Tag Archives: Bon Cop

2007 Genie Award Nominees Unveiled

(Toronto) January 9, 2007 — The Academy of Canadian Cinema and Television announced today the nominees for the 27th Annual Genie Awards. The 2007 presentation will take place Tuesday, February 13th at The Carlu atop Toronto’s College Park and will be broadcast on CHUM Television stations across Canada.

2007 Nominees include:

BEST MOTION PICTURE

MEILLEUR FILM

BON COP, BAD COP – Kevin Tierney

GUIDE DE LA PETITE VENGEANCE / THE LITTLE BOOK OF REVENGE – Roger Frappier, Luc Vandal

MAURICE RICHARD / THE ROCKET – Denise Robert, Daniel Louis

TRAILER PARK BOYS: THE MOVIE – Barrie Dunn, Mike Clattenburg, Michael Volpe

UN DIMANCHE À KIGALI / A SUNDAY IN KIGALI – Lyse Lafontaine, Michael Mosca

ACHIEVEMENT IN ART DIRECTION/PRODUCTION DESIGN

MEILLEURE DIRECTION ARTISTIQUE

JEAN BÉCOTTE – Bon Cop, Bad Cop

MARY-ANN LIU, ATHENA WONG – Eve and the Fire Horse

MICHEL PROULX – Maurice Richard / The Rocket

FRANÇOIS SÉGUIN – La Rage de l’ange / Angel’s Rage

JASNA STEFANOVIC – Tideland

ACHIEVEMENT IN COSTUME DESIGN

MEILLEURS COSTUMES

MICHELLINE AMAAQ – The Journals of Knud Rasmussen

SANDY BUCK – Eve and the Fire Horse

FRANCESCA CHAMBERLAND – Maurice Richard / The Rocket

MARIO DAVIGNON – Tideland

ANNIE DUFORT РLa Vie secr̬te des gens heureux / The Secret Life of Happy People

ACHIEVEMENT IN CINEMATOGRAPHY

MEILLEURES IMAGES

BRUCE CHUN – Bon Cop, Bad Cop

STEVE COSENS – Snow Cake

PIERRE GILL – Maurice Richard / The Rocket

JAN KIESSER – Beowulf & Grendel

NICOLA PECORINI – Tideland

ACHIEVEMENT IN DIRECTION

MEILLEURE RÉALISATION
ÉRIK CANUEL – Bon Cop, Bad Cop

JEAN-FRANÇOIS POULIOT – Guide de la Petite Vengeance / The Little Book of Revenge

CHARLES BINAMÉ – Maurice Richard / The Rocket

ROBERT FAVREAU – Un dimanche à Kigali / A Sunday in Kigali

STÉPHANE LAPOINTE – La Vie secrète des gens heureux / The Secret Life of Happy People

ACHIEVEMENT IN EDITING

MEILLEUR MONTAGE

MICHEL ARCAND – Maurice Richard / The Rocket

JEAN-FRANÇOIS BERGERON – Bon Cop, Bad Cop

FRÉDÉRIQUE BROOS – Congorama

MICHEL GROU – Cheech

LESLEY WALKER – Tideland

ACHIEVEMENT IN MUSIC ORIGINAL SCORE

MEILLEURE MUSIQUE ORIGINALE

NORMAND CORBEIL – Cheech

MICHEL CUSSON – Maurice Richard / The Rocket

PIERRE DESROCHERS РLa Vie secr̬te des gens heureux / The Secret Life of Happy People

HILMAR ORN HILMARSSON – Beowulf & Grendel

JEAN ROBITAILLE – Sans elle / Without Her

ACHIEVEMENT IN MUSIC ORIGINAL SONG

MEILLEURE CHANSON ORIGINALE

BRAMWELL TOVEY, RICHARD BELL – Eighteen – In a Heartbeat

DAN BIGRAS – La Rage de l’ange / Angel’s Rage – L’Astronaute

PATRICK WATSON, CAROLINE DHAVERNAS РLa belle b̻te / The Beautiful Beast РTrace-Moi

ERIC LAPOINTE, STÉPHANE DUFOUR, JAMIL – Bon Cop, Bad Cop – Tattoo

JENNIFER KREISBERG – Unnatural & Accidental – Have Hope

PERFORMANCE BY AN ACTOR IN A LEADING ROLE

INTERPRÉTATION MASCULINE DANS UN PREMIER RÔLE

ROY DUPUIS – Maurice Richard / The Rocket

COLM FEORE – Bon Cop, Bad Cop

OLIVIER GOURMET – Congorama

PATRICK HUARD – Bon Cop, Bad Cop

LUC PICARD – Un dimanche à Kigali / A Sunday in Kigali

PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

INTERPRÉTATION MASCULINE DANS UN RÔLE DE SOUTIEN

HUGH DILLON – Trailer Park Boys: The Movie

ROBERT JOY – Whole New Thing

CHAN CHIT MAN LESTER – Eve and the Fire Horse

STEPHEN MCHATTIE – Maurice Richard / The Rocket

MICHEL MULLER – Guide de la Petite Vengeance / The Little Book of Revenge

PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

INTERPRÉTATION FÉMININE DANS UN PREMIER RÔLE

JODELLE FERLAND – Tideland

JULIE LE BRETON – Maurice Richard / The Rocket

FATOU N’DIAYE – Un dimanche à Kigali / A Sunday in Kigali

GINETTE RENO РLe secret de ma m̬re

SIGOURNEY WEAVER – Snow Cake

PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

INTERPRÉTATION FÉMININE DANS UN RÔLE DE SOUTIEN

CAROLINE DHAVERNAS – Niagara Motel

MARIE GIGNAC РLa Vie secr̬te des gens heureux / The Secret Life of Happy People

EMILY HAMPSHIRE – Snow Cake

CARRIE ANNE MOSS – Snow Cake

VIVIAN WU – Eve and the Fire Horse

ACHIEVEMENT IN OVERALL SOUND

MEILLEUR SON D’ENSEMBLE

DANIEL PELLERIN, GASHTASEB ARIANA, JEFF CARTER – Eve and the Fire Horse

CLAUDE HAZANAVICIUS, CLAUDE BEAUGRAND, LUC BOUDRIAS, BERNARD GARIÉPY STROBL – Maurice Richard / The Rocket

DOMINIQUE CHARTRAND, GAVIN FERNANDES, NATHALIE MORIN, PIERRE PAQUET – Bon Cop, Bad Cop

DAVID LEE, DOUGLAS COOPER, ROBERT FARR – Tideland

MARIE-CLAUDE GAGNÉ, CLAUDE LA HAYE, HANS PETER STROBL, BERNARD GARIÉPY STROBL – Un dimanche à Kigali / A Sunday in Kigali

ACHIEVEMENT IN SOUND EDITING

MEILLEUR MONTAGE SONORE

PIERRE-JULES AUDET, GUY FRANCOEUR, GUY PELLETIER – Cheech

CLAUDE BEAUGRAND, OLIVIER CALVERT, JÉRÔME DÉCARIE, NATALIE FLEURANT, FRANCINE POIRIER – Maurice Richard / The Rocket

CHRISTIAN RIVEST, VALÉRY DUFORT-BOUCHER, TCHAE MEASROCH – Bon Cop, Bad Cop

MARIE-CLAUDE GAGNÉ – Un dimanche à Kigali / A Sunday in Kigali

JANE TATTERSALL, BARRY GILMORE, DAVID MCCALLUM, DONNA POWELL, DAVE ROSE-Beowulf & Grendel

ORIGINAL SCREENPLAY

MEILLEUR SCÉNARIO

PHILIPPE FALARDEAU – Congorama

KEN SCOTT – Guide de la Petite Vengeance / The Little Book of Revenge

KEN SCOTT – Maurice Richard / The Rocket

MARTIN GIRARD, GHYSLAINE CÔTÉ – Le secret de ma mère

STÉPHANE LAPOINTE – La Vie secrète des gens heureux / The Secret Life of Happy People

ADAPTED SCREENPLAY

MEILLEURE ADAPTATION

MIKE CLATTENBURG, ROBB WELLS – Trailer Park Boys: The Movie

FRANÇOIS LÉTOURNEAU – Cheech

ROBERT FAVREAU, GIL COURTEMANCHE – Un dimanche à Kigali / A Sunday in Kigali

BEST DOCUMENTARY

MEILLEUR DOCUMENTAIRE

MANUFACTURED LANDSCAPES – Jennifer Baichwal, Nick de Pencier, Gerry Flahive, Daniel Iron, Peter Starr

LA PLANÈTE BLANCHE / THE WHITE PLANET – Jean Lemire, Thierry Piantanida, Thierry Ragobert

BEST LIVE ACTION SHORT DRAMA

MEILLEUR COURT MÉTRAGE DRAMATIQUE

BIG GIRL – Renuka Jeyapalan, Anneli Ekborn, Michael Gelfand

HIRO – Matthew Swanson, Oliver-Barnet Lindsay

JACK ET JACQUES РMarie-H̩l̬ne Copti

LE ROUGE AU SOL / RED – Maxime Giroux, Paul Barbeau

SNAPSHOTS FOR HENRY – Teresa Hannigan, Charlotte Disher

BEST ANIMATED SHORT

MEILLEUR COURT MÉTRAGE D’ANIMATION

THE DANISH POET – Torill Kove, Lise Fearnley, Marcy Page

HISTOIRE TRAGIQUE AVEC FIN HEUREUSE / TRAGIC STORY WITH HAPPY ENDING – Regina Pessoa, Patrick Eveno, Abi Feijò, Jacques-Rémy Girerd, Marcel Jean

Big hits in Canadian film 2006, but overall audience is down

TORONTO (CP) _ Colm Feore is the star of one of the top-grossing movies in Canadian history, this year’s bilingual cop adventure flick, "Bon Cop, Bad Cop." 

Yet the kind of superstardom that would greet his American and Quebecois counterparts in the aftermath of such a huge hit simply doesn’t exist in English Canada, where domestic films nabbed just 1.9 per cent of box office earnings this year.

"What we need is some kind of Canadian star system; we need people to say ‘I know that guy, he’s funny, he’s in that movie? Then I want to see that movie!’ so that suddenly you reach a tipping point where there’s enough critical mass of interest," the energetic Feore, trim in a black blazer and pin-striped shirt, said in a recent interview to promote the DVD release of "Bon Cop."

"If we don’t do that with enough of us, then no one will know and no one will care and no one will come. Because how is it that American movies do so well? They advertise the heck out of them. We’re never going to be able to afford to do that, so we have to do it the hard way _ selling tickets one at a time. From Victoria to St. John’s, we’ll have to start dragging people kicking and screaming into the theatres through the sheer force of our personalities."

Feore isn’t alone in lamenting the difficulties getting Canadians to take in Canadian movies. Wayne Clarkson, head of Telefilm Canada, says 2006 was disappointing despite the huge successes of "Bon Cop" and "Trailer Park Boys: The Movie."

"We had the best of films this year and huge successes, but the overall results were mixed," Clarkson said in a recent interview from Montreal.

"Bon Cop," which grossed almost $13 million, was a big factor in bringing up the domestic share of the English-Canadian box office in 2006 to 1.9 per cent from 1.1 per cent last year.

"Trailer Park Boys" also helped boost the domestic take, Clarkson said. Ricky, Bubbles and Julian broke a record for the biggest three-day opening weekend of any Canadian movie.

But even though the English-Canadian audience increased, the situation was reversed in Quebec, where the domestic box office share slipped to 17.2 per cent from 26 per cent in 2005, a banner year for Quebecois film. That dragged the grand total for the entire country down to a 4.3 per cent share of the box office, down from 5.3 per cent last year.

Steve Gravestock of the Toronto International Film Festival says there’s no need to be alarmed _ the situation in Canada isn’t so different from the scene elsewhere.

"People bemoan this, but we’re not radically different from the way it operates in other countries," he says. "There are very few territories or areas where domestic box office is dominant. Studios dominate everywhere. Even if you take the U.S. _ American independent films aren’t exactly burning up at the box office either, and the vast majority of work in Canada is independent work."

Independent filmmakers don’t have the big bucks of the major movie studios backing them as they promote and market their films _ and that’s a reality for independent producers the world over, he points out.

"It’s hard for them to get into theatres and more difficult for them to build a momentum because studios tend to dominate the landscape. But that doesn’t mean people don’t want to see those films. Audiences are more curious than we give them credit for, and will seek out interesting films."

Clarkson says the year ahead in Canadian film promises to be a good one, with a lot of movies coming out that already have serious buzz.

Sarah Polley’s "Away From Her" is chief among them. The film, Polley’s feature-film directorial debut, is getting its American premiere at the Sundance Film Festival in January before its mainstream release in May. Based on an Alice Munro short story, the movie earned rave reviews in September at the Toronto International Film Festival, with stars Julie Christie and Gordon Pinsent delivering award-worthy performances.

"Fido," a funny zombie film starring Carrie-Anne Moss and Scottish comic Billy Connolly, comes out in March. It was another Toronto film festival favourite.

The romantic thriller "Silk," from Quebec director Francois Girard, is also slated for release in the year ahead. It’s based on the Alessandro Baricco novel about a 19th-century silkworm merchant from France who travels to Japan, where he starts a forbidden romance with a mysterious woman.

"Fugitive Pieces," based on the acclaimed novel by Canadian Anne Michaels, also has high expectations. It tells the story of a child’s escape from Poland during the Second World War before coming of age in Canada.

And Denys Arcand’s eagerly anticipated "L’Age des Tenebres" is slated for release in 2007.

"I’m an optimist by nature but then, as I look at the films that are going to be released in the coming year, I believe there is real cause for optimism," Clarkson says.

Fans of the two biggest Canadian movies of the year _ "Bon Cop, Bad Cop" and "Trailer Park Boys: The Movie" _ may also have cause for celebration, he adds.

"We’ve not got anything in officially yet but we can say with confidence that there will be, in the not-too-distant future, a ‘Bon Cop Two’ and the Trailer Park Boys will be back again too, I’m sure," he says.

For Feore, promoting the Dec. 19 DVD release of "Bon Cop" has been a pure labour of love. Months after filming wrapped up, the classically trained Feore, who won a Gemini for his bang-on portrayal of Pierre Trudeau in the 2002 CBC miniseries "Trudeau," is still exceedingly proud of the film with its tagline "Shoot first, translate later."

"I don’t get a nickel if we sell one of these," he says. "My interest in this is having people see a Canadian film that is a success on its own terms _ it’s just good, it’s well made and it’s entertaining, and it shows Canada to be the cool and hip place that it is. There’s no magic solution here, but if we can make movies like ‘Bon Cop’ that people want to see, then they will come. If we don’t, then they won’t. No big hairy deal."

Canadian film industry gets boost from ‘Trailer Park Boys,’ ‘Bon Cop, Bad Cop’

TORONTO (CP) _ The Trailer Park Boys are a lot of things: dope smokers, drunks, petty criminals. But now add "potential saviours of the Canadian film industry" to the CVs of Julian, Ricky and Bubbles. After years of disappointing box office performances by Canadian movies, the industry is on an upswing thanks largely to films such as "Trailer Park Boys: The Movie" and "Bon Cop, Bad Cop," the flick that is now the top-grossing film in Canadian history, knocking "Porky’s" off its perch after 25 years.

As of Sept. 29, a week before "Trailer Park Boys: The Movie" opened to make it the No. 11 film in North America, Canadian productions had a 4.2 per cent share of the box office this year, Telefilm Canada reports. That figure will rise when the Thanksgiving weekend success of "Trailer Park Boys" is factored in _ it made $1.3 million over the long weekend, the biggest opening-weekend box office ever for an English-language Canadian film. And there are more highly anticipated Canadian films still to come this year. Sarah Polley’s "Away From Her," starring Julie Christie in a role that’s generating Oscar buzz, and the zombie film "Fido" are due out in the weeks to come, meaning homemade movies are on course to outperform last year’s films. In 2005, Canadian productions had a 5.3 per cent share of the domestic box office. Wayne Clarkson, executive director of Telefilm Canada, is delighted.

"We’re definitely on a kind of cinematic roll," says Clarkson, who once lay awake at night fretting that his headstone would read: "Never more than two per cent."

"And the best part is we still have a lot of good movies to come this year."

There’s one caveat to all the good news, however: French-speaking movie-goers are carrying the rest of the country. Canadian films commanded 26.6 per cent of the box office in Quebec last year, compared with a dismal 1.1 per cent elsewhere in Canada.

"We are sort of riding a tsunami of success in Quebec," Clarkson says. "I don’t think any of us could have imagined the unbelievable success of Quebec."

Clarkson is referring to the period five years ago when Telefilm Canada, the country’s largest funding source for film and television, started up its controversial Canada Feature Film Fund aimed at increasing the box office share of Canadian movies in both official languages. The initiative was greeted with suspicion by filmmakers like Atom Egoyan and Polley, who feared Telefilm Canada was fixated on the bottom line rather than quality filmmaking. But the two have never been mutually exclusive, Clarkson points out. The challenge, he says, is getting the rest of Canada to watch home-grown fare the way Quebecers do _ and "Trailer Park Boys" may be on the way to making that happen.

"You don’ t turn around 100 years of cultural indoctrination in a short period of time," Clarkson says of English-Canada’s historical preference for American movies. English-Canadians, he points out, are inundated with the massive American marketing machine for U.S. film and television.

"But we are seeing changes. ‘Bon Cop, Bad Cop’ is doing well in English Canada. … We look forward to continued box office success for the ‘Trailer Park Boys.’ And Deepa Mehta’s ‘Water’ has done very well in English Canada."

"Water," in fact, has been submitted to represent Canada in the bid for a nomination in the best foreign-language film category at the 79th Academy Awards early next year. The movie is the all-time highest grossing Hindi-language film in North America. But it’s "Trailer Park Boys" that may be on the way to doing something remarkable, if the opening weekend box office is any indication. An official at Alliance Atlantis says the film is, not surprisingly, doing well in Nova Scotia where the action takes place, but also in the West. And rural and suburban Canadians are coming out to see the movie in addition to urbanites.

"It has a broad, mainstream audience," a spokeswoman for Alliance Atlantis said Wednesday. For Clarkson, it’s just further reason to celebrate.

"It’s one of those special moments that we rarely do in Canada, when you have to stand back and wallow in the accomplishments and wallow in the success."

BON COP BAD COP becomes the highest-grossing home grown film in Canadian history

MONTREAL, Oct. 10 /CNW/ – After having ousted SERAPHIN from first place by becoming the biggest commercial movie success in Québec, BON COP BAD COP has just broken another historic record by becoming the most successful Canadian-produced theatrical release of all time. Today, Erik Canuel’s comedy claimed this title by knocking PORKY’S out of the position that it has held since 1982. With $9 013 345 of receipts in French and $2 342 142 with its English version, BON COP BAD COP currently has a cumulative box office record of $11 355 487 officially breaking PORKY’S previous box office record of $11 200 000(xx).

Produced by Kevin Tierney of Park Ex Pictures and based on an original idea by Patrick Huard, BON COP BAD COP is distributed jointly across Canada by Alliance Atlantis* Motion Picture Distribution LP and its Québec subsidiary Alliance Atlantis Vivafilm.

"I find all of this very exciting," said Erik Canuel. "We made this film without any pretensions, but with the hope that people would find it funny. We succeeded in attracting a much larger audience than we could have ever imagined. Thanks to you, the public, for being there. Thanks to you, local cinema can be many genres. Thank you!" added the director.

"I would like to thank all of those who were part of this crazy ride, both the public and those who worked on the film," declared Patrick Huard.
"Thank you for wanting to see and do something different."

"I am totally thrilled by this incredible success," stated Colm Feore. "I am very proud to have been a part of this adventure."

Producer Kevin Tierney summed it up by adding, "I suppose this somehow means that we have become the new pigs on the block. I am very happy about this."

"We are witnessing a historical moment, and would like to thank the whole team responsible for this success," said Guy Gagnon and Patrick Roy from Alliance Atlantis Vivafilm. "The goal of the film was to be the first

completely bilingual production to entertain audiences from coast to coast. We are proud to say that we have achieved our goal, since Bon Cop Bad Cop has distinguished itself as the most successful film in the country," they affirmed.

Bilingual movie ‘Bon Cop, Bad Cop’ tops Quebec box office success

MONTREAL (CP) _ The bilingual cop movie "Bon Cop, Bad Cop" has become the highest-grossing film ever to hit Quebec theatres.

The film by director Erik Canuel dethroned the 2002 film Seraphin over the weekend.

The movie has taken in $9,389,972 at the Quebec box office _ more than Hollywood blockbusters "The Da Vinci Code" and "Pirates of the Caribbean: Dead Man’s Chest."

Elsewhere in Canada, "Bon Cop, Bad Cop" has earned $1.3 million in ticket sales.

Posts navigation