Weinstein Co. picks up 'The Butler'

Early footage from The Butler, which is currently shooting in New Orleans, must look promising. The Weinstein Co. picked up the historical biopic for distribution, shortly after production began. The premise of The Butler sounds part Forrest Gump, part "Downton Abbey," and part The King's Speech, the Weinstein-distributed hit that focused on the relationship between the King of England
and his speech teacher of humble origins. A recipe for success, right? The story borrows from the life of the real White House butler Eugene Allen, who served eight presidents over three decades. From the pre-Civil Rights era through Vietnam and beyond, the man's experience is a slice-of-life that will be sure to illustrate social change and perhaps stoke a flame of nostalgia.

The trend in biopics as of late has been to go the "one event" route, focusing on an installment in the person's life rather than its length. The Butler will buck that trend--but hopefully it will do it wisely. Forest Whitaker, who will star as the butler, is 51. Oprah Winfrey, who will play his wife, is 58. Whitaker will be a natural fit for the middle-aged to elderly portions of the movie, but the younger scenes may be more difficult to pull off. Hopefully director and co-writer Lee Daniels (Precious, The Paperboy) took a look at Leonardo DiCaprio's distracting makeup in J. Edgar and decided to go for a story that won't rely heavily on the actors' performances at an age unbelievably far from their natural age.

Since the biopic spans a lifetime of presidencies, there has been a lot of casting of Presidents and First Ladies:

President Dwight D. Eisenhower: Robin Williams
Mamie Eisenhower: Melissa Leo (Frozen River)
JFK: James Marsden (X-Men: The Last Stand)
Jackie Kennedy: Minka Kelly (Esquire's Sexiest Woman Alive)
Lyndon B. Johnson: Liev Schreiber
Richard Nixon: John Cusack
Ronald Reagan: Alan Rickman
 Nancy Reagan: Jane Fonda

Missing from the list are Presidents Ford and Carter, but there is a cast listing for Barack Obama--who presumably comes in at the end after the butler is retired.

There are also prominent black actors on board, including  Cuba Gooding Jr., Terrence Howard, Lenny Kravitz, and Mariah Carey. Civil rights leader Martin Luther King Jr., who visited the White House a number of times, will be played by Nelsan Ellis, who had a small role in The Help.

Reviews for Daniels' The Paperboy have not been as favorable for those of Precious, but hopefully Daniels and his team know what they're doing, because this is the kind of movie that's large in scope and really drives people to the theatres.

 

Trailer for 'The Paperboy' chock-full of Southern sizzle

Coming out of the Cannes Film Festival, the talk of director Lee Daniels' The Paperboy seemed to be this: It's no Precious. I took that to be an indictment on the quality of the pulpy, sex- and crime-infused adaptation of a novel by Pete Dexter, but it actually may have been a reaction purely to the fact that it's "pulpy." Although the Southern-set drama, which is set to release October 24, has just a 54% positive rating on Rotten Tomatoes from sixteen reviewers, the recently released trailer looks intriguing. It even includes a quote from Film Journal contributor Jon Frosch (writing for the Atlantic blog), who came out in favor of the film.

 

The plot of The Paperboy involves a woman (Nicole Kidman) who wants to get her man (John Cusack) out of prison. She ends up romantically involved with one of two brothers and writers (Zac Efron) who is trying to help her free the imprisoned man. The other is played by Matthew McConaughey. Once known mainly for tabloid shots of his abs on the beach and leading man roles opposite Kate Hudson, McConaughey has been branching out. He is currently starring in Killer Joe, which our critic Rex Roberts also described as a pulpy tale that "exults in its in-your-face nudity, perverse sexuality and graphic violence." McConaughey also has a role in this summer's indie breakout hit Bernie. Last year, he made quite an impression as an independent-minded, flexible lawyer in The Lincoln Lawyer. He's also starring in director Jeff Nichols' (Take Shelter) follow-up project Mud, opposite Reese Witherspoon. And let's not forget Magic Mike, which successfully riffs on his sexy image. I would have written McConaughey off a few years ago, but his role in The Paperboy is part of a powerful redirection of his star image. Not many actors can pull that off. Plus, the Texas-born star is the only one that can pull off a Southern accent, mainly because he doesn't try to overdo it like everyone else. Even Frosch, who praises the bleached-blonde Kidman's performance, says she sports an "accent that samples every twang from Southern-fried to Australian outback." The Paperboy sounds like that summer beach read you just can't put down. The trailer is putting the October release back into my must-see queue, because I may just need a little summer sizzle this fall.

 

2010 Best Director nominees--where are they now?

Usually, an Oscar nomination--and especially an Oscar win--launches the honorees into a career stratosphere. The actors are cast in the next big projects, and the directors can afford to be picky about their next films. Although I've seen most of the 2010 acting nominees in a couple of movies since, only one of the 2010 directing nominees has released a new film. However, most of them are working on new projects, and two of them have films coming out this year. Let's check in: Where are they now?

Kathryn Bigelow (winner, Best Directing Oscar for The Hurt Locker). Bigelow beat her ex, James Cameron, for the Oscar and became the first female to win the directing honor. The Academy just can't pass up on creating a good story, can it? Bigelow's actually the furthest along of the bunch. Her film, Zero Dark Thirty, has a release date, December 19, 2012, and a distributor, Columbia. The military actioner centers on the Navy SEALS who take down Osama Bin Laden.

James Cameron (nominee, Avatar). Cameron went deep-sea diving. He converted Titanic to 3D. However, what audiences want most--a sequel to Avatar--may not be coming anytime soon. He and producer Jon Landau also just pushed back the release date of Avatar 2 from December 2014 to sometime in the future after that. That means there will be at least a six-year lag between the first film and its sequel, a bummer for fans who want to explore more of Pandora. (Word is the second film will dive down to the planet's oceans).

Darren Aronofsky (nominee, Black Swan). Since the success of his dark ballerina thriller, Aronofsky has mulled over three different biopics. He's currently casting Noah, with Russell Crowe in the lead role, so it appears the Biblical epic will go first. He's also considered directing Get Happy, a Judy Garland biopic with Anne Hathaway attached to star. Now comes word that Paramount may acquire The General, an Unforgiven-style biopic of our nation's first president, George Washington. He's obviously trying to find the most perfect follow-up project, but I hope he gets moving. Whatever he does, it's guaranteed to be original.

Jason Reitman (nominee, Up in the Air). Reitman is the only one of the group who has directed an original feature since his nomination. Young Adult, which came courtesy of screenwriter Diablo Cody and star Charlize Theron, was fantastic (in my opinion), but it did so-so both at the box office and at the awards circuit. I applaud Reitman for churning out projects while maintaining his sensibility--he tends to mix dark comedy with poignant moments, and I like films like that. He just cast his child lead for his next project, Labor Day. The adaptation of a novel by Joyce Maynard centers on a single mom (Kate Winslet) who gives a convict (Josh Brolin) a ride, leading to a relationship. It's filming this summer, and it will probably be out before Aronofsky's film.

Lee Daniels (nominee, Precious). Daniels' next film is The Paperboy, which IMDB lists as having a November 21, 2012, release date, but no major distributor. However, the thriller may show up at the Cannes Film Festival, and everyone will find out if it packs the wallop of Precious. The story centers on a newspaper reporter who goes to Florida to try to free an inmate on death row. Things start getting complicated when his younger brother, who is also working on the case, develops a relationship with a woman who has been corresponding with the inmate. He also has The Butler in the works, the story of a black White House butler who served eight U.S. presidents.

Each of these directors has likely had their pick of projects. Will they all deliver?

 

'Precious' this year's 'Slumdog,' minus the 'Millionaire'

By Sarah Sluis

After seeing Precious some weeks ago, I had pushed it to the back of my mind, but today I saw this letter posted on Tyler Perry's website (via Movieline), and the movie was just as fresh as it was a month ago. In the letter, Perry details his rough childhood and the abuses he suffered, all of which made him want to support Precious. Oprah Winfrey, who has also signed on as an executive producer, has revealed before on her show that she was sexually abused as a child. For Oprah Winfrey and Tyler Perry, this movie recalls real experiences. Even the movie's website URL, weareallprecious.com, emphasizes identification with Precious. But is having a terrible childhood a prerequisite for seeing this movie and having an emotionally wrought experience? I say no.

Precious, which stars Gabourey Sidibe, follows a young, poor, black teenager living in Harlem in the 1980s. She has been sexually abused by her father. She is pregnant with his second child. Her first child has Down syndrome and lives with her grandma. Her mother emotionally and physically abuses her. She can't read. She's obese. What does she even have to live for? Under Lee Daniels' direction, the experience is pathos overdrive, which I think explains the movie's success to date.

Viewers have overwhelmingly approved of the film, giving it audience awards at Toronto and Sundance, much as Slumdog Millionaire won the Toronto award as well as four other audience festival awards. Both movies leave you with such an wealth of emotion that you want to do something--like choose it for the audience award. They also have some distance from their subject that makes it easier to bear. In Slumdog, it's geographical, in Precious, it's because the movie is set in the past.

I took particular note of how the film's style encourages identification with Precious. We see her dream sequences, one of which is segued into as her eyes are fixated on the ceiling as her father rapes her. In another scene, as Precious cooks for her mother and is forced to eat even though she isn't hungry, the food she cooks is surreally disgusting and unappetizing. I liked that Precious' point-of-view was conveyed with fantasy sequences and with subtle alterations of her real life.

The oddest, and riskiest part of the movie is a monologue near the end where the movie's villain makes a plea for us to understand her. It's like hearing a defense from a skilled serial killer--she's convincing and you get to understand where she's coming from, but at the same time you're fighting not to believe her. For me this was the biggest payoff of the film. It can seem "easy" to side with Precious the whole way through, but being challenged to understand the victim's enemy and refusing to side with her is like fighting for Precious yourself.

Lionsgate will platform the release of Precious, opening it in some cities November 6th and expanding over the next two weekends. When reception of the film goes beyond its critics and film festivals, I'm curious to see if reactions will start to expand and diversify. Wisely, the studio has already brought in Perry and Winfrey, two public figures whose personal experiences remind them of Precious, to lead the discussion. Will American audiences find the movie to be as Precious as the early viewers did?