SamMendes Tagged Articles at Cinematical

After Cinematical's new "Movies I Will Never See" series elicited a strong variety of reactions – both positive and negative - from readers, it occurred to us that there's a huge, untapped reservoir of existing films that we have actually seen, and it would probably be at least as interesting, if not more so, to go back and see how well they held up in the years since their release. These may be acclaimed classics that audiences simply haven't revisited on a regular basis, or condemned failures that might deserve a second look; but setting a statute of limitations of five years or more old (meaning before '04), we're going back to see how good are the bad movies, and how bad are the good ones - in other words testing their shelf life.

After last week's look at Titanic, it seemed somewhat appropriate to revisit other noteworthy Oscar winners. But while there were certainly a wealth of questionably worthy titles celebrated in the Academy's history, one in particular seemed especially ripe for consideration: American Beauty, Sam Mendes' directorial debut. Perhaps it's because so many movies followed its lead in deconstructing suburbia, or perhaps it's just because it's been ten years, but Mendes' film doesn't seem as relevant, important, or even as good as it once was – which is why we recently popped it in the DVD player for another look.

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

Before we look back at the past week, let's peak at what's opening this weekend: Francis Ford Coppola's family drama Tetro; Duncan Jones' sci-fi trip Moon; Daryl Wein's AIDS activist doc Sex Positive; Tommy Wirkola's Nazi zombie flick Dead Snow; Robert Kenner's appetizing (maybe) doc Food, Inc.; and Chai Vasarhelyi's music / tolerance plea Youssou Ndour: I Bring What I Love (poster and more info after the jump).

Box Office. Opening in four theaters, Sam Mendes' Away We Go scored a smashing $32,603 per-screen average last weekend, according to Box Office Mojo. The road trip comedy / drama, starring John Krasinski and Maya Rudolph as anxious, expectant parents searching for a place to raise their family, far outpaced other debuting indies, which had, on their own terms, decent returns: Seraphine ($6,640 per-screen at four theaters), Unmistaken Child ($6,293, one screen), and 24 City ($6,082, one screen). Our critic William Goss feels that Away We Go is "easily among the very best films that the year has offered so far." I was less impressed; the real test will come as it expands over the next couple of weeks.

Deals. Our friends at indieWIRE have details on the recent acquisitions of Laura Gabbert and Justin Schein's doc No Impact Man, due September 4 from Oscilloscope; Jonathan Parker's comedy (Untitled), due September 18 from Samuel Goldwyn Films; and Kenneth Bi's The Drummer, due this fall from Film Movement.

Online Viewing Options. New selections at iTunes Movie Store include Bob Odenkirk's comedy Melvin Goes to Dinner; Scott Smith's dysfunctional 60s family drama Falling Angels, with Miranda Richardson; and Mike Akel's mockumentary Chalk, which school teachers have assured me is very funny (it drove me this former bad student nuts).

After the jump: CineVegas, the "Mile High Mutiny," and a sweet-looking poster.

Downsizing in Hollywood isn't the same as downsizing for you or me. Four A-list directors decided to downsize their latest productions by choice, according to Rachel Abramowitz in the Los Angeles Times. And to hear Sam Mendes (above, right), Ang Lee, Sam Raimi (above, left) and Steven Soderbergh talk, they made the choice in order to save their own artistic souls after working on creatively-draining big-budget projects for years.

• Sam Mendes (Away We Go): "I loved having to work fast again ... You can get into the habits when making bigger films where you sort of expect everything to be there for you. You don't have to work for it ... there was even less conspicuous consumption ... There aren't as many people, and you feel less guilty because you're not spending as much money." Estimated budget: $17 million.
• Sam Raimi (Drag Me to Hell): "I realized all these toys I'm used to are wonderful but not always necessary ... All I really need is the actress." Estimated budget: $30 million.
• Ang Lee (Taking Woodstock): "I faced a lot of pressure [making Lust, Caution] . . . It gets to be too much ... Spiritually and philosophically I was yearning to do something warm." Estimated budget: $30 million.
• Steven Soderbergh (The Girlfriend Experience): "Employing non-actors, by design you are building the piece around them ... It's a good way to work, you're constantly adapting to what's in front of you."Estimated budget: $1.7 million.

I loved Drag Me to Hell and enjoyed Away We Go, so maybe they've got the right idea. What other big-budget Hollywood directors should consider doing a downsized project for the sake of their own artistic souls? McG? Brett Ratner?

In Sam Mendes' Away We Go, Verona (Maya Rudolph) and Burt (John Krasinski) touch down in a number of spots around North America in search of a new home after Burt's flighty parents decide to go live in Antwerp. Thanks to a script from Dave Eggers and his wife Vendela Vida, Away We Go is far less wrist-slittingly depressing than Mendes' last outing, Revolutionary Road, if quite a bit more twee.

The clip below is from a scene where three concerned airline attendants don't want to let Verona board the plane because she looks more than eight months pregnant, even though she assures them she's not. This goes out to all the mommies and daddies (and expecting mommies and daddies) out there who have to deal with anyone eyeballing and/or touching your belly when it's not welcome. Hands off! (Unless you're John Krasinski armed with a stethoscope, of course.)

Watch the clip after the jump

Burt and Verona (John Krasinski and Maya Rudolph) don't quite have things figured out yet. I mean, they pretty much have each other pegged, enjoying a marriage-less relationship, keeping each other warm on those cold Colorado nights, and they know that they want to bring a kid into this world -- well, want to or not, the baby's coming, and so they'll keep it warm as well.

Their parents won't be of much help. After all, his (Catherine O'Hara and Jeff Daniels) are making plans to take off for Europe just before the baby's due, a trip years in the making and selfish as all get out, while hers passed away some time back. So Burt and Verona decide to visit other family and friends, looking for people they can depend on in places they could grow up in, let alone grow old in -- looking for a place that might help them figure out together the whys and hows of keeping it all together.

Sam Mendes started his feature directorial career with American Beauty, an incisive look at suburban malaise that in addition to netting multiple Oscar nominations, earned him a reputation for being a keen if not altogether optimistic observer of human nature. Ten years later he's virtually cemented that pessimistic point of view with films like Jarhead, Road to Perdition and Revolutionary Road, all chronicles of characters desperately in search of something, if not better, than at least different than what they already have. But while his latest film, Away We Go, uses a couple's road trip as yet another journey of self-discovery, Mendes looks at the central characters' future with one another with optimism and genuine hope, offering a reassuring rejoinder that the director does not in fact believe that all relationships are destined to fail.

Cinematical recently sat down with Mendes to discuss Away We Go, an intimate but broadly appealing comedy about two lovers, Burt (John Krasinski) and Verona (Maya Rudolph), who embark on a road trip to figure out where they want to raise a family, if not also determine what kind of family they want that to be. In addition to talking about his own feelings – cinematically and otherwise – about the prospect of living happily ever after, Mendes discussed the process of helping his co-stars get comfortable with one another, and ruminated on making a movie for the first time that's unfettered to the expectations of an awards season.

Part of me completely forgot we were getting a double bill from director Sam Mendes this year (though, technically, it's last year and this year, but regardless it feels like we're getting two films from the man during a very short period of time). Once again Mendes returns to themes of family with Away We Go, however unlike Revolutionary Road, you probably won't have a desire to off yourself when the credits begin to roll.

What intrigues me most about Away We Go is its cast. Mendes went from Leonardo DiCaprio and Kate Winslet to a bearded John Krasinski and a pregnant Maya Rudolph. Not that that's a bad thing, mind you, it's just an odd pairing. The chemistry looks to be there, though, and the supporting cast is pretty fantastic with three power women leading the way in Maggie Gyllenhaal, Allison Janney and Catherine O'Hara. Oh, and Jeff Daniels squeezes himself in there too.

Watching the trailer, this doesn't feel like a Mendes film. It sorta gives me this ultra indie, hippie-ish Noah Baumbach funny (yet tender) dysfunctional family vibe (it was written by Dave Eggers and Vendela Vida, so maybe that's where it's coming from). Yes, I dig it ... though I'm hoping its charm turns out to be unique, and not just another piece off the Little Miss Sunshine gravy train. Watch it below and let us know what you think. Does it have potential? Away We Go hits theaters in limited release on June 5.

Just like Will Shakespeare, Jane Austen has gotten a lot of play by modern media. Just last year, she got a taste of time travel with the UK-based miniseries Lost in Austen. But I guess the story was too much for the small screen because Variety reports that the adaptation is making its way to the big screen -- with Sam Mendes attached to produce.

This latest spin on ol' Jane's works has added time traveling portals to the mix, allowing a modern girl named Amanda to change places with Pride and Prejudice's Elizabeth Bennet. Basically, Amanda wants to be left in peace to read her Austen when her drunken boyfriend messes things up, and out of nowhere Bennet appears in her bathroom (watch the clip here). From there, the girls trade places and the whole Pride and Prejudice world gets some new, more modern, life.

Guy Andrews, who penned the show, will tackle the movie screenplay, but there's no word on who will direct this latest romance fest. It would be really interesting to see what Mendes could do with it, but he's probably got his hands full with Preacher. There's also no word on whether Bond's Ms. Strawberry Fields Gemma Arterton (Bennet), or Kinky Boots' Jemima Rooper (Amanda) will retain their roles. ...or possibly go to lovely wife Winslet?

Are we ready to get Lost in Austen? Is there no limit to how much Austen us moviegoers can take? Or is it finally time to revel in other classic writers?

Vanity Fair is known for their ambitious (and sometimes controversial) photo spreads, and whenever one pops up online -- with the exception of those ultra funky Hitchcock recreations -- the name most likely associated with them is Annie Leibovitz. She's worked as the featured portrait photographer for VF since 1983, and some of her most buzzed-about photos include the very pregnant (and very naked) Demi Moore Vanity Fair cover, as well as the sexed-up Miley Cyrus photo that caused quite the stir last year. Some of the more geeky Leibovitz images can be found in her series of Disney photographs featuring celebs recreating classic scenes from our favorite Walt Disney movies (read more about that here and here).

This time around, Leibovitz's Something Just Clicked collection for Vanity Fair features 10 partnerships that helped generate more than four dozen Oscar nods this year. The image above, featuring Christopher Nolan and Heath Ledger (The Risktakers), is of course a composite, but it's one of my favorites -- especially the way they position both Nolan and Ledger, with the former quietly sneaking off to the corner away from the spotlight. Other partnerships photographed include Woody Allen and Penelope Cruz (The Odd Couple), Nicole Kidman and Baz Luhrmann (The Colonists), Gus Van Sant and Sean Penn (The Milk Men), Sam Mendes and Kate Winslet (The Partnership) and Darren Aronofsky and Mickey Rourke (The Ringers), among others. Check out a few of our favorites below, then swing over to Vanity Fair to see the rest.