Earlier today, Peter wrote up a piece on movie mogul Harvey Weinstein explaining how The Weinstein Company created their division Third Rail as a dumping ground for movies they feel have only "ancillary value." Harvey and his younger brother and business partner, Bob, have been under a bit of an attack since ditching Disney/Miramax for their own shingle back in 2005, with a lot of sharks swimming the waters surrounding them, just waiting for enough money to bleed through the Weinstein's fingers.

An article over at the Sunday Telegraph by Tom Teodorczuk goes into some fairly good detail about the troubles facing the beleagured brothers. You can read the full piece yourself to see his analysis; suffice it to say that the Weinsteins have yet to bring that old Miramax magic to their independent shingle, probably for a variety of reasons, not the least of which include the troubles facing the indie film world generally. As Hollywood Elsewhere's Jeff Wells, quoted in the piece, notes, "The Weinsteins have suffered from the same pressures affecting the indie film sector that everyone else faces. There is a glut of product owing to hedge fund firms now investing in films."

This week is overflowing with potentially interesting indie DVD releases. What Would Jesus Buy?, an entertaining documentary directed by Rob VanAlkemade and produced by Morgan Spurlock, asks a very serious question in comedic form. As I wrote in my review, the film follows Reverend Billy and his Church of Stop Shopping Choir on a trek across America as they deliver an anti-shopping, anti-materialism, pro-Christmas message, bolstered by the trappings of fundamentalist religion. The DVD from Arts Alliance America includes deleted scenes, an 8-minute public access show featuring Reverend Billy, the Choir and Morgan Spurlock, and printable lyrics of the Choir's customized Christmas carols.

Theodore Braun's doc Darfur Now "is solely about the power and the conviction" of six people who have made a difference in Sudan, according to our own Christopher Campbell. "If there's one flaw with the film, it's that it almost conclusively portrays the Darfur problem as no longer a problem." One of the film's producers is Don Cheadle, who also appears along with George Clooney. The DVD from Warner Independent includes additional scenes and an introduction and commentary with Braun.

Woody Allen may not be thought of nowadays as an "indie" auteur, but, really, how many directors enjoy his creative freedom? I admire his untiring work ethic, but many of his recent films feel half-chewed, and Cassandra's Dream is no exception.

It was a damn fine year for movies, 2007. It's hard enough picking 10 top flicks from the crop after a just-decent year, so the task was especially tricky this time around. (At least at Moviefone we're able to pick the 50 best.) That's why I'm thankful for the unwritten critics' rule that Top 10 lists can start with a tie, so long as there's common thematic bond between them. Here are my 11 10 favorite movies of the 007.

10. Tie: Dan in Real Life / Grace is Gone (Widower Special)
What can I say, I'm a sucker for widowers. Some critics found the loving family in Steve Carell's poignant dramedy Dan unrealistic. I feel sorry for some critics. Plot contrivances aside, it succeeds both in capturing the dynamics of a large clan and telling a helluva love story. In a career-best performance in Grace, John Cusack is a flag-waving father of two whose wife is killed in Iraq. This tear-jerking drama might be misconstrued as a political statement, but finally it's a heartrending tale of human loss.

9. Hot Fuzz
Yes, this hilarious send-up of (tribute to?) Bruckheimer schlock tops Shaun of the Dead, the brilliant debut from Brits Simon Pegg, Nick Frost and Edgar Wright. Whereas Shaun's first hour is pure bliss, it loses some steam in the third act. Fuzz gets better as it speeds along, offering up surprises and side-splitters in equal measure. Really, who would've thought anyone would ever pay homage to Bad Boys II?

8. No End in Sight
As you can surmise from the title, this ain't exactly a sunshiney look at the Iraq War. But it's the most thorough, eye-opening detailing of the mega-blunders made the Bush Administration in planning and executing the war to date (so THAT'S where the insurgency came from!), with nary a Michael Moore stunt in sight. Prepared to be educated, maddened.

7. Ratatouille
Like I've been saying it for a while now: The machines at Pixar appear to be challenging themselves more and more with each release: "What DON'T audiences think they'll fall in love with? How about a rat who cooks? Better yet, a French rat!" And of course, after 111 minutes of Pixar magic, most of us left with a newfound respect for rodents. (Reminds me of '91 when I saw Beauty and the Beast; haven't been afraid of beasts since.)

6. Superbad
Forget Knocked Up. Forget Walk Hard. This deliciously raunchy buddy comedy/love story will stand the test of time and prevail as the most influential Apatow movie of '07, defining a generation like Dazed and Confused and Fast Times at Ridgemont High did before it. Here's hoping Christopher Mintz-Passe (a.k.a. McLovin) will ever be able to convincingly play another character, though I wouldn't mind more McLovin.

When I started at Cinematical, I had never conducted an interview before. I bought my first digital recorder with trembling hands, and in my first interview I stuttered more than Michael Palin in A Fish Called Wanda. But I pulled through it, didn't embarrass myself, and got smoother with practice. What I've learned is that no matter how intimidating the interviewee may be, as long as you are reasonably pleasant, professional, and well-prepared, the discussion won't go totally off the rails.

For an example of an interviewer not being well prepared and a discussion that does go totally off the rails, I direct you to this hilarious clip of a young woman (judging by the youtube comments, she's a communications student at USC) starting an interview with John Cusack. I won't spoil it for you, I'll just say it's safe for work, it's brief, and it's as cringe-inducing and awkward as anything on The Office. You will be screaming at this reporter to just...stop...talking. Enjoy! And friends, please, do your research!

I'm about a week behind, but I wanted to talk this week about something discussed at the ShowEast exhibition convention, which was held October 13 - 18 in Orlando. That something is onscreen advertising, which I'll get to in a second; first I wanted to just outline some of the other somethings that were addressed. For those who don't know, ShowEast is one of four annual events where studios and theatre owners meet -- along with others involved in the movie industry, such as food concessions companies -- in order to discuss trends and issues, while simultaneously (and it seems primarily) celebrating upcoming releases and big stars.

This year, ShowEast awards went to John Cusack ("Star of the Year"), Frank Darabont ("Kodak Award For Excellence in Filmmaking"), New Line Cinema theatrical distribution president David Tuckerman ("Show 'E' Award") and National Amusements' Shari Redstone ("Salah M. Hassanein Humanitarian Award"), among others. Typically the awards, particularly those given to talent like actors and directors, are handed out as thank you notes to people who made the money for exhibitors this year. Obviously, giving an award to Darabont before The Mist even hits theaters is a little weird. And despite the surprise box office for Cusack's 1408, his award is also for not-yet-released movies Grace is Gone and Martian Child. As for Tuckerman's award: I don't get it. New Line hasn't been having the best year, and yesterday I heard through the grapevine that The Golden Compass is a mess. Then again, the grapevine has been wrong before ...

It is hard enough being a nerdy kid searching for love. It is doubly hard to be that kid when you know love sucks and rarely works out. I remember being a teen conflicted by the desire for a date and the constant reminder that divorce is the best-case scenario for what that date will lead to. Now it seems Plum Pictures is making the story of my life, in the indie teen comedy Bart Got a Room. According to Variety, the film will star Steven Kaplan as a nerdy kid living with his parents (William H. Macy and Cheryl Hines) in a retirement community in Hollywood, Florida. At the moment in his life when he's seeking love, or at least a prom date, his parents are going through a divorce. Playing his best friend -- and let me guess also his eventual love interest -- is Alia Shawkat, who is best known as "Maeby" from the best television show ever, Arrested Development. The film is the feature debut of writer-director Brian Hecker and it will be produced by Grace is Gone's Celine Rattray, Galt Niederhoffer and Daniela Taplin Lundberg.

I have to point out -- because my mom reads Cinematical -- that my own parents divorced much, much earlier than my teen years, and I wasn't actually completely traumatized nor did the divorce ruin my ability to find love. So, Bart Got a Room will not parallel my life, though I do think I could relate to it anyway. And I'm sure I won't be alone there. The high school years are probably the most formative time in our lives regarding love and relationships, and certainly we look around us, to our parents, friends and relatives for guidance in how to figure it all out. Certainly a failing marriage in the home could have a negative impact on the experience, and I'm sure that's what Hecker is focusing on here. It kinda reminds me of Sixteen Candles, actually, in that it probably deals with a selfish lack of attention on the parents' part. Of course, with great talents like Macy and Hines at the reigns of Bart's family, we'll hopefully see more concentration on the parents in this than in that.

The good folks over at The Weinstein Co. have provided Cinematical with an exclusive look at the first and final one-sheet for John Cusack's upcoming drama, Grace is Gone (click on the poster for a larger image). Not only have I heard that Cusack is exceptional (and perhaps Oscar-worthy) in his role, but the poster also confirms that Clint Eastwood, as previously rumored, did indeed re-score the film. Interesting. Grace is Gone follows a man (Cusack) who, after finding out his wife was killed in the Iraq war, decides to take his two daughters on a road trip to an amusement park because he can't quite figure out how to tell them their mother has passed on.

Our own James Rocchi reviewed the film when it premiered at the Sundance Film Festival, and had this to say: "Grace is Gone has the look of life, and the glow of art. The film is as affecting -- and as ultimately human -- as one might hope, and it still brings home the ugly real fact that for too many Americans, the evening news isn't just background noise." Additionally, Cinematical's Scott Weinberg (who also caught the flick last winter) adds: "Melted the heart of this cynical jerk. Guaranteed to make my year-end Top 10." Grace is Gone arrives in theaters on October 5. Oh, and don't forget to bring those tissues -- I'm getting choked up just writing about it.

Back in January I sat next to Jam-Master Rocchi during a completely packed Sundance press & industry screening of a film called Grace Is Gone. Now, Jimmy Rock and I are perfectly manly men and I'd propose that it's tough to wring a tear or two from our eye sockets. A movie has to really earn that, you know? A lump in the throat or a slight eye-misting, sure, those are common enough -- but James Strouse's Grace is Gone left me with one big goopy tear-drop that just rolled down my left check, and I didn't even care who noticed. (James chose to write the review; mine would have been too emotional.)

The film stars John Cusack as a father of two young daughters. After receiving the horrific news that his wife was killed while serving in Iraq, he's at a loss. He simply doesn't know how to tell the young girls the truth -- so he piles them into a car for a really wistfully amusing and entertaining road trip. That's all I'm saying, but Cusack is simply fantastic, the two young girls are pitch-perfect, and second-timer Strouse (after penning Lonesome Jim) manages a really tough balance between politics and emotion. I suppose this flick could be called "red state friendly," but I'm mostly a liberal-minded guy -- and still I wept. Just a little.

So (courtesy of The Envelope) here's some weird news: We already know that the Weinsteins bought the film at Sundance, and also that the film's been scheduled for an October 5 release date. But here's where it gets weird. Apparently Clint Eastwood saw the movie and was so impressed with it -- that he offered to write and record a whole new musical score! What the...? I mean, it's certainly not strange for Eastwood to score a movie -- he's done it for several of his own films, including Space Cowboys, Mystic River and Million Dollar Baby -- but to step in and offer a new score to an up and coming indie-maker? I mean, it's very flattering and all but...

...what about the film's present score? The one that was recorded by newcomer Max Richter? (You've heard his work in Stranger Than Fiction and very little else thus far.) The Weinsteins and Strouse would probably be pretty foolish to turn down Mr. Eastwood's offer. The film is already positioned for a small award-season push, after all. (And man would I be thrilled to see Cusack nominated for this film. Not only is the guy fantastic in Grace, but hasn't Cusack earned at least one nom by now? Indeed he has, says I.) Tough situation for Mr. Richter, I'm sure. Although I don't mind saying I'm curious to see the movie again with Eastwood's new score.

[ Thanks to Hollywood Elsewhere and Willy G. for the tip. ]

To most movie fans, Sundance is this far-off and distant place they can't visit because, well, it's a pretty damn expensive trip -- and who the heck wants to spend a week on a mountain in January and not ski? The second question I'm always asked upon my return home from Sundance (after "What good movies did you see?") is "What famous people did you meet?" But the third question is usually something like "So when will I actually get to see these movies that everyone's been chattering about for the last two weeks?" And so I decided to collect all the acquisition news from this past festival and offer it all up on one convenient platter. I'll keep the chatter to a minimum, but if you want more info on a particular film, please do partake of all the links below.

• Clubland -- Warner Independent Pictures -- $4,000,000
• Crazy Love -- Magnolia Pictures -- n/a
  
• Grace is Gone -- The Weinstein Co. -- $4,000,000
• How She Move -- Paramount Vantage -- $4,000,000
• In the Shadow of the Moon -- ThinkFilm -- $2,500,000
• Joshua -- Fox Searchlight -- $4,000,000
• King of California -- First Look Pictures -- $3,000,000
• La Misma Luna (The Same Moon) -- The Weinstein Co. & Fox Searchlight -- $5,000,000
• My Kid Could Paint That -- Sony Pictures Classics -- $1,500,000
• Nanking -- Fortissimo Films -- n/a
  
• Once -- Summit Entertainment -- n/a
  
• Protagonist -- IFC & Netflix -- Under $1,000,000
• The Signal -- Magnolia Pictures -- $2,300,000
• Son of Rambow -- Paramount Vantage -- $8,500,000 (some say even higher)
• Teeth -- The Weinstein Co. & Lionsgate -- $1,000,000
• The Ten -- ThinkFilm & City Lights Home Entertainment -- $4,500,000
• Waitress -- Fox Searchlight -- $4,500,000
• Weapons -- After Dark Films -- $1,000,000

Thanks to Variety, Movie City News, THR's RiskyBiz Blog, and our own Cine-maniacs (particularly Jette and Karina) for all the info. [Have any updates, additions or corrections? Leave 'em in the comments section please!] Added Bonus: After the jump you'll find a list of movies that already had North American distribution set up before they arrived at Sundance!

It happens every year: films go to Sundance, play to packed crowds, win Jury prizes and/or score big deals ... and then essentially disappear. It happened in 2005, when Ira Sachs' Forty Shades of Blue took home the Dramatic Grand Jury prize, only to open nine months later on just three screens and eventually gross barely $75,000 in its 84 day release. It happened again last year, when The Darwin Awards and Right at Your Door landed multi-million dollar deals with major distributors, only to be shelved indefinitely. I guess if you're an acquisitions exec, it's easy to get carried away up there on the mountain, but sometimes the same picture that thrilled a packed crowd at the Racquet Club looks downright unmarketable back at the office in L.A. So, with the caveat that I have neither a crystal ball nor any sort of reliable inside information, here are my picks for five Sundance '07 films that will actually see a meaningful release sometime before Sundance '08.


1) The Ten (Cinematical review)


Stu Van Airsdale thinks Manohla Dargis was talking about this film in the NY Times, when she described a distributor who sat through a "bad comedy that features a clutch of low-level film and television actors" whilst fantasizing about "all those recognizable [actor] names once they are printed on a DVD box." I'm actually convinced Ms. Dargis was referencing Gregg Araki's Smiley Face, a stoner comedy starring Anna Faris and half the cast of That 70's Show, which was apparently so awful that even die-hard Araki fans couldn't sit through it. I think if Dargis had attended a public screening of The Ten -- or if she had even caught a glimpse of the hundreds of high school and college kids lining up for the wait list as long as eight hours in advance of the picture's second-to-last show -- she would have a hard time condemning a distributor for trying to cash in on it.

The movie, which was written and directed by David Wain of Wet Hot American Summer fame, consists of ten short segments, one representing each of the ten commandments, strung together by some filler involving Paul Rudd not being able to decide if he'd rather screw Jessica Alba, Famke Janssen or (this is not a typo) Dianne Wiest. It may be less engaging than a 90-minute stint watching old clips of The State on YouTube, but it's got huge college-campus potential, where boys and girls have been known to consume comedy without bothering to consult the second film critic for the New York Times to see if she approves. With savvy marketing, and maybe a few structural tweaks, this could be the sleeper comedy hit of the summer.

The 2007 Sundance Film Festival is a wrap. I saw some outstanding movies (King of California, Grace Is Gone, Son of Rambow, The Nines) and some not-so-outstanding movies (The Go-Getter, Smiley Face), some A-list celebs (Justin Timberlake, Samuel L. Jackson, Christina Ricci) and some not-so-A-list celebs (Heavyset Girl #1 from Black Snake Moan). All in all, it was a great experience, full of flicks, fun and plenty of Bud Lights. In order to best summarize the things I saw, heard and learned at the festival, I now present Sundance by the Numbers.

1: Number of times I heard Justin Timberlake ask Samuel L. Jackson, "Are there any motherf#&!in snakes in Black Snake Moan?"

1: Number of times I heard Samuel L. Jackson reply "Only trouser snakes."

1: Number of movies about a girl who grows an actual set of teeth in her vagina. The twisted and, yes, crowd-pleasing flick is quite appropriately entitled Teeth, and those dangerous vajay-jay chompers belong to rising star Jess Weixler (Little Manhattan).

1: Number of people who laid down on the floor and went to sleep during the press screening of Heather Graham's Adrift in Manhattan.

1: Number of dudes dancing shirtless at the Sundance Awards after-party.

2: Number of movies in which a character goes off to war in Iraq and gives a loved one a digital wristwatch with an alarm set to beep at the same time as the alarm on his/her wristwatch -- that way they'll know they're thinking about each other at the exact same moment. Justin Timberlake gives one to Christina Ricci in Black Snake Moan, and John Cusack's unseen wife gives one to their daughter in Grace Is Gone.

2: Number of movies starring a Fanning -- Dakota headlines the controversial Hounddog and younger sis Elle plays a supporting role in The Nines.

3: Number of times Christina Ricci takes her top off in Black Snake Moan.

4: Number of times Ryan Reynolds takes his shirt off in the first 20 minutes of The Nines.

4: Millions of dollars paid by Harvey Weinstein for distribution rights to Audience Award and Screenwriting Award winner Grace Is Gone.

5: Number of attempts it takes drunken teenager Hal Hefner (Reece Thompson) to throw a cello through the window of the girl who jilted him in the Thumbsucker-esque Rocket Science.

Filming is finished for the indie Grace is Gone, which stars John Cusack, and I'm hoping it will find distribution easier than its helmer's previous project. The drama is the directorial debut of writer James C. Strouse, who last penned Steve Buscemi's Lonesome Jim. That film took two years from its shoot to its release date, and then it was barely seen (I think its hilarious, but others seem to disagree). Obviously Cusack is a bigger draw than Casey Affleck, but the former has been in some little films that were also ignored at the box office, so we'll have to wait and see. One thing that is worrisome is that Cusack is described as playing 180 degrees from what audiences are used to. Also, the story sounds pretty dreary. Cusack plays a man whose wife dies in the Iraq War, prompting him to take his daughters on a road trip while delaying telling them about their mother's death. What I'm picturing, and it probably isn't fair to the film, is Cusack's character from Being John Malkovich and the second act of Lolita -- minus the whole incestuous, statutory-rape part, that is.

Cusack took on the role because of his politics: He doesn't agree with the government ban on media coverage of the returning remains of killed soldiers, and he used his belief as motivation in the making of the film. Well, as much as I'm looking forward to this film, I hope that the actor's seriousness is soon over with and he can think about making a Grosse Pointe Blank sequel already.