The International Cinematographers Guild (ICG, IATSE Local 600) has announced nominees for the 53rd Annual ICG Publicists Awards Luncheon to be held at the Beverly Hilton Hotel on Friday, February 26.
The nominees for the Les Mason Award, the highest honor that publicists can bestow on one of their own members, are:
• Elaine LaZelle, Walt Disney Studios
• Sheryl Main, Unit Publicist
• Maureen O’Malley, Warner Bros. Pictures International
• Nina Turner, Buena Vista Pictures/Walt Disney Studios
• Murray Weissman, Weissman/Markovitz Communications
The nominees for the Maxwell Weinberg Publicists Showmanship Motion Picture Award are:
• 20th Century Fox for The Martian
• Columbia Pictures for Goosebumps
• Paramount Pictures and Skydance Productions for Mission: Impossible – Rogue Nation
• Universal Pictures for Straight Outta Compton
• Walt Disney Studios for Star Wars: The Force Awakens
• Warner Bros. Pictures for Mad Max: Fury Road
The nominees for the Maxwell Weinberg Publicists Showmanship Television Award are:
• 20th Century Fox Television for American Horror Story: Hotel
• 20th Century Fox Television for Empire
• 20th Century Fox Television for Fresh off the Boat
• Berlanti Productions in association with Warner Bros. Television for Supergirl
• CBS Television Studios for Crazy Ex-Girlfriend
• Warner Bros. Television for Blindspot
The nominees for the Press Award are:
• Bryan Alexander, USA TODAY
• Jess Cagle, People Magazine and Entertainment Weekly
• Mike Fleming Jr., Deadline.com
• Jeff Jensen, Entertainment Weekly
• Rob Moynihan, TV Guide
The nominees for the International Media Award are:
• Nelson Aspen, Australia
• Dan Jolin, UK
• Elisabeth Sereda, Austria
• Noel de Souza, India
• Yuko Yoshikawa, Japan
The nominees for the Excellence in Unit Still Photography for Motion Pictures Award are:
• Jaap Buitendijk
• Murray Close
• Andrew Schwartz
• Merie Wallace
• Barry Wetcher
The nominees for the Excellence in Unit Still Photography for Television Award are:
• Richard Cartwright
• Chuck Hodes
• Bill Inoshita
• Neil Jacobs
As previously announced, Tom Ortenberg, CEO of Open Road Films will receive the Motion Picture Showmanship Award. The Television Showmanship Award goes to John Landgraf, FX Networks CEO, and a Special Award of Merit will be presented to famed lyricists Alan and Marilyn Bergman. Still to be announced is the Lifetime Achievement Award.
More than 900 industry leaders are expected to attend the Awards Luncheon.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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