JonathanDemme Tagged Articles at Cinematical

Some B films are loved because they're just so bad, but some are loved because they're just so good -- a palpable talent resting beneath the haze of badness.

I'm not talking about the guys who spend years honing their technique and then head back to the world of B to make a flashy feature (Grindhouse), but those who are born out of that wonderfully bad wasteland -- the men and women who kickstart their career with blood, chills, and pulp, and then grow into high-buzz filmmakers and talent. Not everyone can start with a critical masterpiece, so what can be better than a little silly fun? It certainly beats a crappy first movie that no one wants to see.

Read on to learn of seven big Hollywood names who kicked off their careers with the wonder of B-movie filmmaking. These directors have talent, awards, and a healthy serving of critical success, but it all came out of began with our beloved B's. Maybe they knew how to start their careers, or maybe Roger Corman simply has the best eye for killer talent. Whatever the case, their first films didn't define their careers, and in fact, set them on their way to success.

I scream! You scream! We all scream for even more announced SXSW premieres!

That's right, the film festival that knows how much it spoils us (see, they admit it right here) are adding screenings of Sam Raimi's Drag Me to Hell and Jonathan Demme's Neil Young Trunk Show to their already crowded line-up. (And that's figuring that neither takes up the 'TBA' or 'Super Special Screening' slots -- my best guess is that Austin's own Richard Linklater might bring his Me and Orson Welles home after running festivals last fall. I've been wrong before...)

Despite being formally billed as a work-in-progress, talking with one or two of the lucky bastards who saw Raimi's gypsy terror flick back in January led me to believe that it looked pretty close to finished then, so who knows what it'll look like now. Either way, I'm pretty pumped; I mean, that last Neil Young concert film just rubbed me the wrong way -- nothing against one's filmography or the other's discography, but maybe it was something I ate that day that made me never want to give it a second thought, or this one a first look. It really made for a strangely irritating experience of a film held highly by most.

But I'm sure plenty of the other Film (and Music) attendees are psyched, and who can blame 'em? Neil Young is like the terror gypsy of folk music.

Sure enough, the first week of December brings the first formal slew of awards nominations, today's coming from Film Independent's Spirit Awards. The Hollywood Reporter bring us the list of nominees, with dramas Ballast, Frozen River and Rachel Getting Married each tied for the most nominations (six a piece, including Best Feature; the other two nominees there are Wendy and Lucy and The Wrestler).

Now, these awards aren't necessarily Oscar precursors or anything -- some of these films are just too small -- but it's difficult to deny that the likes of Milk, The Visitor, The Wrestler, Rachel, River and documentary contender Man on Wire are all looking at the first of many nominations in the coming weeks, most of which I can safely say are or will be deserving. I can't speak for Ballast, but it's been earning attention in the indie world for months and months, so do as I do and keep an eye out for it.

The greatest assurance can only be taken once the Spirit Awards are awarded on February 21. See the full list of nominees after the jump.

Note: The following includes potential spoilers

When I first saw Rachel Getting Married in the middle of the Toronto maelstrom, I knew I'd have to see it again before I could write or speak about it coherently. I was sure that I liked it, but not how much -- I couldn't quite make heads or tails of the last third of the film, and having to rush off to another film prevented me from thinking about it. This week, I finally got my second viewing; I like it a lot. But what struck me the most this time around was Bill Irwin's astonishing turn as Paul Buckman, the tortured, loving father of the bride. Irwin has not gotten much love in the reviews, and that is a travesty. He gives the richest, most generous performance I've seen from anyone this year.

The IMDb informs me that Irwin, a veteran character actor, is a mainstay on Sesame Street; Wikipedia reveals that he's a clown by trade. This makes perfect sense, and indeed helps explain his complete humility in Rachel Getting Married. Remember the scene where Rosemarie DeWitt's Rachel, in the middle of an argument with Kym (Anne Hathaway), drops the bombshell that she's pregnant? Paul's reaction might be the film's most memorable moment -- he flips out, screaming and bunny-hopping over to his daughter (it's a testament to Jonathan Demme's brilliance that he puts this in the background of the shot); after things calm down a bit, he still looks like he is about to lovingly devour his family. The way he paws at his wife while randomly growling "Does anybody want a sandwich?!" is worth ten dollars all on its own.

Here are this weekend's box office success stories in the indie film world:

1. Frontrunners (Oscilloscope)
2. Rachel Getting Married (Sony Pictures Classics)
3. Fireproof (Samuel Goldwyn Films)
4. Religulous (Lionsgate Films)

Caroline Suh's documentary Frontrunners (pictured), which follows four teens running for elective office at a prestigious high school in New York City, had its world premiere at South by Southwest and was acquired for distribution by Oscilloscope, founded by Beastie Boy Adam Yauch, in July. Opening at one theater in New York, the film earned $7,400 over the weekend, according to Box Office Mojo, the third highest per-screen total among limited releases. That's a very good accomplishment for the fledgling Oscilloscope.

Jonathan Demme's drama Rachel Getting Married expanded from 27 to 69 theaters in selected cities across the country (including mine) and increased solidly to a per-screen average of $10,464. It's earned more than $1.75 million so far. I saw it on Saturday and was disappointed by its utterly ordinary, overly familiar dysfunctional family routines and excessive padding for what is a very thin story, but a ton of people showed up for the early afternoon screening, so I guess everyone loves weddings and the promise of battling sisters working out all their problems in a single weekend.

On the "pro" side of religion, Fireproof, a drama starring Kirk Cameron, added even more theaters (up to 905 now) and dropped very little, percentage wise, totaling more than $20 million in four weeks of release. On the "con" side, Religulous, a doc by Larry Charles featuring Bill Maher, dropped a few theaters (to 504 locations) yet still burst past the $9 million mark, a remarkable performance for a documentary.

Winners
Rachel Getting Married (Sony Pictures Classics)
The Duchess (Paramount Vantage)
Fireproof (Samuel Goldwyn)

Riding a wave of positive buzz and the rising stardom of Anne Hathaway, Jonathan Demme's Rachel Getting Married crushed all comers, earning $33,667 per screen at nine theaters in New York, Los Angeles, and Toronto, according to estimates compiled by Box Office Mojo. Hathaway appeared everywhere to promote it, even gamely spoofing herself as host on Saturday Night Live. (Loved her as Mary Poppins!)

Too much attention may be paid to Keira Knightley's ribs, but she was undoubtedly the reason that The Duchess made $7,047 per screen as it expanded to 127 locations in its third week. Keira and costume dramas seem to be the right fit; I wouldn't be surprised if this one drew an older audience that consistently attends British historical flicks.

Still ignored by the mainstream press (in contrast to Bill Maher's Religulous), faith-based Fireproof dropped just 40.5% (about the same as Eagle Eye) and took in $4,776 per screen at 852 theaters in its second week. So far the film has grossed more than $12 million. Was it ever advertised on TV? Or was the marketing done entirely through church groups? Whatever the case, with a reported budget of only half a million dollars, Fireproof appears to be a healthy success story.

Sex Still Sells
Elegy (Samuel Goldwyn)
Frozen River (Sony Pictures Classics)

Elegy, the 'old professor in love with a younger woman' adaptation of a Philip Roth novel starring Ben Kingsley and a sometimes naked Penelope Cruz, is in its ninth week of release and still playing in 70 theaters. The theater count is dropping, but the film has grossed more than $3.3 million.

Click image to check out an exclusive clip from Rachel Getting Married

Cinematical has just received this exclusive clip from the much buzzed-about Rachel Getting Married, which just recently enjoyed its North American premiere at the Toronto International Film Festival. A few folks I know already named this their favorite of the fest so far, and we haven't stopped hearing Anne Hathaway's name being tossed around during early Oscar conversations. The film, which was directed by Jonathan Demme, follows a woman (Hathaway) who returns home for her sister's wedding following several stints in rehab.

In his review from TIFF, James said this of the film: "Rachel Getting Married is a terse, smart, funny and tough family drama about forgiveness and failure written by Jenny Lumet; it's also a loose, smart, broad and bright film about family and love directed by Jonathan Demme. When these two things are in sync, the end result is something truly impressive – a moving story that appeals to your heart and soul without insulting your intelligence, a film full of big scenes that never stoops to the most obvious possible iteration of those big scenes, a movie loaded with great and sincere performances from the top down."

Rachel Getting Married arrives in theaters on October 3rd. Click the photo above to check out an exclusive clip.

Rachel Getting Married is a terse, smart, funny and tough family drama about forgiveness and failure written by Jenny Lumet; it's also a loose, smart, broad and bright film about family and love directed by Jonathan Demme. When these two things are in sync, the end result is something truly impressive – a moving story that appeals to your heart and soul without insulting your intelligence, a film full of big scenes that never stoops to the most obvious possible iteration of those big scenes, a movie loaded with great and sincere performances from the top down. When the two parts of Rachel Getting Married fall out of synch – as they do, most notably, in the last third of the film during Demme's raucous, joyous post-wedding reception – it's less catastrophic than it is curious, and the final film is still very much worth watching.

Rachel (Rosemarie DeWitt) is getting married; her little sister Kym (Anne Hathaway) is coming for the big event ... which involves getting picked up from her most recent stay at a rehab clinic. A cynic could look at Hathaway's part in Rachel Getting Married and paraphrase Robert Downey Jr. in Tropic Thunder: Always go full rehab. And while it's true that the Academy and critics tend to reward gritty, hyperbolic portraits of drug-addiction's misery, the fact is that Hathaway's Kym is not quite as simple as that. Kym knows all the things she's done wrong; she also knows she'll keep doing some of them. Immediately, in the car, the lines of battle are drawn, with Kym going on the offense as part of her defense mechanisms, asking her dad (Bill Irwin) and step-mother (Anna Deavere Smith) about how Rachel's holding up: "Are all of her latent food issues coming up? Is she still hoarding Snickers and Cool Whip under the bed?" Soon, Kym's plunged into the thick of the preparations for Rachel's wedding, responding to the chaos by adding to it. ...

Less than an hour ago, I'd not a clue about the Jonathan Demme-directed, Anne Hathaway-starring dysfunctional family dramedy, Rachel Getting Married, and having now watched the new trailer over at Yahoo! Movies, I find myself equally reminded of two films I felt were of opposite worth: the winning Pieces of April and the wearying Margot at the Wedding.

Following a string of documentaries, this is Demme's first feature film in four years since his remake of The Manchurian Candidate, apparently embracing a more free-form, hand-held style on this project. Hathaway, meanwhile, seems to have shed all evidence of her tough-girl persona from Get Smart as the rehab-frequenting Kym, save for perhaps her eyeliner. And it can't hurt to have Debra Winger and Rosemarie DeWitt around, playing her mother and sister, respectively.

Jeff Wells over at Hollywood Elsewhere seems to have the only opening date around, with the film going limited on October 3rd. With any luck, whatever buzz comes from its Venice and Toronto premieres (and, in all likelihood, also Telluride, Toronto, or all three) will carry it into the looming awards season.

[Thanks, Andrew!]

It's hard to say which event in midtown Manhattan on Thursday night was cooler: New German Cinema legend Werner Herzog in conversation with director Jonathan Demme at the Times Center, or the two crazed climbers who attempted to scale the New York Times building right next door just a few hours earlier. In some ways, the two occurrences worked together: It was later announced that one of the climbers did it in order to raise awareness about global warming, a relevant issue for anyone interested in Herzog's latest film, the remarkable Antarctica odyssey Encounters at the End of the World. Like most of Herzog's documentary work, it's a brilliant amalgam of gorgeous imagery and Herzog's personal philosophies. Not a scientist himself, he spends time in their company down south, seeking to understand their behavior ("Is this a big moment?" he asks when they nonchalantly announce the discovery of a new bacterium).

Demme, admitting that he and Herzog had just met earlier in the evening, opened the conversation by reading an effusive letter to Herzog written by Roger Ebert after the critic discovered that the director dedicated Encounters to him. Herzog seemed displeased that Ebert printed the letter ("Those things should stay between two men") but had only praise for his friend. "I salute him, a good soldier of cinema," he said. "We have very few left."