Johnny Simmons

Were it not for a somewhat injudicious move from the Foreign Press Association a few weeks ago, The Tourist would have managed to pass us by with nary a peep from outraged film enthusiasts about its awfulness. I’m not sure awful is the right accreditation to give it – it’s the sort of gloriously ineffectual thriller/comedy/action film that does little to add anything significant to the year in film, but doesn’t too much to destroy it either – not for me, at least. The film focuses on Elise, the sort of woman you’d expect to turn up in some film noir as she has experiences that don’t seem to be particularly linked by plot. Suffice to say, the plot isn’t the strongpoint of the venture – truth is, you’d be hardpressed to find any strongpoint. It all meanders on in that very humdrum that’s neither terrible nor excellent. It’s as such, though, that Jolie’s natural charisma manages to be one of the things I latch on to easily. 

For someone so obviously beautiful it’s strange that she hasn’t played a role playing up to her looks as much, and it’s not that The Tourist depends on her looks – but from the long opening of Elise sashaying down the streets of Paris – you can’t deny that it’s a help. I’m not averse to actors playing themselves, since playing one’s self isn’t necessarily easy, and Jolie seems to just be existing with the palpable sense that the entire spectacle is fairly ridiculous. If the point of the venture was to see which superstar could out-act the other without really acting Depp fails miserably because there’s absolutely nothing interesting about his characterisation – not that there’s anything decidedly interesting about Elise either, but Angelina is nothing if not demanding of your attention. I will say, though, that the film is at its strongest (remember, this on a curve) when the two are together – even if it’s Jolie doing the heavy lifting. So, even when we’re tossed back into the rote machinations of secrets to be revealed and the usual “surprises” it’s still interesting watching her not being phased by it at all...which makes it ironic that she makes the Razzie’s shortlist and Depp doesn’t. Truth be told, I wouldn’t campaign for either of them on a Worst of List because even in his blandness Depp isn’t as offensive as he was in Alice in Wonderland (one of the things that prevented from loving Burton’s spectacle, though I did have more appreciation for it than most). In the grand scheme of things there’s not much to see here – and though its blandness is a fault, I don't think there's that much to criticise. Moreover, considering the madness the Globes have embraced over the past few years I’m a bit nonplussed as to why people are so averse to this particular one. Ah well.

Both of these films were seen in early August – (the last new movies I saw: loathsome, I know).

The thing is Salt wasn’t bad, it was fairly interesting and I can’t recall a movie being worse for having Angelina Jolie in it. But that doesn’t say much. The phrase that comes to mind when I think of it first is that: Angie is better than Salt. Take that for what you will, she could do much worse, and so could we. But that doesn’t make it a poor venture. When I think of recent films in the genre Salt is at least better than most, it’s ridiculous at times but it does what it does in earnest.

C+

I feel I should watch this again. It’s another fairly good venture, but once again I’m left unmoved for the most part. The premise is good, but Splice never seems to go anywhere that makes me single it out for being particularly riveting. It’s a bit like a dalliance in something that’s meant to shock us – and though I was not disappointed I was not very impressed either. The attempt at mixing genre doesn’t work for me as well as I think it ought to. I’ll praise the valiant attempts – that’s about as much as I’m willing to do.

C

I’m enjoying my last few days of freedom before school reopens (grrr), and it’s all going well. I should be more regular with the links, and there have been so many great bits since.

My favourite post of the week (thus far, I know it’s Tuesday) has to be Ryan’s entry for the Movie Meme focusing exclusively on Joe Wright. I’ll let The Soloist (passable as it was) go; I can’t wait for Hanna.

                    

Jose’s back with a vengeance and he loathed Knight & Day…which saddens me, because I did like it so. It's weird, I'm not usually fond of Cruise, but there it is - seducing me with a laughing Cameron Diaz and a caustic Viola Davis. Speaking of loathing. Know who (else) I loathe? Will Smith. Marshall warns you all from watching Ali...and though it's not horrid, I'd agree with him. (Speaking of Marshall, I only recently interviewed him for the LAMB, Check it out.) And while we're on the topic, I don't like George Clooney either. Fitz does, though, he takes a look at his favourite Clooney performance.

          

It’s been a while since I saw Sophie’s Choice a film that many believe the greatest performance of all time. Marcy offers up a thoughtful review of it. Is Meryl flawless in it?

               

I was moderately impressed with Antoine Fuqua’s Brooklyn’s Finest. Frank offers up effusive praise for the crime drama. How many of you have seen it? 

                     

What’s the best movie battle? Tough question? Heather doesn’t think so… here's her list.

I have a habit of becoming a dissenter, even if it’s not always deliberate. When I predicted (in my very first post) a lack of BP love for The Dark Knight it was more me hoping than anything else. I didn’t love the film, banana oil almost loathes it.  What are your thoughts on her feelings? I'm not the biggest Darren Aronofsky, I wasn't the biggest fan of The Wrestler in 2008 either. I'm probably not a fan at all, though I'll respect the man's talent. Carson reviews his 2008 The Wrestler, his direction is superb though I think the actual film is less so.

                 

I desperately need to see Woody Allen’s Interiors. Alex offers up an analysis of Geraldine Page in Woody’s drama. Slightly OT but I do love Geraldine in Sweet Bird of Youth…

          

Fletch needs your help with his marriage troubles. Well, not really...but there's a hypothetical situation and he wants your help. It involves Angelina, Brad and Jen...GO. Here's another hypothetical bit. You're going on a date...which movies would you NOT want to watch there? If you just had ate don't look, but Dan's list is full of excellent choices.

I’m still not sure why I appreciated Eastwood’s Changeling so much. I’m not too fond of the man as it were, and the film was rather poorly received. Still, I was impressed with it (it was my second review on the blog). I felt Jolie was deserving of the accolades she received, but if there was one part of the film I could have singled out alone it would have been Jason Butler Harner’s work as serial murderer Gordon Stewart Northcott. Everyone went wild in 2008 for dual villains in Milk and The Dark Knight and Harner’s Northcott would make it all a good threesome. It’s a slight performance, but one that haunts; and none more than his final scene – the hanging.

It begins with the shot from above as he descends.

I’ll admit, it looks generic enough as Northcott is led into the execution chamber by rhe officers.

But it’s the awareness on Harner’s face that always gets me.

The man has a way with expressions that’s most chilling. He’s a murderer, and yet he looks like a naughty schoolboy read to receive his punishment - one that you could feel sorry for.

Warden reads the charges, and really can we get any more clichéd than a hideous warden? The Grim Reaper I presume – but, alas, Eastwood never was one for subtlety.

             

But, back to Harner. I’m always moved to wonder just what the motive was behind his characterisation. It’s almost sad when he turns to the chaplain:

I think even the chaplain is a bit disconcerted, even if he nods resolutely. I wonder how Sarandon’s Helen Prejean would have dealt with this murderer.

Harner delivers the line so randomly I always feel as if he’s adlibbing, which is a good thing. We don’t get a studied portrayal of a dying man, but an almost organic degradation.

It’s here that I really have to champion Eastwood. His penchant for overemphasis works brilliantly as we get that sense of foreboding. The walk up the steps (if you can call it a walk) is just so tense….and that shot of the rope…

Just seeing it gives me chills.

I always like to think that Northcott is getting delusional and is thinking of the steps as the murdered boys, but I’m always looking for subtext even when it’s not there. Still I start feeling a little bit sorry for him, I can’t explain what Nortchott’s motives were, but with Harner he manages to seem more than just a murderer.

He does look rather deranged, though.

…but still, ridiculous and pathetic.

This shot is just chilling.

The executioner approaches the handle of the trapdoor as Northcott continues in what has to be the eeriest rendition of a Christmas tune.

Just what is Christine thinking?

Though I love her throughout, Jolie is at her lowest when dealing directly with Northcott. She’s unsure what to make of Christine’s reactions towards him (the script doesn’t help her any). I like the look there, though, what is she thinking? It's the sort of unreadable look that seems real.

We pause, and then the Grim Reaper decides to look at his watch.

What exactly is up with timing executions to the second? Will they be sued for digressions? And just then the trap door opens and the deed is done.

Few execution scenes manage to be so grisly and it depends mainly on the excellence of Harner. I cannot overemphasise how much this performance impresses me. I’d have given a nomination based on this scene only. What skill.

Due to a post to boost my memory compliments of Marshall my mind turned to this film recently. There’s so much about this film that’s forgotten, some of them understandable, like this performance. It wasn’t a poor one, by any means, but in an already long film it didn’t take up much time…hence its forgotten status.

We meet Carol a good way in Changeling. Jolie’s Christine has been cast into a mental institution via the Police Force. Amy grabs my attention from the inception, without being too obvious. Her first words are sage, “You should eat. Eating is normal. You got to do everything you can to look normal.” Both Christine and the audience are startled by the composure coming from someone in a place like this. As she gives Christine the “inside scoop” on their situation it’s a good moment for the film, and Clint knows that. I liked Changeling quite much, but even I’ll admit it could get oppressive at times with all the information, but Clint holds back here and Ryan (along with Jolie) work well. Even in the nondescript moments like Ryan’s line reading of, “I work nights.” Jolie’s Christine is nonplussed, and then she enunciates “I work nights.” It’s some slight irony that coming from the stage (and being known for her loud – but excellent – performance in Gone Baby Gone) Amy has such a knack for subtlety. Eastwood knows she’s a gem and she gets those poignant lines, “If we’re insane, nobody has to listen to us. I mean, who are you going to believe, some crazy woman trying to destroy the force of the, or a police officer? ”

We don’t have any time to see the relationship grown between the two; perhaps it’s just their commonality that fosters that tenuous bond. Like her brave – but misguided – punch to the doctor to “save” Christine. It’s an iffy moment, story wise, but it works precisely because Amy Ryan is able to convey that this woman is at the end of the rope. There’s nowhere left to go. Her confession in the hospital room is slight but effective, “I lost…two babies…to back alley doctors…no choice…Never had the chance…to fight for them. You do. Don’t stop.” It’s moment like these that define a character that could have turned into little more than vignette. Her final moment is wordless, a newly rejuvenated Christine returns to get all the Code Twelve patients out. The silent exchange between Jolie and Ryan is a quiet tender moment and just with her eyes Amy says so much. As the saying goes, there are no small roles only small actors and Amy Ryan is definitely not a small actor – her work in Changeling is special.

I’m not an apologist for the Oscars, I’m wise even to know that more often than not we’ll differ on what we believe to be the best. Still, sometimes a snub is rather hurtful. It’s one thing for a film, out of their radar and with no prior citations to be ignored. But, when a performance is in the limelight showing up and precursor after precursor I have to wonder just what happened. I can’t vouch on it, but this was probably the most surprising Oscar omission in the acting categories this last decade. Incidentally, it's a biopic worth remembering like those mentioned by Pam in her guest post.

                 

I suppose, if I’m honest with myself, it’s difficult to separate Angelina Jolie from her ubiquitous public persona. The thing is, unlike the usual paparazzi favourites Angelina Jolie actually has a talent for acting. It becomes hazy but she’s done excellent work in Gia, George Wallace, Girl Interrupted (I’d throw in Changeling too) and yet, none can compare to the excellence of her Marianne Pearl – a performance that haunted me for weeks after seeing it and remains as a brilliant feather in her cap. We remember her more for her wild youth, so the serenity and reserved nature of Marianne Pearl doesn’t seem like a natural role for her. But we don’t ever really know the actors we admire, or perhaps she’s just that talented. Regardless, her Marianne Pearl is an excellent incarnation.

The story of Marianne Pearl is not a new one. The film is faced with the plight of giving us a story hinging on an outcome that we already know. We are aware that her husband is never returning, so suspense is a difficult thing to discern. But, that’s where Angelina comes in. I'm not certain if it's her skill in showcasing Marianne's dedication or the subtlety, but there are moments when we even suspend our thinking - hoping - that Daniel will return.. Marianne is a woman too thoughtful of others to break down. She's pregnant, but she's not frail and she tries her utmost to keep her emotions at bay as she attempts to uncover the truth. It's an anxiety that Angelina taps into excellently. There's a moment when she seems exceedingly distraught and a glimpse of an Indian child makes her smile. It's such a simple, unartificial moment and she convinces completely. She shouldn't enthrall us as much because as good as the film is it is almost a docu-drama in some forms. There are few striking moments of "actressing" that she gets to do and that's what makes this so special. Angelina becomes Marianne. It's more than the makeup and costume, but all traces of the Angelina we think of are gone. There's a subtlety, and quietness to her movements even as we look at her face we can almost imagine her thoughts.

I remarked sometime earlier that I was saving up a performance on the list that represented my favourite crying scene. It was this. The scene probably shouldn’t work quite as well as it does, the Marianne we’ve seen earlier doesn’t quite persist with the breakdown. But it makes sense if we think about it. The horrific scream as she pounds the wall trying to hold on to a memory of someone already gone is an excellent moment of the film. Marianne Pearl said she made sounds she'd never made (or heard) before when she learnt of Daniel's execution and Angelina conveys this. It's an uncomfortable moment to watch and it is thoroughly heartbreaking. As the film winds down and Marianne must face the world Angelina continues to keep hold of the role and painstakingly she convinces us completely of Marianne. It's a performance I treasure, even if it's often remembered. It's ironic that in 2007 she and Brad were snubbed for the best work they've done...

        
We can't deny that glamour of Angelina, but her talent is often called into question. Is her Marianne Pearl a worthy inclusion?

 So, continuing from the previous entry, I'm taking a look at the films that I'm anticipating for the year 2010. Of course anticipating is often different from appreciation, but it can't hurt to expect good things in some of these. Some may fail, some may surprise...but at least a few will be as good as I hope. At least, I hope so.

             

This was rumoured to be a 2009 release, but nothing has come to fruition as yet. Joe Pesci and Helen Mirren star in this as a husband and wife team who open a brothel. The only thing stranger than Pesci and Mirren in a romance is Pesci and Mirren in charge of a brothel. They are both Oscar winners and the film is based on the true story of the Nevada couple to open the first brothel. I wonder what sort of skeletons are in their closets. 

                

Is this too high? It’s Angelina love, obviously. How could I not want to see the movie where she replaced Tom Cruise? And as underrated as her traditional acting skills are, most can agree that she’s a killer action star. So here’s to this. The plot is pretty much stock fare. It involves a CIA officer wrongly accused of being a Russian sleeper agent planning to assassinate the US President. Naturally she ensues on a journey to clear her name and find the perpetrator.

      

I was a fan of Inaritu's 21 Grams and Babel. The film centres on a criminal who is reunited with a childhood friend, now a police officer. I am a big of Javier Bardem and am expecting big things from this. I'm only wondering if it will reach here before the end of the year.
                 
 #27 Letters to Juliet

In retrospect I can’t justify how this is so high. I like Amanda Seyfried but not enough to go see Jennifer’s Body, and though I liked Gael in what I saw him I haven’t seen him at his best. Still pair them with Vanessa Redgrave [who I had a feeling is playing a cameo here] and then a European romance and I’m pretty much on board. I recently saw the poster which had Seyfreid and Redgrave with top billing which makes me really hopeful. I'm a big fan of Vanessa.

This could be great or it could be horrible. Christina Aguilera and Cher star in this one. A young up and comer [Aguilera] begins working at a Burlesque club in hopes of becoming a star; Cher plays her mentor. I don’t know what the look for this is going to be, or if it’s going to be a good film; but I’d be lying if I didn’t say I wasn’t interested. Christina Aguilera was one of those archetypes of teenaged boy lust. Cher? Not so much. But still, she's a good actor - sometimes. Add that to Kirsten Bell and the great Stanley Tucci and this is looking promising. Maybe.

      

It’s a true story starring Johnny Depp, which at least makes it worthy of contemplation.The story follows a wandering journalist who travels to Puerto and becomes obsessed with a woman. It sounds rather vague, but I'm expecting this to be a good one.

          

I still have hopes that Collin Farrell will one day get the praise he deserves. Ondine is based on a story of a fisherman who caught what he believes to be a mermaid in his net. I believe it’s based on a play I read years ago, but wasn’t too fond of it. It was well written, but I hated the ending. But I digress. tTe stills so far look good and with this premise I think Collin could impress me.

It’s probably wrong but in terms of the acting, my biggest draw here is Vanessa Redgrave. She seems like the perfect Shakespearean type actor, and this being a Shakespeare play only makes me want to se this more. Coriolanus is actually one his plays that I have not read. It's a tragedy and a history Ralph  f***ing Fiennes is playing the title character with Redgrave as his mother. Fiennes also directs. I've been waiting for Fiennes to get a good role and this is looking exceptionally good. I hope I'm not disappointed, I can't really see why Gerard Butler is there...but I'll let that pass.

             

Brad Pitt and Sean Penn star in Terrence Malick’s new film. Hardly any information has been released as to plot of this one, and I’ve never been a big fan of Malick. But Penn and Pitt are two actors I happen to like, and I’m just getting a good vibe from this. For what reason, I don’t know.

                 
Stay tuned for the next part. Which Redgrave film are you anticipating more? Are you anticipating Fincher? Malick?

Damn. It's been loooooooong week. My computer keeps dropping the bloody internet connection, my flash drive has destroyed all my valuable information: don't trust technology. And I have a test on Wednesday for a class where I'm taught nothing. So yeah, it's all great. But hey, the world goes 'round, and 'round. So here's to wrapping up 2007. I thought it was a good year in film. what of you? Here are my winners in the major categories with the runners up in parentheses. Click on the title links for my assessment of the categories.

                  

Atonement [Sweeney Todd: The Demon Barber of Fleet Street; Elizabeth: The Golden Age]

The green dress was hot, hot, hot. But it was the simpler clothes like Briony's white dresses [irony?] and this dress below in particular that seemed very original.

Sweeney Todd: The Demon Barber of Fleet Street [Atonement; Hairspray]

Each of these three films had good set design. But Sweeney came out on top. Just a genius production. Well deserved Oscar win.      

La Vie En Rose [Sweeney Todd: The Demon Barber of Fleet Street; Harry Potter & the Order of the Phoenix]

                  

The Bourne Supremacy [Sweeney Todd: The Demon Barber of Fleet Street; The Assassination of Jesse James]

                  

The Golden Compass [The Bourne Supremacy; Transformers]

       

 I was so psyched when this upset.

           

The Diving Bell & the Butterfly [Atonement, The Assassination of Jesse James]

Sure the shot above is not 'cinematic' much, but even in simple moments...the camera works so well.

                       

The Diving Bell & the Butterfly [Atonement; There Will Be Blood]

                 

Atonement [The Assassination of Jesse James; The Diving Bell & the Butterfly]

I used to study to Briony's theme. Is that sad?

           

Once “Falling Slowly” [Enchanted “So Close”; Enchanted “That’s How You Know”

              

Atonement [The Diving Bell & the Butterfly; No Country for Old Men]

I am so biased to Hampton and whatever he does…but still it’s a good script.

                 

Before the Devil Knows You’re Dead [Lars & the Real Girl; Enchanted]

Romola Garai in Atonement [Marisa Tomei in Before the Devil Knows You’re Dead; Cate Blanchett in I’m Not There]

Easy decision for me actually. She carries most of her sequence alone on her shoulders. The conversation with the French solider always tears me up [yes, I am WEAK]. She’s good.

Ethan Hawke in Before the Devil Knows You’re Dead [Casey Afleck in The Assassination of Jesse James; Tom Wilkinson in Michael Clayton]

I like Ethan Hawke, that much is known. Maybe it was the character that drew me in, but played by someone else I don’t think I’d have liked Hank much. Why doesn’t Hawke get more roles? The man is so emotive!

             

Angelina Jolie in A Mighty Heart [Keira Knightley in Atonement; Helena Bonham Carter in Sweeney Todd: The Demon Barber of Fleet Street]

It was actually a really close call between Keira and Angelina. I kept going back and forth, back and forth and eventually I came out with Angie on top. It’s my favourite performance of hers, as with Keira and I think both ladies deserve to be appreciated for their talent and not only for the aestheticism. And HBC at least deserved the Globe win for Musical/Comedy.

                      

Brad Pitt in The Assassination of Jesse James [Philip Seymour Hoffman in Before the Devil Knows You’re Dead; Daniel Day Lewis in There Will Be Blood]

James McAvoy was just behind Day Lewis as the fourth. It was a good group and it wasn’t nepotism that had Pitt at the top of the list. I think there’s a reason he won that Venice Cup and it was well deserved. He was perfectly cast and he delivered well. At least a nod would have been good.

                                       

Julian Schnabel for The Diving Bell & the Butterfly; Joe Wright for Atonement; Sidney Lumet for Before the Devil Knows You’re Dead]

See me, thinking that the Golden Globe nod meant something; I thought he had an actual chance despite being a lone director. See where that got me? I can’t pick a winner though. Close my eyes and I’ll pick randomly, it’s Schnabel. Thought today I feel all Wright. But they’re equal.

 Atonement [The Diving Bell & the Butterfly; Before the Devil Knows You’re Dead]

Being a fool or something akin, I accidentally deleted this post...so here it is again with some alterations. I was mixed on quite a few of the critical darlings, but let’s take a look. [alphabetical order]

           

Anne Hathaway in Rachel Getting Married

Yes readers, I was unimpressed with this performance. It’s not just because there’s no love lost between the two of us, but she wasn’t given enough to work with and she couldn’t rise above the material.

             

Scarlett Johansson in Vicky Cristina Barcelona

Scarlett Johansson is not the greatest actress of her age or whatever but I think this performance was vastly underrated. It’s an atypical role for her, she doesn’t wear her sexuality like a flag, but there are some moments that are quite good and some line readings are particularly profound.

               

Emma Thompson in Last Chance Harvey

Sure it’s a pretty lightweight role, especially for someone of her talent. But it’s not unsatisfying and she is charming as per usual.

                          

Rebecca Hall in Vicky Cristina Barcelona

Incidentally she was the most rounded character, so she was much luckier than her co-stars. I realised I had seen her popping up in lots of films, but it’s the first time I really focused on her. She could go far.

                 

Sally Hawkins in Happy Go Lucky

Poppy grew on me and I ended up appreciate her performance. Sure I didn’t mind her not getting an Oscar nomination, but it’d be nice to see what else she can do.

                    

Nicole Kidman in Australia

Sue me; I enjoyed her in this movie. Sure it was a bit too schizophrenic for its own good, but she went with the flow of the film and the development of the character despite being ludicrous seemed realistic in its own twisted way.

               

Melissa Leo in Frozen River

She stood out from the middling film. She was not my favourite, but I was pleased to see her nomination. I hope that even though it's late in the game that her career can build some sort of momentum.

                 

Meryl Streep in Doubt

Her role was tailor made for awards attention so at some point you have to wonder if she was really that good. But I didn’t hate the performance like some of her detractors and after getting past the accent there were some really good scenes. The characterisation was a bit too bizarre at times but oh well, it’s her style.

Cate Blanchett in The Curious Case of Benjamin Button

I don’t believe anyone else could have done this role. Cate was just marvellous; sure it wasn’t anything I didn’t know, but reaffirmation is always nice.

        

Angelina Jolie in Changeling

It wasn’t as good as her excellent turn in A Mighty Heart, but still. And sure, most persons seemed to hate it and it did get a bit generic at times, but I was impressed.

                                   

Frances McDormand in Burn After Reading

She has some wicked comedy timing in this and she manages to sell even the most outrageous parts of the story.

           

Kristin Scott Thomas in I’ve Loved You So Long

Damn those American awards. Why couldn’t she get some recognition? It sucks that the Globes were the only ones to show her any love.

              

Kate Winslet in Revolutionary Road

It’s not exactly a stretch for her, but she captures April so wonderfully and we are able to understand and even empathise wit her. Dare I say it…? The best of her generation?

A few days ago through The Movie Blog, it came to my knowledge that there was a rumour spreading that Megan Fox was to be cast in Chris Nolan’s third Batman film as Catwoman. Can I just say? Kill me now. I refuse to dedicate a post to Megan Fox and all that she stands for. But it got me thinking, if Nolan did decide to continue his Batman venture [of which I’m not exactly a fan] who would be the perfect Catwoman? As such I decided to compile a list of nine potential Catwomen. This list is not exclusive, and some of these women definitely won’t be doing a Catwoman film. But it’s just wishful thinking...you know - wishing and hoping and... Well you get the idea?

I’m not sure how this would turn out. It’s probably just left over Buffy love. I don’t know if she’d really be able to go all Catwoman on us, but I really feel that somewhere, deep inside, there’s a good actress hiding... And why not start here?

Don’t ask WTF. Think about it. Amy is a pretty girl, in a somewhat unassuming way. We know she can go plain, but if you’ve seen her at awards you also know that she can look hot. She’s a good actress [see Changeling, Gone, Baby Gone] and we’ve never seen her go all sassy like Catwoman. I think she could do well in this role. I mean we didn’t think that Heath Ledger would make a convincing Joker.
                                  

Angelina is probably the least likely of all the ladies to actually take this role. Despite looking good for age Angie seems like too obvious choice I suppose; what with her Lara Croft background and all that. But I think she would work as Catwoman. She could do the role in her sleep. But she's so low because I doubt that they'd look to her.
                                 

I hate Underworld and all its spawn...but she's hot and she's not a bad actress either [Nothing But the Truth, The Aviator]...but is this too Underworld...probably. And I really can't see her and Christian Bale together...

Zoe is another acress in search of a killerrole. I’m not sure that she’s that great an actress, but I'm sure with a good role she could be impressive.
                                               

Is this a no go? I don’t know...but I’d like to see what Scarlett would do with this role. I know that it would be an unlikely choice. She doesn’t really look like a typical Catwoman...but I think she could be good. A different sort of choice, but Scarlett needs a good role.
                                     

Drew Barymore has some of the most luscious lips on any actress, and with her red hair she might be good in this. With Grey Gardens we can all finally say that she has at least some talent, and I would like to her and Bale face off. That would be hot. Very hot indeed.

I’m still waiting for Kerry to get a good role so that she can impress America. She’s pretty and she can play sassy well. And she’s not completely overexposed so there wouldn’t be any insurmountable expectations to overcome.
                                             

This is my favourite idea. An Asian Catwoman. Lucy Liu was smoking in Charlie’s Angels, regardless of what you thought of the venture as a film. She looks great in leather, and she was great in her bit role in Kill Bill. She would destroy this role.