Archive for the ‘New York’ Category
Filed under: Drama, Independent, Thrillers, Sony Classics, Movie Marketing, New York, Images, Cinematical Indie
When I saw Ira Sachs’ Married Life at the New York Film Festival last fall, I had a lot of problems with it. But one thing I didn’t have any complaints about is how gorgeous Rachel McAdams looks in the film. And now, thanks to Rope of Silicon, you can see for yourself how amazing the actress looks as a ’40s-era blonde beauty. My favorite photo is the third, in which McAdams almost looks like a dead-ringer for Kim Novak in Vertigo. But I’d be fine with looking at any of them. In fact, I’m not just a fan of the way McAdams looks in the film; I also love the three-piece style of Chris Cooper, the open-collared playboy thing that Pierce Brosnan has going on and the partially see-through top that Patricia Clarkson wears in the second-to-last pic. (Clarkson is so stunning in the film, she actually gives McAdams a run for her money, and makes it hard to believe Cooper would cheat on her with anyone.) But aside from simply looking terrific, all four of the stars of Married Life give wonderful performances, as usual.
The film, which opens in limited release March 7, is based on John Bingham’s 1953 pulp novel Five Roundabouts to Heaven. Cooper and Clarkson play a married couple, and Cooper’s character has a mistress (McAdams). He makes the mistake, though, of introducing the girl to his best friend, played by Brosnan. Not knowing that his mistress is having another affair with his best friend, Cooper’s character decides to murder his wife, because it’s a more humane thing to do than break her heart. It’s a very Hitchcockian plot, which makes sense since Bingham’s books were adapted into episodes of The Alfred Hitchcock Hour. And it’s a good enough movie to recommend, especially because of those great-looking actors. I just wish that Sony Classics would do away with Brosnan’s awful and unnecessary voice-over before releasing the movie into theaters.
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Filed under: Drama, Foreign Language, New York, Cinematical Indie
The French educational system will be in the spotlight come late September. The Class, a fictional look at a French high school featuring a real-life teacher, will open the New York Film Festival, according to The Hollywood Reporter. Directed by Laurent Cantet, The Class won the Palme d’Or at Cannes in May and was picked up for distribution by Sony Pictures Classics in June.
Critical notices, including one from our own James Rocchi, were quite positive. James wrote in part: “Chronicling a year in the life of a junior high school class in a rougher section of Paris, there’s something undeniably French about the film … But at the same time, these kids and their teacher (Francois Begaudeau) are going through a series of challenges and opportunities that will be familiar to anyone who’s ever gone to school.” The film is inspired by a novel Begaudeau wrote, based on his own experiences as a teacher.
The festival will also showcase the work of Japanese director Nagisa Oshima (In the Realm of the Senses) and will feature a 30th anniversary presentation of We Spin Around the Night Consumed by the Fire, by Guy Debord, in their “Views From the Avant-Garde” sidebar.
As if often the case with certain festivals, there is no additional information at the official NYFF web site, but eventually I’m sure something will appear. The New York Film Festival runs from September 26 to October 12.
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Filed under: Drama, Foreign Language, Independent, Angelina Jolie, New York, Cinematical Indie, War
Some people may consider the New York Film Festival a simple “Best Of” sort of event, but the fact that it compiles selections from earlier film fests and merely showcases them in a competition-free program is what I love about it. For those of us New Yorkers who can’t always make it to the highlands of Utah and Colorado or the exotic seaside locales of Italy and Southern France, it’s nice to know that major festival highlights will likely make their way to Lincoln Center in late September, early October.
This year, the lineup for the 46th NYFF is being noted for its inclusion of films that previously screened at Cannes back in May. Even Steven Soderbergh’s four-hour Che (aka The Argentine and Guerilla), which played to mixed reactions in France, even while picking up a best actor prize for star Benicio Del Toro, has been given a spot. Also featured are Cannes leftovers Waltz With Bashir, Wendy and Lucy, Grand Prix-winner Gomorrah and Clint Eastwood’s Changeling, which stars Angelina Jolie and has the honor of being NYFF’s centerpiece film. Opening the festival is the Palm d’Or winner The Class, while the closing film is Darren Aronofsky’s The Wrestler, which premieres a few weeks prior at the Venice Film Festival.
Other exciting big name films include Mike Leigh’s Happy-Go-Lucky, Wong Kar-Wai’s Ashes of Time: Redux, Lucretia Martel’s The Headless Woman and Olivier Assayas’ Summer Hours. Surprisingly, Charlie Kaufman’s Synechdoche, New York, which screened at Cannes, is New York appropriate and is scheduled to open in October, is missing from the lineup.
The complete list of NYFF selections, courtesy of The Hollywood Reporter, can be found after the jump:
Continue reading NYFF Nabs ‘Changeling’, ‘Wrestler’ and ‘Che’
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Filed under: Drama, Awards, Cannes, Mystery & Suspense, Universal, Angelina Jolie, New York, Oscar Watch, Trailers and Clips
As we’ve started to get our fair share of trailers for the coming prestige projects — Frost/Nixon, The Soloist, Zack and Miri Make a Porno — I was curious as to why we’d yet to get one for Clint Eastwood’s period drama, Changeling, if it were set to open by the end of next month. Particularly after Kim’s Cannes review, I wanted to get a proper glimpse beyond a brief clip…
Perhaps hearing my prayers or just tiring of my complaints, Yahoo! Movies saw fit to post the trailer (watch it after the jump as well), in which a young mother (Angelina Jolie) in 1928 Los Angeles finds herself standing up against a corrupt police department when her missing son is returned, or rather replaced by a different child altogether.
Even if the same piece of score hadn’t been used in both of their trailers, I’d still have felt a need to draw a correlation between this and last October’s missing-kids-and-corrupt-cops powerhouse, Gone Baby Gone (of course, it doesn’t hurt that Amy Ryan shows up in both of them). From Eastwood’s end comes a particular tinge of Mystic River, and so far as I’m concerned, all of those signs point to something substantial waiting for us when Changeling opens in limited release on October 31.
Continue reading Angelina Jolie Wants Her Kid in ‘Changeling’ Trailer
Filed under: Drama, Independent, IFC, Fox Searchlight, New York
“Darren did not put a strip pole in his office.” — Marisa Tomei.
Does the New York Film Festival still matter? The 46th edition opened last Friday, and while the fest may not have the celebrity cachet and discovery intent of Sundance and Cannes, or the welcoming populist mentality of Toronto, it stubbornly insists on being recognized as the gatekeeper for all that is worthwhile in world cinema.
Nonetheless, press conferences with a big-name American director and a resurrected American star (and his fetching, Academy Award-winning co-star) have stolen the spotlight during the first week of the festival. Looking somewhat like a guerilla himself, Steven Soderbergh arrived to promote his four-hour epic Che, starring Benicio del Toro as the revolutionary leader. According to the director, “There are a million Ches — he means something different to everyone.”
That attitude has irked some critics; Karina Longworth at Spout felt that Soderbergh’s “unwillingness to make a statement may be a major part of the problem.” On the other hand, Glenn Kenny of Some Came Running opined: “Silly me, I imagined that such an approach constituted a statement sufficient unto itself, but apparently not.” The film will get a rare “roadshow” treatment when it opens in December: trotted around in its four-hour entirety to selected cities for one week only by IFC Films in December, complete with elevated ticket prices and a fancy giveaway program of some sort. Dreamgirls for the intelligentsia?
After the jump: The Wrestler and two fresh new films about those darn kids.
Filed under: Documentary, Drama, Independent, Deals, Box Office, Distribution, Exhibition, New York, Other Festivals, Cinematical Indie, Trailers and Clips
Tax day can be stressful — trust me, I feel your pain — so Indie Roundup is here to make you feel better with soothing news of the adventurous indie film community.
Touring. Rachel Goslins’ acclaimed doc ‘Bama Girl got underway on its so-called “Southern Circuit Tour” this week, barnstorming across the South at a variety of venues through April 24. The doc revolves around a woman who wants to become the first African-American Homecoming Queen at her university, despite the nefarious efforts of a secret society determined to keep the crown lily white. Jette Kernion called it “one of the most entertaining movies” she saw at SXSW last year. More information is available at the official site; Ms. Goslins is also blogging about her adventures.
Box Office. Over the weekend, two docs outdrew Hannah Montana on a per-screen basis. Mark Cowen’s Magnificent Desolation: Walking on the Moon 3D, re-released in four IMAX theatres, took in $15,845 per screen, per Box Office Mojo. Produced and narrated by Tom Hanks, the 40-minute film was originally released in 2005. Sacha Gervasi’s Cinematical-approved heavy metal doc Anvil! The Story of Anvil, pulled in $11,550 per-screen at three severely-rocking cinemas. The never-say-die original band members are terribly appealing; check out the trailer embedded below for evidence.
Deals. Two films have been acquired for distribution today, according to indieWIRE. Regent Releasing and Here Media picked up Robert Young’s docudrama Eichmann and will release it theatrically in October. The film stars the generally terrific Thomas Kretschmann in the title role and Franka Potente as the wife of Eichmann’s interrogator after Hitler’s architect of “the final solution” was captured in Argentina.
After the jump: Today’s other deal — for The Horse Boy; plus news on the Atlanta and New York film fests.
Continue reading Indie Roundup: ‘Bama Girl,’ Moon Walking, ‘Anvil,’ ‘Eichmann’
Filed under: Independent, New York, Cinematical Indie
Oh, sure, everyone heard about the New York Film Festival opening last Friday. But did you know that another festival was having its opening-night party at the same time just 12 miles away? That’d be the Coney Island Film Festival, a raucous three-day event that isn’t nearly as big as NYFF but that’s probably twice as much fun.
James Israel at Indie Wire put together a delightful blog entry comparing the two fests in a comic-book style. For example: “At NYFF, actors Bill Murray and Tilda Swinton made an appearance, while Coney offered Serpentina and her incredibly large snake.”
It’s a very creative way of spotlighting both fests. Bonus: I’d never heard of the Coney Island Film Festival before, but I sure won’t forget it now!
You see this kind of thing a lot, actually, where a city has multiple film festivals with widely divergent styles. New York is a huge city with plenty of fests, ranging from the glitzy Tribeca to the more indie-minded Big Apple Film Festival; from the critic-programmed NYFF to the goofy Coney Island. But what about tiny Park City, Utah? James Israel could do a strip very similar to this one, comparing the huge, increasingly corporate Sundance to the quirkier, more do-it-yourself Slamdance. Or look at Austin, home to both the fun-but-sometimes-serious South By Southwest and the all-crazy-all-the-time Fantastic Fest. SXSW is the kind of festival that would have a woman dancing with a snake; Fantastic Fest would have her eat it.
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Filed under: Animation, Classics, Documentary, Foreign Language, Gay & Lesbian, Horror, Sci-Fi & Fantasy, Shorts, New York, Cinematical Indie, The (Mostly) Indie Film Calendar
Welcome to The (Mostly) Indie Film Calendar, a weekly look at what’s happening beyond the multiplexes all around North America. If you know of something indie-related happening near you — a local festival, a series of classic restored films, lectures, workshops, etc. — send the info to me at Eric.Snider(at)weblogsinc(dot)com and I’ll add it to the list. (Please put “Cinematical” somewhere in the subject line so I can separate you from all the effing spam I get.)
First, a few indie films are opening theatrically today, all of them noteworthy in some way:
- My Kid Could Paint That, a documentary about a 4-year-old modern artist and the controversies surrounding her work, sold for nearly $2 million after it premiered at Sundance. Cinematical’s Scott Weinberg reviewed it then and said it “gets exponentially more entertaining as each successive question and contradiction is offered.” (L.A., NYC)
- Finishing the Game is a mockumentary from Justin Lin (whose first film, Better Luck Tomorrow, was much better than his subsequent films, Annapolis and The Fast the Furious: The One That for Some Reason Took Place in Tokyo) about an attempt to finish the movie Bruce Lee was working on when he died. Scott Weinberg saw this one at Sundance, too, and called it a “confident and consistently amusing comedy.” (NYC)
- The Good Night is the first film by Jake Paltrow (Gwyneth’s brother), a dramedy about a songwriter’s midlife crisis involving a beautiful woman he sees only in his dreams. This was yet another Sundance premiere; Kim Voynar reviewed it there and said it has a clever script and solid performances, but has some pacing issues. (NYC)
- Lake of Fire, a documentary about the abortion battle in the U.S., is Tony Kaye’s first film to hit theaters since American History X. Ryan Stewart posted a mixed review on Wednesday. (NYC)
- Kurt Cobain: About a Son uses 25 hours of previously unreleased tapes of Cobain interviews to construct a documentary of his life. (L.A. and NYC now; Seattle Oct. 12; Philadelphia Oct. 19; further dates here.)
After the jump, festivals and events in Chicago, Portland, New Jersey, L.A, New York, San Diego, San Francisco, and Arizona….
Continue reading The (Mostly) Indie Film Calendar: Horror, French New Wave, and Fests Aplenty
Filed under: Drama, Thrillers, Fandom, DIY/Filmmaking, New York, Cinematical Indie
Pictured Above: Two of the hottest men on the planet — Cinematical’s Erik Davis and actor Javier Bardem.
And that’s Josh Brolin in the background lowering his shades to check us out … because we’re just that cool. This past Saturday, I attended the New York Film Festival press screening of No Country for Old Men, which is a film that will most likely be featured among several others in the Best Motion Picture category at the Academy Awards in February. It’s truly an amazing piece of filmmaking — easily one of my favorite films of the year so far — and one that’s sure to be recognized as the Coen Bros. best film in years. I’m not going to write a full review (you can check out James’ from Cannes, and we’ll post another one as the release date approaches), but I will give my initial reactions.
Essentially, No Country for Old Men is a morality tale about an older man (Tommy Lee Jones) and a younger one (Josh Brolin) who get all mixed up in a drug deal gone wrong. Brolin plays a quiet hunter who stumbles upon a group of dead bodies and a bag full of money out in the middle of nowhere, while Jones plays the should’ve-retired-last-week Sheriff who’s itching to help save the hunter before a psychotic killer (Javier Bardem) catches up to him … and the money. The film offers up plenty of edge-of-your-seat chills, with equal parts blood and guts, but it also slows up and surprises you — just when you think it’s heading in one direction, you’re off on another, bumpier path. For those that have read Cormac McCarthy’s novel, you already know where this thing is heading from the get-go, so I recommend settling in for some beautiful cinematography (from Roger Deakins) and a plethora of top-notch performances (particularly from Brolin and Bardem).
If you haven’t read the novel and you’re going into this one fresh, you might find it hard to connect with some of the choices made (if only because the film doesn’t go where you think it’s heading after act one). There’s no clear hero here; all of these men have faults, they make bad choices and their actions will ultimately catch up to them. But do they have it in them to walk away before the water boils over? That’s the question. And only the Coen Bros. can make you laugh out loud during even the most dramatic (and chilling) sequences. No Country for Old Men arrives in theaters on November 21. Below, I’ve included a photo gallery with pics from the No Country screening, as well as from The Darjeeling Limited screening and the Before the Devil Knows You’re Dead screening. Additionally, you can check out some exclusive stills from the movie here. Enjoy.
Gallery: NYFF 2007
Filed under: Animation, Drama, Cannes, Telluride, Sony Classics, Movie Marketing, New York, Oscar Watch, Cinematical Indie, Posters
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Okay, is this not one of the coolest posters you’ve seen all year? I simply love the color scheme for this film, and since I’m seeing it tomorrow — and interviewing writer-directors Vincent Paronnaud and Marjane Satrapi on Friday — this poster just totally puts me in the mood for, what some are calling, a shoe-in for an Oscar nod in the Best Foreign Language category. Persepolis, which won the Jury prize at Cannes earlier this year (where our own James Rocchi called it a “masterpiece”), was France’s Oscar submission, and rightfully so — those of us in the Cinematical camp that have seen it will not stop raving. Sony Pictures Classics has sent over the exclusive poster for Persepolis (click on the image for a larger version), which is based on Satrapi’s own autobiographical best-selling graphic novels featuring an outspoken Iranian girl who finds her unique attitude and outlook on life repeatedly challenged during the Islamic revolution.
In her Telluride review of the film, Cinematical’s Kim Voynar had this to say: “Marjane’s story could have been told in a live-action dramatic narrative film, or a documentary, but the choice to stick with this highly stylized animation approach works very well, and has the effect of removing a layer of ethnicity, thereby making the story more universal. This isn’t the story of an Iranian girl, it’s the story of a girl who lived through eight years of war and societal changes, who happens to be Iranian.” Apart from also screening at the Toronto International Film Festival, Persepolis was chosen as the closing night film for this year’s New York Film Festival. The film arrives in theaters on Christmas Day.
