscar link. "I do like the Baftas, but I don't think they pave the way for the Academy Awards, albeit that they are now on the way," he said. "It's of less significance than I would hope it to be. In reality, nine out of 10 people in Hollywood don't know the Baftas exist. Its level of significance may have gone up 25%, but what was its level before? Negligible." U's "Billy Elliot" could well sweep the board at this year's event, but Livingstone suspects such a British victory could be discounted in Hollywood as evidence of hometown favoritism. It's true that BAFTA has a tradition of honoring Brits, whether in local or Hollywood movies. But it is also proud of its support for American or other foreign talent overlooked by U.S. prizegivers. A couple of years ago, "The Truman Show" won consolation prizes at the Baftas after its Oscar shutout, and last year Pedro Almodovar beat Sam Mendes, the British-born Oscar winner, for the director award. The delicate question is how far BAFTA's quirky independence will be compromised by its desire to become a pointer to the Academy Awards. BAFTA has already built a certain, ahem, flexibility into its qualification rules to ensure that all the main Oscar candidates are also in the running for its awards. Many Oscar films that are released Stateside in December don't find their way to British cinemas until February or March. So BAFTA admits any film released up to March 16, as long as it gets a one-week qualifying run somewhere in Britain by the end of December. Last year, over half of the Bafta noms went to films released after the end of 1999. BAFTA's nightmare would be to find films ineligible for Oscars scooping up awards. This year there are two top-quality contenders that could spoil BAFTA's party: Paul Thomas Anderson's "Magnolia" and Christopher Nolan's "Memento." The former was eligible for 1999 Oscars; the latter will open in the U.S. next year. Woolley admits that re-positioning the Baftas is an "experiment." But success should help iron out such anomalies in future years, as distribs make greater efforts to tailor release dates to the ceremony. For the time being, BAFTA's priority is to prove it can lay on a splashy bash to impress Hollywood. But above all, it's BATFA's hope that raising the profile of its awards will encourage more of the British film industry's bright young things to join an organization that tends to be seen as an old boys' network. "There is an appalling gap in our demographic," Woolley said. "If people know they are going to get lots of videos, maybe we can bring the average age down a bit closer to the 20s than to the 60s." (Claude Brodesser in Los Angeles contributed to this report.)

"...awards are technically named the Orange British Academy Film Awards, in deference to their sponsor" Really? The Florida orange juice people sponsor this? I thought it was some bank? "With no U.S. TV coverage lined up this year, Woolley admitted that the BAFTAs cannot compete with the Golden Globes for public impact. " Is it televised live in UK yet?Or like the Oliviers is it televised three days later...[puhleese]. I don't expect a nomination for "Sunshine".Unlike the US, the film got spotty reviews [I'm not surprised] and they all hate RF .

Really? The Florida orange juice people sponsor this? Florida is behind everything. They keep wanting to make it the capital of the US, but we refuse to let all those diplomats in. ;-) The Orange Bowl Parade is co-sponsored by the Baftas. They look at it as a free trip to Miami Beach. ;-))

(Moon) The Orange Bowl Parade is co-sponsored by the Baftas. They look at it as a free trip to Miami Beach. ;-)) *snort* Glad to see you're back...and in form. ;-)

LOL! Sorry to disappoint... nothing to do with Florida this time (thank God!)... Orange is a mobile (=cell) telephone company. Try this: http://www.orange.co.uk/news/events/obafa/

They should really call it "Orange BAFA" since they split from the Television awards...thus "Orange BATA". [Sounds like a sports drink!]

Seriously, though, there is no BAF or BAT but still the same old BAFT = British Academy of Film and Television - and the only difference is that their awards are now presented at two separate ceremonies: one for film, the other for TV, which is due to the increase in the volume and length of the nominations for television in recent years.

A recap of the Broadway year by Robert Osborne at THR: NEW YORK -- Before this wild, unpredictable year flaps to a close Sunday night, there are a few things I'd like to say about how the theater treated me and several thousand others during the past 12 months. Overall, you'd have to classify this a so-so year with a few soaring high spots, negligible electricity, flashes of true artistry and many a yawn. ... The best night I had in the theater all year was watching David Auburn's "Proof," an electrically charged play so expertly directed by Daniel Sullivan and deliciously acted by Mary-Louise Parker and a first-rate cast. It's the only time since I saw a legit production of "Stalag 17" many decades ago that a first-act curtain line was so galvanizing that for several minutes afterward, no one in the audience made a move to leave his/her seat. ... Other great theater experiences this year: the revivals of Tom Stoppard's "The Real Thing" and Sam Shepard's "True West" -- the first particularly notable because of the stunning performances of eventual Tony winne s Stephen Dillane and Jennifer Ehle, the latter because of the dynamic work of its stars Philip Seymour Hoffman and John C. Reilly, the two boys who added the most pizzazz to Broadway this year. ... Other "best plays": August Wilson's "Jitney," Michael Frayn's "Copenhagen" and Charles Busch's "The Tale of the Allergist's Wife," each also fabulously acted, each a credit to the theater and examples of why the so-called "Fabulous Invalid" manages to survive even disasters like Elaine May's "Taller Than a Dwarf," which, despite some dazzling talents involved, turned out to be the most uncomfortable sit of the season. ... Runner-up: Julie Taymor's "The Green Bird," which mercifully had its wings clipped early.

(Karen) the stunning performances of eventual Tony winners Stephen Dillane and Jennifer Ehle AMEN :-) (What is THR?)

(THR)""The Real Thing" and Sam Shepard's "True West" -- the first particularly notable because of the stunning performances of eventual Tony winners Stephen Dillane and Jennifer Ehle.." :-)))))Now *there's* a reviewer with good taste:-)))))) Good to know that their performances are permanently remembered and the Tony wasn't merely a gratuitous award. evelyn*who is hoping Hamlet will transfer to B'way:-))*

(Donna)(What is THR?) The Hollywood Reporter... waddsamatta you a newbie or somethin;-)

(Evelyn) waddsamatta you a newbie or somethin;-) LOL, I just got dewey-eyed thinking about how wonderful our guys were. *sigh* FYI, TRT made Clive Barnes' top-10 for 2000. He's the reviewer who wrote "give that man his Tony right now!" in his review in April. Tee hee, I thought the same thing when I walked out of the Albery in January. :-)

evelyn*who is hoping Hamlet will transfer to B'way:-))* Yes, I know how much you want to see Simon Russell Beale.;-);-) Nice write-up from THR, and well-deserved! Those Tonys were no fluke; they had some stiff competition. (Moon) So Mari, you would give the Oscar to Hanks over Rush? If it came down to those two, definitely, because of the greater difficulty of Hanks' role. I don't want to dis Rush, who was great fun to watch, but his was a very showy, look ma I'm acting, sort of role that I know actors (and Academy members) love. Much harder, IMO, to play the ordinary person in extraordinary circumstances with absolutely no one to play off. Here's a fun one: What Women Want. Grab a big bucket of popcorn and go. Pure fluff, and good laughs. I have to wonder why Mel hasn't done romantic comedy up until now; he's good at it, and he and Helen Hunt are a good match. *Great Sinatra soundtrack, too.* Karen, the city looks good, as usual.

Loved the Sinatra bit. I know exactly where Mel's supposed apartment was. There's only ONE 2400 building and it's a Mies van der Rohe. Bette's place (door at least) was around the corner from me, where I took the pics of Mel arriving. Haven't precisely placed where Helen Hunt's new apt was but I have a pretty good idea of which streets it could be on. Don't know if I'd agree with you on Hanks vs. Rush. I was a bit disappointed with Cast Away. Thought it all terribly predictable. Every so often, a lightbulb went off in my head, "look, ma, man has discovered tools!" Still cannot figure out why he didn't take the guy's belt, among other things. Re: Rush I thought there was far more to his performance and it wasn't all OTP acting. There were subtleties and layers which made you question all aspects of his sanity amidst the manipulation and pure joy that his writing, however, disgusting it was, gave him. Jury is out.... Am seeing Crouching Tiger later today.

(Mari)Here's a fun one: What Women Want. Grab a big bucket of popcorn and go. Pure fluff, and good laughs. I have to wonder why Mel hasn't done romantic comedy up until now; he's good at it, and he and Helen Hunt are a good match. *Great Sinatra soundtrack, too.* Wow. I'd have to have a huge smiley to put here. At least Mel's movies always get to Portugal ;-)

(Mari) I have to wonder why Mel hasn't done romantic comedy up until now He has. Don't you remember that one with Goldie Hawn? ;-) No doubt about it, Gi, you'll love it. Lots of fun and both Mel and Helen are v.g. One more thing about Cast Away and predictability: Is there not another piece of music that signals one is in Russia?! Am very tired of hearing that old war horse of a Russian army chorus type theme. Maybe should bring on Volga boatmen?

Don't know if I'd agree with you on Hanks vs. Rush. I was a bit disappointed with Cast Away. Thought it all terribly predictable. Cast Away was a missed opportunity. I have read many accounts of men stranded like this and they all agreed upon one thing: they start to halucinate soon afterwards and they all had a mystical experience. Where was God in Cast Away? This is where Hollywood comes in. Did someone say politically incorrect Rush I thought there was far more to his performance and it wasn't all OTP acting. There were subtleties and layers which made you question all aspects of his sanity amidst the manipulation and pure joy that his writing, however, disgusting it was, gave him. I agree. Am seeing Crouching Tiger later today. The minute it gets here... it is #1 on my list to see. Loved the previews. Gi, you will love Mel in his new movie. He smiles that killer smile all the time.

I have to wonder why Mel hasn't done romantic comedy up until now Karen: He has. Don't you remember that one with Goldie Hawn? ;-) I think Bird On A Wire was meant to be a thriller. Wait now - that's why you put the winkie, isn't it?

Ralph Fiennes was the guest on the Charlie Rose Show last night and they talked extensively about Sunshine. They showed the complete trailer to open the show, and a few scenes throughout the interview. In all, it lasted approximately 20 minutes. He spoke of Jennifer and Rosemary's performances and said they were extraordinary and brilliant. Charlie Rose mentioned that he knew Jennifer well, as she had been performing in TRT in New York and was a guest. Say what you want, Rafe is a real trooper...esp. since he isn't even mentioned in the Best Actor category (and should be!), and does not like to promote films on chat shows. Shows outstanding loyalty to the producer and cast. ~~~~~~~~~~~~~~` My local paper mentions MLSF as the Best Coming of Age Film of the year! (We get 'em late:-))

(Evelyn)Say what you want, Rafe is a real trooper...esp. since he isn't even mentioned in the Best Actor category (and should be!), and does not like to promote films on chat shows. Shows outstanding loyalty to the producer and cast. Yes! It's called putting others' needs above your own, aka, professionalism. I saw the show too and thought Rafe came across as thoughtful and incisive. If CF ever has a cerebral project to promote, Charlie Rose would be a good show to do it on. I also liked his comments on choosing projects based on the director. He mentioned recently turning down something with a director he admires (I'm thinking Soderbergh's Ocean's 11) in order to do Beyond Borders for Oliver Stone. He is a shrewd, smart manager of his career, and aces in my book. So, Karen, how was Crouching Tiger? Moon, maybe Chuck Noland in Cast Away is an agnostic.;-) Seriously, I thought God was in there, but subtle. Chuck as Adam, cast away into a harsh Eden, with his fashioning of fire, tools, food, shelter, and cave drawings paralleling the ascent of man. Frankly, I liked the subtlety, and was grateful that we were spared scenes of fist-waving at the sky and desperate pleas of Oh, I'll do anything if you get me outtahere. (Karen)Maybe should bring on Volga boatmen? LOL! I recall my Russian grandad and his cronies regularly getting vodka-ed up and doing tearful renditions of what loosely translates to "crying for my homeland." Would have been an appropriate song for Chuck on the island, no?;-) You two are brutal. Did you not like the film at all, or was it a matter of it falling short of expectations? Few films are flawless, and this one is no exception, but it worked for me and any shortfalls were far outweighed by Hanks and that lovely hour of near silence on the island. Here's one to avoid unless you've seen everything else on your list: The Family Man with Nic Cage. Not awful, and Tea Leoni is surprisingly appealing, but you're better off renting It's A Wonderful Life.

(Mari) So, Karen, how was Crouching Tiger? It did not blow me away. I guarantee you that, if it didn't have the martial arts in it, 80% of the audience wouldn't have been there. And, if it didn't have the martial arts in it, the critics would not have gone crazy about it as it legitimizes their preference for the more commercial action genre within the context of a love story (or chick flick). I'd give you more specificity, but I don't want to give away any spoilers, except for the fact that I very much disliked the young girl's role. Talk about an unsympathetic character! (Mari) Frankly, I liked the subtlety [of Cast Away] I didn't think any of it was subtle. But don't get me wrong, I didn't dislike it. It was fine, what I'd call a nice movie, enjoyable way to spend a few hours or so. Nothing outstanding. Re: The Family Man Do as I did, rent "Me Myself I" with Rachel Griffiths. Ebert said it was exactly the same movie, but it worked better than Cage's. It was good; liked it. RG is a hoot.

(Mari)If CF ever has a cerebral project to promote, Charlie Rose would be a good show to do it on. Nah! Better to just send in Rafe;-) Or Matthew Mondine:-D (Mari)I also liked his comments on choosing projects based on the director. He mentioned recently turning down something with a director he admires (I'm thinking Soderbergh's Ocean's 11) in order to do Beyond Borders for Oliver Stone. Or Possession.... From an Ehle fan on the Charlie Rose Show: "There was one very interesting part of the interview where Charlie Rose asked him if he would be interested in doing comercial Hollywood films. He clarified his question by stating that Sunshine was obviously a quality film as are most of Ralph's projects, and would he sacrifice quality for comercial success. Ralph said that he had done a few (the Avengers, etc.) but they were not very successful. While he would not be opposed to doing them,he prefers working with people like Szabo. He was very charming and forthcoming". (Mari)He is a shrewd, smart manager of his career, Agree. The guy should write a "How To..." book.

Sorry I missed the RF interview. Frankly, I liked the subtlety, and was grateful that we were spared scenes of fist-waving at the sky and desperate pleas of Oh, I'll do anything if you get me outtahere. LOL, Mari! Would that be the Hollywood version? It is not exactly as I would film it/or imagine it. I liked the scene of the crash, it was well done. I loked the silence on the Island too. I am not a fan of current Hollywood soundtrack ala John Williams and I am sure the studios must have fought over this. But overall, I was disappointed. Karen, what news of Crouching Tiger! :-(

I have to agree with Karen about Crouching Tiger. I enjoyed it, but after all the glowing reviews I was expecting something really special and instead, thought it was a fairly ordinary story with some OK martial arts thrown in. We already know from the advertisements that the fighters fly around on wires, and frankly I think Jackie Chan's fight scenes are more interesting :-). I didn't think it was a bad film and found it a decently entertaining way to spend an afternoon, but did not see anything in it to inspire all the raves it's been getting. The DH was quite disappointed as he was hoping for something really different.

So, I'm not alone on CTHD. For me, the martial arts sequences were neither here nor there. They were nice to look at, but had no bearing on my reaction to the overall film. Insofar as the central love story (or stories), for one of them, I should have had a deeper reaction, other than, "aw, too bad" or "it's a real shame." I should've been crying my eyes out. It failed to produce that effect. It wasn't moving enough. And for the other couple, he was too good for her anyway so no great loss. This may be too cryptic, but I hate to give away plot. Given your comment, Mari, I've been wondering if I'm too cynical or have seen too many movies and maybe I'm setting the bar too high. But when I think about last year's films, there were many that I thought were outstanding like American Beauty, Eyes Wide Shut, Magnolia (for the most part), Being John Malkovich, Ghost Dog: Way of the Samarai, and others if I looked at a list. Have my fingers crossed for Traffic. ;-)

Karen, I still can not believe that you liked Eyes Wide Shut, and Magnolia?

(Moon)Karen, I still can not believe that you liked Eyes Wide Shut, and Magnolia? I can't believe she liked *any* of them... (AB okay)

See, maybe you shouldn't ask! ;-)

To All at Drool

(Karen) I should've been crying my eyes out. That's what I did a few days ago when at last saw The End of the Affair (and I still don't like RF). I'm glad I was alone at the time :-) (Moon)Karen, I still can not believe that you liked Eyes Wide Shut, and Magnolia? (Evelyn)I can't believe she liked *any* of them... I hated Eyes Wide Shut. Found Magnolia kind of interesting (DH hated it).

Have a safe and happy one

(Gi) ...at last saw The End of the Affair (and I still don't like RF). I'm glad I was alone at the time :-) Powerful movie. Didn't you think that would have been a terrific role for ODB? I "cried" thinking about it! Thanks for all the New Year wishes... May everyday in the coming year be a #10 for all the Droolies,and may we all be together for many years to come.

Here, here, Happy Nrew Year to everyone at Drool.