David Russo Tagged Articles at Cinematical
The Blue Man Group is Getting a Feature Film
Filed under: Comedy », Deals »
John Malkovich might have thought it was creepy to have random strangers in his head, or get ruled by a puppeteer, but I bet that's nothing compared to this. Variety reports that the Blue Man Group is getting its chance to jump inside a poor soul for IMAX 3D.This first feature, which will be directed by David Russo (The Immaculate Conception of Little Dizzle), has the original Blue Men -- Chris Wink, Phil Stanton, and Matt Goldman -- getting slipped inside some poor schmuck's head. Basically, they're entering the noggin of "a socially and creatively congested person and observing his neural patterns and his habitual brain functions and memory and altering it in a way that helps him bring his inside life outside." Wink says this will be a simple vaudevillian film: "we're not here with deep messages," but then Russo says it's very important to have "solid" science. Why didn't anyone tell me that scientists figured out a way to insert little blue men into the brain?
I'm surprised they're getting a feature now, as opposed to when they first made it big, but I'm going to hold out one hope -- mainly that David Cross gets to play the man they enter. If they gave that excellent nod to Arrested Development, I bet anything that they'd get a whole extra audience for this project.
Live from SFIFF: Wrapping Up with the Indies
Filed under: Foreign Language », Independent », San Francisco International Film Festival », Cinematical Indie »
My other two San Francisco International Film Festival dispatches focused mostly on mainstream business: popular documentaries, future commercial releases, and Butch Cassidy and the Sundance Kid. But it's a sin to spend a festival only watching – and talking about – commercial fare. So for my farewell SFIFF post, here's a look at two off-the-beaten-track entries I was able to catch.
Sadly, neither indie quite worked for me, which makes me feel like a philistine, I assure you. Ursula Meier's Home, for example, exposed one of my most enduring weaknesses as a cinephile, namely my intolerance for movies that operate entirely on an abstract level – as pure metaphor. Home, a French-Swiss co-production with good arthouse buzz and a wagonload of foreign Oscar equivalents under its belt, tells the "story" of a family that lives peacefully by the side of an abandoned highway, until the highway reopens and all hell breaks loose. The family's response bears no resemblance to the way real human beings would act, and Meier does not make any attempt to render any of it plausible – within the universe of the film or otherwise. And so you're left trying to decipher Meier's big metaphor, which I ultimately decided was either Israel-Palestine or more generally human stubbornness in the face of transformative change (e.g. global warming). It's all very intriguing, even interesting – but deeply unsatisfying as a cinematic experience, at least for me.
Has Chris Evans Won Captain America's Shield?
When Netflix Isn't Enough
Full-Length 'Predators' Trailer Debuts
Frankenstein is 100 Years Old! Watch His First Movie Now!
Bryan Singer May Direct 'X-Men 4' and 'Wolverine 2'
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