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AFM 09: LUCKY LUKE Review

Sat, 07 Nov 2009 15:33:12 -0500

So fast he can surprise his own shadow, so precise he can split the layers of paper in a playing card, Jean Dujardin is Lucky Luke - the wild west's fastest gun and most famed hero. Lucky for villains, then that Lucky Luke refuses to kill or none of them would stand a chance.

James Huth's big screen adaptation of classic French comic series Lucky Luke - which shares a creator with the equally classic Asterix books - is a charming burst of color and energy, a spot-on recreation of the manic energy and physics-defying gags that made the books so popular in the first place. Gorgeously shot in the deserts of South America and loaded with sumptuous design work and large scale sets this must surely stand as one of the most ambitious and successful translations of a visually-driven world from page to screen ever made. Even better, thanks to the presence of Jean Dujardin in the lead role and veterans such as Sylvie Testud filling the support parts the acting and character work is bang-on as well. Some risque humor and occasional forays into darker violence give a surprising edge to a film that features a (very funny) talking horse, as do some subtle satiric underpinnings.

John Luke is a man with a troubled past, a man who - as a young child - witnessed his father and mother gunned down before his eyes by a notorious and ruthless gang. That he was able to escape at all was nothing short of a miracle, proof that John is immensely lucky and so a new name is born and, with it, a legendary gunslinger.

Lucky is a solitary man, a man who roams the west with only his horse Jolly Jumper for company. A man who more than anything else just wants to go fishing in the Klondike. But his nation has other plans for him! With an election looming the president of the USA needs something, some great event, to boost his popularity. And he knows just the thing! He will complete the trans-continental railroad! But to do so before the election he will need to change the planned route and take the train straight through Daisy Town, the notorious home of countless bandits and thieves and - coincidentally - the home the Luke has not returned to since his parents were killed. Will Luke help his country now? Will he overlook his own history for the greater good of the town, the nation and his president? Of course he will but to clean up the town he must face Billy The Kid, Jesse James, the amorous advances of a childhood crush, the frustrated longings of Calamity Jane and - most of all - the devious schemes of Pat Poker.

French comic Jean Dujardin was simply an inspired choice to fill the role of Lucky Luke, the comedian continuing the remarkable hot streak he has been enjoying with 99 Francs and the OSS 117 films here. Dujardin shares with Peter Sellers the very rare ability to be very silly and yet very human at the same time. He gets into the skin of these characters in a way that very few can and brings them to life in such a compelling way that their worlds, no matter how odd or bizarre, seem perfectly real and believable. Luke shares a cheerful naivite with Dujardin's OSS character but here that is also fused to an elastic sense of Looney Tunes physics and a lurking dark undertone. Michael Youn and Melvil Poupaud may be less successful - though still adequate - in bringing Billy The Kid and Jesse James to life but Sylvie Testud's Calamity Jane and Danial Prevost's Pat Poker are absolutely perfect.

And what an incredible setting director James Huth has given his characters to play in. The landscapes are magnificent and epic, the design work brilliantly off-kilter. The final sequence, in particular, plays out in a set that would leave Terry Gilliam positively green with envy. Huth is a director who has never gotten the sort of recognition he deserves outside of France. His technical skills are impressive, his ability to shift and balance tone even more so. And his entire arsenal is on full display here.

Lucky Luke is a film that will give distributors unfamiliar with the source material absolute fits as they try to figure out what to do with it. Playfully violent in the same manner as the Road Runner cartoons there are a few moments here that may be considered non-starters for the very young while the over all tone is likely too Saturday-morning to really pitch the film to the teenage crowd. But forget about marketing demographics, this is just fun stuff beautifully made.

Three Fresh Teasers From Ho Yuhang's AT THE END OF DAYBREAK

Sat, 07 Nov 2009 15:22:55 -0500

Malaysia's Ho Yuhang is a great favorite in these parts, the director further cementing his reputation with this year's dark drama At The End of Daybreak.

Malaysia now, 23-year-old Tuck Chai is dating Ying, a schoolgirl who isn't yet 16 but their parents know nothing about the illicit relationship. Tuck Chai lives with his mother, a woman who has never got over her husband abandoning her. She drinks too much, and doesn't look after herself too well, but she would do anything for Tuck Chai. When Ying's parents want to report Tuck Chai to the police with the charge of statutory rape for having sex with a minor, Tuck Chai's mother pleads with them to settle out of court for cash compensation instead. After receiving the money, Ying's selfish parents decide that they want to go to the police regardless. Events become a blur. Ying tricks her parents and goes for a fateful meeting with Tuck Chai. The tensions between Tuck Chai and his mother become explosive. Before long, several lives are ruined and the police are involved after all....

Twitch provided the world's first look at the theatrical trailer for this one a few months back and now three new character teasers have been released. Check them out below!

AFM 09: Fresh Art And Plot Details From Tony Jaa's ONG BAK 3!

Sat, 07 Nov 2009 15:11:35 -0500

After director / star Tony Jaa had a very public meltdown while working on his recent Ong Bak 2 it comes as no surprise that producers Sahamongkol Film have been keeping things quiet as far as progress on Ong Bak 3. But you can't keep silent forever and with the arrival of the American Film Market comes the arrival of brand new artwork, confirmation that Jaa is directing the film solo - Panna Rittikrai was brought in to oversee the completion of Ong Bak 2 - and the first proper plot details yet released about the film. And here they are:

The legend of Ong Bak 3 begins after Tien (Tony Jaa) has lost his fighting skills and his beloved step-father at the Garuda's Wing cliff from the raid led by Jom Rachan (Saranyu Wonggrajang). Tien is brought back to life with the help from Pim (Primrata Dechudom) as well as Mhen (Petchai Wongkamlao) and the Kana Khone villagers. Deep into the meditation taught by Phra Bua (Nirutti Sirijanya), Tien finally is able to achieve 'Nathayut'. His talents are put to the test again when his rivals including the Golden-Armored King's Guard (Supakorn 'Tok' Kijusuwan), the mysterious killers in black, and Bhuti Sangkha (Dan Chupong) return for the final massive showdown.

So, yes, Dan Chupong's bizarre - and brilliantly so - raven-inspired character is back in a big way. And if you're wondering why Petchai Wongkamlao's name sounds familiar, that's because it's the formal name of popular Thai comedian Mum Jokmok, aka Dirty Balls in the original Ong Bak.

[MAINLAND REVIEWS] 风声 (The Message)

Sat, 07 Nov 2009 13:33:59 -0500

They were called 汉奸 (Hanjian), traitors to the Han race, a term which was only made official in the late 1930s, but had existed ever since the Qing dynasty. At the time of its inception, it was actually used in a rather complacent way by the Manchu in power, labeling anyone swimming against the tide with that pejorative, further expanding the divide et impera which had relegated Han Chinese to a suffering majority. But by the time of China's tumultuous 1940s and the Second Sino-Japanese War, the term had regained its initial meaning, this time as a black flag condemning any pro-Japanese collaborator - the number of Hanjian slaughtered without trial by Chiang Kai-Shek's junta numbers in the tens of thousands, to give you an idea. One of the most peculiar and infamous figures to gain this burdensome accolade was Wang Jingwei, a former Kuomintang member and Sun Yat-Sen acolyte who eventually left the party over strong disagreements with Chiang, and decided it was time to show his true colors in a very explicit way - by creating his own puppet government in Nanjing under the "tutelage" of the Japanese empire. It was amongst the most colorful of affronts: Wang used the same flag (adding a Japan-friendly pennant), emblem and name as the KMT's Republic of China, claiming legitimacy over their "cousins" in Chongqing. It's exactly from this setup that the Huayi Brothers' latest attempt to redraw the main melody map, 风声 (The Message), started with (literally) flying colors.

It's 1942, and under the constant threat of rival (both the KMT and Communist) forces, Wang's regime and imperialist Japan devise a rather clever plot to uncover the mole which had been planning several murders of key figures, and was now aiming for much bigger targets. With a fake communication handed to the Counterinsurgency division, mastermind Takeda (TV idol Huang Xiaoming) manages to allure five key suspects to an old, isolated mansion in the capital's outskirts, deliciously oozing European style. One of the five is the mole, known as 老鬼 (old ghost, "Phantom" in the English subs), and with the help of commissioner Wang (Wang Zhiwen) and the grotesque team of torture experts he and Takeda assembled, their job will be to find out who paved the way for such devious concoctions, leaking important information to the rebel organization. And he couldn't choose a more varied bunch: we have tough-as-nails military veteran Wu Zhiguo (Zhang Hanyu); the insidious tongue of effeminate secretary Bai Xiaonian (Taiwanese pop star-cum-TV idol Alec Su); the demure and sophisticated master codebreaker Li Ningnyu (Li Bingbing), with her killer Qipao and enough subtle charms to remind of the Hollywood divas of yore; ultimate Daddy's Little Girl and Morse code expert Gu Xiaomeng (super-talented Zhou Xun) explodes with cheerful and smarmy playfulness (not to mention a dead serious, tomorrow-is-not-another-day hangover), whereas sector chief Jin Shenguo (King of Comedy Ying Da) and his gigantic complex seems more peeved and troubled by the entire ordeal. Once the five realize they have now become the protagonist of an Agatha Christie chamber whodunit with a stretcher being their most likely way out, proceedings in Qiu mansion assume a whole different color. Or maybe shades of gray.

If Sun Zhou's 秋喜 (Qiuxi) took care of the middle ground, what films like The Message and 麦田 (Wheat) have achieved is offering an antithesis to propaganda potboiler 建国大业 (The Founding of a Republic) in the ever-evolving main melody canon of 2009. Whereas the record breaking, insanely star-studded 60th anniversary cheerleading parade conveyed its key points (titillating with star power, and shoving government creed down the viewers' throats) with the delicacy of a Jurassic Park alumni, filmmaking of this kind is what could lead Mainland China to a new golden age, one not limited to festival-friendly fare by the likes of Jia Zhangke and many a sixth-generation director, and the increasingly empty period blockbusters the fifth generation has been offering. That is because The Message, in all its obvious aim to glorify the sacrifices the path to today's prosperity (?) was laden with, is also a supremely entertaining, superbly produced film first and foremost, one which oozes the bravado of Hollywood classics of the period (the 1940s, that is) along with their distinctive political incorrectness; a film boasting a fantastic cast which even manages to cover individual shortcomings through ensemble acting, and a bombastic (oftentimes pompous) visual sturm und drang which oozes confidence from every frame. If propaganda it has to be, let it always be it done this way.

In all fairness, the Mainland's new obsession with spy thrillers has very predictable roots: novels and television. Novels because of the slightly more laissez-faire approach of the government, which paved the way for much richer, more realistic and striking literature; as for TV, maybe it's an indirect consequence of the government's much stricter impositions on crime thrillers or history-related productions - making sure that all viewers will get are shallow wuxia infested by idols, somber "reenactments" of many a popular hero's feats with nary a hint of artistry, and huge productions with insane battle scenes and fancy historical paraphernalia thrown around, but very little to say about the period and very little soul to begin with. As a result, the much more approachable spy thriller has become a sort of darling of TV execs, as you can generate great suspense, bank on the many classically-trained talents the Mainland has to offer, and make the head honchos happy with less effort than you'd think. It's curious, then, to find out that The Message's narrative pillars exactly come from these two elements, in the form of famous novelist Mai Jia. And his life story is just as interesting as any film or TV drama he's been involved with: born in Fuyang in 1964, Mai worked as a People's Liberation Army codebreaker for 17 years, experience which he filled a trilogy of tremendously influential novels with, starting with 2001's 解密 (Codebreakers), and followed by his acclaimed follow up 暗算 (Covert Ops), focusing on the Republican era. This, in more ways than one, was his true call to stardom: Covert Ops was in fact adapted into the tremendously successful 30 episode drama 暗算 (Plot Against) in 2006, divided into three mini-stories dealing with different subjects (codebreaking, undercover missions and radio operations), which paved the way for a renaissance of the spy thriller, finding its most popular confirmation with this year's 潜伏 (Lurk) by Jiang Wei.

The Message (whose Chinese title is a double entendre meaning the "sound of wind" but also "rumor") comes from the very final installment of Mai's intelligence trilogy, and although Chen Kuo-Fu's script certainly takes its liberties with the source and it's not exactly subtle - the whodunit aspect of the story is too obvious to have any impact, but the main melody coda sort of makes up for it - it's a fine adaptation effectively translating that noir-like ethical ambiguity which drenched those figures and their challenging work, which always banked on one rather trying motto: trust nobody but yourself and your cause. Seen in that vein, the film assumes a much more colorful slant, one whose roots are genre-based and come from literature, making any doubt that this was just a big whodunit setup to get out the flags and cheer the advent of red-colored salvation vanish into thin air. It's a world filled with a lot of darkness but very little black and white dichotomies, and even when we're presented with stereotypes (the effeminate young executive "loving" his way up the ranks, the energetic tomboy hiding clouds behind her frolicsome smile, or the vicious collaborator and his Joker-like aplomb), it's all put in context in a rather plausible, even charming way - think of how Mad Men deals with its characters' period-influenced warts, albeit in much less subtle strokes. But even if you decide to ignore all that, this film is enough bombastic fun to be worthy of a trip to the theater.

Forget Tim Yip's phenomenal work (those Qipao... are dangerous), and the almost unhealthy detail with which the period ambiance has been recreated - down to the Nazi songs inside Qiu Mansion, as deliriously over-the-top as it is perfectly realistic, considering Wang Jingwei was a Nazi sympathizer who organized pro-Axis groups during his stay in the KMT; forget the sprinkles of energetic, wildly anachronistic intertitle-like CG, transforming Morse communication into an Y2K generation-driven extravaganza. Forget the solid score by Oshima Michiru and the top notch cinematography (including his wild visual non-sequitur with the fly cam) by Jake Pollock, as what really stands out and carries the film from start to finish is the fantastic cast, a very healthy mix of star power and veterans who can deliver the goods. Seeing incredibly talented veterans like Wang Zhiwen - wonderful as the King of Liang in 墨攻 (A Battle of Wits) - get the chance to fully flex their muscles in material which can challenge them (unlike his often pedestrian work on TV) is a joy, and Wang's vicious frowns and explosive panache mark what is perhaps his best performance since his turn as Marquis Changxin in Chen Kaige's 荊柯刺秦王 (The Emperor and the Assassin). It's also no surprise to see Zhou Xun excel (is she ever less than very good, even in much lesser work?), but the really interesting aspect of this cast is how stars whose talent is often overshadowed by their choice of projects finally got the chance to show their true colors. Take Li Bingbing, for instance, who starred in way too much fluff for her own good, but manages to mix subtle sex appeal with an underlying sadness which makes her character all the more appealing - think 40s Hollywood diva meets Maggie Cheung in 花樣年華 (In The Mood For Love). Or, even more shockingly, take Huang Xiaoming, who - surprise surprise - seems to be able to act indeed, something his many TV escapades rarely suggested.

Could The Message have been better? I suppose so, but you always have to consider the context. Take this cast, Gao Qunshu's assured direction and the top notch technical specs which surrounded this film and go for a badass, no holds barred spy noir, and you could make a masterpiece out of this. But that is not likely what the Huayi Brothers, who are increasingly dominating the Mainland box office with their productions, wanted to go for. Combining strong main melody themes with sincerity (as much as the practice allows, obviously), filling the film with a cast which can appeal to a wide scope of demographics (from teenyboppers to older generations) but also deliver the goods, mixing noir tropes with an old school whodunit narrative structure and even throwing some deliciously perverse torture scenes into the mix, all stirred and served with fancy CG and wild camerawork on top can offer the kind of adrenaline and pizzazz that Mainland cinema hadn't seen in quite a while. And you know what? That's the point. The main melody canon is not going to go away any time soon, especially as long as the government continues to see culture (particularly TV dramas and films) as a crucial catalyst of their propaganda. But if you're going to do it, show some guts. Surround it with solid and energetic filmmaking, with a cast that is not merely made of big names, but actors who can give life to their characters; with themes that support the inevitable core themes coherently and with intelligence, without making the whole affair a cheap exercise in cheerleading. Then, maybe we'll close an eye and only focus on the spectacle on display, just like this film has moved many people to do. Because, really, that's the only message that counts...

RATING: 8

风声 (The Message)
Director: 高群书 (Gao Qunshu), 陈国富 (Chen Kuo-Fu)
Screenplay: 陈国富 (Chen Kuo-Fu). 麦家 (Mai Jia - Novel)
Produced by: Huayi Brothers Media Corporation
Running Time: 120 Minutes
Release: 9/29/2009
CAST: 周迅 (Zhou Xun), 张涵予 (Zhang Hanyu), 李冰冰 (Li Bingbing), 黄晓明 (Huang Xiaoming), 王志文 (Wang Zhiwen), 苏有朋 (Alec Su), 英达 (Ying Da), 倪大宏 (Ni Dahong), 段奕宏 (Duan Yihong)

THE FOURTH KIND: Review

Sat, 07 Nov 2009 13:04:37 -0500

[Keeping Twitch team mate Peter Martin company, Peter Galvin offers the Twitch readership his own take on The Fourth Kind. Thanks, Peter!]

Another week, another "found footage" horror film.

The Fourth Kind claims only half of its run-time is found footage, the rest is introduced by actress Mila Jovovich as elaborate dramatizations of real events that occurred in Nome, Alaska. I am always a bit wary when a film's tagline is "Based on a true story", but setting aside questions of legitimacy, I recognize that it was a risky endeavor to construct a movie from equal parts VHS tape and America's Most Wanted re-enactment.

Thousands visit set of THE REEF

Fri, 06 Nov 2009 22:00:00 -0500

In what was billed as a world first, Australian shark thriller The Reef opened up its set to the world this week with a compelling live stream that gave audiences a chance to see what happens on a film set.

Over the six hour live stream - and via at least four separate cameras - viewers were shown around the set, watched live interviews with everyone from director Andrew Traucki, the cast and crew, and were able to submit their own questions via a live comment feed.

There was also some pre-recorded footage and interviews from the ocean-based shoots earlier this month, and a good deal of shark footage - which Traucki shot off the coast of Australia earlier this year.

Even more incredibly, the RED camera The Reef is being shot on was hooked up to the live feed - so that viewers at home could watch (via a second camera) a scene being set up, with props, lighting, cast and all the on set banter between crew before cutting to the RED feed and watching the scene from the director and cinematographer's vantage point.

It's hard to describe just how incredible and immersive the experience was, but I haven't felt this buzzed about what I was seeing from a film set since Peter Jackson started his landmark series of video production diaries from the set of King Kong in 2005.

It was akin to watching DVD extras live, and the constant interaction between the people in front of the cameras and the audience gave the feeling we were on set with the cast and crew.

For anyone who missed it, selected footage will be online in coming weeks at http://www.reefmovie.com/

Four posters for 'Kick-Ass' really... um... er... you know!

Fri, 06 Nov 2009 20:45:26 -0500

A little bit of spit and polish go a long way. Four posters for Matthew Vaughan's graphic novel adaptation Kick-Ass have been released. On their own they're nifty but unless you saw them all together you would think something was amiss. Line them up and you get an even bigger Kick-Ass. Neato!!!

You'll find all four posters and their joint coolness after the break!

Kick-Ass

Fri, 06 Nov 2009 20:40:01 -0500

Two scenes from VIY 2 in anaglyph 3D

Fri, 06 Nov 2009 16:36:13 -0500

Viy: The Return (Вий: Возвращение) was 5 years in production, it had changed its genre from horror to mystical adventure, producers promised that it will be Pirates of Caribbean set in quasi Ukraine of 18th century, they also said that they filmed 2 continuations, even thought the first one was not released yet. And when the news came that it will be in 3D, i didn't even know should I believe it or not. And now they published 2 scenes for sequel Viy 2: Cursed Place (Вий 2: Проклятое место) in anaglyph 3D. Viy: The Return will be probably the first stereoscopic movie in Russia after the pause in more than 20 years. The second pretender is Dark World (Тёмный мир).

The early 18th century is a time marked by the struggle of modern science to overcome superstition. When British cartographer and scientist Jonathan Green (Jason Flemyng) travels to the wilds of the Far East, he stumbles upon a village nestled in an impenetrable forest. There, he is told stories of a terrifying creature with a gaze that can pierce a man's soul, a creature known only as "Viy". Despite warnings, the pragmatic Green sets off towards the boarded up local church in an attempt to disprove the stories. What he finds there confounds science and imagination, a horrific truth about the village and its people.

So take your anaglyph glasses and enjoy scenes.

Viy: The Return should be released on 18 February 2010. Viy 2: Cursed place should be released in 2010, exact date is unknown.

Reel Asian 09: Win Tickets To WHEN THE FULL MOON RISES

Fri, 06 Nov 2009 11:48:58 -0500

When does the full moon rise? On Friday, November 13th - that's when Toronto's Reel Asian International Film Festival will screen Mamat Khalid's cult horror comedy and you could be there for free. We've got a pair of tickets to give away and they can be yours if you simply email me here with the title of Khalid's previous zombie comedy. The winner will be drawn on Sunday.

From The Writer Of THE DEVIL'S BACKBONE, Producers Of PAN'S LABYRINTH And HIERRO And Director Of THE BIRTHDAY: First Images From AGNOSIA!

Fri, 06 Nov 2009 11:37:42 -0500

For those in the know about recent Spanish genre cinema, this is a collision of talents to be excited about. Producers Telecinco (Pan's Labyrinth, The Orphanage) and M.A. Faura (Hierro), director Eugenio Mira (The Birthday) and writer Antonio Trashorras (The Devil's Backbone) are now in production on Agnosia a film they are keeping very quiet about, allowing only that it is a heavily genre tinged romantic thriller. Here's the official word:

"Agnosia" is a romantic thriller set in Barcelona in 1899, in which a terrible plot (plan) is woven around the strange illness of a young heiress.
Starring Eduardo Noriega, Martina Gedeck, Bárbara Goenaga and Félix Gómez.

But though the plot is being kept secret, Twitch has just been sent the first trio of images to be seen from the film anywhere. Expect us to keep a close eye on this one and take a look at the images in the gallery below.

Agnosia

Fri, 06 Nov 2009 11:34:39 -0500

Monty Python Is Turning Forty And That Means Presents!

Fri, 06 Nov 2009 11:18:40 -0500

It's hard to believe it's been so long but this year marks the fortieth anniversary of Monty Python's Flying Circus - still one of the greatest comedy shows ever created - and to celebrate the good people at A&E Home Entertainment are offering one hell of a gift to one very silly fan.

What's up for grabs? The Complete Monty Python's Flying Circus 16-Ton Megaset, Monty Python: The Other British Invasion, and The Personal Best Of Monty Python - total value of $140. What do you have to do to get it? Break out your very best Silly Walk, that's what.

Head on over to the official Silly Walk Generator - you'll find a tutorial on how to use it embedded below - and get your strut on. Once you've polished and buffed and convinced yourself that your walk is the silliest one possible, then email me the link to view it online. Our expert panel of Silly Walkers - i.e. most likely myself and the boy - will use our amazing powers of perception to determine the very finest Silly Walker - based on which makes us laugh the most - and award the prize accordingly. The winner will be selected November 15th.

AFM 09: The Producer Of TURKEY SHOOT And PATRICK Brings A METAL TORNADO!

Fri, 06 Nov 2009 11:08:26 -0500

Fans of classic Oxploitation film and viewers of recent doc about same Not Quite Hollywood need no introduction to Tony Ginnane. A veteran producer who has long embraced comparisons to Roger Corman, Ginnane built his name in the seventies while producing films like Patrick, Turkey Shoot and Harlequin - films that led the wave of pulpy genre pictures being exported from Australia.

Though we haven't heard much from Ginnane on this side of the ocean in recent years he's still quite busy and ready to cross back over the ocean with the SciFi Disaster Chronicles - a multi film series that we first reported on back in May. And my favorite of the titles in the series is - without a doubt - Metal Tornado. Because who doesn't want to see a film about a giant swirling vortex of metallic death? Here's the synopsis:

When astronomers discovered the phenomena of magnetic tornados on the planet Mercury, they were amazed by the destructive power of these gargantuan solar-fueled magnetic fields...but they never imagined witnessing the catastrophic forces in their own backyards.

Samuel Planck is head of the HELIOS PROJECT--a high tech facility tasked with storing and converting solar rays into an endless supply of renewable energy. After years of research and millions of dollars, it is now time to test the system out. The scientists cheer loudly as initially things go according to plan. But when the facility is unable to control the massive amount of energy coming in, the cheers turn to screams. The charged particles begin swirling around themselves, creating a massive magnetic vortex that quickly becomes the first magnetic tornado on earth!
Planck and his team try to abort the procedure but it's already too late--with a trillion watts of power to draw from, there is nowhere this monstrous force of nature can't go. The mega swirling tornados are soon ripping steel from buildings, cars off the street, and planes from the sky as they pulverize everything they touch!
Now Samuel Planck and his team must find a way to stop these metal tornados before they destroy all of us!

No trailer yet but that spiffy artwork attached to this post is brand new and rather lovely.

Magnolia has a Good Heart

Fri, 06 Nov 2009 08:53:12 -0500

Looks like producer Thor Sigurjonsson owes me a coke.

Magnolia Pictures has, according to IndieWire.com picked up the US distribution rights to Dagur Kári's third film The Good Heart, starring Brian Cox and Paul Dano.

This should make Todd a happy boy.

IndieWire has the scoop below.