Archive for the ‘News’ Category

  • Inside Llewyn Davis: The Next Film from The Brothers Coen

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    I know I am not the only one excited to know what the next film from Joel and Ethan Coen will be. They have scripted the Michael Hoffman (The Last Station) helmed remake of Gambit; that according to IMDB is currently in post-production. The next project that they will be both directing and writing may at first seem a tad peculiar amongst the rest of the Brothers’ filmography. That very project is an adaptation of Dave Van Ronk’s memoir The Mayor of MacDougal Street.

    It was back in June during the opening of the Elinor Bunin Munroe Film Center, a new facility erected on behalf of The Film Society of Lincoln Center, that the Coens first made allusions to this new venture. As they sat alongside Noah Baumbach in a discussion of their films’ openings mentions were made of a script in progress that will feature naturalistic dialogue, a lot single instrument-music performances to be recorded live on set, and extreme attention to capture the feel of a specific time and place. That time and place will be no other than New York City’s Greenwich Village during the ’60s, the epicenter of the folk music revival scene which spawned Bob Dylan, Joni Mitchell,and Phil Ochs to name a few. Dave Van Ronk was a friendly staple of the Village, and noted as a major influence of the sound which defined many of the performers who came out of there with a blend of blues style, and complex harmonies.

    Variety announced this week that StudioCanal will co-finance the film. In addition, Scott Rudin will produce while Robert Graf will act as Executive Producer – the same positions they filled on No Country for Old Men and True Grit. It was also revealed that the film will now be called Inside Llewyn Davis. This can surely be seen as an indicator that this won’t be a direct adaptation. In a recent interview with frequent Coen-collaborator Roger Deakins, the master cinematographer spoke of a film he was going to shoot in a style emulating the work of D.A. Pennebaker. If I was the sort of lad who liked to place bets, Inside Llewyn Davis is that movie. This is interesting on a number of levels. Other than the opportunity for bold characters this (at least to me) wouldn’t seem like obvious Coen fare. The stylistic details that have been mentioned have writers around the net making Robert Altman comparisons. Joel and Ethan themselves regarded to Baumbach at the Lincoln Center function that it would be something he would do. It would definitely seem as if they want move away from the sensibility we all know them for as their remake of True Grit, while no doubt having some Coen flourishes, still seems quite restrained in the light of their other work even compared with something like Miller’s Crossing. Not to in any way imply that is indicative of quality. Another aspect of this is how cool it will to see a movie within this world. The Village-Folk scene has really only been touched upon in light of Dylan as in Todd Haynes’ I’m Not There and Scorsese’s documentary No Direction Home. I am a sucker for music films, and even more fascinated when they attempt to embody a particular scene itself. Well, I am already there. The Coen Brothers could make a movie based on Swedish Fish, and my tickets already bought. Your thoughts, the Third Row?

     

  • What’s it like to have your film flop at the box office?

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    That’s the question Sean Hood answered in a recent post to Quora. While not quite a household name, Sean Hood has been around the Hollywood scene for more than a few years, first as a set dresser, prop assistant and art director, and the past decade as a screenwriter. His writing credits include Halloween: Resurrection, The Crow: Wicked Prayer, and his most recent endeavor, reworking the shooting script of Conan the Barbarian, which opened this past weekend with an underwhelming $10 million at the domestic box office.

    While these are not necessarily the types of films that interest me, when I was emailed the above link – which contained some refreshing brutal honesty – I was intrigued. He likens the long filmmaking process to that of a political campaign, a multitude of people working together for the common goal of success, but differing ideas on how to get there. After the filming is completed, it’s a long waiting game, when anticipation builds as to the film’s outcome: success or failure?

    » Read the rest of the entry..

  • Who wants to hear the new album from Jeff Bridges?

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    If you are like me, you played out the soundtrack to Crazy Heart to the point where your friends were begging you to stop and the patrons at the local dive bar were groaning every time you walked up to the jukebox. From “Hold On You” to “Somebody Else” to “Fallin’ and Flying,” there was just something in Jeff Bridges’ gruff, natural voice that made it irresistible and, to me at least, it seemed like perfect music to listen to while drinking cheap draft beer in a smoky country bar.

    While a veteran actor releasing a self-titled album might inspire some cynicism, most fans of Bridges realize that the man has been jamming since he was a teenager and anyone who saw Crazy Heart is sure to recognize that the man’s musical abilities are nothing to scoff at. Below is a clip from Rolling Stone, where Bridges talks a bit about then plays the opening track to his album “What a Little Love Can Do.”

    There are other clips on the Rolling Stone channel as well, including a brief interview, so be sure to check them out. You can listen to the entire album over at Spinner, but if you enjoy it, be sure to purchase it through Amazon or iTunes.

    For the sake of the discussion, what are your favorite music albums released by people known primarily for being actors? How about your most despised?

  • Dark Bridges Film Festival Announces Feature Film Lineup!

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    Dark Bridges Film Festival just announced their feature film lineup. I am quite lucky to be able to say that this years festival has an amazing lineup and I am really proud of what I and the others who help run the festival have been able to do. Saskatoon, has a growing film community and through Dark Bridges we are able to bring films to Saskatoon that never would have been given the chance to screen theatrically. Sure you can catch some of these on DVD by the time the festival comes out but seeing them with an audience of fans is what makes Dark Bridges so much fun.

    This year we have a wide selection of films. The high points for me are not the big name films like 13 Assassins, TrollHunter, Stake Land and Tucker & Dale vs Evil but instead are the ones that are just hitting the festival circuit or are somewhat unknowns.

    Victims is a powerful low budget drama from the UK about a kidnapping that deals with justice, vengeance and redemption. Sennentuntschi: Curse of the Alps is really fun mashup of a ghost story combined with a thriller, horror and mystery. Rabies is Israel’s first horror film and it is a really interesting twist on the typical slasher in the woods. Finally, The Millennium Bug is a fun campy hillbilly horror comedy that just happens to have a giant monster bug in it that is done with no CGI.

    Dark Bridges Film Festival will be screening 14 feature films (13 Assassins, Beauty Day, The Corridor, Detective Dee and the Mystery of the Phantom Flame, Mandrill, The Millennium Bug, Rabies, Sennentutschi: Curse of the Alps, Stake Land, Super, TrollHunter, True Legend, Tucker & Dale Vs Evil, Victims), a whole bunch of short films, hosting a zombie walk and having a discussion for film makers all on Sept. 29th through October 2nd.

    Be sure to check out our website at darkbridges.com and our facebook event page for more information. Full festival passes are only $65 at the early bird rate.

    Check out our trailer below the seat. » Read the rest of the entry..

  • Hollywood to Remake French Thriller, “Tell No One”

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    Here we go again. Another great foreign title being remade for American audiences. Once again, I’m not opposed to these things happening, but when they’re so close on the heels from the release of the original it inexplicably rubs me the wrong way.

    The movie fandom community seems to have really grown attached to Ben Affleck on the other side of the camera, so it’s no surprise we’re all itching to see what he brings us next. As it happens, what he’ll be bringing us is a remake of the foreign box office sensation, Tell No One (my review).

    I suppose I’m interested to see what Affleck does with the title but as always with these types of remakes I’d rather see these “great” directors doing something original (the Boston thing has worked really well for him so far) with their time. Despite how you may feel about Fincher doing Girl with the Dragon Tattoo, honestly how much more do you think Affleck can bring to something as simplistically straight forward (and I mean that in the most awesome possible way) as Tell No One?

    Anyone other than me seen this pretty great film from a couple of years ago? If yes (or no), what are your thoughts on Affleck remaking it and what are your thoughts on this latest trend of Hollywood remaking recent foreign films in lieu of an original property?

  • No More Pity Nominations at the Oscars

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    For years I’ve been saying that the Academy needed to change up their “five only” nominations process at the Oscars. Then a couple of years ago, they did; upping the number to ten. Of course I was in favor of this just to add spice to the conversation and for no other reason to spice things up. But all the while I kept asking why they didn’t just nominate the number of films that deserve to be there. Why limit it to ten? Why have at least five? If only three films in a given year are worthy, so be it: three best picture nominations. If there are twelve truly fantastic films, let them be recognized!

    It looks like they’re sort of going with that school of thought this year. While they’re still going to have a minimum of five nominations, the actual number of nomination will vary (with a maximum of ten). So all in all, this is a step in the right direction. The Blind Sides of the world will stop getting nominated out of pity (or whatever the hell the reason was).

    The change came about because of complaints that the Academy was recognizing films just to reach a larger audience and that the films being nominated had no real chance of ever winning (gee, ya think?). This also will add a touch of interest to nominations day as no one will know how many films are to be nominated until the titles are announced.

    The new system, according to the academy, will tighten up the race by adding a picture to the base number of five nominees only if it has received more than 5% of the votes in the nominating process. Between 2001 and 2008, the academy said, the system would have yielded 5, 6, 7, 8 and 9 nominees in various years.

    Now all they need to do is narrow the time gap between nominations day and the actual award presentation. Say two weeks? That would be nice for the internet nerds who won’t have gone through every single detail of the nominations and give the entire Oscar evening a feeling of “already been played out.”

    What say you? What do you think of these new “rules” aimed at spicing things up and making the nominations seemingly more realistic?

    source: FilmJunk

  • Footloose is Actually Starting to Excite Me

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    The remake of Footloose has started to pique my interest. Got word today that the musical artist of the past decade, Jack White and his stripes, is headlining in some of the music in the OST. As well as rap recording artist, David Banner. Just throwing in a White Stripes song isn’t really what excites me – although that helps. What excites me is the fact that it’s Craig Brewer directing the film and if there’s anything he seems to pull heart out of for his movies, it’s his musical selections.

    Now me personally, I can’t stand rap. I’ve tried to listen to so many varieties, artists and sub genres and I can never seem to grasp what the flavor is (except for The Beastie Boys). That changed in 2005 with Brewer’s Hustle and Flow and took the heart and soul of rap and exposed it nobody less than the Academy of Motion Picture Arts and Science, who bestowed upon it an Oscar for best song in a motion picture. Next up for Brewer was one my favorite soundtracks of 2007 in the fabulously gritty Black Snake Moan. The sweaty blues and healthy doses of soul pulled you into that world so effortlessly it gives me goosebumps.

    Footloose was the first soundtrack I ever purchased and if memory serves, it was only the second cassette tape I ever bought for myself with my own money (after MJ’s “Thriller” of course). Footloose just about lives and dies by it’s soundtrack and its “angry dance” sequence. It was an HBO/Showtime favorite for pretty much everyone back in the 80′s. Hearing that it would be remade gave me kind of a “meh” attitude. But now with all this great music being poured into it, and with Craig Brewer really knowing how to get soul from his movie through the music and his interesting eye for everything Southern States culture, I’m really looking forward to this film and also to see what other musical tricks may be coming down the pipe. Can you see Kevin Bacon finishing off the film dancing to The White Stripes’ “Catch Hell Blues?” Me either. But it won’t be Kevin Bacon Dancing and this won’t be your papa’s Footloose. This will be Craig Brewer’s Footloose and sweat will fly.

  • UK bans Human Centipede: Full Sequence

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    Lately, I have started paying more and more attention to films that some people find inappropriate. I am not seeking these films out in particular because they are extreme but because I’ve been dealing with censorship issues. Each and every time I hear or read about how a small group of people feels they have the right to say what movie goers should be allowed to watch I get annoyed. In January at Sundance an audience member raised a ruckus by demanding that Lucky Mckee’s The Woman (Fangoria News Story) should be burned and banned. Back in March of this year the Sitges Festival Director was charged with child pornography for having the festival screen A Serbian Film (BD Horror News Story). In April, I (Dark Bridges Film Festival) had set up a double screening of Dead Hooker in a Trunk and The Taint. We had people complain to the theatre which we were screening with that the poster for The Taint was offensive so we initially changed it to not include the part from the actual movie poster. They continued to complain and wanted the theatre to cancel the screening because the movie was promotes violence against women. People also complained that the title for Dead Hooker in a Trunk was offensive. No one who complained seemed to really know what the movies were about they just felt that they were offensive and should not be shown. The manager of the chain eventually cancelled our booking and Dark Bridges has moved to a new venue. The screenings eventually happened without any real complaints and those attending had a good time.

    Now, news has just come out that the British Board Of Film Classification has effectively banned Tom Six’s sequel The Human Centipede: Full Sequence. I may not be the biggest fan of film classification boards to start off but I do see some value in them. I am a firm believer in providing the audience with as much knowledge as possible about a film. I do not like the G, PG, PG-13, 18A and R ratings that the Canadian boards use but I completely appreciate the need for someone to watch movies and provide a listing of what is contained within a film. These listings should be provided to prospective viewers and then it should be up to them (as long as they are an adult) whether the film is something they wish to view. The only exceptions for me are films that have been made in some illegal way. This could be anything from using child actors in inappropriate ways to a film containing actual violence or being made with coercion.

    What really bothers me about the following quote is that film classification boards feel the need to make a call on whether a film is “tasteless” or “disgusting”. This should not be part of their circle of influence. They should be limited to nonjudgmental decisions. By calling a film “tasteless” and “disgusting” they are applying their own personal biases to their decision when it comes to rating the film. This for me is wrong. This whole discussion for me is not based off whether I want to watch the film. That decision is my own and should be influenced by what I read and hear about it. My plea to every film classification board is to simply keep me informed and let me make the decision.

    Below is the rather graphic intent and basic synopsis of Human Centipede II which got the dander of the British Board Of Film Classification up:

    “The first film dealt with a mad doctor who sews together three kidnapped people in order to produce the ‘human centipede’ of the title. Although the concept of the film was undoubtedly tasteless and disgusting it was a relatively traditional and conventional horror film and the Board concluded that it was not in breach of our Guidelines at ’18′. This new work, The Human Centipede II (Full Sequence), tells the story of a man who becomes sexually obsessed with a DVD recording of the first film and who imagines putting the ‘centipede’ idea into practice. Unlike the first film, the sequel presents graphic images of sexual violence, forced defecation, and mutilation, and the viewer is invited to witness events from the perspective of the protagonist. Whereas in the first film the ‘centipede’ idea is presented as a revolting medical experiment, with the focus on whether the victims will be able to escape, this sequel presents the ‘centipede’ idea as the object of the protagonist’s depraved sexual fantasy.

    The principal focus of The Human Centipede II (Full Sequence) is the sexual arousal of the central character at both the idea and the spectacle of the total degradation, humiliation, mutilation, torture, and murder of his naked victims. Examples of this include a scene early in the film in which he masturbates whilst he watches a DVD of the original Human Centipede film, with sandpaper wrapped around his penis, and a sequence later in the film in which he becomes aroused at the sight of the members of the ‘centipede’ being forced to defecate into one another’s mouths, culminating in sight of the man wrapping barbed wire around his penis and raping the woman at the rear of the ‘centipede’. There is little attempt to portray any of the victims in the film as anything other than objects to be brutalised, degraded and mutilated for the amusement and arousal of the central character, as well as for the pleasure of the audience. There is a strong focus throughout on the link between sexual arousal and sexual violence and a clear association between pain, perversity and sexual pleasure. It is the Board’s conclusion that the explicit presentation of the central character’s obsessive sexually violent fantasies is in breach of its Classification Guidelines and poses a real, as opposed to a fanciful, risk that harm is likely to be caused to potential viewers.

    David Cooke, Director of the BBFC said: “It is the Board’s carefully considered view that to issue a certificate to this work, even if confined to adults, would be inconsistent with the Board’s Guidelines, would risk potential harm within the terms of the VRA, and would be unacceptable to the public.

    “The Board also seeks to avoid classifying material that may be in breach of the Obscene Publications Acts 1959 and 1964 (OPA) or any other relevant legislation. The OPA prohibits the publication of works that have a tendency to deprave or corrupt a significant proportion of those likely to see them. In order to avoid classifying potentially obscene material, the Board engages in regular discussions with the relevant enforcement agencies, including the CPS, the police, and the Ministry of Justice. It is the Board’s view that there is a genuine risk that this video work, The Human Centipede II (Full Sequence), may be considered obscene within the terms of the OPA, for the reasons given above.”

    Source (Twitch via Empire)

  • Martin McDonagh to direct “Seven Psychopaths” with Farrell, Walken, Rockwell & Rourke

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    The writer/director of In Bruges will reteam with Colin Farrell, along with Sam Rockwell, Mickey Rourke and Christopher Walken for his sophomore film effort, entitled “Seven Psychopaths“.

    Martin McDonagh (pictured above), the award winning Irish playwright behind The Pillowman and the Oscar winning shot film Six Shooter, made his feature film debut in 2008 with In Bruges, an extraordinarily black dramedy about two hit-men (played by Brendan Gleeson and Colin Farrell, the latter of whom picked up a Golden Globe for his efforts) on vacation in the medieval Belgian town of Bruges.

    His follow-up film will, according to Variety, revolve around “a screenwriter (Farrell) struggling for inspiration for his script, “Seven Psychopaths,” who gets drawn into the dog kidnapping schemes of his oddball friends (Rockwell and Walken). Things take a turn for the worse when a gangster’s (Rourke) mutt goes missing.”

    No word on what the tone of the film will be as of yet, although from the sound of things it’ll share quite a bit in common with the rest of his work; a combination of morbid and absurdist comedy with the occasional heavy dramatic element…and plenty of foul language. His most recent play, A Behanding in Spokane, was recently performed on Broadway with Rockwell and Walken in the cast, so like Farrell they’ll be no stranger to delivering the playwrights dialogue. I recently saw Behanding performed at the Melbourne Theatre Company (not with the same cast, unfortunately), and while it wasn’t as emotionally resonant as In Bruges, it was certainly just as funny, and makes me all the more interested in McDonagh’s next film.

    Thoughts, anyone? What’d you think of In Bruges? Excited to see such McDonagh working with such a talented cast?

  • P.T. Anderson’s The Master has resumed Production!

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    Hell yea, folks! P.T. Anderson’s L. Ron Hubbard sort-of-biopic (As Orson Welles Citizen Kane was to William Hearst) has come out of its financial paralysis and is back on track. Philip Seymour Hoffman is still in the lead role, but it appears that Jeremy Renner, is going to be replaced with a returning-to-acting Joaquin Pheonix. If you recall, the project was stalled either for creative issues or financial, it was never clear. But it appears that things are moving forward. Now Anderson doesn’t exactly work fast these days, but the end films seem to be consistently worth the wait. I’ll try to have patience, and enjoy the fact that The Tree of Life is coming out next month.

  • They Live is the next John Carpenter film optioned for a Remake

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    Proving that just about the entire library of John Carpenter directed films is up for being remade in this decade (The Thing is of course almost upon us, albeit the Escape From New York remake has been stalled for years) Universal has tapped Let Me In and Cloverfield director Matt Reeves to wite and direct. Many people seem to really dig is reboot of the Swedish vampire classic, but is Reeves ready to kick ass and chew bubblegum on this? Will there be a nod to the epic street-fight to put on the glasses? Will there be a wholeheartedly hilarious and gratuitous boob shot as the final image in the film? And will the blunt Reganomics subtext be upgraded (a la Wall Street) to the post-Bush era economic climate? Most importantly will it star The Rock, John Sena or Triple H? Actually, it appears that they are just using the story as a jumping off point, and it is safe to say that there is a lot of wiggle room to do something wholly original with this type of story. The adaptation is going back to the Ray Nelson short story called “8 O’Clock in the Morning,” (the original source material for John Carpenter’s version, before Carpenter put his own spin on things.) Even so, I hope they change the title, because really, how much of a brand is They Live, really? Stay tuned folks.

    “I saw an opportunity to do a movie that was very point-of-view driven, a psychological science fiction thriller that explores this guy’s nightmare,” Reeves told me. “There could be a desperate love story at the center of this. Carpenter took a satirical view of the material and the larger political implication that we’re being controlled. I am very drawn to the emotional side, the nightmare experience with the paranoia of Invasion of the Body Snatchers or a Roman Polanski-style film.”

    Via The Hollywood Reporter and Hitfix.

  • Sidney Lumet: 1924 – 2011 [RIP]

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    I remember one of the first Cinecasts Kurt and I did together we reviewed 12 Angry Men. To this day it’s still my favorite Lumet film; and it was his first. A pretty impressive way to start off a career I’d say.

    Lumet passed away today in Manhattan due to the bastard that is lymphoma. He was 86.

    After 12 Angry Men, Lumet went on to do a ton of TV episodes and not really until the mid-60s did he come back to feature films and he came back in a big way. With Serpico, Dog Day Afternoon and what many consider his best film, Network (which was nominated for 10 Academy Awards) in 1976.

    Lumet continued to write and direct movies throughout his life almost until the end. Focusing a lot on crime dramas and courtroom thrillers. I believe that somewhere after recording the 12 Angry Men episode of the Cinecast, we went into a very positive discussion about Lumet’s latest (and as it happens, last) film, Before the Devil Knows You’re Dead. Maybe an appropriate title for his last picture.

    While this is a sad day as Lumet passes on to the next life, I’m happy to say he has left quite the legacy for movie goers to enjoy throughout eternity. Now if you’ll excuse me, I have to go finally pop that copy of Night Falls on Manhattan into the old DVD player. Another title apropos for today.

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