Neil LaBute Tagged Articles at Cinematical

Back in January, we all recoiled a little bit at the news that Neil LaBute was remaking Death at a Funeral -- a nice little British movie that only just came out in 2007, making a remake seem even more superfluous than they usually are. The fact that he was making it with Chris Rock made the whole thing seem even more cheesy. (Not that we don't like Rock ... it's just that we like him in original, edgy stuff.)

Well, the remake just got a lot more over the top. The Hollywood Reporter has announced that Martin Lawrence and Tracy Morgan have joined, along with Loretta Devine, Ron Glass, Danny Glover, Regina Hall, James Marsden, Zoe Saldana and Columbus Short. (Who wants to bet money that Marsden is the gay lover? Anyone? Anyone?)

It's keeping the exact same plot of misplaced cadavers, gay blackmail, hallucinogenic drugs, and family secrets, though Rock cowrote the script with Ayesha Carr, so we can expect some changes. It's just not clear yet what they might be ... but at least it probably won't involve bear suits or misogyny. I'm still not convinced this needed to be remade, but I suppose if you're going to do one, it ought to feature Danny Glover. Let's just hope Tyler Perry stays a million miles away from the set.

ETA: Yes, the title originally read Tracy Jordan. I watch way too much 30 Rock.

An American remake of Death at a Funeral might be a new low. Consider: this would be a remake of an English-language film, two years after it received a considerable Stateside release. (I mean, I saw it in my local suburban multiplex at the time.) At least Nine Queens (which quickly became Criminal) and Funny Games were in a foreign language and barely saw the light of day here.

At least the remake of the quintessentially British farce may not turn out to be the anodyne Hollywood studio comedy you might otherwise expect. It'll be directed by Neil LaBute, who, with the bizarre exception of the Gwyneth Paltrow snoozer Possession, at least consistently makes interesting films. (And yes, I'll defend his Wicker Man redo if called upon.) On the other hand, I have no idea what to make of the fact that the remake is going to star Chris Rock. I can't really think of a more jarring replacement for the amiably goofy Matthew MacFadyen.

LaBute seems to have gotten back into at least some critics' good graces with last year's Lakeview Terrace, which (not for the first time) wrapped the writer-director's trademark edginess in a genre film cloak. It seems a shame to stuff a whopping hunk of subtext into something as droll as Death at a Funeral but it probably won't be boring. On the other hand, the remake will be written by Rock, not LaBute, and if Rock's previous screenplays are any indication, maybe it will be boring.

Variety reports that LaBute has also signed on to direct a rom-com called Here Comes the Sun, but we don't have any details about that one.

At one end of his career, Neil LaBute was an up-and-coming talent to be reckoned with. He earned a reputation as intelligent Mamet-like artist of uncompromising vision with movies like In the Company of Men and Your Friends & Neighbors, harsh, cynical films that looked under the rock of humanity and found icky, squirmy things. At the other end, there's The Wicker Man, a genuine, "what was he thinking?" movie, and the curious dud The Shape of Things, which couldn't quite reconcile LaBute's stage hat with his cinema hat. In the middle we have Nurse Betty and Possession, two exceptional Hollywood entertainments with gleaming surfaces and dark souls. As with David Gordon Green and his delightful, mainstream comedy Pineapple Express, this type of "compromise" may represent LaBute's real calling.

With his seventh feature Lakeview Terrace, LaBute has once again managed to take a surface thriller and use it to work through some of humanity's ugliest and most hateful issues. It begins with a picture of suburbia, USA. Single father Abel Turner (Samuel L. Jackson) struggles to get his kids up in the morning and off to school, but struggles even harder in relating to them. He knows how to boss them around, but doesn't understand them. (He makes his son change basketball jerseys to reflect "their" favorite team.) Later, he peers out the window and watches the new neighbors move in. He's clearly perturbed that it's a clean-cut white guy, Chris Mattson (Patrick Wilson), married to a beautiful black girl, Lisa (Kerry Washington). We eventually learn that he has his reasons, his own emotional wounds, to explain why and how his buttons have been pushed, but it launches an all-out battle of wills.

If you'll permit me to embarrass myself for a moment: I'm the guy who liked Neil LaBute's redo of The Wicker Man. Well, maybe I'm not the only one -- if I recall correctly, Weinberg didn't hate it either. But I'm pretty sure that's it. Any movie where Nicolas Cage dropkicks Leelee Sobieski and then dons a bear suit for an extended stretch is okay by me, but most people seemed to think that LaBute was out of his element in the supernatural thriller genre. In that case, his next project finds him back in his wheelhouse: generating suspense by manipulating and exaggerating everyday social tensions. Lakeview Terrace involves an interracial couple (Patrick Wilson and Kerry Washington) who find an enemy in their new next-door neighbor (Samuel L. Jackson), an LAPD cop who disapproves of their relationship and becomes determined to drive them away.

A trailer for Lakeview Terrace has surfaced on the film's official website, and the movie looks like squirmy, uncomfortable fun -- the kind of material LaBute is most comfortable with. In addition to the racial angle, it looks like the film is going to explore another touchy subject: the near-omnipotence that comes with a police uniform. It takes some guts to make a cop the bad guy without also providing a virtuous foil (e.g. Ethan Hawke offsetting Denzel Washington in Training Day). But if anyone can pull it off, it's Neil LaBute.

[via Comingsoon.net]

He's been gone for over 20 years, but now François Truffaut's work is once again heading to the big screen. Well, sort of. Variety reports that New Line is remaking his 1981 film, The Woman Next Door (La Femme d'a cote). Neil LaBute, the pen behind In the Company of Men, Nurse Betty, and The Wicker Man, will handle adapting the film, while Oscar-winner Taylor Hackford (Against All Odds, Ray) has signed on to direct. This will be the first time LaBute writes a feature for someone else. Now of course, he won't begin writing until the WGA strike is over, but Variety says he couldn't resist the offer, which came after Hackford and wife Helen Mirren saw LaBute's play, Wrecks.

I understand being allured by great projects, but it seems like making big writing deals while you're striking is really defeating the purpose. I wonder if he'll start writing it now, but only "officially" start later. Anyway, LaBute says: "This is a lesser-known Truffaut film about ex-lovers, long separated, who suddenly find themselves living next door to each other. Each is married. Neither tells their spouse they know each other, and it's a collision course into disaster as they rekindle a volatile relationship, with great passion and suspense. ...Taylor said if he was ever going to remake a movie, this was the one he could do something with." That's not surprising, considering the possibilities with the urges of temptation and rekindling of lust. The original starred Gérard Depardieu and Fanny Ardant as the trysters, but who would you cast in a modern-day, English version?

Chances are, if you watch any type of indie films, or The Phantom of the Opera, you've probably caught Patrick Wilson. In the last few years, he's been the creep about to get fed some Hard Candy by Ellen Page, Jennifer Connelly's husband in Little Children and he also had a part in Running with Scissors. While he's got the indie scene covered, he hasn't really broke through to the mainstream, but I'm thinking this might help -- he's signed onto the Neil LaBute thriller Lakeview Terrace.

Cinematical has followed the development of this film for a while now. As of March, we had Samuel L. Jackson starring as a racist LAPD officer who has got it in his mind that he has to do anything and everything to remove the interracial couple who live next door. LaBute was in talks to direct (and has since signed) and Ashton Kutcher was being considered for the role of Kerry Washington's husband, forming the couple being harassed. It looks like someone came to their senses (who would want to tread similar ground to Guess Who?). Mr. Demi Moore is gone and Patrick Wilson is taking over. I'd say this is a pretty solid move for the film, and its cred has since jumped up a few levels.

The film starts shooting on Monday. I just wish it was shooting in Toronto. LA (I presume) gets this, and what's the big film shooting in the midst of the Short Film Fest theaters? American Pie sequel 38945793. If that's something that interests you, I walked by the production today. I can tell ya that there are horses and hay as part of their college shenanigans, and if you want to go snoop, they're filming in/near the frat houses north of the University of Toronto. Sigh. It would've been much cooler to walk by some classic Jackson ranting.

Playwright-turned-filmmaker Neil LaBute won me over big time with the smart dialogue and unapologetic characters he wrote for In the Company of Men and Your Friends & Neighbors. He then made a very enjoyable film from a script he didn't write, which in many other hands would have been forgettable. But after that film, Nurse Betty, he hasn't done much to keep me interested. I was especially disappointed with The Shape of Things, a flat, predictable film based on his own play, and finally couldn't even bother to check out his remake of The Wicker Man, which came out last year. He will likely keep me away once more with his next project, if it does turn out to be Lakeview Terrace, a thriller starring Samuel L. Jackson we told you about in January.

According to the Hollywood Reporter, LaBute is in negotiations to direct the film, which was written by Money Train screenwriter David Loughery. And if he gets the gig, he may get to work with Ashton Kutcher, who is possibly being cast as the husband of Kerry Washington -- because we couldn't get enough of his interracial-coupling in Guess Who. Kutcher and Washington would play a husband and wife being terrorized by Jackson's character, a racist LAPD officer who lives next door. If the script could be rewritten by LaBute -- the LaBute of ten years ago -- and feature a lot of scenes with Jackson beating on Kutcher -- really hard -- then Lakeview Terrace could have a chance, but the script is instead being retooled by playwright Howard Korder, and Screen Gems will probably want to keep Kutcher from being too bloodied up.

It's getting closer to Halloween, and that means scary movies. Of course, I love scary movies and I watch them all year long, but I watch them with a purpose in October. Most critics don't bother with scary movies, or pre-judge them, and that has led to the recent rash of horror films being withheld from the press. It goes without saying, also, that the studios know they're making bad movies by playing it safe with their remakes and sequels, rather than rolling the dice on a new idea. Most of the current horror movies have this in common: they're remakes or sequels, they were withheld from the press, and they flopped.

Hmm. I wonder if this is a pattern that ought to be avoided in the future?

Despite being directed by Neil LaBute -- a filmmaker whose entire reputation was established by critics who singled out his great debut In the Company of Men (1997) -- The Wicker Man remake (233 screens) was withheld from those same critics, and it has officially flopped, returning only $23 million on a $40 million budget.

Haunted by a death he couldn't prevent, policeman Edward Malus (Nicolas Cage) is having a bad time of it: Off the job, taking pills so he can sleep without dreams, shaking hands and shaken spirit. And then he receives a letter from his ex-fiancee Willow (Kate Beahan); they haven't spoken for years, since she went back to her childhood home on an agrarian commune on a small island in Puget Sound. Now, she's reaching out to Edward because her daughter Rowan (Erika-Shaye Gair) is missing. She needs him. And with the pull of memory and the necessity of finding Rowan propelling him, Edward makes way to Summersisle, the isolated island Willow calls home, to try and unravel the mystery of Rowan's disappearance. And it is not the only mystery he will find.

A remake of a lesser-known but well-loved 1973 British horror film, The Wicker Man returns to the big screen as a project of writer-director Neil LaBute. With a track record of short, sharp, shocking plays and indie dramas to his credit (In the Company of Men, The Shape of Things), LaBute doesn't seem like a typical choice to helm a horror remake; then again, The Wicker Man isn't your typical horror film. My memories of the original are thin at best -- I viewed it a long time ago, and all I recall is Edward 'The Equalizer' Woodward using his shouty voice, and some truly interminable musical numbers -- and, of course, the climax, which we won't discuss. The Wicker Man was first written for the screen by Anthony Shaffer -- like LaBute, a filmmaker who started in the theater. And The Wicker Man -- which wasn't even screened for critics until 10pm the day before it opened -- is actually a compelling and disquieting film, especially after Cage's Malus gets to the island to help his old love look for her daughter. Summersisle, it turns out, is private -- in more ways than one. It's owned by Sister Summersisle (Ellen Burstyn), a bright-eyed natural leader who's made a peaceful, agrarian community where people live simple lives and worship as they choose. At first, Edward's annoyed but accepting of the islander's ways -- Hey, that's why we have a First Amendment, right? -- but gradually we notice that the ways of Summersisle go far beyond the limits of reason ... even if Edward doesn't.

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.