Maybe it's just me, but is it really a good idea to start promoting a Holocaust drama smack dab in the middle of the summer movie season? I guess you can't blame the makers of Defiance for wanting to start their promotions a little early, though. The new poster for Daniel Craig's WWII flick has been released (click image to enlarge), and it is about as dark and sombre as you might expect.
Defiance was written and directed by Edward Zwick (Blood Diamond), and tells the true life story of the Bielski partisans. The Bielskis were three brothers who escaped into the Belarus forests while on the run from the Nazis and banded together to form a resistance group to save other Jews during WWII. Jamie Bell, Liev Schreiber, and Craig (who is the only face that made it to the poster) portray the three brothers, and The Mist's Alexa Davalos also stars as a fellow escapee and love interest for Craig.
Defiance wrapped production back in 2007 (as we all know, Craig has been a tad busy working on a certain spy film ever since) and there hasn't been much hoopla surrounding the film -- with the exception of a small trailer release back in January. So even though the next three months are all about blockbusting fun, we can't forget that Oscar season is merely months away; I'm sure Zwick hasn't.
Defiance will arrive in theaters on December 19th, 2008.
It's been a long time since we saw the first trailer for The Duchess, an historical period piece starring Keira Knightley as the real-life 18th century Georgina Cavendish, Duchess of Devonshire. But the film opens in September, so it's time to start the onslaught of more trailers and clips. First, we have one from the UK (via Empire), which is a little longer than that first U.S. version. One thing that's added in is a nice shot of Knightley's bum.
Another addition is a strange title card connecting Georgina to Princess Diana. It's true that the two ladies were related, though somewhat distantly (Diana was descended from Georgina's brother, George, who doesn't seem to be portrayed in the film), and I guess they were both celebrated as fashion icons. But I have to agree with Empire that pushing the connection "might be considered more than a little crass."
Also, I'm not sure I understand the title card that says "History Repeats Itself." Does it mean that portraying historical events on film is a repeat of those events? Because, to me, it seems more a confirmation of my feeling that we've already seen this movie a million times before.
Most critics didn't love it, but for the second week in a row, viewers streamed in anyway. Still playing at just two theaters, Joshua Seftel's comedy-drama War, Inc. (First Look), starring John Cusack, averaged $12,100 per screen to continue its reign at the top of the indie weekend box office chart, according to estimates compiled by Box Office Mojo. That gives it a two-week total of $78,700.
Among new specialty releases, Leonard Klady at Movie City News reports that Tom Kalin's drama Savage Grace (IFC Films) made $11,150 per screen at the two theaters in New York where it opened. Julianne Moore stars in a suffocating period piece about a twisted mother/son relationship. You can read more about it in the reviews by Nick Schager and Kim Voynar.
Jody Hill's comedy The Foot Fist Way (Paramount Vantage) opened in four theaters and earned $8,550 per engagement, according to Mr. Klady. Patrick Walsh offered up a mostly positive review on this "character study about a character you'd never want to meet," a children's Tae Kwon Do instructor who goes off the rails when his wife cheats on him.
Jeffrey M. Anderson described Giuseppe Tornatore's The Unknown Woman (Outsider Films) as "a restless, panicked, devastating emotional roller coaster, meticulously planned and executed like a razor." The film follows the travails of a woman who leaves the Ukraine to look for work in Italy. It made $6,000 at one theater in Manhattan.
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.
Michael Moore's Fahrenheit 9/11 was pretty good as far as anti-Bush jeremiads go, but it ended with a cliffhanger. Would George W. Bush be reelected in 2004 despite all the reasons Moore laid out for his dismissal? Or would he overcome the odds, focus the campaign on silly non-issues, and get lucky by having a weak, boring opponent?
We know what wound up happening, and now Varietyreports that Moore is making a sequel, as yet untitled but scheduled for release around this time next year. (There's a chance it'll premiere at Cannes, like Fahrenheit and Sicko did.) Moore is working with Paramount Vantage and Overture Films this time around, splitting from the Weinstein Company, which distributed his last two films. We're guessing he wasn't happy with the way Sicko underperformed and has struck out for new territory.
So what will the Fahrenheit sequel cover? Everything that's happening since the last film, apparently. It's interesting how much things have changed in four years. In 2004, Bush and the Iraq War were not terribly popular, but they both had enough supporters to get him reelected. Now, Bush's approval rating is at a record low -- and I mean it's a record not just for him but for all presidents since the polling began -- and a majority of Americans feel the war was a mistake and should be ended ASAP. All of which means Moore's new film will probably find a larger, more receptive audience than the last one did.
Back in January, I alerted you to writer/director Rupert Wyatt's latest film called The Trail, which was set to start shooting this spring in New Mexico. Written by Wyatt, Trail is about a few soldiers on a base in New Mexico who get led on a trail by a Native American woman to help her brother, "who has been badly hurt in mysterious circumstances." Now the film is heading into production this September, and Variety reports that two other films are getting added to the mix.
Through Paramount Vantage, he will adapt Samuel Logan's book, This Is for the Mara Salvatrucha. The book is about a girl named Brenda Paz, who was a teen member of the MS-13 gang. When she became an informant for the FBI, she was killed by fellow gang members. This should be a pretty personal account, as it's getting made with the cooperation of her court-appointed guardian, Greg Hunter, who was not only her defense attorney, but her friend.
Also up for filming is a flick at Warner Bros. called Slipping Into Darkness, which Blake Masters is adapting from Peter Blauner's novel. This one is a "cat-and-mouse thriller about a cop who, 20 years after sending a teenage to jail for life, watches him freed on a technicality."
Between informants and friendships, freed-killer thrillers, and soldiers heading into mystery, Wyatt has his hands full. In the meantime, we can wait for Think Film to release his film The Escapist, which debuted at Sundance this year.
(As Son of Rambow opens today, here's Cinematical's review from the 2007 Sundance Film Festival ...)
After a week of high-power documentaries and wrenching dramas at Sundance, there's a strong chance I may have been extra-susceptible to the charm and sheer exuberance of Son of Rambow, the newest film from director Garth Jennings and the production team known as Hammer and Tongs. But I don't think so; the giddy, goofy and heartfelt creativity of Son of Rambow would stand out regardless of where, or when, one had the good fortune to see it. In 1980's Britain, young Will Proudfoot (Bill Milner) is a good-hearted, slightly burdened young boy, grieving his lost father, constrained and supported by the humble Christian community his mother finds solace in. The group shuns television and films; they live with simplicity, piety and grace. None of which, it seems, can compete with Sylvester Stallone....
After a spot of bother at school, Will winds up not-quite-friends with troublemaker Carter (Will Poulter), a scamp with slight troubles. In the storage shed at Will's family's business, Will is exposed to a pirated VHS copy of First Blood. Will's never seen a movie, or heard a story not taken directly from The Bible. It is, to him, a revelation of the highest order and leads to Will and Carter collaborating on a camcorder epic, Son of Rambow. The fact that Will seems to be working out some issues with his absent father is fairly obvious, as is the tension between Will's sacred teachings and his more secular desire to run through the English countryside pretending to commit acts of derring-do.
For a white kid whose father was a corporate executive, Craig Brewer sure knows the streets. His pimp-turned-rapper drama Hustle & Flow brought him to prominence in 2005, and his follow-up, the white-girl-chained-to-a-radiator drama Black Snake Moan, kept him in the spotlight with its controversial, racially charged content. Even his first film, 2000's The Poor and the Hungry, which almost nobody has seen, evidently deals with street criminals. Craig Brewer likes to keep it real, yo.
Now Varietyreports that his next project will be set in a fancy English finishing school for young ladies. Just kidding. It'll be set on the streets. Entitled Gang Leader for a Day, it's based on the memoir by Columbia University professor Sudhir Venkatesh, who spent several years studying a Chicago gang of crack dealers. At one point Venkatesh was actually invited to spend a day running the gang's business, and he found it had a structure not unlike that of a legitimate corporation. Except that, you know, instead of getting "laid off," you get "killed."
I have a very good friend named Erik Childress, and he's a film critic who's pretty darn demanding when it comes to comedies. He doesn't chuckle easily, but when he finds a flick funny -- he's usually right on the mark. So let's flash back to Sundance 2006: I'd gone off to see something else, but when I met up with Childress for lunch, we had our normal conversation: "What'd you see, how was it, etc.?" And I distinctly remember Erik saying, through a mouth full of french fries, "Foot Fist Way. Surprisingly damn funny." I mentally kicked myself for missing it.
So now! Over two years later! Courtesy of Paramount Vantage, I bring you the first, the funny, the profanity-laden red-band theatrical trailer for Jody Hill's The Foot Fist Way. And, like Erik said about the movie, the trailer is surprisingly damn funny. If the lead knucklehead looks familiar, then you probably remember his brief-but-colorful moments in All the Real Girls, Hot Rod and The Heartbreak Kid. (His name's Danny R. McBride, by the way, and I'd call him the ONLY funny thing in that Heartbreak Kid remake.)
For those who can't be bothered to check out the clip (or are maybe under 18), the flick's about a really goofy Tae Kwon Do teacher. (Hey, the premise works well -- and often -- enough for Will Ferrell.) May 30 is when Paramount Vantage will unleash The Foot Fist Way, but for now you can feel free to peek through the official site and enjoy the R-rated trailer. ("Meditate on that." = hilarious!)
Analyzing the weekend box office returns, Leonard Klady of Movie City News saw "no great Oscar box office surge," though No Country for Old Men enjoyed an upward swing; based on his estimates, Best Foreign-Language Film Oscar winner The Counterfeiters(Sony Pictures Classics) topped the indie charts. Hailing from Austria, The Counterfeiters tells "one of the most interesting stories to come out of World War II," wrote Christopher Campbell, though he felt it was "not quite a great film." The Counterfeiters averaged $12,330 per-screen at the seven locations where it played.
French master Jacques Rivette's latest, The Duchess of Langeais(IFC Films) struck Ryan Stewart as similar to La Vie en Rose "in that it works just well enough to support a dynamic performance but contains too many structural oddities, fights too many directorial idiosyncracies and stifles its own momentum too much to succeed on the whole." Rivette's fans came out at both theaters where it opened, averaging $11,250 per screen, according to Box Office Mojo.
The original version of The Eye was a solid ghost picture, steeped in local culture and grounded in reality. It wasn't a classic, but it was effective, cycling through familiar rounds of slowly building tension followed by inevitable release. The overall atmosphere was gloomy, with only the faintest glimmer of hope. The new version of The Eye is a patchwork quilt that doesn't hold together with the same degree of focus (apologies in advance: it's difficult to avoid ocular references). There are suggestions of ambition, of a desire to infuse the heroine with greater control of her own destiny, but in the end the new version is neither better nor worse than the original -- just different.
Blind since the age of five, concert violinist Sydney Wells (Jessica Alba) undergoes a double cornea transplant and immediately begins seeing things she ought not. Her concerns are quickly waved away as normal, both by her eye surgeon and by Dr. Paul Faulkner (Alessandro Nivola), a specialist in helping cornea transplant patients adjust to their new vision. As Dr. Paul explains, Sydney has to teach her brain how to interpret all the images associated with things she has only heard, smelled, or tasted before.
The directing team of David Moreau and Xavier Palud handle the early scenes with a restrained flourish, making it clear with a montage the practical challenges Sydney faces in navigating through her "new world." A blurry party scene, in which Sydney "meets" her friends and co-workers for the first time, their faces bobbing up in a well-intentioned but confusing melange, also scores points in setting up Sydney's point of view.
Finally opening in the US after receiving rapturous reviews at Cannes last May and landing atop many critics' top ten lists for the year, 4 Months, 3 Weeks, 2 Dayseasily led the field this weekend, according to estimates compiled by Box Office Mojo. Shut out of the Academy Award nominations for Best Foreign Language Film, the Romanian abortion drama nevertheless drew big crowds to the two theaters where it opened, averaging $24,100 per screen for distributor IFC.
Playing on 61 screens, U2 3Dscored an impressive $15,508 per screen average. Opinion has been divided as to whether the possibilities of 3D were effectively used, with our own Christopher Campbell arguing that the film is important to experience, while Nick Schager was more critical. And for anyone concerned about the higher ticket prices charged for the 3D experience, Bono told USA Today: "I'm hoping that all the people in high school or who are college-age and don't have the cash to go see us can go see us for a low price with this film."
Reveling in its Academy Award nominations, Junosoared just past the $100 million mark, increasing its weekly take 3.5% while dropping 108 theaters. It's still playing at more than 2,400 locations in its eighth week of release for distributor Fox Searchlight.
Fellow Best Picture nominee There Will Be Bloodfared well as Paramount Vantage continued its roll-out. Now playing in 885 locations, its per-screen average was a healthy $5,522. Best Picture nominee Atonementwas down a bit ($2,832 per-screen at 1,400 engagements) and No Country for Old Menwas up ($2,261 per-screen at 1,107 locations). Playing on just 58 screens, Best Animated Film nominee Persepolishad the fifth-best per-screen average of the weekend ($6,034) for Sony Pictures Classics.
Among other limited releases, Teethperformed quite well, averaging $4,212 at 16 theaters in its second week out.
The Sundance deals flew fast, furious and early on Tuesday, but it took a bit longer for one in-demand title to close.
American Teenhas been hotly pursued since its first press and industry screening on Friday night. Nanette Burstein's documentary about four teenagers in their senior year of high school has been compared to everything from The Real World to Laguna Beach to The Hills. Hmm, wait a minute ... aren't those all reality shows on MTV? I think I'm smelling a theme. Yeesh!.
Anne Thompson of Varietyinitially reported mid-day Tuesday that Sony Pictures Classics had nabbed US rights for $1 million, but quickly amended the story as negotiations dragged on. When the dust cleared, Paramount Vantage was the victor, according to Ms. Thompson, paying $2.5 million * late Tuesday night to acquire world rights, excluding the UK. The price sounds high in a down market for docs, but the subject matter could give American Teen legs.
Filmmaker Burstein previously co-directed On the Ropes (Sundance 1999; about young boxers) and The Kid Stays in the Picture (Sundance 2002; about producer Robert Evans) with Brett Morgen, who made last year's Sundance opener, Chicago 10. Her current production is the result of 10 months of daily filming in one small town in Indiana. I hope the teens depicted in the film are ready for the increased exposure.
* UPDATE (5:24 PM): Ms. Thompson updated her blog post at some point after we posted this story; the sales price is now shown as $1 million.
When I saw Paul Thomas Anderson's There Will Be Blood, I was mesmerized by the musical score. In the opening, dialogue-free scenes, the dissonant, rhythmic, disturbing music and the raw imagery draws you into a very different world. Even people who didn't like the movie as a whole were impressed by Jonny Greenwood's remarkably effective original musical score.
Everybody, that is, except the music branch of the Academy of Motion Picture Arts and Sciences, which evidently feels that Greenwood's score is not sufficiently original and ruled it ineligible last week. In his Red Carpet District blog for Variety, Kristopher Tapley reports: "The disqualification has been attributed to a designation within Rule 16 of the Academy's Special Rules for Music Awards (5d under 'Eligibility'), which excludes 'scores diluted by the use of tracked themes or other pre-existing music.'" Tapley says that Greenwood's score includes "35 minutes of original recordings and roughly 46 minutes of pre-existing work," as well as "peripheral augmentation" from a piece Greenwood composed for the BBC in 2006.
Tapley indicates that the Academy was aware of all these "inclusions" since early December -- it had already ruled out Into the Wild and Enchanted for having too many songs -- but did not make a final determination on Blood until it notified Greenwood last Thursday, January 17. (Academy nominating ballots were due on Saturday, January 12.) Sources at distributor Paramount Vantage are "baffled," though respectful of the Academy's decision, telling Tapley they only wished they had known sooner so they could appeal the ruling.
There Will Be Blood ended up with eight Academy Award nominations (including one for Best Sound Editing), which is one short in my opinion. The films that did get nominated? Atonement, The Kite Runner, Michael Clayton, Ratatouille, 3:10 to Yuma. I haven't seen most of those: anything memorable from their original scores stick in your mind?
It didn't win any Golden Globes, but Junostill reigns supreme. Jason Reitman's likable teen comedy made another $10.25 million for distributor Fox Searchlight, according to estimates compiled by Box Office Mojo. That works out to a per-screen average of $5,197 at 2,915 engagements. The box office take is down 24.7% from the previous week, which indicates continued good word of mouth; the film's cumulative gross in seven weeks of release now stands at more than $85 million.
Forget about 27 Dresses; the real perpetual bridesmaid is Joe Wright'sAtonement. The period romantic drama expanded by more than 300 theaters and maintained its solid performance for Focus Features. The film's weekend gross swung upward by 12.7%, resulting in a per-screen average of $3,686 and a cumulative total of $31.8 million.
Demonstrating that nobody in the general moviegoing public really cares about the Academy's best foreign film shortlist, audiences still flocked to Persepolis, giving it the highest per-screen average of the weekend: $9,366, in 30 theaters.
Paramount Vantage expanded Paul Thomas Anderson's magnificent There Will Be Bloodfrom 129 to 389 locations with good results; the film demonstrated surprising strength, averaging $8,023 per screen for a four-week total of $8.1 million. I say "surprising" only because of its subject matter and the length of its running time.
Poor Woody Allen. I generally agree with Jeffrey M. Anderson that Cassandra's Dreamis better than you might have heard, though I think it nearly falls apart completely at one point. There were barely 20 people at the 10:00 pm screening I attended on Friday night at its only Dallas engagement, but in other cities the reaction must have been better, as the film pulled in $4,682 per screen at 107 theaters in key cities nationwide for The Weinstein Co.
Maybe it's just me, but is it really a good idea to start promoting a Holocaust drama smack dab in the middle of the summer movie season? I guess you can't blame the makers of Defiance for wanting to start their promotions a little early, though. The new poster for Daniel Craig's WWII flick has been released (click image to enlarge), and it is about as dark and sombre as you might expect.
Most critics didn't love it, but for the second week in a row, viewers streamed in anyway. Still playing at just two theaters, Joshua Seftel's comedy-drama 
Two new indie releases fared well, while two others struggled. Hailing from Norway, 
Michael Moore's Fahrenheit 9/11 was pretty good as far as anti-Bush jeremiads go, but it ended with a cliffhanger. Would George W. Bush be reelected in 2004 despite all the reasons Moore laid out for his dismissal? Or would he overcome the odds, focus the campaign on silly non-issues, and get lucky by having a weak, boring opponent? 
Back in January, 
For a white kid whose father was a corporate executive, Craig Brewer sure knows the streets. His pimp-turned-rapper drama 
I have a very good friend named 
Analyzing the weekend box office returns, 
Finally opening in the US after receiving 
The Sundance deals flew fast, furious and early on Tuesday, but it took a bit longer for one in-demand title to close.
When I saw Paul Thomas Anderson's 
It didn't win any Golden Globes, but 
