Week in review: 3/17 - 3/21

This week saw two big Hollywood players, Sofia Coppola and Andy Serkis, sign on to direct projects for the benefit of the little people -- kids, that is. A cult classic celebrated its 10th anniversary, we were treated to our first look at classic cartoons in 3D form, and a critic made an impassioned plea for accomplished short films to be taken as seriously as any modern classic feature. While we're on the subject, Golden Era-Hollywood choreographer and director Busby Berkeley, he of 42nd Street fame, will be the subject of a new movie, thanks to producer (and most likely, star) Ryan Gosling. Unfortunately, Gosling's Busby biopic is not a Sony project, which is too bad, as the studio could use a hit, or quite a few, right now.

Our final pick of the week has no direct ties to the world of film, but is nonetheless an interesting read for anyone interested in art and entertainment criticism (and spats) in general.

What have we missed? Let us know by sounding off in the comments below!

Sofia Coppola to helm 'The Little Mermaid,' Deadline Hollywood

Andy Serkis to direct 'The Jungle Book' for Warner Bros., The Hollywood Reporter

Blessed Are The Forgetful: Remembering Eternal Sunshine of the Spotless Mind on its 10th Anniversary, Indiewire

You're a CGI-rendered Man, Charlie Brown in the Peanuts 3-D Teaser, The A.V. Club

Does the Cinema Need Short Films?, The New Yorker

Ryan Gosling Producing Busby Berkeley Biopic, May Also Star, Indiewire

Sony Interactive Group Shuts Down as Layoffs Begin, The Hollywood Reporter

Rosen: In Defense of Pop Criticism, Vulture

'Only God Forgives' and 'Nebraska' have mixed receptions at Cannes

Two movies with U.S. theatrical releases later this year are receiving mixed reviews from Cannes. At the festival, writer/director Alexander Payne's Nebraska elicited some tepid reactions. The Drive
follow-up from Ryan Gosling and director Nicolas Winding Refn, Only God Forgives, was booed by at least some members of the audience.

Paramount Vantage has given Payne's Nebraska a November 22 release date, right in the heart of awards season. Based on the screening, THR predicts the distributor "should be able to ride accolades for this very fine Cannes competition entry to respectable specialized returns in fall release." Not everyone was impressed, though. Hollywood Elsewhere's Jeff Wells called the movie a "a double. Maybe even a single" in a tweet, dubbing it a "minor Payne." "Thompson on Hollywood" also called the film "wistful but slight." But both Variety and THR gave generally positive notes. They may have been looking over each other's shoulder, because both made separate references comparing parts of the father-son road trip to The Last Picture Show and the movies of Preston Sturges. The black-and-white drama stars Bruce Dern and Will Forte as father and son, and a cast of relative unknowns reportedly fills out the supporting characters nicely.

The violence in Only God Forgives may have been the biggest turnoff to Cannes audiences. Variety's Justin Chang noted that "early rumors that Only God Forgives had been slotted in competition at the producers’ insistence" seemed confirmed by the movie's poor showing, while also conjecturing that "it would no doubt have been greeted with less hostility" in the "Midnight Screenings or the Directors’ Fortnight sidebar." New York's "Vulture" blog observed that most of the negative reactions had to do with the "ultra-violence," while joining a chorus of other critics hailing Kristin Scott Thomas' performance as Gosling's character's mother. Only God Forgives comes out July 19th through Radius/Weinstein Co, which should cover both Winding Refn cinephiles and violence-hungry VOD audiences. THR, for one, predicts the feature "will not disappoint devotees of the Nicolas Winding Refn church of fetishistic hyper-violence."

For more out of Cannes, check our posts by J. Sperling Reich on Screener.

 

Get your Ryan Gosling fix with the red-band trailer for 'Only God Forgives'

It's safe to say that if you didn't like Drive, you won't like Only God Forgives. Director Nicolas Winding Refn reteams with Ryan Gosling for the crime thriller, and from the looks of the red-band trailer, there will be plenty of violence. This time, though, Gosling doesn't play a sympathetic figure, but a psychopath whose abnormalities were apparent in the womb. In a voiceover, his mother (Kristin Scott Thomas) says doctors "told me to terminate," but I'm pretty sure there's no test for gun-toting psychopaths yet.

Drive had look-at-me cinematography and thrilling car chases. The color saturation in Only God Forgives looks even more over the top, with entire scenes shown in shades of bright red or deep neon blue. Refn set the feature in Bangkok, Thailand, and he's clearly drawing from the aesthetics of East Asian films. That's just one reason the movie will be a must-see among cinephiles.

What's unclear is whether Gosling's followers will appreciate the star in a movie that's not Crazy, Stupid, Love. Gosling is clearly wary of being a matinee idol, taking dark roles in films like Half Nelson, Lars and the Real Girl, Blue Valentine, The Place Beyond the Pines, Drive, and now Only God Forgives. But that doesn't mean his diehard fans wish he'd just cave and star in another movie like The Notebook. In fact, the closest they're likely to get to that is the auteur project from Terence Malick that features a love triangle set in Austin, Texas. I imagine that romance will be far less accessible than the one in The Notebook.

The Weinsten Co. is releasing Only God Forgives through their Radius banner, which emphasizes VOD and simultaneous theatrical/alternative releases. It's likely they'll roll out the feature later in 2013.

 

Director Terrence Malick suddenly prolific, with three movies in queue

By Sarah Sluis

After waiting years for writer/director Terrence Malick's The Tree of Life, I was a bit underwhelmed when it came out this May. What's wrong with a little narrative? Even so, Malick remains my favorite working director. No one else captures (or even cares about!) natural imagery the way he does. His films are like watching a "Planet Earth" that's subsumed to the narrative of the humans around the creatures and vistas.

Malick is famously private and refuses to give interviews to the press. Until The Tree of Life, he also had a perfect track record (at least in my book). Given how few films he's created, I suspect he's a perfectionist. I wonder if mixed opinions about his latest work somehow freed him from a fear of failure, because he now has three projects in the works.

The first has already filmed and supposedly will be edited by 2012 (though Malick is a notoriously slow editor, often using the cutting room to transform the work).Today, the Los Angeles Times was able to scrounge up details about the plot. Ben Affleck stars as a philanderer who goes to Paris, encounters a European woman (Olga Kurylenko) and brings her home, marrying her for visa reasons. With the romance fizzling, he takes up with a hometown girl (Rachel McAdams) with whom he has a history. Javier Bardem plays a priest Affleck's character consults about his raffish ways.

Malick's other two projects will shoot back-to-back in 2012. Lawless stars Ryan Gosling, Christian Bale, Cate Blanchett, Rooney Mara and Haley Bennett, who may be Malick's latest ingnue (he has cast unknowns such as Sissy Spacek and Jessica Chastain in the past). Knight of Cups, the second project, will also star Bale and Blanchett, though the movies reportedly do not relate to each other. That picture would also star Isabel Lucas, another young, relatively unknown actress.

None of the pictures has a U.S. distributor, though FilmNation has been serving as a sales rep and production company. Malick has reportedly already received offers for the first movie, though he has turned them down--an enviable position to be in. Let's hope his first movie squeezes into the end-of-year 2012 releases, but knowing Malick, such an optimistic timeline will be a longshot.

A new kind of getaway scene: 'Drive'

By Sarah Sluis

I'm not really into car chases. They require a suspension of disbelief that bores me and makes me tune out. Car chase sequences that really broke ground, like the one in 1968's Bullitt, have been so copied that watching the original feels like "same old." The only car sequence that truly freaked me out in the past decade or so wasn't even a car chase, but that out-of-the-blue car crash in Adaptation. That felt incredibly real and scary.

For this reason, I wasn't that excited about the indie movie Drive. Ryan Gosling plays a professional driver who moonlights as a getaway car driver. After a job goes wrong, a contract goes out for his death. He runs away with the girlfriend of one of his crime associates (Carey Mulligan), and presumably there's some smooching involved.

The FilmDistrict film is a selection at the Cannes Film Festival, and the festival website just posted a clip of Drive that's truly stunning. It's chock-full of suspense without going over 40mph. Car chases generally involve lots of crashing through intersections, high speeds, and improbable moves like going off a ramp on a pier and landing on a barge in a river (just riffing here). Drive takes the rare step of doing something simple and realistic like pulling over to evade the cops. I almost fainted from excitement.

I don't know if the rest of the movie will be able to pull of that level of suspense, but I also like that the first look of the movie wasn't a trailer, but a brief clip The director, Nicolas Winding Refn, has written and directed seven low-budget action/thrillers that get distributed by the likes of IFC, First Run, and Magnolia. He hasn't ever had the chance to prove himself with a larger budget or well-known stars. But within the low-budget realm, he created Pusher, so successful it was turned into a trilogy and inspired a remake. This man must be doing extremely well in the rental/DVD arena.

Drive will benefit from the support of newbie distributor FilmDistrict, which has been performing strongly. One of its first releases, the horror movie Insidious, has earned $50 million in the U.S. alone off a reported $1.5 million production budget, making it the most profitable movie of 2011. A while back, Drive was given a release date in the fall, where it can take advantage of the post-summer slump.

For a closer look at the Cannes Film Festival, check out Film Journal contributor Jon Frosch's Cannes blog.

Trailer review: 'Crazy, Stupid, Love'

By Sarah Sluis

Steve Carell nailed the sexually innocent, romantically awkward character in The 40-Year-Old Virgin, and it appears that he's returning to the same territory in Crazy, Stupid, Love. The romantic comedy has a well-known cast: Ryan Gosling, Julianne Moore, Marisa Tomei, Emma Stone, and Kevin Bacon play supporting roles. The trailer for Crazy, Stupid, Love just came out, and it exceeded my expectations.

First, Crazy, Stupid, Love appears to put story first, comedy second, which for me is more likely to result in appreciative laughter. Unfortunately, I know the movie puts story first because the trailer all but gives away the ending. Oh well. Carell plays a husband who just found out his high school sweetheart wife (Moore) cheated on him. He ends up meeting a player (Gosling), who helps him up his game enough to snag a cute woman (Tomei). But Carell still loves his wife! And Gosling just fell in love, not lust, with another woman (Stone)! It seems like the story will end with Carell back in the arms of his wife and Gosling learning from Carell how to commit. It's really too bad that the trailer had to give that story arc away--I think the idea of the player learning from the longtime husband is really sweet, and unexpected. In a lot of these movies, only the main character undergoes a transformation.

Of all the performances, I was most surprised by Gosling's take on a ladies' man. I know him mainly for his dramatic role in Blue Valentine, so seeing him as a slick, fast-talking guy was something of a surprise. The rest of the cast plays versions of their already established star personas. For the second year in a row, Moore is playing a likeable cheater (The Kids Are All Right). Stone again plays a smart girl skeptical of male intentions (Easy A), and Tomei is doing her sexually assertive thing.

The trailer cuts out some of the more suggestive punchlines, so I'm going to bet this movie is going for a PG-13 vibe, especially because the movie also includes teen romance, Carell and Moore's son's lusting after his babysitter. Back in December, Warner Bros. moved the comedy from April 22 to July 29, the surest sign that this romantic comedy can stand up to the heat of summer.

Golden Globe nominations: A whole lot of 'Whaaat?'

By Sarah Sluis

So maybe this hasn't been the strongest year for movies. But does that really justify the Hollywood Foreign Press nominating the flop The Tourist in three categories? When I outlined the film's dismal box-office prospects the Friday it opened, I wondered if Angelina Jolie and Johnny Depp would be enough to save the film. Well, it earned just $17 million opening weekend, but the star wattage of Jolie and Depp was enough to blind the Foreign Press Association to its negative reception stateside. I imagine the dialogue going something like this--"We need Depp and Jolie on the red carpet--we can't disappoint the people running E!'s Red Carpet show!" How big of a joke were The Tourist's nominations? They "drew audible laughter from the crowd of press and publicists assembled at the Beverly Hilton for the pre-dawn announcement," according to THR.

The other big "What" came from the HFPA's total shut-out of The Coen Brothers' True Grit. I don't see the movie until tomorrow, but it's currently tracking at 93% positive on Rotten Tomatoes. The Tourist? 20%.

Another big shut-out, but one that will receive less attention, was Sofia Coppola's Somewhere, which received zero nominations. Perhaps they didn't like the movie's jabs at press conferences and foreign awards shows? Stephen Dorff and Elle Fanning both turned in solid performances, but at the very least a writing or directing nomination was deserved. Never Let Me Go didn't receive any nominations (though it was better than many nominated films), but that's less of a surprise as its early, October release shows that Fox Searchlight wasn't putting too much faith in it for awards season.

The Hollywood Foreign Press did make a couple of good decisions. It nominated Ryan Gosling and Michelle Williams for Blue Valentine, one of the best movies I've seen all year. Jennifer Lawrence also got a nod for Winter's Bone, an Ozarks drama that's quietly powerful. But really, a lot of these nominations are a joke. The silver lining? The star power will make for an entertaining broadcast, and smart people betting on winners in awards pools may just get lucky.

Will the NC-17 rating of 'Blue Valentine' scare away audiences?

By Sarah Sluis

Blue Valentine is one of the rawest, real movies I've ever seen. It's certainly one of the best films coming out in 2010. It's also been rated NC-17 by the MPAA.

Last week, I went into a screening knowing that the movie had been assigned an NC-17 rating, which the distributor,Weinstein Co., is appealing. I heard the movie included sex, violence, and scenes from an abortion. I was expecting something to be so bad that it would really stand out and deserve such an extreme rating. I was wrong.

If this movie is guilty of anything, it's making such a compelling, real story that everything hits you three times as hard. The screenplay originated from a child of divorce, Cami Delavigne, and it shows. The dialogue captures the nature of a dysfunctional relationship perfectly. Even when one member of the couple tries to make nice, the other one shuts down their efforts. Dean (Ryan Gosling) tries to plan a romantic getaway, and Cindy's (Michelle Williams) weariness with every extra effort he attempts is excruciating. I have never before been able to intuit a couple's dysfunction from dialogue like this on screen. Their phrases are like psychological onions, with so much hidden meaning and rage and discontentment to unpeel.

According to The Wrap, the MPAA took issue with "a single sex scene in which there is minimal nudity and the sex act is not even entirely shown." Based on that clue, I suspect they're referring to a scene that could be considered the husband raping his wife. Though disturbing, and certainly not appropriate for children under 17, I don't feel it warrants a NC-17 rating. In reality, such a rating is a kiss of death, locking a film out from being advertised in mainstream outlets and branding it as exploitative, gratuitous, and near-pornographic, something that Blue Valentine most assuredly is not. Moreover, Blue Valentine received no comments at all on the festival circuit about "graphic" content--compare that to the outcry last year over Lars Von Trier's Antichrist (which didn't even bother to get a rating).

In the old days of the rating system, filmmakers could only show "bad things" if there was a moral message (e.g. gangsters dying at the end of the movies to show that bad acts are punished). I don't advocate requiring such messages, but context does matter. Blue Valentine does not glorify such acts but takes us to the breaking point in a couple's marriage. This is not "throwaway violence" but an emotionally draining experience that leaves you feeling a bit shell-shocked as you leave the theatre. If realism makes such graphic content acceptable in my eyes, the MPAA often takes a different point-of-view. "Comic book" violence often is considered more acceptable than realistic, bloody encounters. But this viewpoint can also lead to distorted judgments. There's a huge difference between truly innocuous, non-violent "fights," like the enemies just kind of disappearing in G-rated Up (it's unclear if anyone dies) and comic book heroes blasting or hi-yaing enemies to death again and again in PG-13 movies. When it comes to graphic portrayals of violence in R-rated films, there's also a split between spurting, gratuitous horror movies and similarly graphic but drama-driven deaths in war films.

Blue Valentine has a strong case for appeal. The film is stunning and could perhaps find a kindred spirit with Boys Don't Cry, which successfully appealed its NC-17 rating and went on to win an Oscar. The producers of Boys Don't Cry, however, re-cut the film to win an R rating, something the makers of Blue Valentine won't do.