RianJohnson 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.

Update: Johnson has tweeted that the DVD and BR will be available on 10/6/09 in Canada, and 1/8/10 in the U.S.

Clear your schedules tomorrow because The Brothers Bloom is hitting the rental shelves. Over at that brief and handy Internet world known as Twitter, director Rian Johnson tweeted the following: "The Brothers Bloom is available tomorrow for rental on DVD and BluR in the States. Some great extras on the disc, too. Spread the word!" Yes, I'm following his command, but that's because the film is darned good, and easily one of my favorites of the last few years.

The film follows two brothers, Adrien Brody and Mark Ruffalo, who gear up for their final scam on a quirky loner heiress played by Rachel Weisz. It's a flow-charted con men world of international intrigue, familial connections, and kickass women (Penelope's many talents and Bang-Bang Rinko Kikuchi's explosive habits). (Read my review here.)

The only bad part about this news is that it doesn't come with a To Buy release date. Unfortunately, this is a 100% rental release taking us back to the dreaded days of the '80s where we'd get the rental videos and then have to wait a bajillion years until we could buy it. (Unless you wanted to pay an arm and a leg -- my childhood rental store once told me I could have Dirty Dancing early for their $100+ price.) But Johnson is working on finding out that purchase date, so hopefully the wait won't be too long. I hope...

At the beginning of the summer we told you how this year our theme was Summer Appreciation, hence the Our Favorite Summers series and our very cool director's series. Our intention was to speak to as many directors with films coming out during the summer and not only chat about their particular movie, but the summer movie season in general. What were some of their favorite summer moviegoing experiences, or favorite summer movies, etc ...

Though we're still not done shoveling out all those interviews, we wanted to drop in with a little recap of the ones we've already conducted in case you're looking for something to browse through this weekend as we segue into the last month of the summer, August. Links to all our special summertime director interviews below, along with some choice quotes.

McG, Terminator Salvation
"Raiders. That was a time when I would characterize the big movies as the best movies, and so rarely is that the case. That was the case last summer with Iron Man and The Dark Knight, which were the biggest movies of the year and arguably the best movies of the year. So I would welcome that sort of summer moviemaking coming back, and I'm a child of [Star Wars] Episodes IV, V and VI, and that's just where my head is. Those are the seminal moments of my life."

Pete Docter, Up
"I kind of look at it as everybody at the studio has a really unique set of skills. Like, if I was building a house, for example, I could probably do it myself to some degree, or at least teach myself, but why not get the greatest craftsmanship that I possibly could for every part of that house?"

Sam Raimi, Drag Me to Hell
"The point to make it in the first place is to make a horror story – to entertain, thrill and scare the bejeezus out of the audience, if I can, and make them jump and shout, and if I can, make them have a good laugh too."

Much more after the jump

Deals. Michel Gondry's doc The Thorn in the Heart may not have generated much positive buzz when it premiered at Cannes last week, but it impressed the folks at Oscilloscope Laboratories. They acquired North American rights to the film and are planning a theatrical release, according to indieWIRE. Thorn examines the life of Gondry's aunt, a schoolteacher for more than 30 years in rural France. David Hudson at IFC's The Daily gathered links to the coverage, in which one critic calls Thorn a "glorified home movie" and another predicts that "normal people will simply walk out of it," while others defend it as "a lovely, minor-key ode" and "mildly diverting."

Box Office. Stephen Elliott's Easy Virtue led the way, earning a very tidy $110,443, according to Box Office Mojo, which averages out to $11,044 per screen. Jessica Biel gives her best performance so far as an American race car driver who marries a young British man (Ben Barnes) after a whirlwind romance, and then must deal with his stuffy mother (Kristin Scott Thomas), curiously distanced father (Colin Firth), and flighty sisters. It's a romantic comedy with dramatic depth, light on its feet yet unafraid to stand still and contemplate fate and mortality.

Expanding into 52 theaters in its second week of release, Rian Johnson's con man comedy The Brothers Bloom rode a wave of appreciative reviews to a per-screen average of $7,394, just a little ahead of Olivier Assayas' critically-acclaimed family drama Summer Hours, starring Juliette Binoche. (We've embedded the lively trailer for the latter title below.) The highly-praised doc Burma VJ opened on one theater with a modest take of $5,554 -- not bad on a crowded weekend.

After the jump: The festival beat goes on in Seattle and at Silverdocs.

By: James Rocchi (originally published 9/4/08)

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.

Writer-director Rian Johnson burst onto the scene when his high school-set noir riff, Brick, took home the Originality of Vision prize at the 2005 Sundance Film Festival. Now, after bouncing around Summit's release slate like the proverbial beach ball, his follow-up -- the romantic, romanticized con man caper, The Brothers Bloom -- is finally receiving a NY/LA bow this Friday before rolling out to more markets in the weeks to come.

Johnson obliged us to do a follow-up interview this week to complement our original chat from last November, and between the two, the filmmaker discusses everything from making the festival rounds and absorbing critical response to the glory of talking monkeys and just where he likes to stick his tea kettle...



Download Part 1 (31 mins.) by clicking here



Download Part 2 (12 mins.) by clicking here

-Score samples by Nathan Johnson, the film's composer and the director's cousin.-

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.

Above: Jasper Sharp, author of Behind the Pink Curtain; the Alamo Drafthouse; Sean Donnelly (blue shirt), director of doc I Think We're Alone Now; Rian Johnson (glasses), director of The Brothers Bloom; Devin Faraci (glasses and beard), writer, CHUD.com, in the midst of debate; Jay Slater, English writer, ready to resolve a debate by boxing.

What qualifies a mainstream comedy like The Brothers Bloom to screen at Fantastic Fest, a festival reknowned for its horror, science fiction, fantasy, and other hard-core genre entries? One answer might be: 'Because co-founder Harry Knowles said so,' but even Knowles wondered if the film belonged in the program. The better answer might be: 'Why the heck not?' The best film festivals in the world are programmed by knowledgeable people who are passionate about presenting films they love to audiences who are eager to discover great new work.

In his introduction to the film, which was presented as the first "secret screening" of the festival (titles not revealed in advance; the shows always sell out anyway) on Tuesday evening, Knowles expressed his conviction that writer/director Rian Johnson "creates his own worlds." Certainly there are fairy-tale aspects to Johnson's featherweight con man tale, but I doubt anyone present really cared if the film "belonged" at the festival or not. The steady stream of visual gags drew near constant laughter, though I agree with James Rocchi that the film drags too long and, for me, edged too far into sentimental obscurity. The Brothers Bloom opens wide in January.

My screening day began with horror thriller Donkey Punch, a conventional yet refreshingly hard-edged dive into depravity that could be summed up as "threesomes never end well for anybody," a modern updating of the 80s slasher film notion that sexually active teens must pay for their sins by dying in repulsive ways. It's due for limited release in January.