Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Warner Bros. takes home Oscar gold, sales boost for “Argo”

LOS ANGELES (Reuters) – Time Warner Inc‘s Warner Bros. basked in the golden glow of coveted Best Picture Oscar for its Iran hostage drama “Argo” on Sunday, giving the Ben Affleck film a likely boost for its ticket and home entertainment sales.

Hollywood‘s big night often proves a boon to studios that take home Oscars, and this year the haul was spread among several major film companies.

Among the Best Picture competitors, shipwreck drama “Life of Pi” from News Corp’s 20th Century Fox studio earned the most awards – four – including Best Director for Ang Lee.

“Les Miserables,” made by Comcast Corp’s Universal Pictures, secured a Best Supporting Actress win for Anne Hathaway and two others.

Besides grabbing the big prize, “Argo” took home two other trophies for Best Adapted Screenplay and Film Editing.

Winning a golden statuette can boost receipts by one-third or more.

Last year, ticket sales for “The Artist” gained 41 percent after it won the top film prize, according to the box office division of Hollywood.com.

Before this year’s awards show, the nominees already racked up a combined $ 2 billion in global sales, with six of the nine contenders topping $ 100 million at the domestic box office.

Ticket sales for “Argo,” directed by and starring Ben Affleck, surpassed the expectations of Warner Bros. executives, topping $ 127 million at theaters in the United States and Canada, plus $ 77 million in international markets. The film was released on DVD last week and should see a spike in sales.

When Lionsgate Entertainment surprisingly took home the gold for “Crash” in 2006, it had already been released in both the theatrical and DVD markets. Its DVD sales spiked after the Academy Awards, with Lionsgate selling 17,500 copies of “Crash” in one day after the Oscars, more than half the previous week’s entire total of 33,000.

“Argo,” a $ 45 million production, recounts a real-life CIA mission to rescue six American diplomats from Iran after the 1979 Islamic Revolution, under the cover of making a fake Hollywood film called “Argo.”

Fox’s “Life of Pi” had scored $ 583 million in global ticket sales ahead of Sunday night’s awards, overcoming skepticism that the book adaptation about a boy stranded on a lifeboat with a tiger would work on the big screen.

“Everyone at Fox, thank you for taking the leap with me!” Lee said onstage as he accepted his Best Director award.

The victory for “Argo” in the Best Picture category ended the winning streak for independent studio The Weinstein Company, which took home the Best Picture trophy last year for “The Artist” and the prior year for “The King’s Speech.”

The studio run by brothers Harvey and Bob Weinstein went into the night with 16 nominations, including Best Picture nominations for “Silver Linings Playbook” and “Django Unchained.”

The Weinstein Company finished the evening with three awards, including Best Supporting Actor for Christoph Waltz in “Django” and Best Actress for Jennifer Lawrence in “Silver Linings.”

Fox, which led rivals going into the ceremony with 31 nominations, ended the night with a total of six, four for “Pi” and two for the international distribution of “Lincoln.”

Sony topped all studios with seven wins, including best foreign language film “Amour” and Best Documentary for “Searching for Sugar Man.” It shared in the two wins for “Django” as the film’s international distributor.

Sony’s thriller, “Zero Dark Thirty,” the controversial account of the CIA’s search for Osama bin Laden, landed just one technical award, for sound editing, in a category that was a tie.

Walt Disney Co earned the Best Animated Feature award for Pixar movie “Brave” about a spunky red-headed princess, plus three other awards.

Disney-distributed film “Lincoln,” produced by Steven Spielberg’s DreamWorks, went home with just two statuettes, Best Actor for Daniel Day-Lewis and Production Design, after going into the night with an industry-leading 12 nominations.

The film about the 16th U.S. president is leading Best Picture nominees in the box office race, however, selling $ 179 million worth of tickets at U.S. and Canadian theaters in addition to $ 59 million in international markets

(Edited by Ronald Grover and Mary Milliken)

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Britain’s first Oscar-winning animator Bob Godfrey dies at 91

LONDON (Reuters) – Britain’s first Oscar-winning animator Bob Godfrey, whose work ranged from the children’s TV cartoon “Roobarb” to mock-erotic movies like “Kama Sutra Rides Again”, has died aged 91, his family told the BBC on Friday.

Godfrey, often referred to as “The Godfather of British Animation“, was born in Australia but educated in England and started his career as a graphic artist in London in the 1930s before gaining work in the film industry.

He was the first British animator to win an Academy Award for Best Animated Short Film for his 1975 musical comedy “Great”, about civil engineer Isambard Kingdom Brunel.

Godfrey was nominated three other times for Oscars, including for his 1971 short film “Kama Sutra Rides Again”, one of his mock-erotic exploitation films that focused on the hypocrisy of British attitudes towards sex.

Filmmaker Stanley Kubrick so admired the film that he screened it alongside UK showings of “A Clockwork Orange”.

“Much of Godfrey’s work has been predicated on satirizing the foibles and minutiae of what it means to be ‘British’,” said his biography on the British Film Institute website.

For nearly 50 years Godfrey worked with some of animation’s biggest names including Monty Python’s Terry Gilliam, poking fun at orthodoxy and establishment thinking. He retired in 1999.

His work ran along two tracks – adult material and quirky children’s cartoons which he wanted to appeal to adults too.

He was known for his children’s cartoons “Roobarb”, about a warring cat and dog, and “Henry’s Cat”.

His death comes after the death on Sunday of veteran actor Richard Briers, aged 79, who narrated “Roobarb” and also the character of Brunel in Godfrey’s film “Great”.

Aardman Animations studio founder Peter Lord tweeted: “Dear old Bob Godfrey is no more. A great influence and inspiration to me and my generation of animators. Also a lovely bloke.”

In an interview with the Guardian in 2001, Godfrey said he had one professional regret.

“I’d love to have done a full-length feature but I can’t seem to stretch myself to that length,” he told the newspaper.

“When you look at my films, they appear to be a series of 30-second commercials cut together. I’m a short distance man whether I like it or not.”

(Reporting by Belinda Goldsmith; editing by Andrew Roche)

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Daniel Day-Lewis as Abe Lincoln makes unstoppable Oscar force

LOS ANGELES (Reuters) – If there is one sure bet in this roller coaster movie awards season, it is that Daniel Day-Lewis will take home the Best Actor statuette at the Oscars on Sunday.

Day-Lewis, known for his meticulous preparation, would become the first man to win three Best Actor Oscars, and awards pundits say it’s not hard to see why.

The tall, intellectual actor has swept every prize in the long Hollywood awards calendar for his thoughtful, intense portrayal of U.S. President Abraham Lincoln in Steven Spielberg‘s movie “Lincoln.”

“No-one has emerged to take him on. I don’t think he has lost a single (pre-Oscar) race. We have 25 experts and every single one is betting on Daniel Day-Lewis,” said Tom O’Neil of awards website Goldderby.com.

More surprising perhaps is that Day-Lewis will also be the first person to win an Oscar for playing a U.S. president. And it has taken a Briton with dual Irish citizenship, portraying one of America’s most revered leaders, to do it.

Although “Lincoln” started the Oscar race with a leading 12 nominations, its Best Picture front-runner status has dimmed in recent weeks with the ascendance of Iran hostage drama “Argo.”

But Day-Lewis’s star has only risen with Golden Globe, Screen Actors Guild and British BAFTA trophies, along with a slew of honors from film critics.

LINCOLN FOR A NEW GENERATION

Day-Lewis, 55, plays Lincoln in the last few months of a life cut short by his 1865 assassination in a film that focuses on the president’s personal commitment to abolish slavery and end the bloody four-year U.S. Civil War.

He’s not the first actor to play Lincoln on screen. Yet his quiet assurance, his adoption of a high-pitch voice rather than the booming tones associated with Lincoln, and the movie’s focus on complex political debates have shone new light on a man that many Americans thought they already knew well.

“It’s a performance that is subtle. It’s not the Lincoln you expect. It’s a different interpretation of Lincoln than we have seen and we feel, wow! This could be the way Lincoln was,” said Pete Hammond, awards columnist at Deadline.com.

“We are seeing a real human being played out here for the first time and that is extraordinary. Day-Lewis is bringing the character to life in a way we haven’t seen in years,” Hammond told Reuters.

It took Spielberg three attempts to convince Day-Lewis to play the role. Explaining his decision last month to take the part, Day-Lewis noted that “it was an actor that murdered Abraham Lincoln. Therefore, somehow it’s only fitting that every now and then, an actor tries to bring him back to life again.”

The London-born actor threw himself into the role with the same devotion that marked his Best Actor Oscar-winning performance as quadriplegic Irish writer Christy Brown in “My Left Foot” in 1989, when he spent weeks living in a wheelchair.

In “Gangs of New York,” he sharpened knives on sets between takes to capture the menace of Bill “The Butcher” Cutting, earning another Oscar nomination, and in 2008 he won his second Best Actor Award at the Oscars for his turn as a greedy oil baron in “There Will Be Blood.”

TEXTING LIKE LINCOLN

Sally Field, who plays his screen wife Mary Todd Lincoln, said Day-Lewis sent her text messages that were completely in character and in 19th century vernacular over a seven-month period prior to shooting “Lincoln.”

Joseph Gordon-Levitt who plays Lincoln’s son Robert, said he didn’t get to know Day-Lewis until after production wrapped.

“I never met Daniel in person,” Gordon-Levitt told reporters. “I only ever met the president, only ever heard the president’s voice. I called him sir, and he called me Robert.”

With four Academy Award nominations and two wins before “Lincoln,” Day-Lewis appears to have barely set a foot wrong in his 30-year career. Yet there have been missteps, including the box-office flop of star-laden musical “Nine” in 2009.

“He was sorely miscast as Guido, the adorable gigolo, and he was not convincing at all. He brought the whole film down,” recalled O’Neil. “‘Lincoln’ is a spectacular career rally for him after that disaster.”

While others are betting on Day-Lewis to take home a third Academy Award on Sunday, the actor has been modest about his chances.

“Members of the Academy love surprises, so about the worst thing that can happen to you is if you’ve built up an expectation. I think they’d probably be delighted if it was anybody else,” he told reporters after winning the Screen Actors Guild trophy in January.

Those “anybody elses” in the running are Bradley Cooper for “Silver Linings Playbook,” Denzel Washington’s alcoholic pilot in “Flight,” Joaquin Phoenix for “The Master” and Hugh Jackman in musical “Le Miserables.”

(Reporting By Jill Serjeant; Editing by Todd Eastham)

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Veteran British actor Richard Briers dies aged 79

LONDON (Reuters) – British actor Richard Briers, best known for the 1970s TV sit-com “The Good Life” but also for his Shakespearean roles, has died at the age of 79, prompting a flood of tributes for “a national treasure“.

The actor, who spent a lifetime on the stage, had recently spoken publicly of battling a serious lung condition for years, saying that “the ciggies got me” after a lifetime smoking habit.

He said his health was failing after being diagnosed with emphysema five years ago even though he gave up smoking 10 years ago.

“I was diagnosed five years ago and didn’t think it would go quite as badly as it has,” he told a newspaper interview last month. “I used to love smoking. It’s totally my fault.”

His agent said he died on Sunday at his London home.

Briers’s career ranged from television, to theatre, to film and radio with the actor, trained at the Royal Academy of Dramatic Art, making his West End debut in the late 1950s.

In “The Good Life”, he played alongside actress Felicity Kendal as a married couple who decide to drop out of the rat race and try out a life of self-sufficiency.

His film credits included “A Chorus Of Disapproval” in 1989 and “Watership Down” in 1978 in which he was the voice of Fiver. He also narrated the children’s cartoon series “Roobarb and Custard”.

But he won wide acclaim for his Shakespearean work after joining Kenneth Branagh‘s Renaissance Theatre Company. He appeared in a list of Branagh’s films including “Henry V”, “Much Ado About Nothing” and “Hamlet”.

Briers, who was married with two daughters, was awarded an OBE in 1989 for services to the arts.

Branagh paid tribute to Briers, telling reporters: “He was a national treasure, a great actor and a wonderful man. He was greatly loved and he will be deeply missed.”

Actor Stephen Fry on Twitter described him as “the most adorable and funny man imaginable”.

(Reporting by Belinda Goldsmith, editing by Paul Casciato)

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Hugh Grant becomes father for 2nd time

LONDON (AP) — Hugh Grant says he has become a father for the second time.

The “Four Weddings and a Funeral” star used his Twitter account to announce Saturday: “Am thrilled my daughter now has a brother. Adore them both to an uncool degree.”

He said both children “have a fab mum” and: “To be crystal clear, I am the Daddy.”

The birth was confirmed by Grant’s publicist, Carrie Gordon.

Grant’s sometime girlfriend Tinglan Hong gave birth to the couple’s daughter in 2011.

Grant, 52, a critic of what he sees as press intrusion, told Britain’s media ethics inquiry that he and Hong had been harassed by paparazzi when their daughter was born.

He joined Twitter last year as (at)HackedOffHugh to promote press reform in the wake of Britain’s tabloid phone hacking scandal.

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Work starts on Seaside Heights, NJ, boardwalk

SEASIDE HEIGHTS, N.J. (AP) — The sounds shaking the ground in Seaside Heights aren’t from nightclubs.

The town featured in the MTV reality show “Jersey Shore” has started rebuilding the boardwalk that was destroyed by Superstorm Sandy.

Heavy equipment began drilling holes in the sand and pounding pilings into the ground Friday. It’s the first phase of a project that could ultimately cost $ 6 million to $ 7 million.

Mayor Bill Akers says the mile-long walkway should be done by May 10, but amenities like railings, lighting and ramps will come after that.

Many residents turned out to see the start of the work. They expressed hope that the place where they vacationed as children and came to settle down will recapture what made it so special to them.

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Bosnian Roma family plays itself in stark film

BERLIN (Reuters) – When Bosnian director Danis Tanovic learned about a Roma family refused emergency medical care because they could not pay for it, he not only decided to turn their story into a film but managed to convince the couple to play themselves.

The result is “An Episode in the Life of an Iron Picker”, a simple, powerful tale of one man’s struggle to provide for his partner and two daughters and of a society where money is apparently more important than human life.

The fact that Nazif Mujic and his partner Senada Alimanovic are Roma adds an extra dimension of injustice and alienation, but Tanovic’s tale is more universal.

“This story happens all around Europe to Roma people,” the award-winning director told Reuters in Berlin, where his movie is in competition at the film festival.

“In my country it happens to other people too. It is probably the poorest country in Europe. So this is an unfortunate reality of many, many people who live there … It really made me angry so I just went there and did this film.”

Tanovic first read about the case of the couple and their two children in a local newspaper in 2011.

He went to visit them in their run-down home in the village of Poljice, and after several days they finally agreed to appear as themselves in a kind of docu-drama.

Mujic had no regular job, but helped strip down cars to make a few Bosnian marks from a scrap dealer. Alimanovic was pregnant with their third child when she fell ill and miscarried.

The family was told she must have emergency surgery, but when doctors discovered they had no insurance they were sent away despite Mujic’s desperate and humiliating pleas.

Told it would cost 980 marks (around 500 euros) to pay for an operation, Mujic knew he could never raise the money, and so went back to the hospital and to charities, begging for help.

“BETTER IN THE WAR”

In the end the only way to succeed was to break the law.

“I really tried and struggled to get some help for Senada from all the different state institutions, but none of them would help, so it is tough,” Mujic said in Berlin, speaking through a translator.

“My biggest ambition is to have a job and be able to support the family, but unfortunately I don’t have any illusions or hopes that I will be able to get work anyway.”

Tanovic, best known for his 2001 Academy Award-winning debut feature “No Man’s Land”, said Bosnians too often turned their backs on the poor, despite many cases he knew where people risked lives to help a stranger during the 1992-95 war.

“I wish I lived in a country that took better care of their people but it is not the case,” he said.

“So when you open Bosnian newspapers … every day you see people asking for help, people begging for money to help operate somebody or something. It is terrible.”

At one point in the unscripted film, which cost just 30,000 euros ($ 40,000) to make, Mujic tells a charity worker that life was better during the war, and Tanovic said that to some extent he agreed.

“A lot of people actually lived better in the war, because in war you don’t see rich people driving cars around, you don’t see politicians having fun … All you see is people trying to survive and you are surviving too, so you are happy when you have one meal.”

(Reporting by Mike Collett-White, editing by Paul Casciato)

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CNN slots Jake Tapper Show, cuts length of Wolf Blitzer’s “Situation Room”

LOS ANGELES (TheWrap.com) – CNN slotted new anchor Jake Tapper‘s upcoming show for 4 p.m. on weekdays, cutting Wolf Blitzer‘s “The Situation Room” back one hour, a CNN spokeswoman told TheWrap.

Tapper, lured away from ABC News in December, was CNN boss Jeff Zucker‘s first major hire since taking charge of the network. Now, with his own show coming in March, Blitzer’s program will but cut from three hours to two as it moves to the 5 p.m. to 7 p.m. time slot.

A CNN spokeswoman told TheWrap Tapper‘s show has no specific starting date yet because it is still in development.

Last month, Turner Broadcasting posted LinkedIn job openings for a senior producer at a new daily program called “Tapper.”

And on Monday, CNN named Federico Quadrani, MSNBC’s executive producer of “Jansing and Company,” as the show’s new executive producer.

Choosing Quadrani – who served as an Emmy-winning producer for NBC’s “Today” show from 2003 to 2009 – is one of Zucker’s higher profile hires as the former “Today” producer attempts to replicate his morning show success at CNN.

After taking charge of the show in 1992, Zucker led “Today” to its ratings highs before Katie Couric‘s departure for CBS. The subsequent exit of Meredith Vieira, who replaced Couric, made it vulnerable to rival “Good Morning America.”

Late last month, CNN announced that it had bought “20/20″ anchor and former “GMA” host Chris Cuomo to lead a new morning show with Erin Burnett.

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All eyes on Frank Ocean as Grammy Awards approach

LOS ANGELES (AP) — Everybody’s thinkin’ about Frank Ocean.

Ocean is a cause celebre and the man with the momentum as Sunday’s Grammy Awards approach. One of six top nominees with six nominations apiece, the 25-year-old R&B singer turned cultural talking point will have the music world’s attention.

It remains to be seen if it will be the “Thinkin Bout You” singer’s night, but there’s no question he’s dominated the discussion so far. Already a budding star with a gift for building buzz as well as crafting songs, Ocean was swept up by something more profound when he told fans his first love was a man last fall as he prepared to release his major-label debut, “channel ORANGE.”

It was a bold move and one that could have submarined his career before it really even got started. Instead, everyone from Beyonce to the often-homophobic R&B and rap communities showed public support. It was a remarkable moment.

“It speaks to the advancements of our culture,” renowned producer Rick Rubin said. “It feels like the culture’s moving forward and he’s a representative of the new acceptance in the world for different ideas, which just broadens (our experience), makes the world a better place.”

Ocean is up for major awards best new artist, album of the year and record of the year when the show airs live on CBS at 8 p.m. EST from the Staples Center, sharing top-nominee billing with fun., Dan Auerbach of The Black Keys, Mumford & Sons, Jay-Z and Kanye West.

Don’t hand Ocean those trophies just yet, though. R&B and hip-hop performers (Ocean is part of the Odd Future collective) have had a spotty history at the Grammys recently when it comes to major awards.

Only one R&B act has won album of the year this century, and it’s hard to even call him just an R&B act given his legend, artistic scope and material: Ray Charles for his “Genius & Friends,” an all-star collaboration that was honored posthumously.

Also limiting Ocean‘s chances for a clean sweep are his fellow top nominees. Most are riding waves of their own.

Fun. became just the second act to sweep nominations in all four major categories with a debut album, equaling Christopher Cross‘ 1981 feat. Like Cross’ “Sailing,” the New York-based pop-rock band has ridden along on the crest of an inescapable song: “We Are Young,” featuring Janelle Monae.

Cross won five Grammys, sweeping the major awards. Fun. likely will have a much harder time piling up that number of victories because of the buzz surrounding the group’s competitors. It’s not just Ocean who has people talking.

London-based folk-rockers Mumford & Sons had one of the top-selling albums of the year with “Babel” and already has a history with The Recording Academy’s thousands of voters, having been nominated for major awards the year prior. Also, The Black Keys have a winning track record at the Grammys.

And don’t count out West and Jay-Z, who were shut out of the major categories but remain very much in voters’ minds.

Jack White’s “Blunderbuss” competes with fun.’s “Some Nights,” Ocean‘s “channel ORANGE,” Mumford’s “Babel” and The Keys’ “El Camino” for the night’s top award, album of the year.

Gotye’s “Somebody That I Used To Know,” featuring Kimbra, Taylor Swift’s “We Are Never Ever Getting Back Together” and Kelly Clarkson‘s “Stronger (What Doesn’t Kill You)” join the fun., Ocean and Black Keys entries in record of the year.

Fun. and Clarkson also are nominated for song of the year along with Ed Sheeran’s “The A Team,” Carly Rae Jepsen’s “Call Me Maybe” and Miguel’s “Adorn.”

And rounding out the major categories, fun., Ocean, Alabama Shakes, Hunter Hayes and The Lumineers are up for best new artist.

Those major nominees figure prominently on the 3 1/2-hour telecast, broadcast live on CBS at 8 p.m. EST.

Swift will kick things off with a show-opening performance. Fun. and Ocean will take the stage. Others scheduled to perform include Justin Timberlake, Carrie Underwood, Clarkson, White and Juanes.

There will be no shortage of mashups the Grammys have become famous for, either. Elton John, Mavis Staples, Mumford, Brittany Howard, T Bone Burnett and Zac Brown are saluting the late Levon Helm, who won the Americana Grammy last year a few months before his death. The Keys will join Dr. John and the Preservation Hall Jazz Band on stage. Sting, Rihanna and Bruno Mars will perform together. Other team-ups include Miranda Lambert and Dierks Bentley, and Alicia Keys and Maroon 5.

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Charlie Sheen revisits alter-ego in movie “Mind of Charles Swan”

LOS ANGELES (Reuters) – It’s a downward spiral for Charlie, a successful professional whose life slides into despair when his girlfriend breaks up with him.

This Charlie could be Charlie Sheen, but it’s actually the fictional Charles Swan, a charming, immature character played by Hollywood’s favorite bad boy actor and filmed only a few months after Sheen‘s off-screen antics got him fired in 2011 from TV comedy “Two and a Half Men.”

Sheen stars in “A Glimpse Inside the Mind of Charles Swan III,” opening in U.S. movie theaters on Friday. The film is directed and written by Roman Coppola, son of “The Godfather” director Francis Ford Coppola.

Coppola, 47, who is Oscar-nominated for his work on the screenplay of “Moonrise Kingdom,” talked with Reuters about working with Sheen on the “playful romp” about lost love and revenge fantasies set in a stylized Los Angeles.

Q: Did you write the film specifically for Charlie Sheen to star in?

A: “I didn’t write it for him in mind. I was excited to write a piece about a very outlandish lead character, someone charming, immature, struggling and full of imagination. As I was finishing it, I kind of realized Charlie Sheen would be perfect. Both are larger than life. They use their wit and charm to smooth over problems in their life to not deal with things. But it’s a coincidence that it’s the same first name.”

Q: Both of you are part of Hollywood dynasties. Your father is Francis Ford Coppola and his dad is Martin Sheen. When did you and Charlie first meet?

A: “We met as boys when we were around 11 years old on the set of (the 1979 film) ‘Apocalypse Now’ (which Francis Ford Coppola directed and Martin Sheen starred in). Our families were in the Philippines (for the shoot) for many months so Charlie and I became pals. We have a lot of fond memories hanging out together in that exotic location.”

Q: What type of memories?

A: “I remember being with him when they built the (fictional) Kurtz Compound. Charlie and I would cruise around (the set) and there would be all sorts of skulls and weapons and things that are interesting to 11-year old boys. I was also interested in theatrical makeup, so I introduced Charlie to the hobby of making scars.”

Q: Did you get any pushback from family, friends or financiers when you decided to cast Sheen in “Charles Swan“?

A: “Basically there was no film company willing to finance the movie with Charlie. Insurance companies didn’t want my business, nor did any bond company. There was very little support in the film community to finance that picture. So I had to be very crafty about getting the financing.”

Q: Were you surprised at that?

A: “I was surprised to some degree because I had other talent attached to it like Jason Schwartzman and Bill Murray. You’d think that would tip people’s curiosity. When people say ‘No’ or ‘Why would you want to cast Charlie Sheen?’ it makes me feel like everyone else is crazy.”

Q: But it’s Charlie who conjures up the images of crazy – public battles with “Two and Half Men” creator Chuck Lorre and his ex-wives, Denise Richards and Brook Mueller. He is the one who was in rehab for drugs, who damaged hotel rooms, lived with porn stars, and called himself a warlock with “tiger blood” and “Adonis DNA.”

A: “But that’s very comic book, that’s not a real person. That’s a portrayal that comes from wanting to make stories. He’s an individual. He’s obviously a talented guy and talent doesn’t go away. Ten years ago we’d be having this exact same conversation about Robert Downey Jr. and how crazy and irresponsible he is. Now we know he’s at the top of his game. So to me it’s kind of immature to cotton to that kind of stuff. It’s gossipy and phony.”

Q: So none of that was prevalent during the shooting of your film?

A: “Charlie was totally committed throughout the entire shooting. He showed up every day, he knew his lines, he learned Spanish and he learned to dance. I had a professional, fantastic experience with a highly skilled and dedicated performer.”

Q: How would you describe Charlie’s acting?

A: “He’s very intuitive. On a technical level, he’s very experienced and capable. He knows where to stand, where the light is. Then there is the magical aspect of acting where you’re able to create a see-through veil in which your feelings come out and they’re captured by the camera.

“No one knows how it works. Some people can do it and Charlie certainly has it. So despite all the chitter chatter of Charlie this and breakdown that, he’s a fine actor and he shines in this performance.”

(Reporting By Zorianna Kit, editing by Jill Serjeant and Doina Chiacu)

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Katie Holmes takes fashion line crosstown

NEW YORK (AP) — Katie Holmes and her business partner and stylist Jeanne Yang joined the New York Fashion Week frenzy last season with a show at Lincoln Center, only to leave it behind this time around.

It wasn’t all the people, or even the paparazzi, that drove them away. It was their own clothes. Their look, which they describe as one of careful artistry and potential heritage pieces that women will keep a lifetime, is a little too quiet for all the splash, they said.

“We wanted to tell the full story behind the frivolity,” said Yang, adding: “It’s a quiet approach.”

Holmes and Yang sat down at a hotel on the opposite side of Manhattan with a handful of fashion journalists on Thursday, the opening day of fashion week, to walk them personally through 15 looks Holmes called their favorites.

Katharine Hepburn‘s practical-yet-chic look of the 1940s, Donna Karan‘s use of the shoulders and back as erogenous zones, Halston’s glamorous sportswear and Chanel’s mastery of seaming and studs were all in their minds as they built the pieces and outfits.

“We’re not trying to be trendy … but we’re trying to make high-quality pieces you’ll wear over and over again,” Holmes said.

Holmes was wearing an A-line shirtdress in the blue-and-black plaid that was dominant in the collection, while Yang wore one of the slouchy blazers that has become a key piece for the label, founded in 2009.

For fall, they’ll offer a peplum top with a suede waist band and maxi skirt in the same plaid. Holmes suggested that outfit for a dinner out. Swap the shirt for a tank top for brunch and a blouse to go to the theater. Yang said she hoped a customer would “feel smart” in a white cashmere-silk boucle sweaterdress with a strip of white silk at the hem.

Holmes, meanwhile, was partial to the baggy suede caramel-colored pants that hit just above the ankle, worn with a bow-neck blouse in a deep shade of lipstick pink.

The duo made a point of noting that 70 percent of production of Holmes & Yang happens in New York and the other 30 percent in Los Angeles.

___

Follow Samantha Critchell on Twitter at http://twitter.com/AP_Fashion

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Bolshoi ballet chief heads to Germany after attack

MOSCOW (AP) — The artistic director of the Bolshoi ballet said he knows who ordered an acid attack that left him with severe burns to his eyes and face but won’t say, voicing hope that investigators will soon name the perpetrator.

Sergei Filin checked out of a Moscow hospital Monday and headed to Germany for further rehabilitation.

Filin, 42, wore shades and a bandage on his head, and skin on his face was red and swollen from burns. But he spoke energetically and seemed to be in a good mood as he walked out of the hospital accompanied by his wife.

“My body is full of strength and energy,” he told reporters.

Filin earlier told Russian state television that he knew who ordered the attack but wouldn’t give names. “My heart tells me who did it,” Filin told Rossiya 24 television in an interview broadcast late Sunday.

He said that investigators would visit him in Germany as part of the continuing probe.

An attacker threw sulphuric acid in Filin’s face in Moscow on Jan. 17, as he was returning home from work.

“I felt enormous, unbearable pain,” Filin recalled in the television interview. “I fell face down in the snow and started rubbing my face and eyes with snow.”

His colleagues said the attack on Filin could be in retaliation for his selection of certain dancers over others for the prized roles.

The Bolshoi has been plagued by intrigue and infighting that have led to the departure of several artistic directors over the past few years.

Filin told reporters Monday as he was leaving the hospital that he’s still seeing as if through a mist as his eye treatment is continuing, and added that he will have to undergo further eye surgery in Germany.

“I don’t care about my face, my hair, my looks,” he said in the television interview. “I’m ready to be completely bald, look like a Frankenstein. It will have no impact on my heart, on my soul. All my inner self, all my energy is focused on recovering eyesight.”

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NBC News President Capus to leave network

(Reuters) – NBC News President Steve Capus will be leaving the network in the coming weeks after struggles at the unit, including lower ratings for its flagship morning TV show, “Today.”

No replacement has been named for Capus, president of NBC News since 2005, according to a company memo obtained by Reuters. In a statement, Capus said it was “now time to head in a new direction.”

Three sources close to NBC said his departure had been rumored around the halls after parent Comcast Corp reorganized the news division in July, bringing in Patricia Fili-Krushel to head the news unit’s business operations. After that change, these sources said, Capus’ departure became a matter of when, not if.

Prior to Comcast’s takeover, the three heads of NBC‘s news operations — Mark Hoffman at CNBC, Phil Griffin at MSNBC and Capus — all reported directly to Jeff Zucker, who was not only NBC’s chief executive but also well-versed in hard news.

“There was a natural flow to the news division under Zucker. They all spoke the same language,” said one of these sources. “No disrespect to Pat, but she’s not viewed as a news person.”

Indeed, both Capus and Zucker basically grew up with each other at NBC, spending about 20 years together at the network. Capus did not say what his next move would be. Zucker, the executive who promoted him seven years ago at NBC, is now the worldwide president of CNN, owned by Time Warner Inc.

The sources said it would not be a surprise if Capus eventually resurfaced in a new position under Zucker at CNN. Earlier this week, Mark Whitaker, the managing editor at CNN, announced his resignation to make room for Zucker to install his own team. Prior to his joining CNN, Whitaker worked at NBC News under both Capus and Zucker.

Fili-Krushel said in a memo to staff on Friday that until a replacement for Capus is found, NBC News will operate under an interim structure with various executives reporting to her. She will start the search for a successor in coming weeks, with Capus helping with the transition.

Two other sources said that the recent view internally has been that Antoine Sanfuentes, an executive who oversees NBC News‘ Washington bureau and the Sunday political talk program “Meet the Press,” was being groomed to replace Capus. Fili-Krushel said in her memo that Sanfuentes will report to her and serve as interim managing editor responsible for editorial decision-making.

The first three sources said they had expected Capus to announce his departure at the end of last year to coincide with the announcement that Jim Bell was leaving as executive producer of the “Today” show to assume the newly created role of full-time executive producer of the Olympics.

Ultimately, Capus decided to trigger his departure by exercising an “out” clause built into his most recent contract, according to one of the first three sources.

Capus commanded the loyalty of NBC News staff, particularly the on-air talent and producers, all of the five sources agreed. Some of the major news events he worked on included the September 11 attacks, the discovery of anthrax in the NBC newsroom, the death of Britain’s Princess Diana and the wars in Iraq and Afghanistan. His resignation came as an unexpected blow to NBC News staff, despite the apparent grooming of Sanfuentes.

Savannah Guthrie, installed by Capus as “Today” show host after the departure of Ann Curry, tweeted on Friday that Capus was “a great leader and tireless advocate for NBC News” who will be missed.

NBC News made deep job cuts in 2006 after wider layoffs at the parent company. Rivals ABC News and CBS News have also made hundreds of layoffs in the past few years.

Capus said in his memo that he “tried to shield journalists from the tough economic pressures hoping that would give each of you the running room to focus solely on a commitment to outstanding journalism.”

RECENT STRUGGLES

NBC News has been the one part of the network’s news operations to show slippage in the last year. CNBC is far and away the leading business news network, as measured in ratings. MSNBC has not only surpassed CNN to become a strong No. 2 among general cable news networks, but has also closed the gap with long-time leader Fox News, owned by News Corp.

“Pat Fili-Krushel has a strong vision of the integration that is required to make the full array of NBC programming fire on all cylinders in unison. She also understands the need to complement both the owned station and Comcast cable group goals to leverage all to best advantage,” said Magid & Associates consultant Steve Ridge.

NBC News has ranked as the leader among network news broadcasts in both the morning and evening for much of Capus’ eight-year run as president. Two of the first three sources said he deserves credit for maintaining the “Today” show as the dominant morning news program, “NBC Nightly News” as the leading evening news broadcast, and “Meet the Press” as the marquee Sunday news program. But over the last year, Capus’ fiefdom has taken a few hits, most notably at the “Today” show.

NBC News, for example, was criticized for ousting Ann Curry as “Today” co-host after only one year.

The “Today” show has been in a back-and-forth ratings war with ABC’s “Good Morning America” ever since ABC snapped NBC’s 16-year unbeaten streak last year. “NBC Nightly News” is averaging 8.76 million total viewers, ahead of “ABC World News” and “CBS Evening News.” It has seen less ratings success with the news magazine “Rock Center with Brian Williams,” which debuted in 2011 and after being bounced around the schedule, will move to Friday nights on Feb 8.

NBC News also came under fire last spring when it decided to edit a call to police from George Zimmerman, the Florida man who shot unarmed teenager Trayvon Martin. The editing made it appear that Zimmerman told police, without being prompted, that Martin was black when, in fact, the full tape revealed that the neighborhood watch captain did so only when responding to a question posed by a dispatcher.

NBC has since been sued for defamation by Zimmerman.

(Additional reporting by Mark Hosenball in Washington; Editing by Lisa Von Ahn, Andrew Hay and Matthew Lewis)

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Filmmaker cries censorship as Italy political documentary blocked

ROME (Reuters) – A British filmmaker said on Friday he was a victim of censorship after a leading museum cancelled the Italian premiere of the documentary “Girlfriend in a Coma”, which is highly critical of Italy‘s political and economic situation.

The museum where the film was to have been shown on February 13 cancelled the showing and said it could not be held until after the country’s elections on Feb 24-25.

Former Economist magazine editor Bill Emmott, who made the film with Italian Annalisa Piras, called the decision by the Museum of 21st Century Art (MAXXI) a product of “censorship and stupidity”.

MAXXI, run by a foundation overseen by the culture ministry, said it could not be host to activity that can be seen to have political connotations ahead of the elections.

“This is not censorship,” a spokesperson said. “After the elections, the film can be shown here.” The election date has been known for nearly two months.

Emmott was for 13 years the chief editor of the Economist magazine, which published covers highly critical of former prime minister Silvio Berlusconi, including a famous 2001 cover which read: “Why Silvio Berlusconi is Unfit to Lead Italy”.

“I am shocked. I would not have been shocked if this had happened during the government of my good friend Silvio Berlusconi, but the culture ministry doing this now is astonishing,” he told Reuters by telephone from Jamaica.

The MAXXI is run by a foundation which is funded by the culture ministry.

The film, which has already shown in New York, Miami, Brussels and London, paints a picture of what the authors say is the country’s moral, social and economic decline over the past 20 years since Berlusconi came to power.

“What this decision reflects is a very cautious mentality that wants to hide the reality of the situation of Italy and seeks to stifle debate about the causes because they might be too revealing,” Emmott said.

The film addresses political corruption, media monopoly and corporate power. Among those interviewed are caretaker Prime Minister Mario Monti, filmmaker Mario Moretti, anti-Mafia writer Roberto Saviano, Fiat CEO Sergio Marchionne, former European Commissioner Emma Bonino and author Umberto Eco.

Emmott said he and the producers would lodge a protest with the culture ministry.

“If it is not shown at the MAXXI, we will arrange for it to be shown somewhere else,” he said.

(Reporting By Philip Pullella, additional reporting by Alberto Sisto; Editing by Stephen Powell)

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Roseanne Barr to Star in, Produce New Series for NBC

NEW YORK (TheWrap.com) – NBC is betting on the up-again-down-again Roseanne Barr, signing the television icon to an overall deal that calls for her to develop a show she will star in and produce for the network. She will executive produce the series with Steven Greener, with whom she collaborated on “Roseanne’s Nuts” for Lifetime.

As part of the deal, Barr also will guest star in a three-episode arc on NBC’s “The Office” as talent agent Carla Fern. She will help Andy Bernard (Ed Helms) pursue the career in show business he has always dreamed about. That arc begins filming this week.

Barr came close to scoring a new show with NBC just a year ago. The network picked up her “Downwardly Mobile” to pilot last January but never ordered it to series. A multi-camera comedy starring Barr as a trailer park operator, it would have re-teamed her with “Roseanne” co-star John Goodman.

“Roseanne” aired on ABC for close to a decade, and was one of the top TV shows in the country for most of those years, winning her an Emmy and a Golden Globe. TV Guide named it one of the 50 greatest TV shows of all time in 2002, and it helped turn Barr, at its inception a stand-up comedian, into a TV star.

In the show’s final year, she tried to launch a Roseanne Conner spin-off, but wasn’t able to pull it off. She then segued into her own talk show, which lasted two years, before returning to stand-up comedy and taking assorted TV and film roles, making her big-screen debut in 1989s “She-Devil” with Meryl Streep.

In 1990 she performed a controversial, loud and screechy “Star-Spangled Banner” before a baseball game between the San Diego Padres and the Cincinnati Reds.’

She is represented by Paradigm.

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ABC orders pilots for “Big Thunder” drama, Gothic soap opera

LOS ANGELES (TheWrap.com) – ABC has ordered pilots for the dramas “Big Thunder” and “Gothica,” the network said Tuesday.

“Big Thunder,” which is written by “Ice Age” writer Jason Fuchs (pictured) and executive produced by Chris Morgan (“Wanted,” “The Troop”) follows a brilliant doctor in late 19th century New York whose family is given a once-in-a-lifetime opportunity to relocate to a frontier mining town run by a powerful, but mysterious tycoon. However, they quickly realize that not everything in Big Thunder is as it seems.

ABC Studios is producing the pilot, which is based on the Big Mountain Thunder Railroad ride at several Disney-owned theme parks.

“Gothica,” meanwhile, is described as a “sexy gothic soap opera set in present day” that “weaves together a mythology that incorporates the legends of Dracula, Jekyll and Hyde, Frankenstein and Dorian Gray among others.”

The project, written by Matt Lopez, comes from ABC Studios and the Mark Gordon Company.

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Spielberg seen winning director Oscar for “Lincoln”

LOS ANGELES (Reuters) – American filmmaker Steven Spielberg is clear favorite among the public to win the best director award for his film about President Abraham Lincoln at the Academy Awards this year, a Reuters poll showed on Wednesday.

While the race to win best film at the February 24 ceremony was shaken up by “Argo” stealing the thunder of “Lincoln” at two award ceremonies last weekend, the best director statuette was deemed destined for one man.

Spielberg, 66, who has been nominated seven times for best director at the Oscars and won twice – for the World War Two dramas “Schindler’s List” in 1993 and “Saving Private Ryan” in 1998 – was seen as far ahead in the all-male field of five.

A Reuters Ipsos poll of 1,641 Americans found 41 percent thought Spielberg should win and 38 percent said he was most likely to win for his U.S. Civil War-era drama in which British actor Daniel Day-Lewis plays Lincoln.

Almost half of the respondents to the survey conducted Friday through Tuesday were unsure who should or was most likely to be voted best director. The accuracy of the poll uses a statistical measure called a “credibility interval” and is precise to within 2.8 percentage points.

The online poll comes before the Directors Guild of America awards on Saturday in Los Angeles. Since 1948, there have been only six occasions where the winner of the DGA Award for Feature Film has not gone on to win the Oscar for best director.

But this year, the Academy of Motion Picture Arts and Sciences, whose members choose Oscar winners, overlooked the directors of four of the year’s biggest movies – Ben Affleck (“Argo”), Kathryn Bigelow (“Zero Dark Thirty”), Quentin Tarantino (“Django Unchained”) and Tom Hopper (“Les Miserables”) – opening the possibility of a rare split in February in the best film and best director categories.

Betting agencies also have earmarked Spielberg as clear favorite, with William Hill offering odds of 1-5 on Spielberg.

“Our theory is that Spielberg will win best director but not best film,” said Rupert Adams, a spokesman for bookmaker William Hill. “If you listen to what people are saying it is that ‘Lincoln’ is a brilliant film in terms of direction but it is not that exciting to watch unlike ‘Argo.’”

Ang Lee, with his 3-D film adaptation of the best-selling novel “Life of Pi” about an Indian boy adrift at sea with a tiger, was ranked second in the Reuters poll with about one in 10 respondents saying he should or was most likely to win.

The Taiwanese director won the Academy Award for best director in 2005 for the gay-themed Western romance “Brokeback Mountain.”

David O. Russell with the quirky comedy “Silver Linings Playbook” was rated third in the poll with about 5 percent.

The two surprise contenders in the race ranked fourth and fifth: Benh Zeitlin, 30, with his first feature, “Beasts of the Southern Wild,” and Austrian director Michael Haneke with the French-language drama “Armour” about illness and old age.

The exclusion of Bigelow for her film about the hunt for Osama bin Laden has been controversial in the run-up to the 85th Academy Awards. Bigelow, 61, is the only woman to win a best director Oscar, for “The Hurt Locker” in 2009.

Affleck, 40, whose Iran hostage thriller “Argo” swept the board at last weekend’s Hollywood awards shows, was also notable by his absence, as were Hooper and Tarantino. However, all four of their movies are in the running for best film at the Oscars.

(Editing by Jill Serjeant and Belinda Goldsmith)

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Philadelphia opera co.: New name, new vision

PHILADELPHIA (AP) — The Opera Company of Philadelphia is getting a name change that officials say is in better harmony with its move toward more innovative programming and greater diversity in its repertoire.

The company said Tuesday it will now be known simply as Opera Philadelphia. The new name and logo will appear on all of its brochures and ads.

The announcement was made in conjunction with the unveiling of the 2013-2014 season.

The company plans to continue bringing opera to new audiences with surprise “pop-up” concerts in famous Philadelphia locations. Past performances at a downtown Macy’s and the Reading Terminal Market have received millions of views on YouTube.

Opera Philadelphia says it has five new operas in development and aims to present challenging contemporary works along with classics like “Carmen” and “La Boheme.”

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“Zero Dark Thirty” hits the U.K.: did critics zero in on torture scenes?

LOS ANGELES (TheWrap.com) – “Zero Dark Thirty” landed this week in the United Kingdom, where the Kathryn Bigelow drama continued to stir debate over its depiction of the use of torture in the CIA’s decade-long hunt for Osama bin Laden.

As they have in the U.S., some critics accused the filmmakers of implying that enhanced interrogation techniques could be a useful form of intelligence gathering, while others believed that Bigelow and screenwriter Mark Boal were more ambiguous in their portrayal of torture’s efficacy.

Most reviewers were floored by the propulsive storyline, the performance of star Jessica Chastain and the gripping dramatization of the raid on bin Laden’s compound in Pakistan.

In the Evening Standard, David Sexton argues that the film is ambivalent about waterboarding and other brutal methods, noting that a key piece of information is only discovered after interrogators ply a detainee with food and kindness.

“This has proved offensive to those who, to avoid having to accept there may be negative consequences from taking the moral high ground, prefer to believe that torture must always be ineffective as well as wrong,” Sexton writes. “Some of these critics – most notably nitwit Naomi Wolf, who has tastefully compared Bigelow to Leni Riefensthal and dubbed her ‘torture’s handmaiden’ – have claimed the film’s disturbing representation of torture amounts to a blithe commendation of the practice, not really a possible interpretation for those who have actually seen the movie.”

In a four-star review, Sexton went on to hail “Zero Dark Thirty” as “terrifically good” and said the depiction of the raid was a “masterclass in action filmmaking.”

In The Independent, Anthony Quinn praised the film for avoiding simplistic conclusions about America’s controversial interrogation methods.

“The waterboarding, the beatings, the dog collars, all the stuff you’ve heard about is here, and perhaps some you haven’t – the spectacle of a man being forced inside a small wooden box is as harrowing as any,” Quinn writes. “Is this an abhorrent crime? Would the information be impossible to gain by other means? The film isn’t saying either way; it is asking us to make up our own minds.”

Quinn also argued that the film is more effective because it was directed by a woman and that because of her gender, Bigelow has a less “gung-ho” relationship to violence than a Ridley Scott or Michael Mann might bring to the same material (he may not have seen “Point Break”)

Robbie Collins maintains in his review of the film in the Telegraph that Bigelow and Boal leave it to audiences to decide whether torture is right or wrong.

“These scenes are every bit as hellish to watch as they should be, and Bigelow’s genius is to make them feel at once gratuitous and necessary,” Collins writes.

He also praised the film for eschewing jingoism and for having the courage to end on a deflated note.

“Where, then, does Zero Dark Thirty leave us?” Collins asks.

“In the same place it leaves Maya: with our thirst for justice quenched, but our sense of rightness shaken. “Where do you want to go?” a pilot asks her, and she starts shedding tear after tear. This, finally, is what victory looks like, and its likeness to defeat is terrifying.”

Peter Bradshaw of The Guardian was more unsettled by the film’s relationship with torture and seemed to wish it had taken a firmer position.

“There is nothing in Zero Dark Thirty comparable to Gavin Hood’s soul-searching 2007 movie, Rendition, in which Jake Gyllenhaal’s CIA agent denounces waterboarding information as valueless; he quotes Shakespeare’s The Merchant of Venice and says torture victims ‘speak upon the rack,/ Where men enforced do speak anything,’” Bradshaw writes. “I can well believe that, but for me the most sinister depiction of torture is non-depiction. Many Hollywood movies about the war on terror have managed to ignore the subject, implying non-existence. Despite its fence-sitting, I prefer Bigelow’s account.”

Bradshaw was also less enamored of the film on an artistic level, writing that “It is well made, with a relentless, dour drumbeat of tension and a great final sequence, but nowhere near as good as the first season of Homeland.”

Empire Magazine’s Kim Newman mostly skirted the political debate surrounding “Zero Dark Thirty,” but was ecstatic about Bigelow’s directing, the film’s pacing and star turns.

“Like Bigelow’s The Hurt Locker, it’s a relatively new kind of American patriotic war movie, counterprogramming jaded paranoid fantasies like the Bourne movies or the liberal horror stories (Redacted, Rendition, In The Valley Of Elah, Green Zone etc.) thrown up by the War On Terror,” Newman writes. “It’s measured, seething with suppressed emotion, unafraid of slow stretches and false trails, snapping shut like a mantrap when blood is shed. If it grips in a more intellectual, journalistic manner than its Oscar-winning predecessor, it’s because Chastain’s character is necessarily absent during the climax – though she has a terrific post-traumatic outburst when the case is closed.”

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