While I'm still not convinced that North American audiences are ready for the strange genius that is Steve Coogan, at least they will get the chance to have a little taste. The first poster for Andy Fleming's comedy Hamlet 2 has arrived in our inbox (see to the right, and click to enlarge). So in case anyone was confused, the poster (and R-rated trailer) makes it clear that this movie is going to be packed to the brim with poop jokes.

Coogan stars as a hapless drama teacher in danger of losing his job. In an attempt to drum up some interest in his drama class, he writes the sequel to Hamlet. Now, as any good English student knows, everyone dies at the end of Hamlet (oops, 400-year- old spoiler alert), so where can you go from there? It turns out you make a politically incorrect musical with numbers like Rock Me, Sexy Jesus.

Joining Coogan in the cast are Catherine Keener, David Arquette, and Amy Poehler. With comedy talent like that, how can you go wrong? A cut of the film screened at Sundance back in January, and earned the film the highest bidding price since Little Miss Sunshine. But unlike Sunshine, something tells me Hamlet 2 won't be grabbing an Oscar nod.

Hamlet 2 is scheduled for wide release on August 28th.

Ryan Fleck and Anna Boden's Sugar, the follow-up to their critically acclaimed Half Nelson, has finally been picked up for distribution. Variety's Mike Jones reports the film has been acquired for theatrical distribution by Sony Pictures Classics, which seems like a good fit for the film. HBO Films, which financed the film, retains television rights.

Sugar, which premiered at Sundance earlier this year, felt at the time like a tough sell after Half Nelson; it still does. The film, which is subtitled, tells the tale of a young baseball star from the Dominican Republic who crashes after getting moved up to the big leagues. It's really very much a coming-of-age kind of tale about this young boy who grew up poor but talented, always believing baseball to be his one ticket out.

I told you a couple weeks ago how THINKFilm had picked up the gritty prison thriller The Escapist, and how the film, which stars Brian Cox, was the last thing I saw at Sundance this year. Well, I actually had a double helping of Cox that January night, because right before The Escapist I watched Red, another film boasting a terrific Cox performance -- and now it's headed for theaters, too.

Via The Hollywood Reporter we learn that Magnolia has picked up Red, with plans to release it late this summer. The film (which I reviewed here) is a thriller along the lines of Death Wish, only instead of avenging his wife's murder, the Cox character is going after the punks who killed his dog. (Do not mess with a man's dog!)

Cinematical has just received this exclusive poster for the film Baghead (click on the image to enlarge), written and directed by two very good friends of this site, Jay and Mark Duplass. Baghead marks the brothers' second feature-length film and follow-up to the very funny (but very uncomfortable) 2005 flick The Puffy Chair. Starring Ross Partridge, Elise Muller, Steve Zissis and my personal fav Greta Gerwig, Baghead tells of four struggling actors who retreat to a cabin in the woods in an attempt to write a screenplay they can produce and star in themselves. Will they succeed or will their personal relationships crumble? Oh, and is there really a stranger with a bag over his head lurking in the shadows, tracking the group's every move?

Baghead premiered to all sorts of great buzz back at Sundance, where our own James Rocchi said it "has warmth and innovation, and the mischievous good sense to subtly make fun of the type of film that it is." As Mark Duplass told us when we interviewed the boys during Sundance, "Baghead is a movie about the funny, horrific, tragic, terrible life of being a desperate actor." Needless to say, we highly recommend it.

Baghead arrives in theaters on June 13, after making a stop at the Tribeca Film Festival later this month.

One of the more buzzed-about flicks coming out of Sundance this year was Hamlet 2, starring the very funny Steve Coogan as a drama teacher who, with no other ideas, attempts to rally his Tucson, Arizona students around a politically incorrect musical sequel to Shakespeare's Hamlet -- featuring a song called (I kid you not) "Rock Me, Sexy Jesus." Hamlet 2 also marked one of first and biggest sales at the festival, with Focus Features snatching it up for a reported $10 million. Was it worth that amount?

Well, Moviefone just debuted an R-rated (aka Red Band) trailer for Hamlet 2 that, truth me told, looks kinda funny. Unfortunately, I did not have the chance to see it at Sundance, so all I have to go on is James' not-so-nice review, AICN's very nice review and word of mouth, which, so far, seems to be fairly positive (see more praise from Entertainment Weekly and Rolling Stone). Hey, any film that features the Devil making out with the President of the United States during a wacky theatrical production of a sequel-ized Shakespeare play is okay in my book. Hamlet 2 stars Coogan, Catherine Keener, David Arquette and Melonie Diaz. It was directed by Andrew Fleming and it's due out in theaters on August 22.

Whatcha think?

The very last film I saw at Sundance this year, at a lively 10 p.m. screening and seated next to the dapper James Rocchi, was The Escapist. It was a perfect ending for the festival, and a great "guy movie" to boot (Rocchi and I are nothing if not burly, rugged men): Brian Cox leads a bunch of Limey blokes, including Joseph Fiennes, on a daring escape from a British prison. Familiar premise, but well executed with a few twists. Rocchi's rave review is here.

The flick was well received during its world premiere at Sundance, and yet somehow it didn't get picked up by any distributors before the fest ended. Now, finally, THINKFilm has come to the rescue. Variety reports that the distributor has paid about $1 million for the film and plans to release it in October, starting small and expanding over the course of several weeks.

For the third year in a row, Sundance is partnering up with the Brooklyn Academy of Music to present the "Sundance Institute at BAM" series, where flicks from this year's film festival will play for New York audiences May 29-June 8. It's just like going to Sundance, only without the snow and ice. Oh, and Brooklyn is actually big enough to handle large crowds. So maybe it's nothing like going to Sundance, except for the movies.

The movies -- 22 features and 36 shorts -- include several must-see titles, some of which have not played anywhere yet except for Sundance. Hot-buzz documentary American Teen (pictured) is on the schedule (complete with a prom-themed BAM party!), as is the soldier drama American Son. Anvil! The Story of Anvil was one of the most popular films at this year's fest, and the heavy metal band featured in it will perform live at BAM. There's the Chuck Palahniuk adaptation Choke, Stacy Peralta's L.A. gang doc Made in America, the South American cannibalism doc Stranded, and award-winning documentaries Trouble the Water and Man on Wire. If you've been paying attention to the indie/film-fest scene this year, you've probably heard of some of these, so it's pretty cool that the Sundance/BAM partnership will give wider audiences a chance to see them.

Tickets for the "Sundance Institute at BAM" series go on sale to BAM members on April 21, and the general public on April 26. Neither Sundance nor BAM has the complete info on its website yet, but here's the BAM page to keep your eye on.

I bet you'll look at this for a second and go, "Um, did they remake The Breakfast Club, or .... what?" No, they did not remake the John Hughes cult classic, but they did remake the poster for the new documentary American Teen. One of the more popular films from the Sundance Film Festival, American Teen was quite often the subject of debate. People loved it, but couldn't understand how someone would market it. After all, how do you sell a documentary about teenagers to teenagers? Sure, it works on MTV ... but would it work on the big screen?

Obviously, Paramount Vantage is running with the quote most often heard amongst critics in Park City: "It's like The Breakfast Club, but a documentary." Even our own James Rocchi was in agreement when he opened up his Sundance review with, "Nanette Burstein's documentary American Teen opens not far from John Hughes country, both geographically and artistically: we're introduced, in quick order, to four students at the high school in Warsaw, Indiana, on the first day of class."

Is American Teen the next Breakfast Club? I guess we'll find out when it arrives in theaters on July 25. (Oh, and for fun we've included the original Breakfast Club poster after the jump.)

[via Film School Rejects]

My favorite part of attending a film festival comes when you discover a smaller film that hits you in a way that almost forces you to throw up everything you know about the flick whenever someone asks. They could be, like, "So, how ya feeling today?" And then you can't help but answer, "I'm good ... but you HAVE to see this friggin' film. It's called (insert the title) and it's unbelievable -- easiest the best thing I've seen in the history of best things I've seen ... times a gabillion!"

Okay, maybe you don't flip out like that -- but you get the idea. So far this year I've hit up Sundance, Slamdance and SXSW, with plans to soon visit the Gen Art Film Festival here in New York, as well as Tribeca soon after. Thankfully, I've seen two films that absolutely rocked my world, and if I could use every other post just to write about them -- in the hopes all of you will go see these films, and champion them -- I would. But I can't. So from time to time, I will pop in, mention the titles and hope something sticks. As of right now, these are the two films I am championing this year: The Hottie and the Nottie and ... just kidding. Kidding, people. I'm KIDDING! God! Chill out.

AnyWAY, here are the two films: Dear Zachary: a letter to a son about his father (Slamdance) and The Promotion (SXSW). The first is a gripping, tear-jerker of a documentary from a very cool dude named Kurt Kuenne. Alex from First Showing went to see Zachary at SXSW on my recommendation and it blew him away. It will blow you away. Fingers crossed a deal comes soon ... and you bet I'll be back telling you all about it.

The Promotion, on the other hand, is all the way on the other end of the spectrum. It's a comedy. A dry comedy ... where Seann William Scott plays the straight man -- go figure. Not sure if the Weinstein Co. know they have a little gem in their basket; hopefully Kirk Honeycutt didn't scare them stupid. This one is set to come out on June 6, so make sure you're there.

Which films are you absolutely nutty about this year -- to the point where you stop random strangers in the street to tell them all about it?

If you ask my mom about Robert Redford, she'll cite his dreamy blue eyes and his charismatic performances in Butch Cassidy and the Sundance Kid and The Sting. If you ask someone my age about him, though, I bet the Sundance Film Festival is the first thing that will come to mind. For a lot of us, the Sundance Institute has been so influential and important that it overshadows the earlier days, when Redford was "only" a movie star.

Variety reports that the industry convention ShoWest will honor Redford with the Visionary Award when it convenes next week in Las Vegas, a tribute to the Sundance Kid's extraordinary contributions to the world of independent film. Sundance is the largest, most influential film festival in the United States, and it has launched the careers of dozens of filmmakers, including Quentin Tarantino and Steven Soderbergh. What's more, the Sundance Institute's workshops for screenwriting, documentary filmmaking, and other crafts have helped countless individuals hone their skills.

This will be the first time ShoWest has given out a "Visionary Award," and Redford seems like a mighty fine choice to me. Those dreamy blue eyes have seen a lot of great things happen in the movie world.

Director Brett Morgen doesn't make conventional, talking-head, "impartial" non-fiction films; he himself notes "I'm certainly more interested in creating modern-day mythologies than historical documentaries." After co-directing On the Ropes and The Kid Stays in the Picture, he next, ambitiously, decided to use state-of-the-art techniques to bring a 40-year old event to life in Chicago 10. Combining computer-animated footage and dramatic interpretations of court transcripts with footage and audio from 1968 -- some of it previously undiscovered -- Morgen's film audaciously animates and recreates the trial of activists Abbie Hoffman, Bobby Seale and others that followed in the wake of the protests they organized outside the Chicago Democratic Convention in 1968. Speaking with Cinematical from New York, Morgen talked about the level of digging required to unearth the unseen archival material he found, the differences he encountered between his actors who had done animation before and those who hadn't, what he learned about the '60s from making the films and much more: "This is a timeless story, that I think is relevant at any time -- and more relevant during wartime."


This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



For Cinematical's reviews of Chicago 10, you can find Christopher Campbell's take here and my review from Sundance 2007 here.

It's hard to believe it was just last month that the film industry was trudging through hill, dale and snow to watch movies at the Sundance Film Festival, but in this fast-paced world, it does feel like a million years ago. One of the buzz titles at the fest was Christine Jeffs' Sunshine Cleaning, a tale of two sisters that start a business tidying up crime scenes. Our own Kim Voynar felt it wasn't the best film she saw at Sundance, "but it certainly wasn't the worst. It does have its flaws, but overall it's a cute film that fans of [Amy] Adams and [Emily] Blunt will enjoy."

Indeed, with the very talented and attractive Adams (Junebug, Enchanted) and Blunt (The Devil Wears Prada, The Wolf Man) in the lead roles and Alan Arkin providing support as their scheming father, how did this film fail to get picked up during Sundance? Anne Thompson of Variety notes that Sunshine Cleaning "entered the fest as one of several highly anticipated movies with stars attached that were expected to make a big sale. It didn't happen, though, partly because the filmmakers behind the film, Big Beach ... were hoping to make back their $7-million investment in a quick sale."

Ms. Thompson reports, however, that Overture Films has now acquired the film and plans to release it at the end of the year. The distributor may change the title, though, perhaps concerned that it might be considered too similar to 2006 indie smash hit Little Miss Sunshine, for which Arkin won an Academy Award.

Thirteen months ago, at a midnight screening at the Sundance Film Festival, Scott Weinberg and I saw a new horror film called The Signal. We loved it. We were sitting next to some guys from Ain't It Cool News. They loved it, too. Scott wrote a review for Cinematical; I wrote one elsewhere (I wasn't on the Cinematical team yet); the AICN guys raved about it on their site. If I can presume to summarize all our feelings, they were: Wow. This is a really, really good horror flick.

Magnolia Pictures bought the distribution rights and finally released it last weekend. Weinberg reminded us about it the day before, having already shown us the trailer. We were glad it was finally seeing the light of day.

And then nobody watched it.

According to Box Office Mojo, The Signal played on 160 screens last weekend and grossed only $144,836, or $905 per screen. If you don't follow box office numbers, I'll just tell you: $905 is awful for an opening weekend. I Am Legend, playing on the same number of screens, grossed more than The Signal last weekend -- and it's been out for 2 1/2 months!

Can you program one film festival and show your film at another? Is South By Southwest now, officially, cooler than Sundance? And what are the challenges of a modern romance film, and how much of your life can you get away with turning into art? Joining us this week on The Rocchi Review is Michael Lerman, co-writer and co-director of the SXSW Emerging Visions selection Natural Causes. Cinematical's podcast content now has even better sound quality, and is now in iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

(The following review ran during the Sundance Film Festival, but we're re-posting it now to coincide with the film's theatrical release.)

In Passaic, New Jersey, the thrift store and video rental emporium Be Kind Rewind offers customers their choice of films to rent, if by 'choice,' you mean 'VHS only.' But while owner Mr. Fletcher (Danny Glover) is away, his counterman and almost-son Mike (Mos Def) lets Jerry (Jack Black) into the store, against Mr. Fletcher's instructions not to. Jerry is normally a walking disaster -- a dreamer of a mechanic, obsessed with the belief that the power plant he lives near is flooding him with radiation. A failed attempt to sabotage the power plant leaves Jerry energized and magnetized to such a degree that his mere presence wipes all of Be Kind Rewind's inventory. When loyal customer Ms. Kimberly, tasked by Mr. Fletcher to check in on the store while he's away, comes in to rent Ghostbusters, Jerry and Mike's solution to the crisis is hardly logical, but certainly inspired: Produce and shoot a replacement version of the film within 24 hours so she'll be none the wiser about the store's ruined inventory.

But Ms. Kimberly shows the film to some of her foster children, who can recognize that Jerry is not quite Bill Murray, and that Mike is not quite Ivan Reitman, and that holding the right-hand side of Hieronymus Bosch's "The Garden of Earthly Delights" up to the camera is not quite a special-effects shot of a demon-haunted landscape. The foster kids -- thugs and toughs to a man -- come around Be Kind Rewind the next day. But they're not mad; they're curious: "That was pretty good. What else you got?" And other customers are curious about the store's new selections -- which, it's explained, come from Sweden, which is why they cost $20 and you have to request them 24 hours in advance. ...

Written and directed by Michel Gondry, Be Kind Rewind is as much a work of creativity and passion as the re-shot, cut-in-camcorder, home-brew "Swedish Import" re-made Hollywood blockbusters that it revolves around. And, much like Jerry and Mike's re-shot versions of Driving Miss Daisy or Rush Hour or The Lion King, Be Kind Rewind is a film where the plot is less important than panache, where the lack of elegance is made up for by an excess of enthusiasm. Jerry and Mike aren't just shooting day for night; they're shooting day for night, male for female, white for black, Jerry for Jackie (Chan, that is). Aided and abetted by Alma (Melonie Diaz), an early recruit to their shooting requirements (they need a girl for Rush Hour), the store's new offerings rapidly become a sensation, as customers line up to request new films they want to see the 'Sweded' versions of and rent the rest of Jerry and Mike's oeuvre as soon as other customers bring them back. This not only makes Jerry and Mike celebrities (or, more correctly, sub-lebrities) in Passaic, but also may raise the money that Mr. Fletcher's store needs to come up to the building code and avoid being shut down. ...