LeeleeSobieski Tagged Articles at Cinematical

(Cinematical Rewind is a new column that showcases some of our favorite posts from the past few years. Here's Jeffrey M. Anderson's famous Cinematical Seven from 7/22/08)

Occasionally Hollywood cobbles together random members of the A-list to play family members on film, even if their genes obviously come from opposite ends of the earth. If the actors are good enough or if the chemistry is there, sometimes the combo can work, such as Ethan Hawke and Philip Seymour Hoffman as brothers in Before the Devil Knows You're Dead or Colin Farrell and Ewan McGregor in Cassandra's Dream. Other times, it stretches credibility, such as Adrien Brody, Owen Wilson and Jason Schwartzman in The Darjeeling Limited. My all-time favorite oddball casting is in Sidney Lumet's Family Business (1989), with Sean Connery, Dustin Hoffman and Matthew Broderick playing grandfather, father and son. (Huh?) At the same time, there are actor combos out there who just scream to be paired up in a family capacity. Remember Julia Roberts and Kyra Sedgwick in Something to Talk About? Well, neither do I, but that pairing was perfect. Here are a few others that could work:

1. Christian Bale & Samantha Morton

I don't mean to harp on that old "Bad British teeth" thing, but both Christian and Samantha have front teeth that seem to curve slightly upward in the center, so that their pearly whites tend to disappear under their top lips when they speak. As a result, both speak with ever-so-vague sibilant 'S'es -- Christian more so than Samantha. (It's fairly inconvenient trait for a Bruce Wayne trying to maintain his secret identity.) But aside from that, they both have dark, intense eyes and they certainly both project a similar, singularly dedicated mood onscreen. (Christian is the big brother, three years older than Samantha.)

Occasionally Hollywood cobbles together random members of the A-list to play family members on film, even if their genes obviously come from opposite ends of the earth. If the actors are good enough or if the chemistry is there, sometimes the combo can work, such as Ethan Hawke and Philip Seymour Hoffman as brothers in Before the Devil Knows You're Dead or Colin Farrell and Ewan McGregor in Cassandra's Dream. Other times, it stretches credibility, such as Adrien Brody, Owen Wilson and Jason Schwartzman in The Darjeeling Limited. My all-time favorite oddball casting is in Sidney Lumet's Family Business (1989), with Sean Connery, Dustin Hoffman and Matthew Broderick playing grandfather, father and son. (Huh?) At the same time, there are actor combos out there who just scream to be paired up in a family capacity. Remember Julia Roberts and Kyra Sedgwick in Something to Talk About? Well, neither do I, but that pairing was perfect. Here are a few others that could work:

1. Helen Hunt & Leelee Sobieski

They're so similar it's spooky, from their hair and foreheads, right down to the tonal quality of their voices. Anybody check the hospital records for mixed-up babies? (Helen is about 20 years older.) Not too long ago, both careers hit a peak: Helen won an Oscar while Leelee was working with Stanley Kubrick and playing Joan of Arc on TV. Now they're both in decline. For some reason, whenever Helen's name comes up, I hear "I HATE Helen Hunt!" And Leelee's last movie was for Uwe Boll. Now would be the perfect time for these two to team up in a mother-daughter drama. If they cooked up something along the lines of Terms of Endearment, with a good, solid writer and/or director, it could be interesting. Or better yet, how about something really strange and kooky with Spike Jonze or Harmony Korine? (Note: apparently the two once went head-to-head on "Celebrity Death Match.")

Gallery: Actors Who Could Play Siblings

Another week has flown by, and it's time for more casting bites, courtesy of Variety:

She might have gotten to play Joan of Arc on the small screen, and get saucy in a Stanley Kubrick film, but now Leelee Sobieski is probably going to make many-a-Johnny Depp admirer jealous. She's been cast as the last girlfriend of John Dillinger - aka Depp - in Michael Mann's Public Enemies. This should make her Polly Hamilton -- a woman who didn't know who he really was, and was with him when he was gunned down.

Meanwhile, actor Jesse Williams is getting to cleanse his big-screen girly fare of the upcoming The Sisterhood of Traveling Pants 2 with Antoine Fuqua's Brooklyn's Finest. He will play Eddie Quinlan, a character who is pretty high up on the cast list that boasts Ethan Hawke, Richard Gere, Don Cheadle, and Ellen Barkin. The movie focuses on three unconnected cops who take very different career paths and wind up at "the same deadly location."

It's a splendid week for indie lovers with a taste for classic cinema -- which is everybody, right? -- with a flock of great Westerns and two Louis Malle films from Criterion among the highlights. More recent fare is more scarce.

Even though reviews were mixed to negative (our own Jeffrey M. Anderson was definitely mixed), Francis Ford Coppola's Youth Without Youth (Sony Classics) is almost required viewing. (Erik Davis posted a clip from the DVD just last week; check the official site for more.) The DVD includes an audio commentary by Coppola, a "making of" feature and two others on the music and make-up.

Tricia Regan's doc Autism: The Musical (Docurama) follows five autistic children as they write and produce a musical. Brendan Butler at Cinema Blend called it "heart-wrenching and heart-warming ... The dialogue the film opens with is as vivid and fierce as any hot-button topic in our country today." (Read more about the film at the official site.) The DVD includes deleted scenes and a "companion guide."

Leelee Sobieski stars as a would-be dominatrix in Walk All Over Me (The Weinstein Co.), which debuted at Toronto last fall; Eye Weekly said it was a "somewhat messy but energetic comic thriller." (Check the movie's site for more information.) The DVD includes a commentary by Sobieski, co-star Tricia Helfer and director Robert Cuffley, behind the scenes footage, a deleted scene, outtakes, a music video and still gallery.

Recently, many remarks have been cracked about running times of movies and the title 88 Minutes. "Is it too much to hope for that 88 Minutes will actually be 88 minutes?" our own James Rocchi asked me not too long ago. 88 minutes is a great running time for a movie, especially for busy critics with lots of movies to see and too many deadlines. You're in an out well before the welcome has worn out. Orson Welles' The Magnificent Ambersons is considered a masterpiece at 88 minutes, even cut down from its original 132. Bill Murray knew the power of 88 minutes when he turned in his final cut of the classic Quick Change (1990). The Woodsman (2004) would have been unbearable at anything longer than 88 minutes. And whatever else you have to say about them, Scary Movie, Sexy Beast, Spy Kids, The Big Bounce, Transporter 2, Wristcutters: A Love Story and Horton Hears a Who! never seemed too long.

But, alas, 88 Minutes runs 108 minutes, and it's too long. Al Pacino (with a poofy, rooster-head haircut) plays high-profile forensic psychologist Jack Gramm, whose testimony was almost solely responsible for the conviction of accused murderer Jon Forster (Neal McDonough). Today, Forster is going to the chair, while maintaining his innocence, and while identical murders are still being committed throughout Seattle. At 10:17 a.m., Gramm gets a call, saying he has 88 minutes left to live. That call comes about a half hour into the movie, and the 88 minutes passes by in an awkward, compressed 70 minutes, give or take, followed by the expected conclusion and credits. Couldn't a cleverer filmmaker have set the movie in real time, and then used flashbacks to do all that boring preliminary stuff? Wouldn't the film have been much better if it just started with a bang, with that phone call?

I don't mean to be rude or anything, but I have to say that whoever worked on the poster for Al Pacino's new thriller 88 Minutes did one heck of a job on photoshopping the 67-year-old actor -- the man doesn't look a day over 40. The Movie Insider now has the new poster for John Avnet's (Fried Green Tomatoes) film about a man who has the aforementioned 88 minutes to solve his own murder -- a plot that sounds a lot like the noir classic D.O.A, but with just enough differences to avoid a lawsuit.

Pacino plays Jack Gramm, a womanizing forensic psychiatrist and college professor. After testifying against a serial killer and putting him on death row, Gramm receives a phone call from the condemned killer, who tells him that he only has 88 minutes left to live. Gramm is then forced to re-visit the gruesome case in hopes of stopping a copycat and hopefully saving his own skin.

Joining Pacino are Leelee Sobieski, William Forsythe, Deborah Kara Unger, and Alicia Witt -- judging by the sheer number of chicks in the cast, I guess Pacino really is a ladies man in this flick. The script was written by Gary Scott Thompson, who was also the writer for 2 Fast 2 Furious and Hollow Man II. I have to be honest with you; those two credits alone are enough to make me think that this movie might not be up to Pacino's usual standards -- although lately it seems like those have been slipping ever so slightly as well. 88 Minutes hits theaters on April 18th.

I suppose that reviewing an Uwe Boll film is a lot like having a fancy restaurant critic do a write-up on McDonald's new McGristle sandwich -- but I'm not "fancy" by any definition of the word, and I've grown madly in love with Uwe Boll's enthusiastically slipshod filmmaking techniques. So to those who thought miracles were actually possible, I have some disappointing news: Boll's latest, In the Name of the King: A Dungeon Siege Tale, is every bit as consistently awful as the director's earlier offerings -- only it's 126 minutes long. And that's just not fair.

Also unfair is the stunningly blatant way in which Mr. Boll tries to rip off the Lord of the Rings trilogy in this chintzy little epic. Every other sequence has a musical cue, a costume, a bit of dialog, or a background character that just fell off the Hobbit truck. If imitation is the sincerest form of flattery, then Uwe Boll just spent 126 minutes telling Peter Jackson how thin, talented and gorgeous he is. To be completely fair, I did notice a few components (mainly the action scene editing and a few moments of strangely effective cinematography) that manage to improve upon films like Alone in the Dark, House of the Dead and BloodRayne -- but really, you could probably improve upon those three movies using only a cell phone camera and a powerful flashlight.

For a flick that runs two hours, the plot is distressingly skimpy: Villains are ransacking the countryside, so a farmer called Farmer takes up arms, grabs a few sidekicks, and heads out to destroy the evil and perpetually cackling Boss Villain. That's it, really. But we're not going to see an Uwe Boll video game adaptation for the plot, are we? No. We're usually watching his flicks for the sheer unintentional hilarity of it all, but King is even better because it's an ensemble piece! We've got...

I have to admit that I'm surprised when I scan Leelee Sobieski, or Liliane Rudabet Gloria Elsveta Sobieski's IMDb profile. Although she sticks out in my head, her resume consists mainly of television appearances and bad or off-the-radar films. I guess that's what happens when you play a teen nymphette on Stanley Kubrick's last film, because I'm quite certain that she's not burned into my brain from Here on Earth.

After a bit of a big screen hiatus and a few television stints, Sobieski has not only returned to film acting with full force, but she's also working behind and in front of the camera by producing and acting in the upcoming horror flick, Acts of Violence. What is more impressive is the film's director, brave newcomer Il Lim, who also wrote the film and stars along with Leelee and the ever-loved Ron Perlman. So, while her film choices don't necessarily inspire cinema confidence, it's got to help that she's with the burly Hellboy.

Violence is set to be a comedic horror about a doctor who wants revenge after his wife is attacked. It seems like a strange premise to add comedy into, but maybe the comedy comes in the form of a Sobieski/Perlman bit of love? With Lim and Sobieski as Flyn and Olivia Che, it seems like he's missing out on the Leelee, but I, for one, would be incredibly amused if the two were paired romantically. If you need more reasons to check out the film, how about Tom Hank's brother, Jim, as Detective Mike?

What sounded like one of the year's most ill-fitting and head-scratching projects -- Neil LaBute and Nicolas Cage (of all combos) getting together to remake Robin Hardy's 1973 chiller The Wicker Man (a true cult classic if ever there was one) -- ends up being a half-compelling, half-goofy and half-redundant piece of remake revisionism. (Yes, that's three halves, but it's that weird a movie.) That's not to say you won't find a few really strong components in LaBute's (ultimately pointless) revisit ... but it'll take a straight face and a eagle's eye to find the good stuff. And even then, the only people who should bother with the remake are the ones who simply can't be hassled renting the original because it's old and British.

Cage stars as state cop Ed Malus, a hard-working and noble sort of everyman hero, whose story begins with a mysterious, deadly roadside explosion and the malaise that comes only when a cop loses two civilians ... and the bodies are never found. After stewing around in his misery juices for a few days, Ed receives a letter from an old lover: She needs him to make the trek out to a private and very isolated island off the coast of Washington because her daughter's gone missing and there's nobody on the island who can help.

After bribing a local pilot and mildly butting a few heads upon his arrival, Edward settles in with the meat of the mystery. But the off-kilter community of Summersisle, which is composed almost exclusively of unfriendly females, indentured males and billions of bees, does not take too kindly to Eddie's arrival. (It probably doesn't help that he has the word "male" as part of his last name.) Indeed, most of The Wicker Man consists of Cage flaccidly interrogating a series of very sneaky women before the mystery is laid bare with a finale that (thankfully) hasn't been monkeyed with too much.

Upcoming Horror Movies has a couple (literally) of new shots from the set of the Wicker Man remake, which stars Nicolas Cage, Ellen Burstyn and Leelee Sobieski. Not much to see here, beyond the big ... wicker ... man. Of course, the most interesting thing about this film is that it's being directed by Neil LaBute, the driving force behind Nurse Betty, In The Company of Men, and Your Friends and Neighbors. With a filmography chock full of protagonists notable solely for their overarchingly selfish emotional brutality, LaBute's got maybe the most strident overall vision of humanity of any filmmaker working today. How do you see this integrating with the Wicker story, which, if I remember correctly (it's been awhile since I've seen the original) has something to do with a series of hedonistic rituals extending towards human sacrifice? Is this the ultimate LaBute film, or is he the wrong guy for this job?

[via Coming Soon]