In James Gray's Two Lovers, Leonard (Joaquin Phoenix) is torn between two women, each of whom is right for him, and wrong for him, in different ways. When we meet Leonard, he's jumping into the river in a suicide attempt; he changes his mind at the last minute, struggling to the surface and gasping for air.

It's a scene that tells us much of what we need to know about Leonard: This is a man torn between the desire to end the pain in his life, and the equally strong desire to fight against it. Leonard, we come to learn, was engaged to be married, but when he and his fiancee both tested positive for the gene that carries Tay-Sachs syndrome, her family called off the engagement and she disappeared. Leonard's mother, Ruth (Isabella Rossellini), hovers protectively over her only child, trying to help him move on, while at the same time clinging to him with a fierceness that may not be in his best interest.

Specialty distributors scrambled to find enough screens to accommodate their titles as a flock of adult dramas expanded into the hinterlands. When the dust settled, Wristcutters: A Love Story emerged victorious among new releases, averaging $12,800 per screen at three locations, according to estimates compiled by Box Office Mojo. When it played at Sundance in 2006, Karina Longworth called it "a bold first effort, with a distinct, swaggering sense of style and humor that's hard – even for a cynical blogger sick to death of indie 'quirk' – to resist."

The much-more heralded Reservation Road, directed by Terry George, starring Joaquin Phoenix, Mark Ruffalo, Jennifer Connelly and Mira Sorvino, came a cropper, averaging just $2,830 per screen at 13 locations. Considering the high-profile talent, that's got to be considered a major disappointment for distributor Focus Features. Nick Schager felt the film "seems determined, whenever possible, to resort to preposterous plot twists at the expense of actually plumbing its grief-stricken characters' anguished psyches."

Earning just a little bit more per screen, but without star wattage and very many advertising dollars behind it, the performance of O Jerusalem, about the birth of the modern state of Israel, can be considered satisfying to distributor IDP. Unfortunately, the reviews so far -- at least as indexed by Metacritic -- are far from enthusiastic, which doesn't bode well for future word of mouth.

Ian Curtis biopic Control added one theater and increased its take to $18,250 per screen, the highest average for the week, while the reissue of Blade Runner: The Final Cut fell 60% yet still made $13,00 at each of its two screens. Lars and the Real Girl added 14 theaters and continued its good performance, taking in $8,809 per screen. The remake of Sleuth added 12 theaters but declined to an average of $1,880.

Among the September holdovers that expanded, The Darjeeling Limited ($6,534 each on 202 screens), Lust, Caution ($4,688 each on 125 screens), Into the Wild ($3,267 each on 658 screens) and Across the Universe ($2,812 each on 960 screens) performed well.

Reservation Road was shot, and takes place, in and around Stamford, Connecticut. I live in Stamford, Connecticut. Joaquin Phoenix plays a bearded husband and father of two. I'm a bearded husband and father of two. Phoenix's college professor Ethan Learner is married to Jennifer Connelly. Were it not for my beloved wife, I would like to be married to Jennifer Connelly. And yet despite such powerful similarities between this on-screen fiction and my own life, there's almost nothing identifiably realistic about Terry George's adaptation of John Burnham Schwartz's novel, which seems determined, whenever possible, to resort to preposterous plot twists at the expense of actually plumbing its grief-stricken characters' anguished psyches. As with his previous Hotel Rwanda, the director tackles a grave dramatic subject - here, a child's death and the ensuing desire for revenge - only to skirt around unpleasant truths, feigning interest in the personal cost of retribution for both victim and victimizer while gorging himself on portentous music and encouraging overcooked histrionics from his cast. The resultant nonsense is In the Bedroom redux, but squishier and stupider.

On the way home from a seaside orchestral concert featuring their cellist son Josh (Sean Curley), Ethan (Phoenix) and Grace (Connelly), along with older daughter Emma (Elle Fanning), stop to fill up the family SUV at a gas station. While everyone else is distracted, Josh follows mom's advice to release some captured fireflies from a jar, a decision that proves fatal when lawyer Dwight Arno (Mark Ruffalo) and his son Lucas (Eddie Alderson), returning home late from a Red Sox game, come speeding around the corner and, thanks to a distracting cell phone call, hit the boy. Dwight, already upset about his ex-wife Ruth's (Mira Sorvino) nagging, panics and drives away, leaving Ethan and Grace to pick up the pieces of a now-shattered life. This cataclysmic narrative catalyst is Reservation Road's finest scene, due largely to Phoenix and Connelly's horrified reactions to the tragedy at hand, which have a dumbstruck numbness that - when matched by their artless husband-wife rapport - captures not only agony but also the way in which people, in times of crisis, subtly attempt to protect fellow loved ones. Their authenticity is bracing, even more so given that George stages the scene with clunky crosscutting that diminishes, rather than heightens, the sudden, shocking impact of the catastrophe.

James Gray's The Yards (2000) opened in the U.S. to fairly mixed reviews, many politely recommending it and many politely panning it. Nobody got too excited about it either way, and neither did audiences. According to boxofficemojo.com, it grossed less than $1 million on a $24 million budget. But Europe was a different story. European film critics generally are geared more toward artistry and personal expression than they are stories and subject matter, and I often agree with their assessments, but for some reason they really latched onto The Yards. I caught up with the film later, when Miramax released a special edition DVD in 2006, and I found myself agreeing with my American colleagues. It has a kind of nostalgia for the 1970s, with James Caan, Ellen Burstyn and Faye Dunaway in rich supporting roles, and so perhaps it gives the illusion of grit and risk. But the leads Joaquin Phoenix, Mark Wahlberg and Charlize Theron placed it squarely in the present when risk is better in theory than in practice.

Seven years later, Gray has returned with his third film (his first was 1994's Little Odessa), and I've slowly begun to understand Gray's brand of low-key skill. Certainly the premise, about two opposing brothers, one in law enforcement and the other hovering near the underworld, has been around for some time, and could have been told in any early D.W. Griffith or Raoul Walsh silent picture. John Woo made a masterpiece from the idea with his A Better Tomorrow (1986). And Clark Gable and William Powell played out the idea -- as best friends instead of brothers -- in Manhattan Melodrama (1934). But Gray takes the tale, shakes it out and makes it compelling once more.

Director and writer Terry George may best be known for his Oscar-nominated work on Hotel Rwanda; Reservation Road, his new film at the Toronto International Film Festival, may very well earn a few Oscar nominations of its own. George spoke with Cinematical in Toronto about working with an impressive group of actors (including Mark Ruffalo, Joaquin Phoenix, Jennifer Connelly and Mia Sorvino), the challenges of adapting John Burnham Schwartz's novel and the difference between simple villains and complex characters; you can download the entire interview right here.

Late one night, a family stops at a gas station as they return from a recital; another man drives his son home from a baseball game. A young boy steps too near the road; a father swerves his SUV to avoid oncoming traffic.

And hits the boy. And keeps going.

Reservation Road, the new film from Hotel Rwanda director Terry George, doesn't deal in the clashing of mighty armies or the conflict between nations; it looks at a smaller slice of the world. At the same time, the themes here -- guilt, sorrow, anger, forgiveness -- are explored with power and passion thanks to two extraordinary lead performances. Joaquin Phoenix plays Ethan, a college professor dealing with the sudden death of his son and how that's affecting his wife (Jennifer Connelly) and daughter (Ellie Fanning). He can't go on. He has to go on. Mark Ruffalo plays Dwight, a lawyer who's just drifting through his life -- his job, his shabby apartment, the ruins of his marriage -- and trying to be a good dad to his son (Eddie Alderson). When Dwight strikes and kills Ethan's son, he keeps going -- a single moment of weakness that comes to devour him. He didn't do anything deliberately. But that's no excuse. It was an accident. But it killed someone.

Since his 1994 debut, Little Odessa, filmmaker James Gray has been sparse with output. It took six years for him to deliver his follow-up, The Yards, and another seven years to give us We Own the Night, which premiered earlier this year at Cannes and opens in theaters on October 12. However, there won't be such a long wait for Gray's fourth film; titled Two Lovers, the film begins shooting in November with Gray regular Joaquin Phoenix and possibly Gwyneth Paltrow, who is in final negotiations. Two Lovers marks a third collaboration with Phoenix, who starred in both The Yards and We Own the Night. If there's a part somewhere for Mark Wahlberg, it could be a perfect reunion. Our own James Rocchi reviewed We Own the Night at Cannes, highlighting the performances of Phoenix and Wahlberg, who also co-starred in The Yards.

According to Variety, Two Lovers will star Phoenix as a Brooklyn man torn between two women. There's the family friend who his parents are trying to set him up with, and then there's the beautiful new neighbor who he prefers and with whom he falls in love. I'm going to go ahead and guess that Paltrow is being cast as the neighbor. The script is by Gray and Ric Menello, who wrote the Run-DMC vehicle Tougher Than Leather and who received a 'Thanks' credit for The Yards. It will be produced by Oscar-winner Donna Gigliotti (Shakespeare in Love) and Anthony Katagas (We Own the Night), while being overseen by 2929 Production's Todd Wagner, Mark Cuban and Marc Butan. If all goes well, Gray could have only a year between his third and fourth films -- we would have settled for anything fewer than five -- which will very good for his career if We Own the Night performs a lot better than his prior work.

If you've been a steady reader of this blog for at least four days, then you know I have a strong affection for the complete works of Ms. Jennifer Connelly. And by complete works, I mean her talent, her face, her body of work AND her body, thank you very much. (Plus she's still so beautiful...) Anyway, as I was perusing through the Toronto Film Festival titles and jotting down which flicks I wanted to see ... there it was: Jen's name! She's got a movie called Reservation Road at Toronto ... and it looks pretty good!

From writer/director Terry George (In the Name of the Father, Hotel Rwanda) comes the story of ... well, I'm trying to remain relatively 'spoiler-free' for this movie, but the IMDb tells us it's "a drama that revolves around two fathers whose families and lives tragically converge with the death of a child." Sounds like your typically uplifting festival fare, but with Mr. George's track record -- and a cast that includes Joaquin Phoenix, Mark Ruffalo, Mira Sorvino and the aforementioned mega-goddess -- it sounds like a title I'll definitely be taking in next month. Plus the film was co-written by the author of the novel, which in my opinion is always a positive sign.

Focus Features will release Reservation Road on October 19, but if you're as intrigued as I am, you can check out the new trailer over at IGN Movies. I however will NOT be watching the trailer, so please let me know what you think of it. (Without spoiling anything.)

A few months back Monika brought you some info on an international trailer for James Gray's crime thriller We Own the Night -- but now we've got a brand-new domestic trailer to check out ... and I'd say the flick looks pretty solid! (Maybe not all that startlingly original, but certainly something worth seeing.) Click here to check out the trailer at IGN Movies, and then take a second to wonder if Mark Wahlberg really likes playing a cop. (I'd say he does.)

Based on what I saw in the promotional clip, We Own the Night is about two brothers: one a decent cop (Wahlberg) and the other a nightclub owner (Joaquin Phoenix) who (unwisely) gets involved with some big-time Russian drug dealers. Cue conflict. Also on board are (the fantastic) Robert Duvall as the patriarch and (the rather attractive) Eva Mendes as the worried girlfriend.

You may remember James Gray from The Yards and Little Odessa, both of which are definitely worth a rental some night. The film played the Cannes Film Festival a few months back, prompting Variety's Todd McCarthy to write the following: "Adequately acted and flecked with the required quota of action to satisfy genre fans, pic recalls numerous good police dramas of the 1970s, but mostly in superficial ways that bring nothing new to the table." Our own James Rocchi had this to say: "May feel curiously at odds with itself, but that doesn't necessarily make it a bad movie; if Gray's movie excels at one thing, it's how it takes the title phrase and makes a boast into something like a curse."

Sony looks poised to release Night on October 12.

It seems like Mark Wahlberg still has the knack for choosing movie roles that are all over the map. For example, there was the recent news that the actor had made the "out-there" choice of starring in M. Night Shyamalan's latest film, but up first for him will be the slightly more predictable We Own The Night. A French website is now operating for the crime thriller starring not only Wahlberg, but Joaquin Phoenix and Robert Duvall. Directed by James Gray, the film is set in New York in the late 80's, and centers on a family of cops and criminals in the midst of a drug war with the Russian mob. The site has plenty of pictures and we also get a look at the international trailer for the film.

Wahlberg continues his streak of playing cops but it looks like Phoenix gets to show off a little more in the role of a tormented informant with family connections in law enforcement. Also starring as a love interest to Phoenix is Eva Mendes, who doesn't get to do much in the trailer other than look concerned and writhe around in underwear. This is only the first of many projects for Wahlberg this year, including reuniting with Martin Scorsese on the HBO series Boardwalk and he will also be re-teaming with Departed co-star Matt Damon in the biopic of boxer Irish Micky Ward. So far, New Line has yet to announce a release date for We Own The Night., instead they are currently in Cannes drumming up a little business for the film.