We've all sat down to watch a movie that I like to call the cinematic equivalent of 'civic duty'. Sure, it's not going to be a fun night at the movies, but its all for a good cause, so you shell out your hard-earned dollars. That is exactly the kind of film that I think The Boy in the Striped Pajamas will be -- well intentioned, but depressing as hell. The trailer for the Holocaust drama appeared on the net a few days ago, and I have to send this warning before you press play: you might want to keep a tissue nearby. Pajamas was directed by Mark Herman (who also wrote the screenplay) and the film shares a producer with the Harry Potter franchise (David Heyman).
Pajamas is the story of a young boy whose father is a high ranking guard in the infamous Auschwitz concentration camp. Through the course of the story, the cost of war and inhumanity is all shown through the friendship between the young German boy, and the boy in the 'striped pajamas' on the other side of the fence. Pajamas stars David Thewlis, Rupert Friend, and Vera Farmiga. The film is based on the novel by John Boyne, who, believe it or not, intended this story to be a 'children's book'. But if I had come across this story as a child, I might have needed some long-term grief counseling.
The Boy in the Striped Pajamas is expected to arrive in theaters in November; which leaves you with plenty of time to practice sobbing quietly in the movie theater.
Hell Ride is a deliberate, calculated throwback, referencing and recycling the cheapie bike-sploitation flicks of the '60s and early '70s as a band of burly brothers roar, rage and ride their way through the American Southwest on a rampage of revenge. Written by, directed by and starring Larry Bishop, Hell Ride thrums and roars with attitude; problem is, the drive shaft components of plot and character and logic just aren't there, meaning that even when Bishop hits the throttle, the roar and rattle can't hide the fact nothing's really happening.
Hell Ride revolves around a cycle gang known as The Victors, led by Pistolero (Bishop), with the tuxedo-shirt clad The Gent (Michael Madsen) riding on his right and recent inductee Comanche (Eric Balfour) an up-and-coming lieutenant in the organization, on his left. The Victors are trying to take care of business -- although what business it is they're in is never quite explained -- and the only thing interfering with that is Pistolero's obsession with righting the wrong done decades ago to Cherokee Kisum (Julia Jones), slain on the 4th of July in 1976. The Gent and Comanche are rubbed the wrong way by Pistolero's campaign of retribution, especially with the Six-Six-Six'ers and their kill-crazy leader Billy Wings (Vinnie Jones) edging in on Victors turf. ...
Well, I guess they don't call The New York Times the 'Paper of Record' for nothing; because not only are they the final word in journalism, but now Hollywood has come knocking for script ideas. Variety has announced the latest Times film deal, proving that the paper is going full steam into the movie business. Monika brought us an update on a Miramax deal for the film rights to the article, This Strange Thing Called Prom, but that is only the tip of the iceberg for the Old Grey Lady.
Now that the newspaper and magazine business has become what they call "economically challenged," everyone is on the hunt for some new revenue streams and Hollywood seems to be paying off. The current deals will see NYT writers share in the profits of the movie deals. But unlike the past, the newspaper will be the broker of the deals, instead of just subsidizing the articles, only to watch the writer hit a big pay day after optioning the piece.
The latest deal with Miramax marks the 15th property (that's right: 15) that the NYT has sold to studios since it first signed up with ICM. Some of the other high profile deals included a football vehicle for Jack Black, a political suspense tale that was purchased by Paramount for Tom Cruise (but I guess we all know how that particular deal probably turned out) and the recently announced J.J Abrams thriller. But the NYT is not alone in looking for bucks on the big screen; high profile papers like The Wall Street Journal have also been getting in on the act.
So is it official? Has Hollywood become so strapped for fresh ideas that they can only make it to their front doorstep for something new? Sound off below on this trend and tell us what you think.
I guess Brad Pitt and Angelina Jolie are too busy waiting for her to give birth, because they're no longer in this whole prom business. In June, Christopher Campbell posted about how a New York Times story was going to be made into a feature film, and that Brangelina had brought it to Paramount and Plan B to get it off the ground.
Now Variety reports that Miramax films have sealed the deal to bring This Strange Thing Called Prom to the big screen. However, they've only got the premise right now. Either they're going to create their own idea from this story, or move on and get the rights from each of the kids involved. As of now, no producer or writer has been attached.
If you're not familiar with Brooke Hauser's article, it follows a bunch of high school seniors at an international high school who are getting ready for prom. Instead of the usual band of promgoers, these kids come from all over the world, areas from Venezuela to Poland. But it's not all magical dances and perfect memories, and the experience "ranged from magical to miserable." But what's particularly cute about this story is that it's a bunch of international students who know nothing of prom coming together, researching the world of prom, and throwing their own. Just their discussions on what prom should be are worth the read.
And here's to hoping they keep the story and diversity in tact.
Of all the films I'm looking forward to this fall, Blindness ranks fairly high up there. Canadian distributor Alliance has just made available a full trailer that proves to be fairly intriguing, as an optometrist (Mark Ruffalo) and his seemingly immune wife (Julianne Moore) cope with an inexplicable epidemic of sight loss.
I'm a sucker for most anything vaguely apocalyptic, and while this very well could turn out to be akin to watching the first act of Children of Men through a milk-filled mask (which I've done, mind you), the prestige behind the project* says otherwise. We have acclaimed screenwriter Don McKellar adapting Nobel-Laureate José Saramago's novel, with Academy Award nominee Fernando Meirelles directing a cast that also includes Danny Glover, Gael Garcia Bernal, Alice Braga, and Sandra Oh.
I must say, going off that taste and last spring's teaser, I still like the look, sound, and feel of this one, especially Moore's little retort (you know the one), and that's not to mention that any trailer which employs John Murphy's underrated score from last year's Sunshine to set a rightfully ominous tone is always fine by me. We'll get to see (sorry) what trials and tribulations await the world on September 19th.
*Not to mention Rocchi's review of the film from its Cannes world premiere.
For everyone who's ever watched a bad movie and thought, "If this is what they produced, I wonder what they threw away?," the Village Voice has found an answer. In an amusing and fascinating article posted today, reporter Tony Ortega says he and a buddy accidentally stumbled across a recycling bin full of paper from Harvey Weinstein's office -- and not just from the office, but from Weinstein's own desk. Ortega proceeds to tell us all the juicy details he learned about the daily work of a movie mogul.
So what is Harvey Weinstein throwing away? Lots of copies of screenplays, naturally, as well as daily sheets (prepared by an assistant, no doubt) listing phone calls he needs to make or return. As you might imagine, the roster of people seeking Weinstein's attention is staggering, with actors, agents, lawyers, producers, and reporters all vying for his time. Michael Moore called him on April 25 and Weinstein didn't return the call for over a month. I'd say being able to ignore Michael Moore for a full month is the very definition of power.
Strangely, Weinstein's e-mails are printed out for him to peruse. (Maybe he gets eye strain from looking at a computer monitor? Maybe he just likes wasting paper?) There were some pretty interesting tidbits in the copies he tossed, including lots of stuff about the Weinstein-produced Project Runway, if you're into that.
One of my favorite classic novels, Evelyn Waugh's Brideshead Revisited, is coming your way in a new adaptation starring what looks to be a perfectly suited cast. Matthew Goode, (Match Point, The Lookout) stars as Charles Ryder, the tale's protagonist and narrator, who befriends the wealthy Sebastian Flyte (Ben Whishaw). When Sebastian brings Charles for a visit to his family's estate, Brideshead Castle, Charles meets Sebastian's sister, Lady Julia Flyte (Hayley Atwell, Cassandra's Dream).
Emma Thompson plays Lady Marchmain, Sebastian and Julia's aristocratic mother, a Roman Catholic for whom her husband, Lord Marchmain, converted his faith from Anglican; in the book, at least, Catholicism is an influence on both the lives and conversations of the characters, especially Lady Marchmain, who uses the duel thumbscrews of guilt and manipulation to control others ... this is a character Thompson can really sink her teeth into, and I look forward to seeing her take on the role.
OK, so maybe they aren't turning all their movies into Broadway musicals, but it sure seems like it. According to Variety, The Weinstein Co. is out to produce a number of adaptations for the stage, beginning with Finding Neverland, which is expected to hit the stage in 2010 (or re-hit the stage, since the movie was based on a play by Allan Knee). After that, it's a stage version of Pink Floyd's The Wall (apparently adapted from the album, not Alan Parker's 1982 film). Then, other titles in the pipeline include the Miramax hits Shakespeare in Love, Chocolat, Save the Last Danceand Cinema Paradiso. Wait, a stage musical based on a movie that celebrates moviegoing? That's gotta be one of the dumbest things I've heard.
These certainly aren't the first movies to be exploited adapted for the stage, and they won't even be the first stage productions from the Weinsteins, who also had a hand in Tony-winner "August: Osage County," as well as the hit stage adaptation of The Producers and the soon-to-be-a-film "Frost/Nixon." The Finding Neverland musical is already being written, with book by original playwright Knee and music by "Grey Gardens" composer Scott Frankel and lyricist Michael Korie. The Wall also is in the works under the care of playwright/screenwriter Lee Hall (Billy Elliot).
So far, it appears TWC is only adapting Miramax films, from back when the Weinsteins were in charge there, but maybe one day we'll get to see "Grindhouse: The Musical" or a stage adaptation of Fanboys(maybe it can even hit the stage before theaters, at the rate it's going).
A poorly-reviewed movie easily fought its way to the top of the weekend box office. That's almost standard practice for big-budget Hollywood studio product, but is quite unusual for an indie film. Joshua Seftel's comedy / drama War, Inc. (First Look) earned $17,650 per screen at two locations, according to estimates compiled by Box Office Mojo, despite receiving mostly negative reviews -- Rotten Tomatoes pegged the critics at only 24% positive. Writing for Cinematical, Joel Keller described it as "an ambitious film that fails miserably at everything it attempts to be." John Cusack co-wrote and stars along with Marisa Tomei, Joan Cusack, Ben Kingsley and Hilary Duff.
Roger Spottiswoode's drama The Children of Huang Shi (Sony Pictures Classics) did not fare any better with our critic, Nick Schager, who felt that the film is "a TV movie in disguise, a handsomely staid affair that prefers skin-deep elegance to psychological or historical substance." Jonathan Rhys Meyers stars as a reporter that helped a school of orphaned children in 1937 China; Chow Yun-Fat plays a rebel and Radha Mitchell a nurse. Opening at seven theaters, The Children of Huang Shi averaged $6,036 per screen.
Good returns were also enjoyed by Joachim Trier's Reprise (Miramax), which expanded to 14 theaters in its second week and took in $6,614 per screen, and Claude Lelouch's Roman de Gare (Samuel Goldwyn), which added 11 more locations in its fifth week and increased nicely to $4,485 per screen.
Two new indie releases fared well, while two others struggled. Hailing from Norway, Reprise(Miramax) earned a very good $15,500 per-screen average at three theaters, according to estimates compiled by Leonard Klady at Movie City News. Our own James Rocchi gushed in his review: "Directed by Joachim Trier, Reprise is one of the most brilliant, heartfelt, exciting and exuberant feature film debuts in recent memory."
Mexican film Sangre de mi Sangre (AKA Padre Nuestro) (IFC Films) nestled into the #2 spot, earning $8,500 at one theater in Manhattan. The film follows two teenagers, one honest, one dishonest, trying to reach their disparate goals (reuniting with family, making money). Eric D. Snider noted: "The trouble is that the film is so bleak as to be almost hopeless ... Its grimness is not matched by its excellence."
Cinematical's Erik Davis raved about German director Christian Petzold's Yella (Cinema Guild) when he saw it at the Berlin film festival last year: "Like a drug, Yella slowly creeps on you long after the end credits roll, takes hold of your body and doesn't let go until you're convinced it was one of the best films this year's Berlinale had to offer." Opening at two theaters, the film made $3,450 per screen.
Despite good reviews (82% positive at Rotten Tomatoes), Georgina Garcia Riedel's How the Garcia Girls Spent Their Summer (Maya Releasing) failed to make an impact, opening at 84 theaters and marshaling just $1,040 per screen, per Mr. Klady's estimate.
Dressed in an impeccable suit and a pair of hip trainers, Joachim Trier looks like one of the characters in his acclaimed film Reprise. He seems like one of Reprise's characters, as well; bright, self-aware, given to both bold pronouncements and sly moments of self-deprecation. Trier's film won accolades on the festival circuit and even won Norway's Amanda award for best direction and best screenplay; chronicling the lives of two best friends with shared ambitions of literary glory, Reprise manages to be clever without being cool, hip without being insular, and conveys both the better natures and the human flaws of its characters. It's also startlingly funny, and while all the hip narrative touches in the film are clearly deliberate, they manage to be cool without ever for a moment seeming cold.
Trier spoke with Cinematical in Los Angeles about writing Reprise, the challenges of getting a European film to an American audience, the universal fashion code of Fred Perry shirts and how he's already said "No" to the idea of remaking his own film for American audiences. This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
Philip (Anders Danielsen Lie) and Erik (Espen Klouman-Hoiner) are best friends. They're both aspiring novelists. And at the beginning of Reprise, they both stand, hesitant, on the street in front of a mailbox, and put their manuscripts in. And the camera follows their hopes and aspirations into the darkness, and the film rockets forward, a narrator detailing the reception of their novels and what that does to their lives, who finds acclaim and who does not, the setbacks and triumphs of each of their careers, with jump cuts and film clips and rambling elaborations and bizarre left-field concepts and rapid-fire narration piled one atop the other. And then we're back in the here-and-now, as Phillip and Erik stand in front of the postal box, looking slightly abashed, wondering what exactly it is they're supposed to do next. Maybe what we saw was a dream, or a lie; we're going to have to wait and see what happens next, just like they have to.
Directed by Joachim Trier, Reprise is one of the most brilliant, heartfelt, exciting and exuberant feature film debuts in recent memory, and works not just as a demonstration of Trier's substantial talents but also as a superbly-made collaboration. Trier co-wrote alongside Eskil Vogt, and the film's ensemble (including Lie, Klouman-Hoiner and Viktoria Winge as Phillip's gamine girlfriend Kari) is also superb, down to seemingly-minute supporting roles that are nonetheless perfectly cast, like Eindreide Eisvold's all-seeing but hardly certain dry tone as the narrator.
Mike Judge made a lot of friends and Fox made a lot of enemies when Judge's last live-action feature, Idiocracy, was dumped into a couple of theaters (it made a whopping $438,000) and then ushered to DVD. Those who saw it (myself among them) raved, making the movie a minor cult hit, but it certainly got a lot less exposure than anything from the creator of Office Space should have.
Judge will attempt to remedy that with his next movie, which will be called Extract, and which its distributor (Miramax) will hopefully actually distribute. Jason Bateman, rightly adored by everyone, is attached to star. Variety, which broke the story, provides only a very cryptic plot description: "Extract explores what it's like to be the boss when everything seems to be shifting around you." No word on what the protagonist is the boss of or exactly what is shifting around him.
What can I say? It's hard to be anything less than enthusiastic about something in which both Judge and Bateman are prominently involved, even if I did miss the boat on Office Space when it first came out. I do hope that Bateman will still have time for that Arrested Development movie we've been sort-of promised. The thought of that actually happening makes me cry happy tears.
Take a good look at the woman on your right, because this is the real Toby Phalen Young, and I just wanted to make sure that we all got to see the real person before Hollywood gets a hold of her. Varietyreports that Miramax has optioned the Wall Street Journal article, The Heart Has Its Reasons, for a feature film (you can read the full article over at WSJ). Kevin Helliker's article tells the story of Young, a 48-year-old mother of two who fell in love with a convicted murderer and wound up in prison herself.
In 2004, Young had created a program for counseling inmates by having them care for dogs. This is where she met the 27-year-old murderer, James Manard. At the age of 17, Manard participated in a carjacking that left one of the passengers fatally shot. Manard received life in prison and had little hope of getting out. As the two became closer, an escape plan formed; Young grabbed $42,000 from her retirement fund and smuggled Manard out of prison. The two were eventually located in a Honeymoon cabin in Tennessee (how romantic!), and now Manard is back in prison, and Young is facing felony charges.
Thanks to the wonderful Whit Stillman, we've gotten lots of elite Manhattanites in the eighties. Younger folks have acted like 40-year-olds in Metropolitan, and young yuppies have pulled the last little bits of dancing wonder from The Last Days of Disco. But now the whole rich eighties scene is switching coasts and coming from the hands of Mike White.
The Hollywood Reporter has posted that Scott Rudin and Miramax are bringing Sean Wilsey's high-society memoir called Oh the Glory of it All to the big screen, with Mike White signed on to produce and adapt it. Glory focuses on Wilsey's strange youth in San Francisco during the 1980s, tracking "his journey from dubious role models to a tour of boarding schools and an Italian 'therapeutic community.'" His father was a strict and distant man who drove Wilsey to rebellion, a man who divorced Wilsey's mother to marry her best friend. His mother, meanwhile, was the belle of the social scene, a woman who entertained everyone from movie stars to Black Panthers and inspired a character in Armistead Maupin's Tales of the City. But she also proved to be devoid of certain motherly traits, like, say, keeping her son safe -- she attempted to convince him to commit suicide with her.
Obviously, this is retro dysfunction at its finest, one that could make for a very funny movie in the hands of White, as long as there are actors to pull it off well. So, who would you cast?
Well, I guess they don't call The New York Times the 'Paper of Record' for nothing; because not only are they the final word in journalism, but now Hollywood has come knocking for script ideas. Variety has 
I guess Brad Pitt and Angelina Jolie are too busy waiting for her to give birth, because they're no longer in this whole prom business. In June, 
UPDATE: Here's the trailer in 
For everyone who's ever watched a bad movie and thought, "If this is what they produced, I wonder what they threw away?," the Village Voice has found an answer. In an amusing and fascinating 
One of my favorite classic novels, Evelyn Waugh's 
OK, so maybe they aren't turning all their movies into Broadway musicals, but it sure seems like it. 
A poorly-reviewed movie easily fought its way to the top of the weekend box office. That's almost standard practice for big-budget Hollywood studio product, but is quite unusual for an indie film. Joshua Seftel's comedy / drama 
Two new indie releases fared well, while two others struggled. Hailing from Norway, 
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Mike Judge made a lot of friends and Fox made a lot of enemies when Judge's last live-action feature, 
Take a good look at the woman on your right, because this is the real Toby Phalen Young, and I just wanted to make sure that we all got to see the real person before Hollywood gets a hold of her. 
Thanks to the wonderful Whit Stillman, we've gotten lots of elite Manhattanites in the eighties. Younger folks have acted like 40-year-olds in Metropolitan, and young yuppies have pulled the last little bits of dancing wonder from The Last Days of Disco. But now the whole rich eighties scene is switching coasts and coming from the hands of Mike White.
