Cinecast Episode 192 – Rub the Fuzzy Wall

It is a two man operation today, a very casual (and lengthy) conversation of a wide variety of movies. First up is a mixed, but leaning towards positive, review of Edward Zwick’s Love and Other Drugs, which features good chemistry between Jake Gyllenhaal and Anne Hathaway, but a very mixed bag of tonal shifts. Then we talk a little TV with The Walking Dead. We revisit a number of (relatively) recent films from what is predictable about Predators to what is excellent about Duplicity to what is slightly baffling about Walker, Don’t Look Back and Get Him to The Greek. The video-game as a childrens film in French CGI oddity The Dragon Hunters, and how this similar themed movie differs from Dreamworks’ How To Train Your Dragon is discussed for a while. Then it is back into documentary land for an extensive revisit of King of Kong, as well as credit card debt and the state of the nation (circa 2005-06) documentary, Maxed Out. Andrew makes a case for The Illusionist, and talks about the use of music in Black Snake Moan. We close on all things Kubrick and Steadicam with The Shining and Birth. And some DVD love for Disney and Vikings and Mixed Martial Arts Melodrama. Pull a seat up to the digital fireplace, grab and Brandy and a cigar and lets talk some turkey.

As always, feel free to join the conversation by leaving your own thoughts in the comment section below and as always, thanks for listening!





To download the show directly, paste the following URL into your favorite downloader:

ALTERNATIVE (no music track):

Full show notes are under the seats…
Would you like to know more…?

Movie Club Podcast #20: Visitor Q and Irreversible

The MOVIE CLUB EXTREME edition is now available at the Movie Club Podcast website. Episode #20 features lengthy spoiler-filled discussions of Takashi Miike’s Visitor Q and Gaspar Noe’s Irreversible. The guest contributors for this episode are Film Junk‘s Sean Dwyer and The Documentary Blog’s Jay Cheel, Where The Long Tail Ends‘ James Gillham and local Row Three writers Marina Antunes and Kurt Halfyard. Listener discretion is advised as everything from CGI penises to Breast Milk snow-angels are up for discussion.

The Movie Club is as much for the listeners as it is the contributors. Feel free to leave your thoughts in the comments section over at the Movie Club Page. (Comments are turned off on this post.) The Next Episode will be recorded in January and the films on discussion will be F for Fake and Catfish.

Bookmarks for March 10-12

  • Banned from the screening room!
    In the latest scuffle between critics and studios, a New York Press critic Armond White is barred from a Noah Baumbach preview (…but eventually is capitulated to despite the unearthing of some mean spirited words)
  • Roger Ebert’s Thumbs Down for Variety in Letting Go Todd McCarthy in favour of Freelance Reviewing
    “What I’m saying is that Todd McCarthy is not a man Variety should have lightly dismissed. He is the longest-serving and best-known member of the paper’s staff, and if they made such a drastic decision, we are invited to wonder if Variety itself will long survive.”
  • The Cove Team go after Restaurants Serving Illegal Whale-meat
    “In the clash of two Southern California cultures – sushi aficionados and hard-core animal lovers – the animal lovers have thrown a big punch.”
  • Meet the real Shirley Henderson“Her tiny frame and bubble-light voice have made Shirley Henderson a shoo-in for roles such as Harry Potter’s Moaning Myrtle – but don’t be fooled she’s a tough cookie.”
  • I Am Love: More Alternate One Sheets
    Yes, we love looking at all possible designs for the Posters of this particular film.
  • Godzilla Haiku
    AHaiku about Godzilla. There’s really nothing more to say, except “BRILLIANT.”
  • Eric Skillman Interview
    “You may not know the name, but you’ll know the work. He creates a feeling for an entire film, distilled down to a tiny rectangular image. Eric Skillman has been designing DVD covers for the Criterion Collection for a few years now, and each one is a work of art. Serving as either the primary designer or the art director, Skillman has helped to create some of the most memorable discs to come out in the last few years–including the epic designs for Berlin Alexanderplatz and the upcoming Stagecoach.”
  • Do Most Scorsese Pictures End With The Same Line?
    “Every one seems to be about a man who has realized the dichotomy of his life and making a choice. Once blind, now seeing… for better or worse.”
  • Vincent Cassel and FLAUNT Maganzie
    “In Hollywood there’s politics; young actors have to do big, stupid movies to eventually be a box office figure and have access to great directors, stuff like that. But in France the market is a little different. In a minute, you know everybody, so you stick to what you like because, otherwise, you won’t be able to come back to it.”


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:

Cinecast Episode 125 – Cultural Collateral


Episode 124:
Somehow both Kurt and Andrew managed to miss out on Will Farrel running from dinosaurs as well as the Vegas tomfoolery in The Hangover. Instead we watched a bunch of subversive, exploitative and downright nasty cinema on DVD – that includes Twilight. New is overrated. Oh, and three cheers to Don Bluth.
Thanks for listening!

Click the Audio Icon below to listen in:

To download the show directly, paste the following URL into your favorite downloader:

Would you like to know more…?

Pippa Lee’s Private Lives on Display

The Private Lives of Pippa Lee Movie StillI’m not familiar with Rebecca Miller’s work but I appreciate that she’s a talented writer and director who has gained wide acclaim for both her films and her books. Her second film Personal Velocity: Three Portraits won the Independent Spirit John Cassavetes Award and though she’s only made one film since that win in 2002 (though that too won some accolades) she’s one of these female directors to watch.

Her new film The Private Lives of Pippa Lee, an adaptation of her first novel, stars Robin Wright Penn as Pippa Lee, a woman married to a much older man (Alan Arkin) who begins re-evaluating her life when her husband decides to move them from the city and into a retirement community. In her re-evaluation, she thinks back to her turbulent youth as a 17-year old, pill addicted teen and how her life unfolded, getting her to where she is today. Along with Arkin and Penn, the film also stars “Gossip Girl” Blake Lively as the young Pippa Lee, Maria Bello, Monica Bellucci, Julianne Moore (triple threat!), Winona Ryder, Mike Binder and Keanu Reeves.

Though I’m not particularly interested in this story (the trailer doesn’t even appeal to me), there are a whole lot of factors urging me to see this: the cast which features quite the collection of female actresses (it’s nice to see films with great casts like this), then there’s the Keanu factor but trumping all is Miller’s track record which, from the surface, suggests mainstream films with legs. I’m willing to find out; I’ve added her previous films to my DVD queue.

The Private Lives of Pippa Lee will play the Edinburgh Film Festival on June 18th and will open in the UK on July 10th. I can’t find details on a US distributor but the film has been picked up for Canadian distribution by Maple Pictures. I expect we’ll have a chance to see it later this year.

Bellucci and Cage in Love; It Must Be a Spell

Monica BellucciI haven’t been following this story but when news like this hits, I can’t help but wonder what the hell the movie world is coming to.

Maybe you’ve read news that Nicolas Cage is working on a new movie (or maybe you saw the god awful pictures) with his National Treasure bud Jon Turteltaub. It’s based on this poem (which the webs tell me is famous) titled “The Sorcerer’s Apprentice” in which a sorcerer leaves his workshop in the hands of his apprentice who essentially decides to play at magic while the boss is gone only to lose control of the spells he concocts.

Turteltaub’s adaptation brings the action to modern day New York (not quite sure how that’s going to work out) and stars Cage as the sorcerer, Jay Baruchel as the meddling apprentice and it was announced a while back that Alfred Molina was also cast in the film as the evil sorcerer. That announcement caught my attention for all of five minutes but it’s recent news that Monica Bellucci had also been cast in the film that really got me geared up.

What on earth is she thinking? Nicholas Cage’s long lost love? Am I really to believe that a woman who looks this amazing would fall for a balding dude who can’t even control his protégé? For realz? Apparently that’s the case.

Not sold on this but I’m certainly more curious than I was before the announcement. Still doesn’t give me any hope in hell that this movie is going to be any better but we can be sure that Ms. Bellucci will be a marvel to look at.

Marceau and Bellucci Confuse Identities, Get Two Trailers

Ne te retourne pas

It’s playing Out of Competition at the Cannes Film Festival this week, but Ne te retourne pas (aka Don’t Look Back) flew under my radar until I caught sight of these two teaser trailers over at Twitchfilm. From the limited synopses I’ve seen, Sophie Marceau and Monica Bellucci play a woman who finds her surroundings and eventually her own self begin to mysteriously change, though her husband and family claim to see no difference. At least, I think it’s one woman. It may be two women whose identities get mixed up. Here’s a portion of the description from the Cannes page:

Highly acclaimed in 2002 for her first film, Dans ma peau, director Marina de Van is now in Cannes to screen Don’t Look Back, which stars Monica Bellucci and Sophie Marceau in a film about the elusiveness of identity, as the two of them continually switch places and faces, and appearances are deceiving.

In the midst of writing a novel, Jeanne notices mysterious changes both around her and in her own body, to which her family seems oblivious.

I find stories about identity and shifting identities fascinating, so I’m definitely intrigued by what I’ve heard and seen of the film. Plus, the concept reminds me of Buñuel’s That Obscure Object of Desire, and evoking Buñuel is seldom a bad thing.

I’m not smart enough to get both trailers to show up with preview graphics, evidently, so just click on “Play Now” and the trailer will show up.


I haven’t seen English subtitled trailers, but I did have a friend in France translate the trailers for me. My French skills weren’t good enough to get all the words and nuances.

Marceau Trailer Translation: “Can you tell me more about these changes that you see? What has changed? — Everything. — Yes? I’m listening. — The colors, the objects. — It looks like the table is turned the other way, parallel to the window wall. — Well, yes, as always! Come on, the table has been like this since we moved in. — What are these gestures… these faces… what’s that? — It seems like my husband is manipulating me with my children. — Jérémie, put your hand on the table! — Are you crazy or what!? — Me? Of course. I’m crazy. [sarcastic tone] — If you wanted to see a psychiatrist, it means you think the problem is inside you. — Do you think I’m lying? — There is something. It can’t be only me!”

Bellucci Trailer Translation: “Can you tell me more about these changes that you see? What has changed? Yes? I’m listening. — I can’t recognize anything anymore. Not even my face. — Mummy! — I don’t even know who YOU are. — This is extraordinary! [skeptical tone] — Mister Garch, I know it’s hard, but we have to understand without judging. Can you leave me alone with your wife? — There’s something I don’t understand. Or you’re not telling me everything. — If you wanted to see a psychiatrist, it means you think the problem is inside you. — Do we know each other? — Who are you? — I know your face, but I don’t recognize you.”