KodiSmit-mcphee Tagged Articles at Cinematical

Overture Films' remake of Sweden's critically acclaimed Let the Right One In has been decried as unnecessary by a lot of critics and film fans. But it's happening no matter how much digital ink we spend complaining about it, and at least they have gone and hired themselves one heck of a cast. In an official press release, Overture has announced that Richard Jenkins, Kodi Smit-McPhee, and Chloe Moretz have been cast in Let Me In.

The roles are the same, though the names have been Americanized. Smit-McPhee will be playing Owen, the lonely boy who befriends the strange smelling girl who haunts his apartment complex. Moretz will be playing Abby, the immortal with a child's face. Jenkins will play her caretaker, Hakan. (They haven't decided what to change the name to, I guess. I bet you'll see him renamed Hank or Henry before long.) While I haven't seen enough of Moretz to judge her work, I know Smit-McPhee and Jenkins will be fantastic. (If you haven't rented Romulus, My Father, do so! Its a wonderful film, and it'll give you a preview of what you can expect out of Smit-McPhee in The Road.)

Of course, the performances will all depend on how the troubling, eerie story is handled by director Matt Reeves. If the nuances of the characters are bungled, then it won't matter how good the cast is. Let Me In begins filming in New Mexico (now there's a departure from the Swedish snow) this fall, and will hit theaters January 15, 2010.

Days after Jessica Barnes compiled a nice fall schedule for you, the Weinsteins and Dimension Films had to go and mess it up a little. According to Variety, they've pushed the release date of The Road back from October 16 to November 25 -- almost a year to the day when it was supposed to come out in 2008.

The delay isn't because Dimension has lost faith in the film -- quite the contrary. The film is playing to rave reviews at Telluride (where our Eugene Novikov saw it and loved it) and Venice Film Festival, and the Weinsteins have realized they have an awards contender on their hands. "We've been getting great audience reaction at Venice and Telluride," Dimension topper Bob Weinstein said. "We feel that this is a commercial film that's worthy of a wide release." Considering Cormac McCarthy's book was a bestseller and won a Pulitzer, you'd think that might have tipped them off, but ah well. What's good about this decision is that it not only puts it into Golden Globe contention, it also promises a wide release. One of the big fears lurking around the film was that audiences wouldn't get it, and the film could vanish into limited release hell.

The Road will now be in direct competition with Nine, Old Dogs, and Ninja Assassin. Something tells me John Hillcoat's bleak adaptation won't top the holiday box office, but it'll make a far bigger impact. I've been saying since the first stills came out that this might be a role that nabs Viggo Mortensen an Oscar, and I'll stand by that.

Just before the kid was born, the world burned. We don't know why, and the characters don't talk about it -- perhaps they don't quite know themselves, or maybe they've decided that it no longer matters. The Boy's universe is grey, full of ash, dust, and the ruins of a civilization he never saw. This is all he knows. His mother, seeing no point in going on, killed herself shortly after his birth. She was not alone. Many of those who didn't take their own lives were soon murdered by the desperate and hungry.

Skip ahead nine or ten years. The kid and his father wander the barren roadways heading south toward the coast for no clear reason other than that it gives them a tangible goal toward which to strive. (And there's always the hope that the ocean will be something other than gray.) Every day is a knock-down, drag-out fight for survival. They run, hide, starve, and fight off attackers who want their food, or their clothes, or, at one point, their flesh.

I set the stage like this not to horrify you or to gross you out, but to give you a sense of the relentless, pervasive grimness of The Road -- and then to turn around and say that The Road may be the most profoundly optimistic and life-affirming film you will see this year. Those who have read Cormac McCarthy's novel of the same name won't be surprised by this. John Hillcoat's faithful, near-perfect adaptation beautifully captures McCarthy's synthesis of all-encompassing darkness and enduring hope.

The trailer for The Road (which now has a release date of October 16) has hit the net courtesy of Yahoo! Movies but we've got an embed here thanks to Trailer Addict. For those who read the Cormac McCarthy book (and I haven't, but I was told the entire thing by a "helpful" friend), you're going to notice what looks like a lot of changes to the story. The mysterious disaster is made explicit, Charlize Theron is given a lot more screen time than the wife ever had in the book, and the action is upped ten times over.

However, this trailer has caused a lot of controversy already with people who have seen the film. Esquire just published a review this week, and noted that the Weinstein Company was falling prey to the temptation to cut a trailer that looked like a post-apocalyptic action movie. According to Esquire, John Hillcoat's film is (and other reviews have borne this out) as quiet, harrowing, and bleak as the novel is, and may just be "the most important film of the year". Unfortunately, the Weinsteins feel no one will see it unless there's an "explanation" and a hook of kick ass action, even if the film itself lacks the things the trailer sells.

But at least you get a glimpse of the real film underneath, which is enough to cause you to choke up. I think we're promised one hell of a gut-wrenching performance from Viggo Mortensen. Just look at his eyes.

Normally when I find out that a feature film is being made from one of my favorite novels, I immediately prepare myself for disappointment. But, when it comes to The Road, I don't know what to tell you -- for once I'm convinced everything is going to work out just fine. Although that's probably the first time that particular sentence was used in conjunction with anything having to do with Cormac McCarthy's novel. BBC4's arts show Today recently profiled the project, and the highlight of the report was the first audio clip of Nick Cave's original score. It's only a short clip, but from what you can hear it's the perfect musical accompaniment to the tale of a father (Viggo Mortensen) and son (Kodi Smit-McPhee) traveling through an apocalyptic wasteland.

So even though most of us probably never pay that much attention to the orchestral score to most of the films we watch, you can't ignore a bad one. For me, one of the most distracting things about a film is a bad score -- some of my more hated examples include The Perfect Storm and The Last Samurai. I know there are plenty of reasons why a film might fail to connect with audiences, and I also know that this film is already going to be a hard sell. But, as a former Goth who wore way too much eyeliner while listening to Mr Cave's Murder Ballads on repeat, I have every faith that if there is anyone that can pick the perfect mood music for a downer, it's him.

The Road has yet to find a solid release date, but will hopefully arrive in theaters this fall.

One of my concerns when I started doing this column was that each forthcoming adaptation I covered would equate to a new movie losing the ability to surprise me. What more effective way to strip oneself of the thrill of cinematic discovery, I thought, than to pore over the source material before watching? Ultimately I decided that the prospect of literary discovery along with the chance to write the column more than compensated for that risk, but here's some evidence that maybe I shouldn't have worried at all: having read Cormac McCarthy's The Road, I'm more excited to see John Hillcoat's adaptation – coming this November -- than I ever would have been otherwise.

Just when it was looking like No Country for Old Men had a monopoly on successful interpretations of Cormac McCarthy's drearily minimalistic prose, production on an adaptation of The Road suggests the possibility of healthy competition. The movie, which recently finished shooting in Pennsylvania and hits theaters in November, remains a wild card until post-production wraps. Nevertheless, if this colorful report from the set in The New York Times offers any indication, The Road appears poised to capture McCarthy's original gloomy lyricism. Reporter Charles McGrath points out the difficulties the filmmakers endured when the weather got too nice and the grass looked too green. In other words, they're working really hard to keep things bleak. The story, about a father and son wandering through desolate landscapes after a cataclysmic event destroys civilization, demands that the dark aura remain intact. However, it wouldn't work without two strong leads, and McGrath implies that with Viggo Mortensen and eleven-year-old Kodi Smit-Mcphee (the next Haley Joel Osment?), that need has been fulfilled.

The best match for The Road, however, is its director, John Hillcoat, whose work on The Proposition proves he's the man for the job. That woefully undervalued western had the intensity of a Sam Peckinpah movie in overdrive, and The Road screams for the same raw, stripped-down approach. It's nice to hear that Hillcoat sees the movie as an antithesis to Mad Max, meaning he wants to eschew cartoony violence in order to create a scarily realistic depiction of post-apocalyptic duress. Bring it on.

[Photo above: Kodi Smit-Mcphee on the set of The Road, courtesy of the New York Times]

While doing the publicity rounds for Deception, Hugh Jackman talked a bit about X-Men Origins: Wolverine to The Herald Sun, specifically praising his young costar, Kodi Smit-McPhee, and his director, Gavin Hood. (The subject of his muttonchops comes up too -- apparently, they aren't popular in his private life. And here I was hoping Jackman could bring them into fashion.)

That talk of McPhee being replaced with Troye Sivan must have been false, or we're seeing two young Logans which is entirely probable. Jackman is full of praise for the young actor he handpicked to play his younger self. "He's one of those kids who's fearless. I hope he doesn't read this article because yes, there is pressure on him because of who he's playing and the expectations of fans. I was lucky to be completely ignorant of fans' expectations and the whole world before X-Men came out. I just hope he doesn't read too much or go on the internet because he naturally has the goods I know the fans will love."