Hollywood
Warner Bros. Pictures’ ‘Gravity’ returning to wide release on 17 January
MUMBAI: Following months of overwhelming critical and audience acclaim and numerous year-end awards, Warner Bros Pictures is bringing Alfonso Cuarón’s cinematic achievement Gravity back to big screens in the US. The film, which stars Sandra Bullock and George Clooney, will be re-released on more than 900 screens on 17 January 2014, it was announced today by Warner Bros Pictures Domestic Distribution President Dan Fellman.
Originally released on 4 October 2013, Gravity instantly became a favourite of both critics and audiences. It has since become one of the most honoured films of the year, most recently bringing a Golden Globe Award for Best Director to Alfonso Cuarón. The film has also received 11 BAFTA Award nominations and 10 Critics’ Choice Award nominations, both including Best Picture, Best Director and Best Actress (Bullock). It has also won Best Picture awards from several prestigious critics organisations, including the Los Angeles Film Critics Association, and has been included on 395 critics’ and critics groups’ top ten lists, as well as being named one of the AFI’s ten best films of the year. It was also announced as the year’s best reviewed film by the website Rotten Tomatoes.
In addition, the talents behind the film have been recognised by their peers, with a Directors Guild of America Award nomination for Cuarón; a Producers Guild of America Award nomination for David Heyman and Cuarón; a Screen Actors Guild Award nomination for Bullock; a American Society of Cinematographers Award nomination for Emmanuel Lubezki; an Art Directors Guild Award nomination for Andy Nicholson; and an American Cinema Editors’ Eddie Award nomination for Cuarón and Mark Sanger.
Gravity has also been a smash hit at the box office, earning more than $670 million worldwide and counting, with most moviegoers opting to view it in 3D. In making the announcement, Fellman stated, “We are thrilled by the many accolades for Gravity, which has generated renewed word-of-mouth and interest in seeing the film, whether for the first time or to experience it again. We wanted to give audiences everywhere another opportunity to see it the way it was meant to be seen—on the big screen.”
Academy Award winners Sandra Bullock (The Blind Side) and George Clooney (Syriana) star in Gravity, a heart-pounding thriller that pulls one into the infinite and unforgiving realm of deep space. The film is directed by Oscar nominee Alfonso Cuarón (Children of Men).
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
