Entries in Sandra Bullock (38)
Yesterday Forbes published their annual list of the top-grossing actresses of the year. They figure in gross earnings and endorsement deals and everything. The list is as follows: 10. Kristen Stewart 9. Natalie Portman 8. Amy Adams 7. Scarlett Johansson 6. Cameron Diaz 5. Angelina Jolie 4. Gwyneth Paltrow 3. Jennifer Aniston 2. Jennifer Lawrence 1. Sandra Bullock. So here's Matthew Eng chasing our very tiny recent Sandra fest with this climactic love letter. - Nathaniel
I don’t particularly get people who don’t like Sandra Bullock.
Yes, the 82nd Best Actress statuette deserves to be sitting comfortably somewhere on Gabourey Sidibe’s mantelpiece and yes, The Blind Side is a pretty foul piece of limo-liberal fabling. Yes, she is a performer of some obvious limitations that are strikingly evident in even her strongest comedic performances. And yes, she has given us All About Steve and The Proposal and the Miss Congenialitys and Two Weeks Notice and all those other “duds” we love to roll our eyes at in public almost as much as we love to sheepishly watch them in private whenever they pop up on FX or Lifetime or HBO.
I’m more than happy to make couch potato time for Two Weeks Notice, a funny/frisky valentine to New York that’s patently flawed but genuinely sentimental, and even The Proposal, a ridiculous container of rom-com contrivances that would make Kate Hudson cringe, but which has plenty of good moments to spare. No, I haven’t yet laid an eye on All About Steve, which is likely for the better, but I do own While You Were Sleeping and Miss Congeniality, and I’ve sat through the latter’s sequel, um, three, maybe four times.
Why am I glued to these movies when I still have so many unseen Bergmans? [more...]
Tim here. The mission statement of this column is “something to do with animation” (I suck at writing mission statements), which would seemingly preclude me from taking part in Celebrating Sandra Week here at the Film Experience.
But wait! As it turns out, there was exactly one time that Sandra Bullock voiced an animated character, in 1998’s The Prince of Egypt (as opposed to Gravity, where she was the only thing onscreen that wasn’t animated).
An adaptation of the Biblical story of Exodus, this was only the second film ever released by DreamWorks Animation (after 16 years, it remains one of their best). It was also the second DreamWorks film to favor a voice cast chosen for marquee value over skills in voice acting, building on a tradition that the studio would proudly continue for the rest of its existence. And in this case, it continues the longstanding Hollywood habit of populating stories from Hebraic scripture almost exclusive with non-Jews: Jeff Goldblum is the sole Jewish lead in a film whose voice cast includes Val Kilmer, Michelle Pfeiffer, Patrick Stewart, and Ralph Fiennes (the latter two aren’t playing ancient Hebrews, at least), alongside Bullock, one of the most famous subjects of the “Is she Jewish? I guess not” game of all time.
More to the point, that list of people includes nobody other than Stewart and Goldblum whose voice is so obviously distinctive that they’d necessarily make sense to put into an animated movie, but that’s DreamWorks for you. Among such company, Bullock doesn’t stand out as particularly grating or out-of-place (apologies to Nathaniel, but Pfeiffer pretty effortlessly takes Worst in Show, as far as that goes). In fact, watching the film for the first time with a particular ear for Bullock’s work, I’d go so far as to call her one of thebest members of the cast. Compared to Kilmer’s generic mid-Americanisms in the lead role, it doesn’t take all that much for anybody to stand out in the cast, of course, but Bullock is especially noteworthy in that she has the exact same liability as Kilmer – a voice carefully trained to sound like it comes from absolutely nowhere in particular, but probably Ohio-ish – and still manages to shade her line readings just enough to suggest a kind of formal pre-modern attitude, something that none of the other Americans in the cast ever really manage.
That being said, she has hardly any time to make an impression, with a role whose brevity is matched only by Helen Mirren’s (so, not an actressexual-friendly movie, basically). Bullock’s own unenthusiastic description from the officially sanctioned making-of featurette of 1998 is that her character, Moses’s biological sister Miram, “is sort of the believer, the one who holds on to the faith… She helps her brother cross over, and see where he came from.” And if that sounds like a stock character who gets nothing interesting to do, that’s because it’s exactly what she is (she’s also the lead singer of the Oscar-nominated song “When You Believe”, but Bullock didn’t do her own singing).
Still, she puts some heart into it, and a lot of earnestness, and it’s enough to put the character over as a real personality, even if she’s a bit one-note in her “Moses! Are you gonna lead the chosen people yet?” characterization.
It’s more then Goldblum doing Goldblum in ancient Egypt can claim. It’s a lot more than Martin Short and Steve Martin doing nothing at all but cashing checks can claim. The problem with the DreamWorks casting trend (that has since infected virtually all animated filmmaking in America, not just that studio) is that movie stars typically look more interesting than they sound, as true for the bulk of The Prince of Egypt as anything in the Shreks or the abysmal casting of Brad Pitt as the white-breadiest Sinbad in film history. And by all rights, it should apply to Bullock as much as anybody; but she pushes herself just enough to make sure that doesn’t happen. It’s a largely unimaginative performance of a role that means only a little bit to the movie as a whole, but she manages to make a real impression, and given what she was working with, that’s a real, if small triumph.
We're celebrating Sandra Bullock as she hits 50. Here's Matthew Eng on her most infamous awards show moment - Editor
I'm not sure why exactly the Critics' Choice Movie Awards need to exist, except as another obvious precursor ceremony for glorified Oscar season star-baiting with ridiculous genre-segregated acting categories (so glad we all got to rightfully recognize Evangeline Lilly in The Hobbit as a nominee for Best Actress in an Action Movie!) and a prime airtime on the CW, and whose only (only!) difference from the Teen Choice Awards is that the former hands out actual trophies, whereas the latter gives out surfboards.
That being said, I remain eternally grateful to this over-bloated awards pageant for providing us with perhaps the single greatest, or at least most-rewatchable moment of the 2009 Oscar season five years back: the Meryl-Sandra kiss...
With Sandra Bullock's 50th birthday approaching we'll be looking at a few of her films. Here's Andrew Kendall on a little discussed '98 picture. - Ed.
Is it strange that when asked to celebrate Sandra Bullock’s birthday with a film from her oeuvre I immediately turned to the 1998 (ostensible) romantic drama Hope Floats? Despite the 80 million dollars at the box office the film was not quite a hit and critics were not impressed. Yet, whenever I’m asked to stump for a Bullock performance I tend to turn to Birdee Pruitt not necessarily as the “best” Bullock, or not even quintessential Bullock but my favourite Bullock.
The well-intentioned, sometimes – oftentimes – too treacly Hope Floats from writer Steven Rogers (who did a better job handling domestic dramas that same year with Stepmom) and direct Forrest Whitaker (who helmed his strongest film three years earlier with Waiting to Exhale) is a movie I feel warmer towards than I should. It gets a bit turgid in the middle falling prey to the lazy, but not necessarily inaccurate, complaint that it’s probably too long. But I can’t turn my back on the easy warmness of the film, mostly because of its able bodied cast – Harry Connick Jr being just the right amount of cocky and charming, Mae Whitman giving one of the best children performances of the nineties, and Gena Rowlands giving the type of performance that would net an aging actresses an Oscar nomination if this was 1940s (think Gladys Cooper in Now, Voyager). And, of course, Sandra Bullock – the lead performance the film lives and dies by. [More...]