The movie actually won 6 Academy Awards after being nominated for 13. In addition to Best Picture, it took home Oscars for Best Art Direction, Best Film Editing, Best Sound Mixing, Best Costume Design, and Zeta-Jones won for Best Supporting Actress. However, Zellweger was nominated for Best Actress, Latifah was nominated for Best Supporting Actress, and Reilly was nominated for Best Supporting Actor.
On a stormy night in 1957, the ginormous robot (voiced by Vin Diesel) of the title comes blazing through the sky like an asteroid, crash-landing in the water outside the seaport town of Rockwell, Maine. Meanwhile, a 9-year-old latchkey kid named Hogarth (Eli Marienthal) is up late watching science-fiction movies on television while his single mother (Jennifer Aniston) works late at the local diner. When the signal goes out and Hogarth heads up to the roof to investigate, he’s the first to spot the alien in a forest clearing, and with little but a BB gun and a flashlight, the intrepid boy sneaks off to take a closer look. The two become fast friends when the robot’s insatiable appetite for all things metallic leads him to a power station and Hogarth saves him from electrocution. Odd as it sounds, Hogarth winds up as the robot’s protector, but how long can he keep this 100-foot, steel-chomping marauder a secret?
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Another thing about the movie that caught my attention was the music. Much like the movie Unforgiven, the music was this kind of soft and gently played guitar music that had a very melancholy edge to it, despite the violent nature of the story being told. According to the credits, Clint Eastwood, himself, wrote the music. Who knew that he was a musician as well? It was beautiful and slightly haunting music that fit the end of the film, but not necessarily the beginning and middle.
Winners - 2000s - Academy Award Best Picture Winners
The common thread connecting all cult movies is their singularity, born of a filmmaker’s resistance to the hackneyed formulas and assembly-line processes of the major studio. Of course, it’s much easier to be an iconoclast off the lot, which is why the vast majority of New Cult Canon titles were produced independently or in a country other than America. That goes double for Hollywood animated movies, which are by necessity a factory endeavor; in thinking about some American films to include in Animation Month, it occurred to me how few truly personal visions have managed to squeeze through the system. That isn’t to say that the contemporary animation scene isn’t vital; quite the contrary. But the major efforts have more of an institutional stamp than a personal one: Think about Pixar, Aardman, or Katzenberg-era Disney, and the distinguishing features are varied and unmistakable. But locating a single, guiding force behind any one of their movies, while not impossible, isn’t nearly so easy.
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But going back to my earlier statement. The plot of this movie could have taken place in any place, any time, and against any backdrop, and it would have been just as good. The story was good enough to transcend a single location and setting. It just happened to have been set in Western Texas. So, would I call it a modern western? I wouldn’t, but I guess other people would.
Фото: Столкновение (Crash) Фото 12
But all that being said, I feel a little less than enthusiastic about it. The problem is that I’m having difficulty pinpointing why. I think that the movie’s hype had something to do with it. Everybody I talked to kept telling me how incredible the movie was, so I had some pretty high expectations. And while I would certainly call the movie good, I don’t think I would call it great.