Posts Tagged ‘adaptation’

  • A Confederacy of Dunces (Rumours)

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    Somehow John Kennedy Toole’s New Orleans set satirical farce has resisted making it to the big screen, being touted to be, as they say, ‘unfilmable.’ Harold Ramis, Stephen Soderbergh, David Gordon Green, Stephen Fry, and John Waters have all taken stabs at bringing the novel to the screen. Potential Ignatius Reilly’s have, since the early 1980s until now, included John Candy, John Belushi, Chris Farley, Phillip Seymour Hoffman, John Goodman, with Will Farrell being the closest ever to actually being filmed — until Hurricane Katrina put the kibosh on that one.

    Now add Zach Galifianakis (who, admittedly, has the body type and demeanor for it) to the heap, perhaps only in an ironic sense, considering how he mentioned this in passing, “I’ve read two books in my life, and I’d like to do ‘Confederacy of Dunces’ — which will never happen.” to a New Yorker columnist.

    Big grain of salt towards any movement on this, ever. But I would love to see it attempted. What is David O. Russell doing, post-The Fighter?

    Source.

  • 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.

  • Colin Farrell: Get Your Ass to Mars

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    Colin FarrellThis household (at least the female contingent) is a happy one this morning with news that Colin Farrell has been asked by Sony Pictures to play the lead role in Columbia Pictures remake of Verhoeven’s 80′s new classic, Total Recall.

    Here’s a case where I can see the argument for a remake. Sure the original is a fun ride with some memorable moments in a pretty interesting story originally penned by master, Phillip K. Dick. At the same time, it feels a little dated watching now.

    What concerns me isn’t the prospect of a remake (which I think might be pretty good time at the theater). What concerns me is that they’ve brought on board some pretty mediocre (at best) filmmakers for this reimagining: Len Wiseman to direct. Notable for such films as Live Free, Die Hard and Underworld I & II. To write the script Sony has hired good ol’ Kurt Wimmer. Yeah, the awesomeness of Salt, Law Abiding Citizen and The Recruit is still rattling around in my head.

    Other interesting casting rumors for the Schwarzenegger role were Michael Fassbender and Tom Hardy. All three of these prospects sound interesting to me, but with this assortment of film makers at the reins, as of now I don’t hold out much hope or have much expectation; which is a real shame since I think this could’ve been a pretty heady and wonderment-filled project.

     

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  • It’s here! Trailer for Cary Fukunaga’s “Jane Eyre”

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    Jane Eyre OnesheetIs it spring yet? Can it be spring already? Please? Pretty please?

    Yes, I’m begging for spring for good reason. I promise. That reason? Cary Fukunaga’s follow up to Sin Nombre (review). A take on the famous Charlotte Brontë romance. Jane Eyre stars Mia Wasikowska as Jane, the “mousy” governess, and Michael Fassbender as her beloved Rochester along with Judi Dench, Jamie Bell and Sally Hawkins in an assortment of supporting roles.

    I was already keen on seeing the film and the release of the gorgeous poster, seen to the right, yesterday peaked my interested and now, quick on the heels of the poster release, we get a trailer for the production which features everything I could have wanted and more. Lots of grey, a little melodrama, a bit of mystery and enough Fassbender in period drab to make me smile from ear to ear.

    You’d better believe that Michael O’Connor, who won an Oscar for his costume design in The Duchess (review), will be a front runner yet again in 2011. As for the use of the Goblins’ Suspiria theme at the beginning…an odd but effective touch.

    Jane Eyre opens March 11, 2011. Not soon enough.

    Trailer tucked under the seat!

    » Read the rest of the entry..

  • Cinecast Episode 184 – Death Lottery

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    The 4 hour barrier is broken as The Documentary Blog’s Jay Cheel joins Kurt and Andrew on the longest Cinecast ever – you know it is even longer than the previous epic length TIFF show. What do we talk about? For starters, Kurt & Jay examine the Let The Right One In remake, Let Me In (*SPOILERS*), in painstaking detail, and how not to process American remakes of foreign language films. Next we move along for a solid hour on Never Let Me Go (*SPOILERS*) which keeps going on the vibe of comparing source material to eventual film adaptation and why you probably should not do that. More Carey Mulligan talk as Andrew skims and sums up Wall Street 2 with out spoilers. Then, a spoiler-free discussion on Catfish follows, although only Jay caught it, so it is more of a discussion on fake/faux-Documentaries, and ‘narrative-ethics’ which leads to more more talk on I’m Still Here, with a little Last Exorcism and The Blair Witch Project to round things out. Next we move along to the avant garde and barely-narrative Cannes Palme D’Or winner, Uncle Boonmee Who Can Recall His Past Lives, and a lot of other films we watched: An overview of the “Middletown” documentary series, a bit of Daybreakers-Redux, a bit of Season 6 of “LOST” (you guessed it, with *SPOILERS*), and more avant garde cinema with Last Year At Marienbad. We also debate the finer points of Steve Buscemi and the cast and crew of HBO’s “Boardwalk Empire.” Finally (finally!) at around the 4 hour mark, our DVD picks round out a show that carried us well into the wee hours of the night recording. We hope you enjoy listening as much as we enjoyed chatting. It may be long, but it is a solid and whip-smart show this time around, although we are biased on that front.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

     
     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_10/episode_184.mp3

    ALTERNATIVE (no music track):
    http://rowthree.com/audio/cinecast_10/episode_184-alt.mp3


     
    Full show notes are under the seats…
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  • Review: The Switch

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    The Switch Onesheet

    Directors: Josh Gordon & Will Speck (Blades of Glory)
    Screenplay: Allan Loeb, Jeffrey Eugenides (short story)
    Producers: Albert Berger, Ron Yerxa
    Starring: Jason Bateman, Jennifer Aniston, Jeff Goldblum, Juliette Lewis, Patrick Wilson, Thomas Robinson
    MPAA Rating: PG13
    Running time: 100 min.

    (3.5/5)

    The problem with The Switch isn’t the movie itself (though it too has its misses) but the marketing. Yes, it’s difficult to sell a dramedy to the male population at large but to sell it as a romantic comedy is disappointing, especially when it features a great performance from the male lead. Perhaps it will work to the film’s benefit and women will see it with their girlfriends, like it and drag the men or heck, date night might be lady’s choice but however you cut it, this film is unlikely to reach the audience who will appreciate it most: new dads.

    The Switch Movie StillDirected by the duo who brought us the travesty that is Blades of Glory, The Switch is a completely different ballgame, one that feels like the duo traded themselves in for someone who actually knows what they’re doing.

    Based on a short story by Jeffrey Eugenides, it’s the drama of a woman (Jennifer Aniston) who wants a child so badly, she decides to find herself a donor. Her best friend Wally (Jason Bateman), a one time romantic interest who is too much of a realist to be Kassie’s boyfriend but who makes for perfect friend material, is against the idea but shows up to the “I’m getting pregnant” party to support the woman he secretly loves. A series of lightly amusing events later, we learn that Kassie’s pregnant, moving away to raise her son outside of New York and just like that, seven years go by. With a new job lined up, Kassie moves back to the Big Apple, reunites with Wally and the seed donor and then things get complicated.

    » Read the rest of the entry..

  • Bookmarks for Mid August

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    • When should a director stop messing with a movie?
      “There are many kinds of re-cuts, created for different reasons, under different circumstances. Whether you consider a second or third or fourth cut valid (or superior) to the first depends on what you liked or disliked about the first cut, and the circumstances that produced that first cut, and what you think was gained or lost in revision.”
    • Lock & Load (Video)
      A video montage-essay on Cinema’s fetish with guns (mostly America, but look for a lot of Johnnie To and John Woo in there too.)
    • Mit Out Sound, Mit Out Solution
      Guy Maddin on Josef von Sternberg: “With this mild mea culpa, von Sternberg was done turning out his pockets. Every interview he did after that, until his death just a few days before Christmas of 1969, was a variation on the theme of “I could tell you the secret of my genius, but upon reflection, I prefer it remain a mystery for the ages.” He’s left it for us to work out, that dumpy, dapper rapscallion, but I can hardly blame him. A mystery as insoluble as this is a gift nearly as great as the films themselves.”
    • ‘Scott Pilgrim’ Versus Itself
      “I don’t want to be the guy arguing that a movie adaptation of a comic book doesn’t do justice to the original comic. I especially don’t want to be the one doing that about Scott Pilgrim Vs. The World, because there have already been dark accusations about it being too fanboyish, and I am most definitely a fanboy for Scott Pilgrim the comic book. But the little things that bug me about the movie all ultimately feed into one big complaint: the wonderful treatment of female characters in the comic book gets lost in the transition to the big screen. It’s what happens when you make a big action-filled summer film. But it’s not good that this requires the female characters and their particular relationships to be swept under the rug. ”
    • Half a Century of Making Cars Into Stars
      “There was KITT, the modified Pontiac Firebird Trans Am that protected and talked to David Hasselhoff in the 1980s television series “Knight Rider.” There was the rebuilt and countrified 1921 jalopy that Jed Clampett drove — with Granny in a rocking chair behind him — from the Ozarks to Hollywood in the 1960s series “The Beverly Hillbillies.” And most notably there was the 1955 Lincoln Futura with the bubble top that Mr. Barris and his crew chopped and stretched into a sinister-looking shiny black-and-red crime fighting machine called the Batmobile “In the hall of fame of car customizers, George Barris is No. 1,””
    • Rene Laloux’s Fantastic Planet on Blu-Ray (U.K)
      “I hesitate to use the word ‘surreal’, because it has become so dulled by overuse as to become almost meaningless, but if there was an animated work that warranted such a label, it is this one. Be warned though – the drug-inspired and often highly sexualised designs complete with images of bare-breasted aliens will probably deter the more Victorian-minded from presenting this to their pre-teens as a Disney substitute. This is definitely one to be filed under the category of “adult art animation”.”

     

    You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this:

  • “Take Out” director Sean Baker on board for Will Eisner graphic novel adaptation

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    A Contract With God Book CoverAt the 22nd annual Will Eisner Comic Industry Awards which took place last week in San Diego, it was announced that the Eisner estate would be producing an adaptation of Eisner’s ground breaking graphic novel “A Contract With God.” A classic of the genre, “A Contract With God” has been referred to as the first graphic novel and features four related stories focusing on the immigrant struggle as Eisner experienced it as a child.

    What’s particularly interesting about the announcement isn’t the fact that another comic is being adapted, especially one of this importance, but rather the talent that has been gathered to adapt the film, which will feature all four short stories, each with a different director. On board for the production are Sleep Dealer’s Alex Rivera, Children of Invention’s Tze Chun, Medicine for Melancholy’s Barry Jenkins and Take Out (review) co-director Sean Baker. It’s like a who’s who of indie up-and-comers all of whom have their very distinctive approach to storytelling.

    It’ll be interesting to see what the finished package looks like, and whether it will appeal to the well versed comic book fan. I’m particularly curious to see what a film of this stature and potential wide spread appeal will mean for the directors involved and what sort of doors it may open up in the future.

    It’s early days yet but I expect we’ll be seeing cast announcements in the coming months. Stay tuned to this space for updates.

  • Philip K. Dick Alert! The Adjustment Bureau Trailer

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    The Adjustment Bureau

    It is startlingly clear that the writers of Dark City were admirers of cult science fiction author, Philip K. Dick. And the film adaptation of yet another one of his stories looks like a much more contemporary (read: less expressionistic set design) version of the same story. Sure the love story and overall ‘peel pack the curtain of paranoia’ are quite familiar at this point (as is the borrowed score in this trailer, is it from the end of Danny Boyle’s Sunshine? Yes.) but hey, science fiction for adults is always a good thing. Bonus: The film has a top-shelf cast including Emily Blunt and Matt Damon (two much loved actors in these parts,) the too-damn-awesome-for-his-own-good Terence Stamp, Shohreh Aghdashloo and Mad Men’s John Slattery. First time director George Nolfi (who apparently only co-writes Matt Damon movies judging by his IMDb page) is the man in charge.

    Trailer for The Adjustment Bureau is tucked under the seat.

    » Read the rest of the entry..

  • Go Get Tiger! Darren Aronofsky and Brad Pitt try (Again) to Make a Movie.

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    Tiger

    So, Brad Pitt backed out of Darren Aronofsky‘s The Fountain (but it still turned out OK, with a reduced budget and Hugh Jackman), then The Fighter (which fell completely into the ether), and so the pair attempt to re-unite for a supernatural thriller to be written by Guillermo Arriaga (Babel, Amores Perros.)

    According to Variety, Arriaga will be adapting an as yet unpublished non-fiction novel from John Vaillant, “The Tiger: A True Story of Vengeance and Survival.” which is set on the “Siberian plain, where human development is encroaching on the tigers’ habitat — and one tiger turns on the intruders. With townspeople being tracked and hunted with an almost supernatural power, a conservationist game warden must face down the tiger.”

    As per usual, I’m keen on seeing just about anything directed by Aronofsky, and given Pitt’s penchant for interesting and quality projects these days, I hope it all works out this time.

  • Thoughts on the LET THE RIGHT ONE IN Remake

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    You go on vacation and it is a relatively slow movie and news week, but my interest perked up upon glancing at the two released stills from Matt “Cloverfield” Reeves’ english language remake of Let The Right One in. First off, if you average out the Row Three contributors’ picks on 2008 films, Låt den rätte komma in was probably the most loved, so most people writing for the site have some sort of emotional stake in seeing it redone for a North American Audience. You know the part where they polish off the rough edges, take out the emotional depth and thematic resonance, and make it a thrill ride (for any or all of the above, see: The Vanishing, Bangkok Dangerous, Nine Queens, [REC], La Femme Nikita, etc. etc.)

    But, oddly enough, I am rather interested in such an immediate do-over in spite of the high water mark set by the Swedish version of the film. There is the casting of the two leads, Chloe Moretz who kicked ass in, well, you know, and Kodi Smit-McPhee who give stellar performances in two dark films, The Road and Romulus My Father. Also, the producers are being rather clever in using the title of the first edition translation of the Novel, Let Me In, which at least tells me they took the time to do a bit of looking into how the book and film have been processed over here, and are not slapping it with the same title (causing some confusion due to the proximity of the releases) or giving it some focus-group moniker. Furthermore, I thought Cloverfield was a fairly solid both in the writing department and the directing department, and Reeves is doing both the remake (albeit Reeves did not write Cloverfield). Lastly, the novel has a number of twists and turns that were polished out of the original movie. The author of the novel, John Ajvide Lindqvist, wrote the screenplay and I’m sure he knows his own material, but having an outsiders interpretation, particularly at some of the more graphic elements in the novel, if the producers are willing to go there, would be enough to get me in the cinema.

    Really, there is bound to be some disappointment with the remake, due to how familiar I am with the source material and the original movie, but at this point I am not flat out against an English Language production. After all, there have been some good remakes done out there, Gore Verbinski’s The Ring has that knock-out addition with the horse on the ferry, Martin Scorsese’s The Departed was entertaining and added a gritty Boston atmosphere to the story, and lest we forget that both The Thing, The Fly and Invasion of the Body Snatchers all got it right on the second whirl around.

  • Teaser for Anton Corbijn’s THE AMERICAN staring George Clooney

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    The American Movie StillGeorge Clooney would be enough of an attraction for any film but for me, the real appeal of the upcoming drama The American isn’t Clooney but rather the man behind the camera. Director Anton Corbijn came to my attention a few years ago with the gorgeous Ian Curtis biopic Control and for his follow up, he seems to be turning up the ante.

    The American stars Clooney as Jack, an assassin hiding out in Italy for one last assignment. That plot doesn’t really speak to me but Corbijn’s visuals do and tracking the director’s film blog, I’ve been given nothing but clues as to how great this project could be. Now the first teaser comes around and what does it suggest? More of the same greatness.

    What I love most about this teaser is that it feels like this film is from another decade. The 70s to be exact. There’s something about the visuals and the feel of the story that breathes like something much older and I can’t wait to see it.

    The American opens on September 1st.

    Trailer tucked under the seat.

    » Read the rest of the entry..

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