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.
Ultimately, this race always comes down to star power and hummability. I couldn't hum you the melody of the first three songs if my life depended on it (there was a song in Grace is Gone?), and the tune from Enchanted is catchy enough but sounds like something Menken left off the Little Mermaid soundtrack. That leaves "Walk Hard," the most memorable number from a very funny film, written by a dream team of cool dudes. They've got to give Apatow something this year, right?
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!
Surprise! Jason Reitman's Juno, the most buzzed about teen pregnancy comedy of the fall, hauled in an overwhelming take of $60,000 per screen at seven theaters in New York and Los Angeles, according to estimates compiled by Box Office Mojo, easily topping the indie box office chart. It got a head start by opening on Wednesday, but it actually began building momentum when it screened at Telluride more than three months ago. Critical response has been nearly unanimous (93% positive per Rotten Tomatoes), with our own Kim Voynar leading the hosannas. Juno will be opening wide soon, so it will be interesting to see if it can cross over to mainstream acceptance.
Also widely praised since its debut at Venice, Atonement scored very well with a per-screen average of $25,531 at 32 theaters in major markets. Keira Knightley and James McAvoy star in director Joe Wright's adaptation of the Ian McEwan novel. Christopher Hampton scripted the screen version of an epic period romance. Cinematical's James Rocchi participated in a roundtable interview with McAvoy; you can read McAvoy's thoughts on Atonement and much more.
Other indies struggled to find audiences. Grace is Gone, starring John Cusack as a father having trouble telling his daughters that their mother has been killed, had the highest profile, but earned just $3,500 per screen at four theaters. Long on the shelf, The Amateurs may be heading quickly to DVD; despite the presence of Jeff Bridges and Ted Danson, it managed to earn only $4,000 per screen at three theaters in Los Angeles and Dallas. Bridges did all he could to publicize the film; he and Danson participated in a junket, which our own Patrick Walsh just wrote about, and was present for a post-screening Q&A on Friday night in Dallas.
Also debuting over the weekend: Maurice Jamal's comedy Dirty Laundry ($7,700 per-screen at two theaters), Paul Schrader's Washington drama The Walker ($5,533 per screen at three theaters), Guy Ritchie's crime drama Revolver ($2,316 per screen at 18 theaters) and David Wall's religious drama Noelle ($802 per screen at 203 theaters).
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's1408, 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 ...
The 51st edition of the London Film Festival kicked off last night with a red carpet gala for David Cronenberg's Eastern Promises. An article in Variety says that Cronenberg attended and even joked with the audience: "The reason you might not recognize London in this film is that it was shot in Prague." The now-notorious scene in which a naked Viggo Mortensen battles brutes in a bathhouse reportedly drew a round of applause.
Cast members Naomi Watts and Vincent Cassel were in attendance, as well as a treasure trove of celebrities, including Colin Firth, Martin Freeman and Elle McPherson. Check out the Cinematical photo gallery of the premiere below to get a taste of the red carpet.
Next Monday night, Robert Redford's political drama Lions for Lambs will have its world premiere, with Redford and stars Tom Cruise and Meryl Streep scheduled to attend. Other upcoming gala and special screenings include Bee Movie, The Darjeeling Limited, Into the Wild, Lust, Caution, Sicko and Things We Lost in the Fire.
Beyond the galas, the festival features a wide selection of world cinema. The "New British Cinema" section showcases 12 films, including Nick Broomfield's Iraq war docu-drama Battle for Haditha, John Crowley's tale of redemption Boy A and Simon Welsford's thriller Jetsam. "French Revolutions" highlights 14 newer titles from that country, while American titles like Hannah Takes the Stairs, Grace is Gone and Honeydripper are featured in other sections. The festival continues through November 1. %Gallery-8786%
Cinematical was lucky enough to receive the one-sheet for Martian Child (click on the image above for a larger version), starring John Cusack as a guy who adopts a 6-year-old boy following the death of his wife in an effort to create a family. Problem is, the kid is convinced he's from Mars. I'm not sure what it was about this film, but practically every Cinematical writer requested to review Martian Child. And that never happens. Of course, it could have something to do with the love for Cusack; his creepy thriller 1408 did very well at the box office this past summer and folks are talking Oscar with regards to his leading performance in Grace is Gone.
Martian Child sort of combines elements from both of those films; here, Cusack plays a science fiction writer (he played a paranormal expert/writer in 1408) who's struggling to move past the death of his wife (which also happens to be the central premise in Grace is Gone). A film that tugs at your heart-strings and freaks you out? Nice. Joan Cusack and Amanda Peet co-star in the film which was based off David Gerrold's award-winning short story. So it's like K-PAX ... with a kid. I dig it. Martian Child lands in theaters on November 2 -- check out the trailer here.
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.
Though we're still a few months away from the Academy Awards ceremony, folks are itching to wipe off that summer fog and start buzzing about this fall's most anticipated (and Oscar worthy) films. Yup, now is the time studios like to release their "important" flicks -- the kind that feature big-name actors who tackle topics that make you think, make you debate, make you feel good and, occasionally, make you smarter. Right now is the time to get excited -- because once those "For Your Consideration" ads begin crowding your computer screen, and once those end-of-the-year top ten lists start slapping you upside the head, you'll want to run for cover. It's kind of the way I feel about Christmas; one month out it's the sweetest holiday of the year. Once it's over, however, you vow never to look forward to it again.
That being said, Moviefone has gotten the ball rolling with a gallery that takes a look at those early Oscar contenders. Which films are the front-runners for Best Picture? Which actors or actresses have the best chance of walking away with a golden statue come February 28th? A few folks I'm personally stoked to see on that list include John Cusack (who's getting lots of praise for his starring role in the tear-jerker Grace is Gone), Keri Russell (who was absolutely delightful -- and delicious -- in the indie hit Waitress), Casey Affleck (who out-shined Brad Pitt in The Assassination of Jesse James and is also about to show-up his brother Ben big time in bro's directorial debut Gone, Baby, Gone) and, of course, how can I leave out the Coen Bros'No Country for Old Men and Tim Burton's Sweeney Todd -- three filmmakers who I'd love to see pick up an Oscar this year. There's plenty more to debate, so head on over to Moviefone to check out the gallery, then come back here and tell us where they went right and where they went so, so wrong.
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'sScott 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'sGrace 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.
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
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.
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.
This week is overflowing with potentially interesting indie DVD releases. 
Best Original Song
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. 
Surprise! Jason Reitman's 
The 51st edition of the 
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 
Though we're still a few months away from the Academy Awards ceremony, folks are itching to wipe off that summer fog and start buzzing about this fall's most anticipated (and Oscar worthy) films. Yup, now is the time studios like to release their "important" flicks -- the kind that feature big-name actors who tackle topics that make you think, make you debate, make you feel good and, occasionally, make you smarter. Right now is the time to get excited -- because once those "For Your Consideration" ads begin crowding your computer screen, and once those end-of-the-year top ten lists start slapping you upside the head, you'll want to run for cover. It's kind of the way I feel about Christmas; one month out it's the sweetest holiday of the year. Once it's over, however, you vow never to look forward to it again. 
Back in January I sat next to Jam-Master Rocchi during a completely packed Sundance press & industry screening of a film called 
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.
