The King Bulletin

The King Bulletin Has Moved

2010-07-24T15:13:00.000-07:00

Those who have been following The King Bulletin for a while are probably aware that I have been working on redesigning my website. Well, thanks to the help of Alex Haas and Teddy Blass (who run the Nolan Fans website), I am happy to announce that although the process is not completely finished, I will only update my new website from now on. In no way does this mean I am abandoning the Blogger community. I will continue to follow the great blogs that I currently read, and hopefully find some new ones along the way.

My first complete post over at the new website is my Inception review (http://thekingbulletin.com/2010/07/22/movie-review-inception-2010-4-stars/). I have added a star rating at the top, which is something I plan to do for all of reviews, past and present. Other features of the new website include the Forums (http://thekingbulletin.com/forums/). While there are still room for comments on each individual post, I plan to use the Forums for more "spoiler-ish" discussion. I haven't added any topics yet, but please head over to the Forums link above and create a profile for yourself. Hopefully we can begin discussions soon.

I don't think there's much else to say for now other than I hope to see all of you over at my new website. As always, thanks for your support, and if you have any comments/suggestions, don't hesitate to share them.

Movie Review: Inception (2010) - 4 stars

2010-07-22T20:41:00.000-07:00

Batman Begins and The Dark Knight marked Christopher Nolan's renovation of the comic book movie. With Inception, he does the same thing to the heist movie. The film does have a few conventions, but they are entirely forgivable because the world Nolan surrounds them with is completely foreign. Conventions do not feel monotonous when they are seen in a new context, and this is one of the newest contexts in recent years.

As a result, Nolan has made a film for which comparisons are meaningless. Sure, you can pinpoint a few spots and say they are reminiscent of The Matrix or James Bond, but doing so will give you no legitimate idea of what the experience of Inception is like. Granted, the picture will leave many viewers baffled and confused, but that is only because of its sheer originality. It is not a film which is meant to be completely digested in one sitting.

Nolan's first alteration of the heist film is with his antihero, Dom Cobb (Leonardo DiCaprio). We have seen bank robbers, jewel thieves, even casino bandits. But a man who makes his illicit living by stealing information during people's dreams? I think not, and that is one of the simplest ways to describe Cobb's rare skill. It is worth noting that his employers are some of the world's most powerful corporations. The art of "extraction" is apparently a black market activity, but it also seems to be something everybody knows about to some extent.

As we learn from Cobb's loyal partner Arthur (Joseph Gordon-Levitt), dream sharing has even been used by the military as a clean form of torture. While killing a subject in a dream merely wakes them up, pain can still be felt. Add to that the fact that time functions differently in dreams - five minutes in the real world is an hour-long dream, for example - and our current perception of dreams as a "safe haven" of sorts dissolves immediately.

The film begins with Cobb and Arthur are trying to extract information from the powerful businessman Saito (Ken Watanabe). Nolan admirably throws us into his world immediately, forcing us to put the pieces together along the way. We learn that Cobb is no longer able to trust his wife Mal (Marion Cotillard), as she often sabotages his missions during the dream state. This opening job is no different.

But Saito is impressed enough with Cobb's deception (his reputation as the "most skilled extractor" doesn't hurt either) that he offers him an even more difficult job. Saito's main corporate rival, Maurice Fischer (Pete Postlethwaite), is in bad health, and the company is set to be inherited by Maurice's son Robert (Cillian Murphy). And instead of the usual task of extraction, Saito needs Cobb to perform inception on Robert - the planting of an idea in his mind that will convince him to break up his corporate empire.

In addition, Saito is offering more than just money. He is willing to grant Cobb, an international fugitive, the right to return home to America and live with his children. In the film's main heist convention, Cobb accepts this "one last job," and sets out to put together his team. As always, Arthur is on board, with the new additions being the skilled impersonator Eames (Tom Hardy), the chemist Yusuf (Dileep Rao), and the architect prodigy Ariadne (Ellen Page), whom Cobb is able to meet through his father-in-law Miles (Michael Caine).

Aside from creating an astoundingly original premise, Nolan's story also carries an emotional power to it that heist movies almost never have. The subplot of Cobb's relationship with Mal develops in unforeseeable ways, with each one of their encounters raising the stakes. As Ariadne bluntly tells Cobb, "As we go deeper into Fischer, we're also going deeper into you."

Inception is the writer-director's most ambitious project to date, not just because of the massive scale, but because it fits so many concepts and ideas into its nearly two-and-a-half hour runtime. The film combines the action and thematic power of Nolan's Batman films with the intellectual and cerebral stimulations of his earlier films, such as Following and Memento.

Nolan also continues his great work with big-time ensembles. In his second great performance of 2010, Leonardo DiCaprio (Shutter Island) spearheads a remarkable cast that fires on all cylinders. The emotional notes that Marion Cotillard represents will remind more than a few of her turn in Public Enemies; Ellen Page continues to channel a level of maturity well beyond her years; Tom Hardy, who was out-of-this-world in Bronson, provides some much-needed comic bits; and Cillian Murphy proves that the man being conned can carry their own poignancy.

Like he did with The Dark Knight, Christopher Nolan has made a blockbuster-scale film that rewards an endless amount of viewings. Possibly more than any other film this year, Inception will provide mass audiences with something to talk about. And it's important to note that this isn't plot-level conversation either. The ideas of this film are so penetrating that after hours of discussion and consideration, it will be difficult to get the experience of Inception - particularly the beautiful series of closing shots - out of your system.

Updates On David Fincher's 'Dragon Tattoo' Remake

2010-07-19T22:12:00.000-07:00

Cinema Blend's Katey Rich has shared a few updates regarding David Fincher's upcoming remake of The Girl with the Dragon Tattoo that I feel are worth noting and discussing. The first one - more of a relief than a surprise - is that Fincher will be allowed to remain faithful to the violent nature of the novel. In other words, we're probably looking at a hard R-rating. In an interview with The Wrap, Sony's Amy Pascal shared the following:

We’re doing the book. That’s why we hired David Fincher. We’re going to really do this, in all their glory. Otherwise why do it? They’re very R-rated movies. It’s the shock of what’s really going on underneath the surface of society. If you don’t actually make good on that, you haven’t told the story

With Seven, Fight Club, and Zodiac under his belt, I never had any doubts about Fincher's faithfulness, although I had a sneaking suspicion that the studio may have wanted to exploit the project's commercial potential to the fullest extent by suggesting a PG-13 rating. But it looks as if my worries - and I'm sure most people's - have been put to rest. Who knows, perhaps this will be a case where the disturbing content brings audiences to the multiplex rather than pushing them away.

The second piece of news offered states that Carey Mulligan's involvement as the hero, Lisbeth Salander, is indeed a rumor. Pascal, clearly desiring an ambitious audition process, added that, "Every actress in the world wants it. It's the greatest character for a girl since I-don't-know-what." For those of you who have seen either of the first two Swedish films, it's obvious that Pascal's statement is no hyperbole. Lisbeth Salander is a mesmerizing protagonist.

The third portion of the report, and possibly the most troubling, says that Fincher plans to direct all three American installments of the trilogy. Even though I couldn't get enough of the first Swedish film, I found The Girl Who Played with Fire to be less enthralling, and part of me wonders how much legs this source material has. I think it's only fair to wait until I've seen all three of the Swedish films, but I don't exactly want to see Fincher spend several years of his career directing a trilogy that, in the end, may feel redundant. I'd rather see him explore different genres, like he is doing with The Social Network.

But I may be exaggerating things. After all, casting is probably the most difficult part of Fincher's pre-production process. It's going to take time. And once it's all settled, it is likely that Fincher will be able to motor through the second and third installments more quickly. But I'm not sure waiting two years for each of these films is the way I want to see Fincher's near-future shaping out.

By the way, Fincher's remake will likely hit theaters in December 2011.

Do you still have doubts about this remake? Have Pascal's new insights changed your mind at all?

'Inception's' Oscar Chances

2010-07-18T12:00:00.000-07:00

Since (I'm assuming) most of us have seen Inception by now, I thought it would be appropriate to delve into some preliminary Oscar discussion, particularly because I find Inception's Oscar chances - in the main categories - very difficult to predict. While the reviews have been mostly positive, there are several notable naysayers, which could hurt its cause. However, I feel that the critical reception has been good enough to put the film in Oscar contention, and I think a Best Picture nomination is likely.

Obviously Inception should have a field day getting several tech nominations, but as of right now, I don't see any acting nods in store, and I see some trouble in the fields where The Dark Knight was snubbed. I think a snub in the Original Screenplay category would be a real travesty, so I'm pretty confident it should get in there. After all, it is one of the most original and challenging ideas to come to fruition in years.

The Best Director category has me the most concerned. Most signs point to a relatively safe nomination for Christopher Nolan, but I am less convinced. It is more of a gut feeling at this point because there are still so many films yet to be released, but I think that Nolan will be on the fence for the majority of the Awards campaign. I am hopeful, and optimistic in some cases, but still not ready to call any of the three main categories a lock at this point.

Do you think Inception's chances are higher? Could DiCaprio sneak in? Have your say below.

Trailer for Ben Affleck's 'The Town'

2010-07-16T23:11:00.000-07:00

2010 could turn out to be a pretty impressive year for Ben Affleck. He will star in John Wells' The Company Men, as well as make his second directorial effort after 2007's acclaimed Gone Baby Gone. His adaptation of Chuck Hogan's novel Prince of Thieves will follow a thief (Affleck) who must balance his feelings for a bank manager (Rebecca Hall) while also fending off an FBI investigation. Jeremy Renner (The Hurt Locker) and Jon Hamm will co-star.

Affleck co-wrote the script along with Peter Craig and Sheldon Turner (Up in the Air). Warner Bros. will release the film on September 10th.

'Welcome to the Rileys' Trailer

2010-07-11T13:38:00.000-07:00

Yahoo has debuted the trailer for Jake Scott's Welcome to the Rileys. Based on a script from Ken Hixon, the film will follow the struggling relationship of Doug (James Gandolfini) and Lois (Melissa Leo) Riley, and the complications that arise when Doug decides he wants to watch after a runaway stripper (Kristen Stewart).

The film will be released on November 5th. You can read some of the early reviews by clicking here.

Trailer for Hoffman's 'Jack Goes Boating'

2010-07-09T12:40:00.000-07:00

Certainly one of the year's biggest potential surprises is Jack Goes Boating, the directorial debut of Philip Seymour Hoffman. Back in late January, Roger Ebert called the film "my best Sundance experiece." The screenwriter, Bob Glaudani, originally wrote this as a stage play, which was eventually released in an off-Broadway theater. Hoffman, John Ortiz, and Daphne Rubin-Vega, who star in the film, also starred in Glaudani's production. The film's fourth star is Amy Ryan, who will play Hoffman's love interest.

Jack Goes Boating will hit theaters on September 17th. The embed below is in high-definition, but feel free to watch the trailer over at Apple as well.

Will 10 Best Picture Nominees Affect the Directing Category?

2010-07-03T15:46:00.000-07:00

For me, one of the more interesting things to analyze about any given year's slate of Oscar nominees is how the Best Picture and Best Director lineups overlap. It seems that more often than not, they match each other completely. The last time a director was nominated for a film which didn't receive a Best Picture nod was Julian Schnabel for The Diving Bell and the Butterfly in 2008. Not surprisingly, over the last ten years or so, most oddball directing nominees come from foreign films.

The Academy's recent change to ten Best Picture nominees has provoked a lot of questions about the ceremony's future. Here is my most recent one: As long as the Academy stays with this format, what are the chances that there will ever be another directing nominee from a film not nominated for Best Picture? With ten nominees, I have to think that the Academy will continue to be more forgiving with regard to foreign pictures and even the more "obscure" films. It seems that out of this past decade's oddball directing nominees, a great majority of these films - including United 93 (Paul Greengrass), Mulholland Drive (David Lynch), City of God (Fernando Meirelles) - would have received a Best Picture nod under the current ten-nominee format.

So, to reiterate, my question to you is this: With the ten-nominee format in place, how likely is it that a director will receive a nomination for a film which is excluded from the Best Picture category?

'Let Me In' Trailer

2010-07-01T22:52:00.000-07:00

Let the Right One In was one of 2008's finest films. Because of its great critical success, there was never really any question that an American remake would get the green light. It has been known for quite some time now that writer-director Matt Reeves (Cloverfield) was going to tackle the project, with Chloe Moretz (Kick-Ass) and Kodi Smit-McPhee (The Road) taking over the roles that were played so beautifully in the Swedish film. The trailer doesn't provide much beyond an atmospheric taste, but either way, it's the involvement of Moretz and Smit-McPhee that has my hopes relatively high for this one.

Overture Films will release Let Me In on October 1st, the same weekend as David Fincher's The Social Network.

Movie Review: Cyrus (2010) - 3 stars

2010-07-01T22:20:00.000-07:00

Cyrus is a film which proves that a group of good actors possess the ability to stretch thin material for an entire 90 minutes. The film's premise, based on a screenplay from filmmakers Jay and Mark Duplass, is clever, but, I repeat, thin. It is about a lonely man who, in the company of a fantastic new woman, finds happiness for the first time in years. But she has a troubled son who makes the relationship harder than it should be.

You'd think the story would go further than that, but it really doesn't. The film isn't interested in the psychological case study of Cyrus (Jonah Hill), the overweight, 21-year-old who still lives with his mother Molly (Marisa Tomei). There is certainly the potential here for a film of that nature. Instead, we simply experience the ups and downs of a well-acted triangle of relationships.

The third end of that triangle is John (John C. Reilly), the lonely one who meets Molly at a party while peeing in the bushes. John is hurt because his ex-wife Jamie (Catherine Keener) is finally marrying her longtime boyfriend Tim (Matt Walsh). John consults Jamie a few times later in the film about his new relationship, but for or more less, the ex-wife subplot is thrown to the side after the first couple of scenes. This allows the film to focus on John and Molly's promising new relationship, and the troubles that Cyrus creates along the way.

The film takes liberties with the Cyrus character that would not be allowed in a more psychologically profound film. His earlier years with Molly are alluded to, yet not explained completely. His actions seem inconsistent and irrational, which eventually allows the filmmakers to take the easy way out by merely labeling the character "screwed up." As strange as this may sound, do not expect the film to fully dissect its title character.

There are a few reasons why I can forgive incongruities of Cyrus. For one, it is a comedy, and it made me laugh. Admittedly, the laughs die down a bit when the film hits the halfway point, but let's just say that Jonah Hill draws much more laughs here than he did in Get Him to the Greek. Cyrus is also easy to enjoy because it is aware of itself as a rather slight film; the modest running length of about 90 minutes feels just right. A film less aware of itself would have probably ran fifteen to twenty minutes longer in an attempt to provide answers to questions that we really shouldn't be asking of this film.

But the most important factor behind the satisfaction of Cyrus is the acting. The film has three excellent performances on display. Reilly continues to excel when playing the average man that suits his appearance so well; he strikes a cord of truth here that is unattainable for a lot of other actors. His male co-star, Jonah Hill, delivers what is probably his best performance yet. He hints at dramatic potential that will hopefully be taken advantage of more in the future. And the third star, Marisa Tomei, comes across with the same lovely mixture of authenticity and warmth that earned her an Oscar nomination in The Wrestler.

Despite its attractive premise and well-known cast, Cyrus is not necessarily mainstream filmmaking. Its most distinguishing quality manifests itself in the frenetic camerawork of the Duplass brothers. The two use a very shaky camera, one that often zooms in and out uncontrollably. For me, this technique worked best when it emphasized moments of humor, such as a priceless reaction by John when he watches Cyrus enter the bathroom while Molly is taking a shower. However, at other times - specifically the more dramatic scenes - I wished the camera would have been calmer, allowing the expressions of the actors to resonate in a more fluid manner.

I have a feeling that many will end up being disappointed by the ambition of the film's screenplay. I certainly wouldn't blame them. But because Cyrus is a film made up of real actors with real emotions, I found myself involved with the characters every step of the way. It reminds you how easily an effective ensemble can make a film worth your time.

6/30: News Updates

2010-06-30T12:17:00.000-07:00

Here are some news updates I've compiled over at The Film Stage during the past few weeks:

New Release Dates For 'The Night Chronicles: Devil,' 'Never Let Me Go,' & 'Red Riding Hood' [Click Here]
US Trailer For Sundance Favorite 'Animal Kingdom' [Click Here]
International Trailer For Andrew Jarecki's 'All Good Things' [Click Here]
Jason Reitman Gets Rights To 'Elliot Allagash' [Click Here]
McAdams and Tatum To Star In 'The Vow' [Click Here]
Tom Hanks & Natalie Portman Among Stars Offered Roles In Tom Tykwer's 'Cloud Atlas' [Click Here]
Universal Releasing 'The Thing' In April 2011 [Click Here]

Movie Review: The Book of Eli (2010) - 3 1/2 stars

2010-06-28T13:57:00.000-07:00

The only thing in The Book of Eli that should cause controversy among viewers is the ending. Some will buy it, others will not. People will surely argue its plausibility, but I accepted the ending because it reinforces the fact that this is an action film with real ideas. But let's forget the ending for a second and focus on the bigger picture: The first three-fourths of The Book of Eli is outstanding filmmaking, engineered by an appropriately haunting visual landscape and an irresistible star turn from Denzel Washington.

The Hughes Brothers, Albert and Allen, haven't directed a motion picture since 2001's From Hell. I am not sure why, but their newest film offers no reasons to suggest that their talent has diminished over the years. Their post-apocalyptic tale begins 30 years after "the war tore a hole in the sky." This is the explanation of Eli (Washington), a lonely wanderer who has been asked to travel West in an attempt to find the right place to deliver the last remaining copy of the Bible.

When Eli wakes up to realize that his battery his out of power, he winds up meeting with the engineer (Tom Waits) of a decrepit town run by the sinister Carnegie (Gary Oldman). Carnegie, thinking that attaining the Bible will give him the power needed to expand his empire, offers food, water, and a solid roof to a group of men so they will endlessly search for the book that is currently in Eli's hands. More often than not, they come back with a series of pulp novels. There is a humorous moment when one of the henchmen is disappointed to realize that a Dan Brown novel is not what Carnegie is looking for.

Carnegie is also able to bribe his workers with women. He keeps the blind Claudia (Jennifer Beals) for himself, but gleefully offers up Claudia's beautiful daughter Solara (Mila Kunis) when she can be of use. Such an instance comes in the form of Eli, who Carnegie believes he can bribe to stay by offering him Solara. Instead, Eli chooses to introduce the illiterate and unfamiliar woman to the power of praying. Unfortunately, this ends up backfiring on him, as Solara inadvertently reveals to Carnegie that Eli is in possession of the Bible.

Like any self-respecting disaster film, there is violence. But The Hughes Brothers stage their set pieces with remarkable panache and style. The first great action sequence, a showdown between Eli and a group of disgusting travelers, is put forth in silhouette form. Another highlight comes later in the film when Eli and Solara, traveling together at this point, come across the shabby home of George (Michael Gambon) and Martha (Frances de la Tour).

For this performance, Washington is asked to pull of a variety of things. He nails Eli's persona perfectly, which is an interesting mix of quietude and charisma. I don't think Eli ever raises his voice or makes any whimsical movements in the entire film, yet there is a fascinating quality to him that makes the character compulsively watchable. Some of this must be accredited to Washington's believable presence as an action hero, despite his aging appearance. The actor should also thank Eli's piercing, twenty-inch blade (give or take) for contributing to his formidable presence.

The other actors also fare quite well. Gary Oldman, one who has never shied away from a villainous role, is effective playing Carnegie because he knows how to make the character a certifiable psychopath without ever going too far. Mila Kunis is also able to hold her own, even though she shares most of her scenes with seasoned veterans more than twice her age.

One of the most admirable things about The Book of Eli - a mid-January release incorrectly billed as an ultra-violent action romp - is that it has a definitive message. Even more admirable is that it doesn't bombard you with this message in the final ten minutes, even if that is what some viewers may take away. The Hughes Brothers, working from an intelligent Gary Whitta screenplay, sprinkle their ideas and themes throughout the entire picture. If it ends up becoming too preachy, at least it presents itself as a film that wants to be about something more than just beautifully-staged set pieces. I can buy that.

There is no clear reason why the first 90 minutes of this film shouldn't please viewers beyond expectations. But because the film takes a leap with its ending - and because endings usually contribute so much to our opinion of a film - those who have trouble believing the final twists of Whitta's script may not care to remember how good most of this film really is. Here's my advice to those people: Don't let the sour taste in your mouth overpower the deliciousness of the first two-and-a-half acts.

Movie Review: Toy Story 3 (2010) - 3 1/2 stars

2010-06-26T23:59:00.000-07:00

Toy Story 3 succeeds not because it tries to outperform its two predecessors, but because it realizes how good those two films are, and makes a conscious decision to follow the same general formula. Like Toy Story and Toy Story 2, the film is primarily action-based. It introduces its conflict early, and it drags it out until the audience cannot wait for the final emotional touch any longer. And, not surprisingly, the ending note is truly poignant, which has become one of the more distinguishable staples for Pixar filmmaking.

Being a second sequel, there is an expectation that the film will begin with an obligatory introduction sequence. Director Lee Unkrich, working from a Michael Arndt (Little Miss Sunshine) screenplay, puts his own twist on the opening scenes by making it, in many ways, the most grand-scale scene in the film. I won't go any further in describing it, but the eventual effect is an ingenious way to introduce the characters we have come to love so much: Woody (voice of Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), Mr. and Mrs. Potato Head (Don Rickles, Estelle Harris), Rex (Wallace Shawn), Hamm (John Ratzenberger), and Slinky (Blake Clark, replacing the deceased Jim Varney, who voiced the first two films).

The crucial human being in the Toy Story films is Andy (John Morris). Even though we rarely see him in the first two films, he remains a crucial part of the film's emotional center, and it feels right that in this entry he has a larger part. He is now 17 years old and experiencing his final week at home before leaving for college. After some tough thinking, Andy decides to put all of his toys, except for Woody, in the attic. But a mix-up with his mother (Laurie Metcalf) mistakenly sends the gang of toys to Sunnyside Daycare.

At first, Sunnyside seems like the perfect place for a group of toys who fear the emotional distress of the toy-owner relationship. The main toy at Sunnyside is a pink teddy bear named Lotso (Ned Beatty), who explains the following: "No owners means no heartbreak." The problem here is that our group of toys, being completely new to Sunnyside, must be played with by the daycare's hyper group of children. In this case, "no owners" simply means that there is group of kids, instead of just one, waiting to violently throw these toys around.

To make things even worse, when the toys decide they want out of Sunnyside, they learn that they can't actually leave. Lotso turns out to be somewhat of a prison guard, and there is an extensive security system which prevents the toys from having the ability to escape. However, there is a sprinkle of good news. Woody eventually returns to Sunnyside, and when he finds out about the daycare's cruel nature, he enlists the help of a watchful telephone (Teddy Newton) to organize a jailbreak.

For all of its magnificence, Toy Story 3 is not a perfect film. For one thing, it sometimes feels too plot-heavy. (A review of the first two films certainly wouldn't need three paragraphs of overview.) Another problem is the treatment of Lotso, who receives the most attention of the new characters. In a great flashback sequence that will remind every audience member of Jessie's moment in Toy Story 2, we learn of Lotso's relationship with his original owner, and why exactly his good nature has been damaged. But the film is inconsistent in the way it wants the audience to feel about the character, and where Lotso ends up doesn't feel satisfying.

I also think this installment is less witty than the first two. To its credit, the film does have two great gags, one of which is tailor-made: the relationship between Ken (Michael Keaton) and Barbie (Jodi Benson). I will not spoil the other one. But it is the conversation between the central group of toys that lacks the cleverness and spontaneity of the previous films.

The film's great success is in its action sequences, which may even be better than those of its predecessors. For me, Toy Story has always been an action series, and this final installment is a dazzlingly impressive display of the genius animation which began at Pixar all the way back in 1995. The massive prison break sequence will grip you for every second of its duration.

Considering this is the second sequel in a family trilogy of very profound magnitude, the people behind Toy Story 3 deserve a heck of a lot of credit for delivering a film with such great suspense. From the beginning, no matter what kind of conflict the gang gets itself caught up in, we know that there is only so much harm the filmmakers can put their beloved core of characters through. And that is quite a handicap to work with.

One thing Pixar's great strengths has been the emotions of their endings. In the wake of Up (and even the first two Toy Story films, to an extent), this sometimes entails a bittersweet emotion. And since the ending will bring many audience members to tears, it may leave people with the notion that Toy Story 3 is a masterwork, which I do not think it is. But this is a genuinely timeless film trilogy consisting of three films that I will revisit over and over again as the years go by. This is much more than I can say of most films.

Teaser for Fincher's 'The Social Network'

2010-06-26T11:30:00.000-07:00

The early promotions for David Fincher's The Social Network have me very interested. There was a poster released a few days ago, and the newly-discovered teaser trailer (embedded below, courtesy of Mashable) plays visually off of that poster, adding various bits of dialogue along the way. I think it is the dark tone that has me most curious. I wasn't sure whether this Aaron Sorkin-scripted film was going to have comedic undertones to it or not, and although it still may, everything so far suggests that the darkness will be more pervasive.

The film stars Jesse Eisenberg (Solitary Man), Andrew Garfield (Never Let Me Go), Justin Timberlake, and Rashida Jones. It is set to be released on October 1st.

'Inception' Updates and My Thoughts on the Film's Anticipation

2010-06-22T22:19:00.000-07:00

Officially count me amongst the group of people who is watching any and every Inception clip/trailer/featurette that pops up around the web. Do I think this will compromise the experience I have at the movie theater? Simply stated, no. I remember watching each trailer for The Dark Knight multiple times, and when I finally saw the finished product on the IMAX screen, the experience was nothing like what the trailers led me to imagine it might be. I expect Christopher Nolan's Inception to end up similar form, regardless of how different the films may be in subject matter. The man behind it all is still the same.

I don't think anyone who wasn't involved in the making of the film can possibly anticipate the complexities of the film's plot; surely, no trailer or 30-second television spot can even come close. Obviously, since I have not seen the film, I am just speculating here, but at least I have laid out my logic for you. With respect to my logic, which I think is sound, my emotions play a bigger role. There is simply no film this year that I am anticipating more, and nothing in the world could keep me from relishing every new shot and line of dialogue that will be (and has been) revealed until the film's release.

With that in mind, a new character featurette (embedded below) has been released online. The characters of Leonardo DiCaprio, Ellen Page, Marion Cotillard, Tom Hardy, Joseph Gordon-Levitt, Michael Caine, Cillian Murphy, and Dileep Rao are all featured, although, rather curiously, the Ken Watanabe character is not seen. Nevertheless, this is a great two-minute piece with plenty of new moments to feed your anticipation.

There have also been several more updates to the film over the past few weeks. Links to those can be found below, courtesy of the Nolan Fans website.

Two new TV spots (numbers 9 and 10) have also popped up on YouTube, albeit in low-quality. Enjoy.

The Four Week Feature

2010-06-20T20:47:00.000-07:00

Most Hollywood movies generally take about a month to shoot. There are obvious exceptions, but for the purpose of creating some perspective, let's say that the average amount of time it takes to shoot a feature length film is 30 days. Now take the Four Week Feature, a project recently launched by filmmakers Keith Boynton and Mike Lavoie, which plans to take 28 days to make an entire film. Writing, shooting, editing, creating a score, the whole thing. In less than a month.

This is the type of project that would seem crazy if Boynton, Lavoie, and the rest of their crew weren't so accomplished. During the summer of 2009, the team embarked on a similarly-minded project: 12 Films 12 Weeks. Here, they took three months to create twelve short films, completing one every single week. The result was a group of films that effortlessly mixed wit and pathos. (My two favorites, Old Love and After Perfect, are embedded below.)

The Four Week Feature project will begin on July 30th in Park City, Utah, the home of the Sundance Film Festival. (Could there possibly be a better place to make this thing?) For now, there's not really much else to say, other than this is a project you should keep your eye on. The links below should occupy your interest until the film's completion, when I will hopefully have interviews (and a load of great stories) posted with both Boynton and Lavoie.

Swank And Rockwell In 'Conviction' Trailer

2010-06-17T14:32:00.000-07:00

Apple has released the first trailer for Tony Goldwyn's potential Oscar contender Conviction. With a great story and cast, it seems as though there are very few places in which Conviction might end up going wrong. Hilary Swank will star as working mother Betty Anne Waters who puts herself through law school in order to defend her brother (Sam Rockwell), who has been convicted of murder.

I've never been a fan of voice-overs in trailers; this one is no exception, but there is enough here to legitimize the Oscar potential. Fox Searchlight will release the film on October 15th.

Movie Review: Ondine (2010) - 2 stars

2010-06-15T23:25:00.000-07:00

There is an odd charm to the romantic fantasy Ondine that makes it watchable for about half of its running time. Established writer-director Neil Jordan (The Crying Game) is able to work well with cinematographer Christopher Doyle to create a film of visual entrancement. The problem here is that the story never takes off and, even worse, doesn't have much of an attention-getting quality to begin with.

The main character is Syracuse, an Irish fisherman played by Colin Farrell. Since his divorce, Syracuse has made good on his promise to stay sober so that he can remain a viable role model for his daughter Annie (Alison Barry), who suffers from kidney failure. He isn't a churchgoer, but he makes frequent visits the local priest (Stephen Rea) to confess his wrongdoings. He is a good man at heart, and Farrell makes him easy to like.

At the start of the film, we are introduced to the title character (Alicja Bachleda), whom Syracuse inexplicably finds in his fishing net one cloudy afternoon. Ondine is incredibly flustered when Syracuse brings her on board (and possibly even experiencing short-term memory loss), which makes it impossible for Syracuse to determine what type of creature she is. Is she a human? A mermaid? A selkie? More importantly, do we care?

Jordan tries to get us to care through the relationships that blossom because of Ondine's appearance. She becomes close with both Syracuse and Annie, which brings the father and daughter closer together as well. Annie begins to spend less time with her real mother (Dervla Kirwan) so that she can be with her father and Ondine. All of this is well-done, and even though there isn't any legitimate conflict, the first half of Ondine manages to engage more than it actually should.

The story takes a dreadful turn for the worse in its third act, which provides an answer to Ondine's origins that is completely incoherent with the tone and spirit of the first half. It is a typical (and disappointing) Hollywood ending to what initially feels like a very independent picture. Granted, there is not much of a story to being with, but the way Jordan chooses to conclude his story doesn't nearly match the audacity of some of his earlier films.

The inconsistency of the acting is also an issue. Farrell is solid in the lead role, although I wonder if audiences will have trouble believing him as a struggling fisherman, especially when he's packing the heavy Irish accent. On the other hand, the lack of a public image for Bachleda - giving her an aura of mystery - often plays as a strength to her character. But she seems more comfortable in the first half, playing the attractive mystery woman, than she does in the final portions, when her true identity is confronted. I also think that Jordan put too heavy of a burden on the shoulders of Alison Barry. She is adorable, but the amount of intelligence this character is expected to have would have been difficult for any actress of Barry's age to pull off. (There is a shot of Barry sitting with several lengthy selkie textbooks in front of her. Can we really expect a girl her age to sit and read through all of those pages?)

Another thing which prevents Ondine from hitting home is the way it begins. Syracuse catches Ondine in the film's first scene, meaning all that we learn of Syracuse (his drunk and troubled past, his failed marriage) is played out through dialogue. This wouldn't necessarily be a problem if Syracuse's past wasn't filled with cliches, and if Jordan didn't rely so much on the character's past for the final emotional impact. It makes the third act turn of Farrell's character, in particular, very tough to believe.

There are some moments during the film in which you truly feel like you're in the hands of a skilled filmmaker. The lively banter during the confession scenes between Farrell and Rea is one of the main highlights, as is the striking underwater camera shots. Unfortunately, Ondine ends up being only one-half of a decent film, with a disastrous conclusion that, frankly, shouldn't be associated with a filmmaker of Jordan's caliber.

Trailer for Mark Romanek's 'Never Let Me Go'

2010-06-15T17:26:00.000-07:00

Yet another trailer has been released for a potential Oscar contender; this time, it is Mark Romanek's Never Let Me Go. The screenplay was adapted by Alex Garland (Sunshine) from Kazuo Ishiguro's celebrated 2005 novel. The central trio will be played in their older years by Carey Mulligan, Keira Knightley, and Andrew Garfield. Charlotte Rampling, who I recently saw in Swimming Pool, will have a supporting role.

The trailer can be seen embedded below, or via Apple. Fox Searchlight will release the film on October 1st.

Trailer for Sofia Coppola's 'Somewhere'

2010-06-14T19:39:00.000-07:00

Sofia Coppola, best known for writing and directing Lost in Translation, will have her next film, Somewhere, released on December 22 by Focus Features. A trailer has been released, which can be found embedded below or over at Apple. Stephen Dorff will star as Johnny Marco, a hot-shot Hollywood actor who must confront the issues of being visited by his 11-year-old daughter, who will be played by Elle Fanning. A glimpse of Michelle Monaghan can also be seen in the trailer. Along with The Kids Are All Right, Focus Features now has two potential Oscar favorites in their possession.

6/13: News Updates

2010-06-13T21:20:00.000-07:00

Here are some news updates I've compiled over at The Film Stage during the past few weeks:

[First Look] Angelina Jolie and Johnny Depp In 'The Tourist' [Click Here]
'Betty Anne Waters' Now Titled 'Conviction,' With Fall Release [Click Here]
Rachel Weisz In 'The Whistleblower' Trailer [Click Here]
Teaser For Sharlto Copley's Thriller 'Spoon' [Click Here]
'Scott Pilgrim Vs. The World' TV Spot [Click Here]
Woody Allen Reveals Complete 'Midnight in Paris' Cast [Click Here]
[First Look] Christoph Waltz On The Set Of 'Water for Elephants' [Click Here]
Orlando Bloom and James Corden Join 'The Three Musketeers' [Click Here]
Gary Oldman To Join Tomas Alfredson's 'Tinker, Tailor, Soldier, Spy' [Click Here]

Quick Thoughts on 'Babel,' 'Blue Velvet,' 'Body Heat'

2010-06-12T13:27:00.000-07:00

Babel (2006) - 3 1/2 stars

After Amores Perros and 21 Grams, Babel is the third and final film in Alejandro Gonzalez Inarritu's "Death Trilogy." Amores Perros I have not seen, but in comparison to 21 Grams, Babel is able to capture more lasting emotions, if sacrificing some of its narrative coherency. The film's multiple narrative threads never quite come together in the way we might expect them to, but that doesn't keep each of them from carrying a similarly strong emotional punch.

The stories are juxtaposed, but presented in a way that is never confusing. There is the Morocco tale of a goatherder (Mustapha Rachidi) who buys a rifle from a neighbor. He then lends this rifle to his two sons, hoping that they will use it to protect their herd of goats from the land's vicious jackals. Instead, the two boys get caught up in an argument over the rifle's capabilities, and inadvertently shoot Susan (Cate Blanchett), an American riding a tour bus, in the neck. The rest of the film deals with the plight of Susan's husband Richard (Brad Pitt) and his attempts to save her in a foreign land.

The couple's children are also involved. While Richard and Susan are away, they are being watched by their nanny Amelia (Adriana Barraza). When Adriana learns that Susan has been shot, a dilemma arises. She must return home to Mexico for her son's wedding, but at the same time, she cannot leave the kids alone. In a decision that may seem impulsive, she decides to take the kids with her to Mexico. I suspect that many people would have reacted the same way.

The third thread is the story of Japanese adolescent Chieko (Rinko Kikuchi). Boasting a temper (she is ejected from a volleyball match) and a rebellious attitude, Chieko struggles to connect with her father (Koji Yakusho) after her mother's suicide. The story deals mainly with her sexual encounters. All of these are strange, and may have even seemed silly in less capable hands, but Kikuchi's performance is painfully gripping and believable.

The entire ensemble, in fact, is in top form. This is one of Pitt's most unusual roles (his screen time is limited) but there is a lot of truth to it. There is a phone call scene between him and his son. The first time, early in the film, it is from the son's point of view. Later in the film, after the struggle, the phone call is retold from the father's perspective, and Pitt adds a surprising emotional depth. Adriana Barraza also stands out, playing the nanny who realizes far too late that she's in over her head. This film is a great piece about unusual circumstances, and how sometimes the world just doesn't allow certain people to be happy. Kudos to Gustavo Santaolalla's Oscar-winning score.

Blue Velvet (1986) - 2 stars

Blue Velvet is the second David Lynch film I have seen, after Mulholland Drive. Like that film - and probably any Lynch material from here on out - I am willing to suspend a complete opinion until after two or three viewings; however, I couldn't help but share an initial response, which is less than glowing. Kyle MacLachlan plays a college student who finds a severed ear in a field near his home. Upon showing the ear to Detective Williams (George Dickerson), he is introduced to Williams' daughter, played by Laura Dern, and he's brought into a world he never imagined.

That world begins with lounge singer Dorothy Vallens (Isabella Rossellini). Kyle finds out that Dorothy's husband and son have been kidnapped by Frank Booth (Dennis Hopper, as wild as everyone says he is), a first-rate psychopath. The first forty-five minutes or so of this film is great stuff, full of suspense. The first exchange between Hopper and Rossellini is undeniably chilling, but after that, Lynch's signature weirdness takes over to the point where I became removed from the material. The fear I felt during the first half was gone, which was one of the major disappointments.

The film is full of symbolism, but not enough is explained or introduced for the film to leave us with anything. The psychological situations of the characters are only alluded to. While this makes for challenging, thought-provoking viewing, it remains, for me, more unsatisfying than cryptically fascinating. I wonder if the film's themes played more originally during its mid-1980s release because the idea of a small suburban town having a sinister side is less shocking nowadays. In no way am I saying that themes cannot be repeated throughout cinema, but I think that this film just doesn't have enough to say. Discovering an idyllic town that is actually not-so-idyllic is an interesting start, but Blue Velvet goes nowhere after that realization. Shouldn't there be more?

Body Heat (1981) - 3 1/2 stars

Lawrence Kasdan's Body Heat is very good neo-noir; all of the genre's fundamentals are working. For creating his mood, Kasdan relies largely on John Barry's musical score, as well as the intense heat of the Florida setting; each scene is full of sweat. The film also plays out largely in the nighttime, especially the central romance between bum lawyer Ned Racine (William Hurt) and the alluring Matty Walker (Kathleen Turner).

One of the most original components of this film is that romance. While many noirs, such as Blood Simple or The Square, begin with the passionate affair already in full swing, Body Heat chooses to devote a great deal of time to the development of that romance. This is a risky move from Kasdan, and if the performances of Hurt and Turner weren't as good as they are, I think that the film - at least the first half - would have played too slow for many audiences.

The classic noir situation, present here, is this: Ned and Matty are in love, but Matty has a rich husband (Richard Crenna) who is getting in the way. Because of a prenuptial agreement, Matty would be left with very little if she were to divorce her husband, and Matty, toying with the notion of the femme fatale, is too greedy to leave with nothing. The couple's solution: kill the husband, and capture as much of his will as possible.

The two key supporting roles come in the form of Mickey Rourke and Ted Danson. Rourke plays one of Ned's clients, who is hired to create an explosive device which will serve as the murder weapon. Rourke's character is smarter than he may look on the surface. There is a great speech in which Rourke says there are fifty ways to mess up a crime, and thinking of twenty-five of them means you're a genius. Danson, on the other hand, plays a friend of Ned's. There is a crucial conversation between Danson and Hurt near the end, which I will not spoil.

It has been said that Body Heat took inspiration from the great Double Indemnity; it is easy to see why, but the impressive thing is how close it comes to matching that classic. While the film's first and second acts are devoted mostly to the relationship, the latter portions take on the persona of a delicious mystery, which is wonderfully plotted. A scene at the detective's office, late in the film, reminds me of one Fred MacMurray had in Double Indemnity. The way Hurt handles it is ingenious.

"You Ask Me for Inception"

2010-06-08T22:46:00.000-07:00

Three more great TV spots have appeared online for Inception, courtesy of Warner Bros.' YouTube page. There are a handful of new lines in these spots, all of which will feed viewers' anticipation. The mixing up of the music is also bit refreshing, not to say that Zack Hemsey's custom track was anything short of great. Be sure to keep checking the Nolan Fans website for the most up-to-date developments in anticipation of the film's July 16th release.

Movie Review: Get Him to the Greek (2010) - 2 1/2 stars

2010-06-08T22:09:00.000-07:00

Get Him to the Greek is the second film by Nicholas Stoller, a sort of spin-off of his first film, Forgetting Sarah Marshall. Like that film, Get Him to the Greek is able to deliver a steady amount of laughs (probably more, in fact) but it fails to achieve the dramatic notes it so desperately wants to reach. The film is produced, among others, by Judd Apatow, and this is yet another one of his projects - from Knocked Up to Funny People - that I have failed to connect with emotionally.

The film's saving grace is Russell Brand, who reprises his role from Forgetting Sarah Marshall as the rock star Aldous Snow. Fresh off the scathing commercial and critical response to his album "African Child," Aldous finds his life spiraling into an reckless, drug-addicted nightmare. His longtime partner, pop star Jackie Q (Rose Byrne), has left him, and taken their son Naples as well.

The other main character is Aaron Green (a competent Jonah Hill), an ambitious young intern who has advised his boss Sergio (Sean Combs) to organize a tenth anniversary concert for Aldous at the Greek Theater in Los Angeles. Initially dismissing the idea because of the negative controversy surrounding Aldous, Sergio eventually realizes the commercial benefits of such a concert, and assigns Aaron the three-day task of bringing Aldous from London to the Today Show and then to the Greek Theater.

This puts a dent in Aaron's relationship with Daphne (Elizabeth Moss of "Mad Men"). There is a very funny scene in which Aaron reveals his assignment to Daphne only to learn that she has been offered a job in Seattle, and she expects him to move because of it.

One of the key developments of the three-day road trip is the Las Vegas stop. This detour is made, at Aaron's suggestion, so that Aldous can speak with his estranged musician father (Colm Meaney). I suspect that this was intended to be a sequence of dramatic potency, but it never worked for me. Meaney has a few good lines, especially when he describes how Aldous' talent is all in his genes, but the entire scene is too full of drug-induced moments to ever ring true.

The dramatic subplot which I connected with the most was the one between Aldous and Jackie Q. Brand and Byrne share some good comedic timing, but they also play off each other's emotions effectively. More importantly, since all of the film's performers are effective, is the revelation that Jackie Q makes late in the film; it is a moment, I think, which is missing in the father-son relationship.

Because the film's plot is so thin, it relies heavily on the array of supporting characters. All of the actors do a good job, but the comedy is consistently hit-and-miss throughout, making it tough for me to give the film a complete recommendation. When the jokes are good, such as a scene in which Combs describes the art of the mind game, it is very good, but there are too many instances that drag. There were a few times where five to ten minutes went by without delivering a laugh or touching an emotional chord.

I cannot, however, give enough praise to Brand's performance. Brand himself is a wild man, but has been in recovery for years now. This, combined with his talent, gives a real sincerity to his portrayal. Even when the script asks him to do something that isn't quite right, his delivery never feels false. Any dramatic reaction that this film provokes should be accredited to Brand.

Since Brand is a main player in this film, Get Him to the Greek represents a slight improvement for Stoller. I think one of my main issues with some of these Apatow-like projects is their lack of an original premise. This handicap forces a couple things. Either the dialogue has to be consistently hilarious, which is very difficult to achieve, or some unexpected emotional territory needs to be reached. Get Him to the Greek doesn't necessarily do either of these things, but it is a passable film, and in the midst of this disappointing summer movie season, may that be enough?

Best Cinematography of the 2000s: Is it 'Jesse James'?

2010-06-05T22:23:00.000-07:00

This weekend, I was able to watch The Assassination of Jesse James by the Coward Robert Ford for the first time. I really adored this film. While the cast was quite marvelous, cinematographer Roger Deakins seemed to be the star of the film. This is a slow-moving film - but not boring - in which Deakins has a great amount of responsibility. Although this marvel effort in photography was most likely tough to achieve, I can't help but think this is the type of opportunity cinematographers dream about. The average shot length in this film is probably exponentially higher than it is in most other films, and Deakins fills those shots with gorgeous images of snowy landscape and lantern-lit train robberies.

By no means is the film lacking in its other areas. Pitt gives a cryptic, but effective performance in the lead role, and Affleck spearheads a tremendous supporting cast. The score by Nick Cave and Warren Ellis - who also did some great work on The Road - is mesmerizing. But I think this is a film that will ultimately be remembered for its cinematography, and rightfully so. I also think it will age well.

It makes me wonder about some of the other great cinematographic efforts from the 2000s. 2007 is obviously a golden year, considering both Deakins' work on No Country for Old Men and Robert Elswit's Oscar-winning work on There Will Be Blood. I think it is the vast landscapes of these two films which give the lensers the same opportunities that Deakins had on Jesse James. Wally Pfister also comes to mind when I think of great cinematographers from the 2000s. His work on The Dark Knight, although in a much different setting than these group of films, is no less effective.

I would love to hear what some of you think about this topic. What are the best cinematographic efforts of the 2000s? There are numerous films I have yet to encounter from the past decade, so recommendations of any kind are encouraged.