Showing posts with label Tom Hanks. Show all posts
Showing posts with label Tom Hanks. Show all posts

Wednesday, July 21, 2010

Fasting Horror.

Jose here.



Robert Zemeckis is no Steven Soderbergh (whatever that actually means...even if in my head it makes sense) so, when ten years ago he took on the rare enterprise of releasing two films within a calendar year, people actually chose one of them and pretty much forgot about the other.

But if anyone had told me ten years ago that I'd have such a soft spot for What Lies Beneath and all but forgotten about Cast Away, I would've said they were insane. I clearly remember how the Tom Hanks movie almost got a Best Picture Oscar nomination while this little horror gem (released on a day like today ten years ago) was a relatively successful summer flick which received no end of the year accolades.

If you ask me, its smart combination of Hitchcock psycho-sexual intrigue, old fashioned thrilling fun and Michelle Pfeiffer doing Amber Valletta in a red dress (totally not what you're imagining if you haven't seen it). And it's one of the most clever ghost stories told in the last decade.



It's funny that Zemeckis shot it while Tom Hanks fasted to get skeletal for Cast Away, because speaking in strictly cinematic terms this is a much more accomplished work. It's weird to think that now Zemeckis seems to have taken on the mission of turning every actor into CGI, Michelle Pfeiffer hasn't been this much fun since (no not even in Hairspray) and Harrison Ford is a married man.

What movie related twists did you never see coming ten years ago?
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Friday, June 18, 2010

Tom Hanks, Posterized

Tom Hanks was often likened to a 'new Jimmy Stewart' during his peak years. I never thought the tag quite fit because, though Hanks is a likeable "everyman" lead, he doesn't have the same range. Hanks, unlike Stewart, rarely tests the darkness at the edges and when he did in Road to Perdition it was one of his flattest portraits. In comparison, can anyone watch Vertigo and not come away fully aware of how comfortable Jimmy Stewart was burrowing into the skin of rather squirm-inducing psyches? The following lineup only includes lead or huge supporting roles and no voice work. (I'm not sure how one would categorize The Polar Express. How would one?)

So... sorry, Woody. You'll make it up at the box office this weekend with Toy Story 3 [my review] playing everywhere. Rest assured that you're still one of his most iconic roles.

Because the posters have to be divisable by three for this particular series, I had to choose one non lead role to leave out so I opted for That Thing You Do! (96) instead of A League of Their Own (92) because I love the latter, though That Thing is way more of a Tom Hanks movie since he also directed it. I've also left out his very first movie, the slasher flick He Knows You're Alone (80) --any horror fans know if he gets killed grotesquely in that one? -- which preceded Hanks's breakthrough on TV's Bosom Buddies. After that sitcom, he was an immediate lead player in the cinema with the breakout smash known as Splash.

Splash (84) | Bachelor Party (84) | The Man With One Red Shoe (85)

Volunteers (85) | The Money Pit (86) | Nothing in Common (86)

Every Time We Say Goodbye (86)| Dragnet (87) | Big (88)

Punch Line (88) | The 'Burbs (89) | Turner & Hooch (89)

Joe vs. the Volcano (90) | Bonfire... (90) | A League of Their Own (92)

INTERMISSION
Volcano and Bonfire were both seen as flops which was not something Hanks had been accustomed to. Thankfully the reception of Volcano didn't turn anyone off to the idea of a Meg Ryan rematch (while it's popular to hate on her now, they really played wonderfully off of each other and unlike most modern screen pairs with terrific chemistry, who throw that rare gift away, they actually made use of it in multiple films.) But first Hanks blazed back while supporting Geena Davis during her brief cinematic reign in a women's baseball flick. It became a big hit. Mega Stardom and back-to-back Oscars followed for Hanks. But for me, this mini comeback (he wasn't really over... just had a slow couple of years) was the peak. A League of Their Own is my favorite of his comic turns. "There's no crying in baseball!"

Sleepless in Seattle (93) | Philadelphia (93) | Forrest Gump (94)

Apollo 13 (95) | That Thing You Do! *not pictured* (96) |
Saving Private Ryan (97) | You've Got Mail (98)

The Green Mile (99) | Cast Away (00) | Road to Perdition (02)

Catch Me If You Can (02) | The Ladykillers (04) | The Terminal (04)

Da Vinci Code (06) | Charlie Wilson's War (07) | Angels & Demons (09)

His three best performances according to me: Big (88), A League of Their Own (92), Cast Away (00). My three favorites from his filmography: Splash (84), A League of Their Own (92) and Sleepless in Seattle (93)... give or take Apollo 13 (95) in both categories.

Speaking of Apollo 13... we often equate Tom Hanks with the Oscars, but he's only appeared in 4 Best Picture nominees. That's nothing to scoff at and very difficult to achieve (or at least it was when there were only 5 nominees) but the record holder is probably someone you've never heard of. I hadn't. Her name is Bess Flowers and she was a bit player. She appeared in 22 Best Picture nominees the last of which was Judgment at Nuremberg (61) where she played "concert attendee". Ha! To put it in context, her record is twice that of Jack Nicholson's (!) the movie star with the best Best Picture track record (11 nominees/ 3 winners). Hmmm, I sense a follow up post coming on. Any takers?

The Hanks filmography has earned 3.5 billion thus far with more to come. He's been tweeting from the set of his next film Larry Crowne (2010) and maybe another hit awaits? His films got more serious over the years to match his mammoth stardom but if you ask me, he lost quite a bit of his sparkle when he ditched comedy for Serious Acting. So, it was egood to see hear him as Woody again.

How many have you seen? Which do you love best?
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Sunday, March 28, 2010

Link and Response

Neill Cameron the A to Z of Awesomeness. This is so fun
Sunset Gun Kim Morgan recalls her time on the now departed At the Movies
Twitpic Tom Hanks tweets the casting of his new film. He's reuniting with Julia Roberts for Larry's Crowne. Let's hope it's better than Charlie Wilson's War
Empire Bryan Singer will oversee but not direct X-Men: First Class. I haven't seen this much craziness for "young" versions of things since the Muppet Babies craze in the 80s
popbytes Dennis Hopper gets his Walk of Fame star


Celebitchy on Jude Law's hair and the "naughty Adonis" vibe
CHUD announces the best back-to-back filming news I've heard in years and years: Viggo & Cronenberg will follow filming of Talking Cure with Eastern Promises 2. Yay!
The Awl Clash of the Titans "Adventures in Mimicry"

Here's the trailer for The Lovely Laura Linney's Showtime series The Big C which co-stars Gabourey Sidibe and Oliver Platt. They seem to be attempting to jam all the TLLL trademarks into one series...



Acerbic wit, sympathetic mortality drama, half-assed romance and of course... the sister act. It's all there. And nobody does the sister act better you must admit.

he said / he said
Salon on the continued might of French cinema and...
.......The Guardian responds. Do Brits measure up?
Todd Alcott details A Serious Man's true protagonist and...
.......Scanners responds to this reading and more
New York Times sings the praises of Greta Gerwig and...
.......My New Plaid Pants joins in for the chorus

uh, I guess I should see a Greta Gerwig movie right quick. I'm still a Gerwirgin and I hate being late to actress parties. I'm used to starting them!

Thursday, February 11, 2010

Sarandon vs. Stanwyck

Have you heard that my imaginary mom* Susan Sarandon is in talks to headline a feature adaptation of The Big Valley, a feature adaptation of the 60s western television series? She is. She would play the tough matriarch Victoria Barkley in 19th century California. (Who knew that people were still greenlighting westerns? They're like the musicals, a genre that can't truly be killed even if it sits entire decades out for the most part.) This means that she's risking comparisons to one of the critical darlings of all time, Barbara Stanwyck. This should be as nerve wracking for actressexuals as Kate Winslet testing her modern mettle against the ultimate Joan Crawford performance in that Mildred Pierce remake.

It also makes you wonder what's going on with that western Julianne Moore vehicle Boone's Lick which is not one of Amber Waves imaginary porn films but an actual western feature that Julianne is/was? supposed to star in. (Incidentally it was also supposed to co-star Tom Hanks. Yes, he's incidental to me. JULIANNE!)

*it's a long story.

Saturday, November 21, 2009

Screen Queens: Hollywood Does AIDS

Hi everyone, MattCanada here with another weekly dose of gay cinema. This week we're looking at Philadelphia, the Oscar winning courtroom drama, essentially the defining Hollywood response to the AIDS epidemic.


I first saw this film as a kid. I must have been about seven when I watched it with my parents and it was definitely my, and probably many other people's, introduction to AIDS. For me it continues to shape how I think about the virus, the stigma, and the epidemic. Longtime Companion opened a few years earlier but this was the first mainstream prestige film to deal with AIDS and homophobia. Having two big stars in Tom Hanks and Denzel Washington must have seemed like a big step for Hollywood. All of this is well and good, but rewatching the film for the first time in over a decade, I had serious problems with its filmic construction and especially its politics. While it remains important for being 'the mainstream gay AIDS movie', the film has definitely not aged well.

The Major problem is with the Denzel Washington character, Joe Miller. Joe acts as a guide for the straight audience into the scary world of gay-ness. His arc from homophobic to mildly understanding is shown as a victory, and it is Joe, not Hanks's Andrew, who goes through a pivotal transformation. He is the true hero of the film: not only does he save the gay victim, he grows as a person, thus giving the audience someone to root for. But this leaves Tom Hanks' gay character at a mediated distance where he can be sympathised with (or pitied depending how you see it). This film was made at a different time in both Straight society's relationship to homosexuality and the mainstream gay community's stance towards the oppressions and exclusions of straight hegemony. Today, the politics seem conservative and even condescending, positioning gay men as victims needing to be rescued and protected by the good straights from the bad straights. Contemporaneous films from New Queer Cinema, especially Derek Jarman's Blue, Gregg Araki's The Living End and John Greyson's Patient Zero, are much more relevant now for an understanding of the AIDS epidemic, and the anger and response of the gay community. Philadelphia is a film from another time in mainstream culture and it's unable to transcend its dated approach and politics.

The other problems are minor in comparison. Tom Hanks doesn't give a particularly remarkable performance (in my opinion it was the weakest of that year's Best Actor nominees). It may have been a brave choice of role and a good performance, but it's not on par with other AIDS performances (Steve Buscemi in Parting Glances, the cast of Angels in America, Penélope Cruz and Toni Canto in All About My Mother).


Jonathan Demme's directing also overreaches at points, especially the Opera set piece and the courtroom scenes with canted camera angles. Demme is at his best when he keeps his stylistic flourishes to a minimum. The strength of his classics, namely The Silence of the Lambs and Married to the Mob, is the seeming simplicity of his directing, which allows for pitch perfect performances, flawless narrative progression, and a complex and inventive intermingling and subversion of genre. Philadelphia is too fussy, especially in the moments when we are most required to empathize with the characters.

There are incredible parts of Philadelphia though. The performances of Mary Steenburgen, Antonio Banderas, and Joanne Woodward are all fantastic. Mary in particular, I think, deserved a Supporting nod for transforming a one dimensional role into something memorable.

There are also two sequences in the film which are incredibly moving and show Demme at his musical best: the opening credits sequence with Bruce Springsteen's "The Streets of Philadelphia" and the closing home video section with Neil Young's "Philadelphia" overlayed. Both sequences are so simple, yet the combination of music and expressive imagery are perfect distillations of the humanity of people with HIV and AIDS. For those two sequences alone I think the film deserves to be watched and remembered.


Bruce Springsteen takes those Streets of Philadelphia to an Oscar win

I would love to hear your thoughts on Philadelphia. I'm interested to know if people remember what the discussions surrounding the film were like on its original release? Was Tom Hanks' win one of those inevitable Helen Mirren/The Queen steamrollers or more of a surprise?

Friday, May 22, 2009

Cover Girl, Frontier Woman

Every third month or so I miss magazines.



Missing Julianne Moore happens far more frequently.

<--- Chloe promotional poster [via]

But never fear. A healthy dose of Julie Anne Smith face time coming our way in 2009 and 2010 (provided that the distribution gods are kind). Up first: a supporting role in The Private Lives of Pippa Lee. Then? Release dates are hiding but she's the lead in a horror thriller Shelter (uh oh. Julie + genre = trouble) and working the drama (ahhh, much better) with Colin Firth in A Single Man. Rather intriguingly (plot & auteurial wise) she's offering up Amanda Seyfried to her husband Liam Neeson in Atom Egoyan's Chloe. The teaser poster tag line makes it sound like "cheesy misogynistic thriller"... like Obsessed or something, but it's Atom Egoyan so it's safer to place your bets on "good psychologically compelling movie".

No obvious Oscar bait on the way except for the lead role of a frontier mother, Mary Margaret, who takes her kids on a treacherous journey from Missouri to Wyoming in Boone's Lick. It's from director Barry Levinson's and novelist/screenwriter Larry McMurtry (Brokeback Mountain). Entertainment Weekly calls the McMurtry book a "gory farce". Hmmm. Actresses don't often win Oscars for westerns but it's fun to imagine that she'll finally get hers as a sort of belated 50th birthday present in 2011. Still, with no other cast announced yet, who knows what will become of this project. Levinson has had two Best Picture shortlisters in his directorial career (Bugsy and Rain Man) but his last picture to cause any sort of fuss was Wag the Dog way back in 1997. So cross your fingers that they actually start filming this fall, as once planned... with or without the "rumored" Tom Hanks as co-star.
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Monday, May 18, 2009

Ron Howard Cracked

Cracked takes on the oeuvre of Ron Howard with a flow chart (first half below).


I love that "still a true story?" gets looped until the answer is no. Hee. See the complete chart and article. It's funny stuff.

I'm perplexed that millions of people thought Angels & Demons might be worth seeing. I distinctly remember that people -- and quite a lot of them at that -- thought that The DaVinci Code* was, to put it nicely, "not good". Why is it that huge hordes of people can often be lured into sequels to movies they didn't love with much greater ease than they can be lured into acclaimed movies that they might actually love with a passion should they ever give them a chance? See also: The Blockbuster Loop.

*Full confession: I never saw the movie as I remain agnostic on Tom Hanks after all these years and am unfond of Howard's "serious" movies. But I did try to watch it at home a year ago, only to be completely horrified at how unwatchable it was. As in: much worse than I had originally suspected it to be. I think I lasted 30 minutes.

Wednesday, March 25, 2009

Robin Wright Penn Is Nothing But Trouble

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I like to believe that there's a human-character equivalent to Roger Rabbit's Toon Town and that The Princess Bride's Westley and Forrest Gump have gotten over the constant drama Princess Buttercup and Jenny keeps putting them through and have found each other, moved into a ice little apartment together, and at last found peace.

I like to believe that.

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What ridiculous movie character fantasies do you harbor?
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Sunday, March 15, 2009

Life is Like a Box of Choc Lump of Coal

Remember that collaborative series Best Pictures From the Outside In starring Nathaniel (myself), Nick of Nick's Flick Picks and Mike of Goatdog's Movies? Yeah, we almost didn't either. But it's back!


This time we're taking on the Oscar winners from 1941 and 1994 as we move chronologically from Oscars first years forward and most recent year backwards. Eventually we meet in the middle (the 1960s).

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Mike: This episode of Best Pictures from the Outside In is a milestone in the admittedly brief (in entries, if not in time) history of this series. For the first time, gone is the middling crap we're often forced to discuss. Instead, fate has allowed us to pair two earth-shattering films, films that redefined the very art of cinema in their respective eras. From 1941 we have a movie that's topped countless lists of the greatest films ever made. Its spectacular cinematography spawned countless imitators, and its labyrinthine plot still has few equals. From 1994 we have what is arguably its modern equivalent, a film whose brilliant dialogue, fragmented plot structure, and countless historical references spawned countless imitators, including some by this film's own director. Dear readers, it is my pleasure to present the Best Picture winners from 1941 and 1994, Citizen Kane and Pulp Fiction.

Read the Rest... wherein we unfortunately have to puncture Mike's fantasy.

[Would that his fantasy were reality. But no, the Academy selected How Green Was My Valley and Forrest Gump as the Best Pictures. What a world. The Academy can knock you over with a feather sometimes]

Saturday, October 25, 2008

Kisses (and Opportunity) Blown

And Nathaniel (c'est moi) has reentered the building. A quick thank you, round of applause, kiss blown, genuflection, what have you to Erich, Thom, Adam, James, Jason and Campaspe who filled in for me while I was away. Read their blogs. I love doing so.

Acidemic "deadpan satire and intellectual savvy..."
Planet Fabulon "a galaxy of glamour, camp and kitsch"
Club Silencio, "cinematic obsessions and (one-sided) conversation"
Out1 Film Journal "film from the inside out"
My New Plaid Pants "nonsense incarnate"
...and the classic film call of the Self Styled Siren

I had all six of these generous souls on my mind last night in my hotel room. I imagined them breathing a collective sigh of relief and packing their mental bags to exit my blog --or maybe that's just because I was packing my bags in the hotel room and I tend to project.

I should have been thinking about Hancock since it was playing on the telly. But it wasn't giving me enough to think about. If we must have a new superhero film each month why not more risky ones? At first I said to myself 'this is more interesting than the critical drubbing had led me to believe' but then I would lose interest again quickly, so... maybe not. I couldn't even decide if it was cocky about itself or worried that it wasn't quite pulling its high concept halves (thirds?) together. The danger of making movies with behemoth stars like Will Smith now (or Tom Hanks ten years back) is that they will cover up a myriad of sins. It's easy to get sloppy, derivative or lazy when you know it'll work without much of a push in other areas. Whosoever the audience loves the audience will (mostly) forgive. Tom Hanks could talk to a volleyball for a couple of hours on a deserted island with no film score and nobody minded. Will Smith can be an unsmiling a**hole for an entire film because the audience will fill in the blanks. They know him so well they'll force the goddamn charm upon him. Perhaps that's an unfair comparison because Cast Away was a good film (well 2/3rds of it at least) and Hancock is... not. But you get my point?

For those of you who saw it in the theater (it's on DVD next month) I'd love to hear your thoughts as it's fresh in the mind though it's a jumble [The Incredibles ÷ Spider-Man + (Superman˚÷ Bad Santa) x Mr & Mrs Smith³ =Hancock ?] and so is, frankly, the mind: Hopped up on thousands of room service calories I was whilst watching it. Hotels are pure evil. They will cover up a myriad of sins. It's easy to get sloppy. You can talk to inanimate objects for hours and nobody minds.

Wednesday, October 08, 2008

Vanity Fair's Hollywood ~ Episode 9 (2003)

Missed previous episodes? See: 1995 , 1996, 1997, 1998 , 1999, 2000, 2001, 2002, 2003, 2004 and 2005

In April 2003 Vanity Fair brought us only the second all male lineup in their nine years of this special issue. The idea here was the "Alpha List" and here they were...


Obviously, when VF isn't speculating about who might be hugely famous someday there's less to discuss in terms of what happened to their careers. But it can be thrilling to see so many megawatt stars in the same room together when VF goes "classic". Unlike many group photoshoots these "Hollywood" events rarely seemed to be the product of Adobe Photoshop. In other words, the oxygen is believably shared.

Tom Hanks, about to hit 47, was fresh off another hit (Catch Me If You Can) but his career was slowing down. His two Oscars and the occasional blockbuster (DaVinci Code) can warm him if he isn't feeling the warmth of mass adoration quite as much anymore. Here's my quibble: for someone who enjoyed favorable comparisons to the great Jimmy Stewart for so long, where are Hanks' late career stretches? Stewart was doing his best work ever in his late 40s and 50s. Has Hanks challenged himself at all since Cast Away which he made when was 44?

Tom Cruise, turning 41, was still Hollywood's Top Gun/Dog. His ex-wife had just barely won the Oscar that had always eluded him despite three nominations. He was readying The Last Samurai (note the longer locks) and dating Penélope Cruz. He was approximately one year away from firing his longtime publicist, setting off a series of bizarre media events which would damage his reputation and possibly his legacy.

Harrison Ford, turning 61, a longtime powerhouse draw, was slowing down and had famously turned down a role in the Oscar hit Traffic (2000) indicating to some that he wasn't really eager to stretch as he entered his golden years. He had moved to a one film every two years schedule. Michelle Pfeiffer had rightfully gotten much of the credit for his last big hit What Lies Beneath (2000) and when this cover debuted his only recent film K-19: The Widowmaker (2002) had been an uncharacteristic flop. Like Cruise -- only to a much smaller degree -- he was starting to have publicity problems. In 1998 he had added that solitary earring that people like to joke about, his second marriage began to dissolve in 2000 and his engagement to Calista Flockhart, who was just entering her difficult post-Ally McBeal period, was fresh at the time of this shoot. They haven't yet married.

Jack Nicholson, 66, who has been in pictures since '58 had just lost the Oscar Best Actor race for About Schmidt (his 12th and last Oscar nom to date) to upstart Adrien Brody for The Pianist. But with three Oscars already, what more could he want? How about two more huge hits this very year (Anger Management and Something's Gotta Give). '03 was the last the screen would see of Jack until The Departed (2006). That's an uncharacteristically long break for this prolific actor but he's now in his 70s so we'll let it slide.

Brad Pitt, 39, was still married to Jennifer Aniston and had just put a brief period of media swiping about his bankability behind him. The Oceans franchise and his resultant enormous payday ($30 million -- just for the first one) settled that one. More hits would soon follow and then... Angelina Jolie.

Edward Norton's career was going up up up at the age of 33. The previous year had brought ubiquity (four movies and Salma Hayek as girlfriend) and he was about to help deliver The Italian Job. Things got strangely quiet thereafter and he continues to have problems with a "difficult" reputation. Recent highlights include the underappreciated The Painted Veil and another hit, The Incredible Hulk.

Jude Law, 30, had officially and unarguably arrived in his late 20s with his portrayal of a callow golden boy in The Talented Mr Ripley (1999). Ever afterwards he was expected to become a major lead star even though he'd continued with the riveting supporting parts rather than going straight for the franchises or headlining work. Unfortunately the box office didn't cooperate so much on the intermittent lead gigs that he did take. Cold Mountain, hyped to be an Oscar frontrunner long before its debut (it failed to get a Best Picture nom), was on the way. Unfortunately the latter remains his last true hit, grossing nearly $100 million.

Samuel L Jackson, 54, often in enormous hits even if he's not exactly responsible for their success, had just added another billion dollar franchise to his resume with his turn as Mace Windu in the Star Wars Episode 2: Attack of the Clones. Is he a household name more for his ubiquity than for his performances? His career is rather like that of Michael Caine and Gene Hackman before him: a sprinkling of blazingly good work here and there keeps the reputation intact despite the filmography also containing huge swaths of disposable filler. He can't say no! Jackson began to find steady employment as an actor in 1987. He's amassed a frankly astounding number of credits since then in everything from features, tv, to DVD fare, 108 of them in fact. Seven more films coming our way in the next two years. He's not going to be ignored. He's stalking us.

Don Cheadle, 38, was at this point a highly valued supporting actor, beloved by other thesps. He hadn't yet been rubber stamped with an Oscar nod or a lot of fame but he'd turned in vivid work in many good films: Oceans 11, Boogie Nights, and The Devil in a Blue Dress among them. He was soon to graduate to lead roles. Hotel Rwanda and his first Oscar nom would soon follow.

Hugh Grant on his way to 43, had recently delivered another semi-hit (Two Weeks Notice) and a critical success featuring his best work (About a Boy). The king of romantic comedy was beginning to threaten retirement in interviews but he didn't quit. Instead he made the Bridget Jones sequel for 2004. Oops! He doesn't work too often now but his next film is, you guessed it, another romantic comedy with a much younger woman.

Dennis Quaid, 49, was suddenly experiencing a real comeback -- not just the hyped kind. The late 90s had been bumpy for his star status and the breakup with Meg Ryan at the turn of the decade had been messy for both, public relations-wise. But in 2002 he had carried the crowd pleaser The Rookie with a winning star turn and almost won an Oscar nomination for his performance stretch in Far From Heaven. By the time of this cover, he was suddenly in demand again though it would take a couple of years before new movies started hitting theaters.

Ewan McGregor, 32, was soaring. The success of Moulin Rouge! (2001) and the Star Wars prequels had lifted him from well regarded daring British thespian to star. He had two movies coming out: Down with Love was a welcome change of pace as far as romantic comedies go but not something the public was interested in, Big Fish another serio-comic fantasy for Tim Burton performed reasonably well but seemed to fade quickly from public consciousness. It's been semi-rough since, with flops for which he was unjustly blamed (The Island) and strange choices (second fiddle to Renee Zellweger for Miss Potter?) piling up and a distinct lack of the edgier roles that made him a rising star in the first place. It's easy to imagine a resurgence, though: Eight new films coming your way in the next two years.

Matt Damon, 32, had just struck gold with The Bourne Identity (2002) and that franchise, together with smart choices for follow-ups (goofy cameos for friends, stretching for auteurs, working on smarter-than-usual mainstream projects) has served him exceedingly well. Until the Bourne franchise he was always connected to his best friend Ben Affleck, a bigger star (at the time). Nobody would argue that he's not a movie star on his own now. Five movies are on their way including a fourth trip into Bourne territory.

PLEASE NOTE: If you'd like to read more about any of these stars, click the names on the labels below.


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median age: 43. Jude was the baby boy @ 30 and Jack the papa @ 66.
noticeably absent: Since VF tagged this the "alpha list" it's hard not to notice missing heavy hitters like Denzel, Johnny, Clint, Russell or Leo (see, you didn't even need their last names) ... though obviously you can't fit all A listers on one cover.
collective Oscar noms before this cover:
26 nominations and 5 wins for acting (Hanks & Nicholson share that trophy count. Damon has an Oscar but it's for screenwriting Good Will Hunting)
collective Oscar noms after this cover: Only two nominations followed: Jude Law for Cold Mountain (2003) and Don Cheadle for Hotel Rwanda (2004). Both of them lost. Grant, Quaid and McGregor have all been snubbed by Oscar voters on more than one occasion. What a shame.
fame levels in 2008, according to famousr, from most to least: Cruise, Pitt, Hanks, Nicholson, Ford, Damon, Grant, Law, Quaid, Norton and Cheadle. Neither Samuel L Jackson nor Ewan McGregor are listed on the famousr site.
previous episodes of 'VFH': 1995 ,1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004 and 2005.
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Thursday, February 23, 2006

Thursday Triple: Nature Boys

So Paul Walker is still trying to be a movie star, despite being upstaged by his own ass (Joyride), Vin Diesel (The Fast and the Furious), Jessica Alba (Jessica Alba!??? in Into the Blue) and now a pack of dogs freezing in the arctic (Eight Below). Hey you can't fault him for the continued effort. If you looked like this, you'd be a damn fool not to keep plugging away at big screen glory. If at first you don't succeed...

three other memorable men at the mercy of Mother Nature.



We start with our nationally beloved (*sigh* why?) Tom Hanks in Castaway. This is my second favorite performance by him actually (after A League of Their Own -- I think he's so much more gifted at comedy than drama). This film had his only nomination, dramatically speaking, that I could get behind. I still can't figure out how he won two Oscars. That's crazy people. He's a lightweight.

I love to throw Burt Reynolds and his fashion-forward rubber vest in Deliverance into as many lists as possible. (Plus ya gotta love that Oscar myth that he was denied a nomination for that due to this photoshoot in Cosmo)

And finally, we end with a sentimental Disney favorite from my childhood Never Cry Wolf. Charles Martin Smith lives alone in the wilderness studying the wolves (cool), eating mice (ewww) and running around naked (yessss!)

Previous Thursday Triple: Cross-Eyed Divas