A minimalist, two colour poster for Tyler Perry’s latest non-Madea film, Acrimony showcases the Greek creature Medusa in stark black against a red field. There is shadow that resembles a curtain, but otherwise the poster favours simplicity. There is no credit block, just the name of the film, the lead actress (Hidden Figures‘ Taraji P. Henson), and the R-Rating logo down in the lower left corner. Note there is another pink (of course, it’s 2017) minimalist, poster with a similar hand-drawn and stenciled look, that plays with what is probably the first act of the film, if the Medusa is the ‘revenge; portion of the film described as, “a faithful wife tired of standing by her devious husband is enraged when it becomes clear she has been betrayed.”
Marriage as hell is a common enough theme in the movies, and Gone Girl is whip-smart, provocative, and divorced from reality in all the right ways.
David Fincher’s Gone Girl is both a career retrospective of his common themes: Killers, geniuses, social hackers, institutions as head-space (here wedlock), and cat-and-mouse gamesmanship. At one point a character comments on the name of Nick Dunne’s bar: “The Bar,” as amusingly meta. The casting of Affleck himself, an almost-A-list actor who has gone through the love-hate tabloid cycle with his relationships and his movies, is perfect. Nick Dunne goes through a similar cycle as the movie moves through its meticulous contortions. At times it feels like Fincher was not satisfied enough with balance of realism and momentum in The Game, and felt the need to remake it as spousal oneupmanship. Gone Girl is a dark delight if you have a certain mindset.
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The film to get the most attention coming out of Sundance ’09 is easily Lee Daniels’ Push: Based on a Novel by Sapphire. The harrowing drama (based on a novel by Sapphire, duh!) about a young woman named Claireece Precious Jones who is abused by her mother, raped by her father and grows up poor, angry, illiterate, fat, and unloved, won both the grand jury prize as well as the audience award.
Even though it has been picked up by Lionsgate, a film with this line-up of depression would usually be relegated to a direct to DVD release but thanks to Oprah and Tyler Perry, we may actually have a chance to see it on the big screen. Cinematical is reporting that both Oprah and Perry have signed on to help finance the film’s distribution. Sounds like a winning situation for everyone involved and as Mr. Snider points out, no need to worry about the film being messed up since it’s already in the bag – no artistic meddling involved.
At the moment, there are no trailers for the film but I did find a great interview with the director in which he discusses the project.
And since we’re talking distribution, I’ll add in this little tidbit of news which is completely unrelated but also very exciting. The fine folks at IndieWire have news that Shane Meadows’ Somers Town (for which we posted a trailer last year) has been picked up for North American release by Film Movement. Look for that opening in limited release sometime in 2009.