MarkRuffalo Tagged Articles at Cinematical

After premiering at the 2008 Toronto International Film Festival, Rian Johnson's The Brothers Bloom got bounced around like the red-headed stepchild on Summit's slate before landing a haphazard 200-screen release earlier this summer. Now, in what would appear to be an effort to maintain consistency between the difficulty of seeing it on a big screen and watching on your small screen, the crime caper's been made available for rental only since September, until making its retail bow in January...

...and that's a shame, because the presentation -- at least on Blu-ray -- looks and sounds as rich as it ever did theatrically, the extras are plentiful, and the film itself stands as a clever, funny and warm-hearted take on the con man genre, one more often known for its especially detached sense of cool above any sense of character.

And no, I'm not just saying all of this because Johnson name-checks yours truly a couple of times on the commentary. Honest.

While attending a midnight showing of G.I. Joe: The Rise of Cobra last week, we got a surprisingly diverse group of trailers attached to a movie that's based on a kid's property, but has no shortage of impaled skulls and throwing stars to the eye sockets (but it's bloodless, Prince Caspian-style, so it's okay!).

The one that got the biggest rise out of the audience was that of Old Dogs, from the director of Wild Hogs (get it?) and starring Robin Williams and John Travolta as swinging bachelors suddenly saddled with kids to care for and forced, one would gather, to learn new tricks (get it?). And lo, the audience did howl, and lo, I did slouch further and further into my seat. A kid is hit in the head by a ball! Williams loses depth perception after the brats mix up his meds! Seth Green is being cuddled by a gorilla that gets angry if he doesn't sing for it! John Travolta gets pecked in the head by aggravated penguins! Sweet Charlie Chaplin's ghost, that there's a knee-slapper!

What do you get when you mix Annette Bening, Julianne Moore, and Mark Ruffalo in a comedy? A same-sex couple and one eager sperm donor. (Bet you weren't expecting that!) Variety reports that the trio, plus Josh Hutcherson (Bridge to Terabithia) and Mia Wasikowska (Alice in Wonderland), will star in a new film called The Kids Are All Right.

Bening and Moore are playing a couple who long ago used donated sperm to start a family. Years later, when their son and daughter (Hutcherson and Wasikowska) have grown up, they want to find the man behind the sperm. So, they hunt down Ruffalo's character, and he "totally upsets their family dynamic once he enters their lives."

This project is coming from Lisa Cholodenko, which bodes particularly well for the already-unique story. You might remember that she's the writer and director of Laurel Canyon, one of the few films to show the lovely Frances McDormand as a beautiful and carefree woman, rather than a quirky gal steeped in kitsch.

So, a filmmaker who can challenge the norm, a same-sex couple played by two multi-Oscar-nominated actresses, and an original storyline to boot? Pinch me, I must be dreaming. The film just started production, so I can only hope we get to see how this all pans out soon.

My first thoughts after watching the new trailer for Marty Scorsese's Shutter Island were ... "it looks damn creepy ... I dig it!" The trailer is over on Apple right now (watch it here in several different formats) and it sorta looks like a ghost story; a nifty psychological thriller for the director who took home Oscars the last time he had a feature narrative on the big screen (and I say feature narrative because if I simply said "movie" you'd all jump on me with "Nooooo you're wrong -- his last film was the Rolling Stones doc, Erik. How about you fact check blogger!"). Fact. Checked.

Based on the Dennis Lehane (Mystic River, Gone Baby Gone) novel, Shutter Island stars Leonardo DiCaprio and Mark Ruffalo as a couple of U.S. Marshals who travel to the remote Shutter Island to investigate the disappearance of a murderess/patient at the island's strange loony bin where, naturally, a guy like Ben Kingsley runs the show. I swear, Kingsley totally knows how to creep you out with those freaky eyes and that bald head and that icy stare. Goose bumps. Film looks good; it almost feels like Marty took what could've been a simple thriller dumped into theaters in the middle of winter starring Jessica Alba and That Guy Who Guest Starred on Gossip Girl and turned it into a pretty meaty (and enticing) fall (or winter) snack attack.

What do you think?

The Brothers Bloom is one of the best movies I've seen in quite a while. I actually dreamed that at one of the press days, instead of DVDs with assets they were giving out copies of the movie, and I was really disappointed when I woke up. Seriously.

It's being marketed as a globe-trotting con man movie, which is true, but it's also got some romantic comedy action going on, and it's very funny. Rachel Weisz's character Penelope is one of the coolest and most three-dimensional "quirky female" characters I've seen in so long. Rinko Kikuchi steals every scene she's in as Bang Bang, their explosions expert. It's why The Brothers Bloom ranked with Happy-Go-Lucky as one of my faves of last year. The costumes are stylish and cool, the locations are glamorous and romantic, and the script is smart and well written -- just what you'd expect from Rian Johnson, who wrote Brick. (Fortunately, I didn't need subtitles to get all the nuances of Johnson's script, as I did with Brick -- which is, by the way, totally worth it.)

Okay, so now that I've slobbered all over The Brothers Bloom, go watch the first seven minutes on Hulu, introduced by Rian Johnson. Voila! The rest of the film hits theaters on May 15.

When we here at Cinematical harp on about a particular movie, it's usually because it deserves the attention, whether or not it's a genuinely Great Movie. Every so often, several of us on the staff will share the same wavelength for a film and insists on flogging it through its release, and we do so because we care so, so very much. Now, I personally won't go on about The Brothers Bloom at as great a length as we have with, say, The Promotion or Dear Zachary...; earlier today, when a colleague asked me (in wording that doesn't quite merit repeating here) if I had an overwhelming affection for the film, I couldn't say it was any stronger than I felt for either of those films.

I should know why I'm supporting any film, though, and I do know that I would like to see Bloom fare well in the marketplace whenever it does open -- which is why I hope that Summit changes its release date just one last time.

This had been hush-hush for a mild while now, but it looks like Rian Johnson's The Brothers Bloom has been bumped back yet again to next May. Back in September, I had mentioned that the crime caper had moved from October to a NY/LA qualifying run next week and a wide release in January. The difference between that post and this one is that I was fortunate to see the film at Fantastic Fest a couple of months back, and it was good enough to make me equally anxious to just see the film again.

Writer-director Johnson confirmed the rumor on his message board, then joking that his own December birthday had been pushed back by Summit to May, when there are less of them to contend with. All kidding aside, Bloom is now scheduled to bow in limited release on May 15th -- opposite DaVinci Code sequel Angels & Demons and Borat follow-up Bruno -- and then wide on May 29th, up against Sam Raimi's return to horror Drag Me To Hell and Pixar's anticipated-by-default Up.

It's tough competition, to be sure, but believe me (and Eugene, and James) when we say that The Brothers Bloom will be well worth the wait.

Appearing in Toronto with The Brothers Bloom, actress Rachel Weisz plays Penelope, a lonely orphaned heiress who, targeted to be taken for a ride by the title con artists (Adrian Brody and Mark Ruffalo) discovers a brand new sense of joy in the world, even as she's being fleeced. "I had wanted to do something funny for a long time, and I think when I read The Brothers Bloom, I thought "This is one of the funniest things I've ever read. ..." Weisz spoke with Cinematical in Toronto about her character's journey, learning how to play the harp for a throwaway comedy bit, co-starring with Brody and Ruffalo and much, much more.

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After years of turning down any and all parties who inquired after the film rights for his novel Blindness, Nobel Prize-winning novelist Jose Saramago finally relented to the director-writer team of Fernando Meirelles and Don McKellar after years of cajoling and convincing. McKellar also has a part in the final film, a sprawling story of ruin and redemption that spanned the globe in its production that's been significantly re-cut -- and significiantly improved -- from the version first unveilled in Cannes in May. McKellar spoke with Cinematical in Toronto about the re-cut version of the film, the secret thread between his brilliant directorial debut Last Night and Blindness (" ... my paranoia about the apocalypse hadn't been resolved yet ..."), how Hurricane Katrina influenced the look of Blindness, the need for humor at the end of the world and much more. ...

Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

Long awaited in the wake of his 2005 debut Brick, Rian Johnson's The Brothers Bloom is a magic trick of a film; the second it's over, you want to see it again so you can try to catch how you were tricked, but you also want to see it again so you can return to the joy and wonder of being wrapped up in the nimble, deck-shuffling hands of a born showman. Watching it at first, some of The Brothers Bloom's creative and thematic elements seem like they're on loan from Paul Thomas Anderson (opening narration by Ricky Jay, pop-whiz-bang camera work, the troubled-but-tender relationship between the two brothers) while others feel as if they've been cribbed from Wes Anderson (deadpan confessions, whimsical set design, a parallel-universe setting where people still travel to Europe by steamship). The truth is, as much as The Brothers Bloom may feel like it's cribbing from other films at first, this is Rian Johnson's movie, and even if my more dreary and discerning critical faculties told me the final act goes on, perhaps, a beat too long, my inner moviegoer was sitting bolt upright, smiling, bright-eyed and carried away.

Brothers Stephen (Mark Ruffalo) and Bloom (Adrian Brody) have grown up on the make, in a world of, as Jay's stage-setting narration puts it, "... grifters, ropers, faro fixers, tales drawn long and tall. ..." Stephen builds cons; Bloom gets close to the marks. Stephen's work on their scams is a weird, lucrative form of self-expression; as Bloom puts it, "My brother writes cons the way Russians write novels. ..." Bloom's work on their schemes is a weird, lucrative form of self-loathing; Bloom learns early on that playing a part means never having to be yourself, that he, when " ... being as he wasn't, could be as he wished to be." Stephen wants more. Bloom wants out.