As my wife said, it's just not the Oscars if there's nothing to complain about. However, I was impressed that two of the year's toughest films, Paul Thomas Anderson's There Will Be Blood (389 screens) and Joel and Ethan Coen's No Country for Old Men took the most nominations. Typically, the Academy is attracted to much less challenging and easy-to-categorize films (like Atonement). Both films are fairly bleak in their vision, but I suspect There Will Be Blood will sneak out ahead for two reasons: it's an epic, and epics almost always win. And, to quote a character from Sunset Boulevard, it "says a little something" about the current sociopolitical climate.

One of the biggest controversies cropped up over the foreign film category, which came up with five nominations that no one has ever heard of. (The Counterfeiters opens sometime next month and Mongol opens in June.) Not to mention that they ignored top contenders like 4 Months, 3 Weeks and 2 Days (opening this week) and Persepolis (30 screens). Thankfully the outrage has begun discussions on changing the stupid, ancient rules for the category. Currently these rules require each country to submit one film, and multi-national films, such as The Diving Bell and the Butterfly (107 screens), to be disqualified. A small group of "specialists," rather than the Academy as a whole, votes on the small list of films. The documentary category was less obscure, and although I saw 19 documentaries in 2007, I only managed to see two of the five nominees, No End in Sight and Sicko. I have an Academy screener for Operation Homecoming that I hope to catch soon, and Taxi to the Dark Side (1 screen) is screening for Bay Area press next week.

Riding a wave of near-unanimous praise, Andrew Wagner's Starting Out in the Evening began its box office sojourn at the top, earning an estimated $11,610 per screen at seven theaters, according to Leonard Klady at Movie City News. Wagner previously made the fascinating dysfunctional family comedy drama The Talent Given Us, which starred his own family, but this time performances by non-family members Frank Langella and Lauren Ambrose have been roundly acclaimed. (Check out reviews by Cinematical's James Rocchi and Ryan Stewart.)

Todd Haynes' I'm Not There has received some ecstatic critical response, which translated into "encouraging but less than superlative response," in the words of Mr. Klady. By the numbers, the film made an estimated $5,310 per screen at 130 engagements, which actually sounds pretty good for an unconventional film that even the critics have had difficulty getting a handle on. (Read more: Cinematical reviews by James Rocchi and Jeffrey M. Anderson.)

The third new specialty release, Izuru Narushima's Midnight Eagle, barely opened, earning an estimated $1,630 per screen at two theaters. The action thriller also opened the Tokyo Film Festival but is probably most notable because it's the first time in memory that a Japanese film has opened day and date in Japan and the United States. Sadly, it was slaughtered by the few US critics who saw it, as recorded at Rotten Tomatoes.

Margot at the Wedding expanded from two to 35 theaters and continued to perform well, raking in $11,200 per screen, while No Country for Old Men jumped out into 860 theaters and made an estimated $9,000 per engagement. Mr. Klady pointed to three holdovers: Sean Penn's Into the Wild ($1,920 per screen), Alejandro Monteverde's Bella ($1,970 per screen) and Sidney Lumet's Before the Devil Knows You're Dead ($3,190).

A good indicator of an unnecessary subplot is one that never seems to cross paths with the A-story -- it's a problem that afflicts the new film, Starting out in the Evening, starring Six Feet Under's Lauren Ambrose and film and stage veteran Frank Langella. Ambrose plays Heather, a feisty graduate student obsessed with the works of a minor, undervalued novelist, Leonard Schiller, played by Langella. Schiller is long past the point of imagining that he will be widely recognized in his lifetime for his work, and has settled into the quietude of old age, but Heather is so determined to gain access into his private world that she brazenly positions herself as a sexual thrill for the 70-something man, and he somewhat half-heartedly takes the bait, leading to a believable but half-cocked courtship and an interesting exploration of a completely lop-sided relationship. Good fodder for a feature-length motion picture, but for some reason director Andrew Wagner also shoehorns in an entire relationship drama centered about Lili Taylor, playing the lovesick, 40-something daughter of Schiller.

The notoriously press-shy Lauren Ambrose was not readily available to speak about her role during the film's recent press jaunt, but that's a shame, because her character is far and away the most intriguing aspect of the film. Heather is very believable as one of those early-20s graduate students who seem to have crammed a lifetime's worth of reading into the years when they could have gotten some fun out of life, making for an inherently sad but also clever and resourceful personality, able to stand toe to toe intellectually with someone who has fifty years on her. The best scenes in Starting Out come closer to the beginning of the film than the ending, when Schiller is continually rejecting Heather's entreaties to be his chronicler-muse-companion. Although he keeps telling her no, she keeps coming up with reasons to jam her foot back in the door, like some kind of bookworm stalker who knows exactly how to keep from being confronted with a final, stern rejection. These early scenes are spot-on and very well-executed.

Finding a theme to bind together five trailers for this column every week can be tricky. Sometimes a common element jumps out at me, and other times I have to spend some time searching before I find one. Still other times there's no similarity to be found, which leads us to this week's topic. We're firing a barrel of buckshot (metaphorically speaking) at some new trailers, and we'll talk about the first five we hit. Ready? Lock and load.

Starting Out in the Evening
Frank Langella plays an aging novelist who can't get publishers to even look at his new book, but a young female grad student thinks she can revive people's interest in his work. Langella's character is so old school he actually uses a typewriter, and this looks like a truly great performance. The plot reminds me a bit of Finding Forrester, but only on a superficial level. James reviewed the film at the Toronto International Film Festival, and you can read that right here.

I am Legend
There's a new full-length trailer for this third adaptation of Richard Matheson's classic novel about a lone human in a world overrun with mutated survivors of a global plague. I'm not clear on whether the plague victim's in the movie are actually vampires like they are in the book or some other kind of mutation, but you finally get a peek at them here, as well as some mutant dogs. Beyond the basic premise, this doesn't look like it's going to be a particularly faithful adaptation, but I've always felt a film should judged for what it is and not how similar it is to the source material. This should be good.

Like any fun but exhausting activity, you're anxious for it to be over, but then you miss it when it is. In what seemed like a blink of the eye, TIFF 2007 has wrapped. Eastern Promises nabbed the People's Choice prize, and the wonderful My Winnipeg grabbed top Canadian honors. (Rejoice!) But there was still lots of fun, great films, and some fest craziness that came before the awards were handed out.

My favorite story from TIFF came from a friend who had gone to see Starting Out in the Evening. She loved the film, and said that the end had made her teary-eyed. Impressed with Frank Langella's performance, she walked up to him as she was leaving the theater and told him so. "Are you crying?" he asked, and then wiped her tears away. That Frank is a slick, slick man.

On Wednesday, The Last Lear Q&A with Rituparno Ghosh was cut short when someone pulled the fire alarm. As is usually the case when the bell starts ringing, everyone ignored it and we continued the discussion. (How often do people actually pay attention to those things from the get-go?) Then, mid-sentence, Ghosh was cut short and we were told to exit the theater immediately, because it wasn't a drill as they initially assumed. Whoops. At least it didn't happen during the film. Pisay, on the other hand, had a few technical problems -- thankfully, it was a digital screening, so we didn't end up missing anything.

Technical advances bring artistic opportunities. Admittedly, I've seen my share of indifferent films shot on digital video, but at the same time, DV's also given us some of the best performances in recent memory -- Vera Farmiga in Down to the Bone, Patricia Clarkson in Pieces of April, Maggie Gyllenhaal in Sherrybaby. And, to that list, we can now add Frank Langella's performance in Starting Out in the Evening -- and those of Lauren Ambrose and Lili Taylor, as well. Langella plays Leonard Schiller -- a novelist trying to finish one more book, even though his other works are seemingly long-forgotten. But a graduate student, Heather (Ambrose), comes to call; she's working on a thesis about his earlier novels, and would like to interview Leonard for it. He's not interested -- too much work, too little time -- but something about her tenacity and insight wins him over. ...

... and perhaps it shouldn't. Ambrose's Heather is captivating and complex from the outset -- left to her own devices in Leonard's apartment she immediately starts casing the joint. She's smart and swift and manipulative -- but, in a weird way, not maliciously so. And soon she gets the measure of Leonard's life -- writing, writing and more writing, punctuated by the company of his daughter Ariel (Taylor) from time to time. Ariel's breezy and mostly together -- and in a relationship she's not crazy about, still thinking about her ex, Casey (Adrian Lester). Ariel would very much like to be a mom, but things aren't working out that way; maybe they never will.

So many motion pictures are driven by big conflict and big concepts that the subtlety and small-scale motions of Starting Out in the Evening sneak up on us; both Leonard and Ariel are so obsessed by the idea of how much time they have left that they're missing out on what's happening during the time they have now. And both of them come to a very different understanding of time and its unstoppable forward motion. ...

There's an indie film that has been off the Cinematical radar, but might just be something to look out for in the future. According to The Hollywood Reporter, Roadside Attraction has secured the worldwide distribution rights to Andrew Wagner's indie drama called Starting Out in the Evening, based on the 1999 novel by Brian Morton. The film, which premiered at Sundance in January, boasts an impressive cast of Lauren Ambrose, Frank Langella and Lili Taylor. Roadside plans to release it in the states this November, just in time for a nice awards push for Langella's performance -- it's one that THR gushingly called "astounding." What might be even more-so is the fact that the performance could come from a shoot that lasted only 18 days.

The story revolves around a forceful grad student named Heather (Ambrose). She's writing her thesis on a novelist named Leonard Schiller (Langella), and hopes this will be a huge step to her own literary success. She meets him, finding him to be: "Old, fat, bald, leaning awkwardly on a cane" -- the vision of her literary hero a bit dashed. Meanwhile, he's been struggling on the same book for ten years, as his health deteriorates. There is also Schiller's daughter (Taylor), who is struggling with her desire for a child and her marriage to a man who doesn't want to have one. Heather invades his world, a seductive and challenging pressure in his life. I'm not sure how much more you can ask for -- an interesting story, great actors, glowing reviews and some indie flavor.