The Nines Tagged Articles at Cinematical

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Whether it's grown men in bunny suits or the addictive giggle of Melissa McCarthy, this week's double feature is all about alternate realities. While I'm not the biggest fan of many science fiction elements, I'm a sucker for a good story about worlds that are just a little bit off. When an eerie twist is mixed into scenes showcasing the life and environment we're all familiar with, a film changes from something we can guess into an intriguing puzzle to figure out, or endlessly argue about. (And it does so without traveling to unrecognizable, fantastical new turf.)

Tonight, we've got a film that really should get more play, plus one beloved cult classic. I give you: The Nines and Donnie Darko.

*Included at the request of a nerd friend of mine.

With many taking full advantage of the long holiday weekend, myself included, the box office numbers tumbled in a bit later than usual, but it appears that Spanish-language thriller Ladrón Que Roba a Ladrón won on a per-screen basis with an average of $6,090 at 340 locations, based on estimates by Leonard Klady of Movie City News. That put it #2 overall in per-screen averages behind Rob Zombie's Halloween. In Ladrón, two thieves resolve to steal the fortune of an man who's built his empire by selling useless health aids to poor people via infomercials. The official site has the fake infomercials plus Spanish and English language versions of the trailer.

Death at a Funeral is holding up nicely, averaging $5,260 on 264 screens for distributor MGM. Directed by Frank Oz, the dark ensemble comedy declined just 2% while adding three screens in its third week of release. Also in its third week out, the superb doc The King of Kong: A Fistful of Quarters increased its take by 27.3%, according to Box Office Mojo, adding seven screens and averaging $4,571. Cinematical's Scott Weinberg gave each film a positive review, and word of mouth must be good.

Other debuting specialty titles included John August's The Nines, which drew an extremely healthy $14,650 each at the two screens where it was booked. (Our own Ryan Stewart really liked it too.) On its sole screen, Indian drama Vanaja made $10,500, which should be considered a triumph in view of it subject matter and lack of stars. (Read Christopher Campbell's positive review to see why: I've seen it and I agree completely.) Johnny To's Exiled finally made its theatrical premiere. I loved this terrific, tangy, self-aware, modern Hong Kong Western -- Scott Weinberg liked it, though not as much as me -- so I wish it made more than $9,550 in two engagements so far.

Joe Swanberg's Hannah Takes the Stairs dropped an astounding 81.4% in its second week, taking in just $1,100 for a total of $14,200 so far. Good thing the budget was low. You'd have to think that all the press on so-called "mumblecore" films in general would help, but perhaps the audience is more limited than expected or hoped.

What are The Nines? I have no idea, but I think The Eights are koala bears. That's about as close as you'll get to answers in this film, screenwriter John August's directorial debut, but don't let that deter you -- this is one of the most fun, most brain-twistingly clever films of the year. It's at once a serious meditation on the responsibilities of creators, a light-hearted poke at people in the entertainment industry who apply life-or-death stakes to everything that happens to them, and a metaphysical meditation on exactly what constitutes reality. Is television reality? The characters certainly seem to think so. Who are we to tell them they aren't real? And what about our creator? Do we have one? If so, what would that creator think about what we're up to, and how would they go about inserting themselves into the everyday world to get a closer look? What guise would they use? The Nines is a movie that raises about six million major, thought-provoking questions but then holds back on answering most of them.

The film is structured as a three-part anthology, with three actors -- Ryan Reynolds, Melissa McCarthy, and Hope Davis -- playing different characters in each part. Part 1 has Reynolds playing a capricious Hollywood actor who totals his car and ends up being put under house arrest in his gigantic Hollywood home -- some punishment, right? Going stir-crazy under the watchful eye of his ultra-chipper publicist, played by McCarthy, Reynolds' character becomes enamored with a sultry next-door neighbor, played by Davis, and starts to challenge his house arrest. Part 2 is a more autobiographical section, with Reynolds playing a television executive fighting to keep his pet project in development while also submitting to the demands of a Project Greenlight-style reality show, starring him. Davis plays a cold-hearted network executive in this piece, while McCarthy plays a thinly-disguised version of herself, acting out a version of her own past experiences with August. Part 3 is a self-contained story, starring Reynolds and McCarthy as a couple with a child, lost in the woods -- Davis plays a mysterious jogger. Still with me?

Many thanks to Erik for filling in for me on last week's Trailer Park. Now that I'm all rested and recreated, let's look at some films that take us to some weird place either internally or externally. This week on Trailer Park we're traveling from the inner mind to the outer limits.

Right at Your Door
In an all too believable scenario, several dirty bombs are detonated in Los Angeles, sending a radioactive cloud into the sky. Rory Cochrane -- who to me will always be that little stoner from Dazed and Confused -- plays Brad, a man whose wife has gone into the city and he wonders if he'll ever see her again. With the roads jammed, he attempts to make his home as airtight as possible, sealing up every crack and crevice. The radio warns against contact with anyone who was in the vicinity of the blasts as they will be highly contaminated, so when Brad's wife finally does make it back, it's not the happy homecoming we had all hoped for. As realistic as the premise may be, the trailer had me thinking about zombie movies. A large scale catastrophe which results in people barricading themselves inside for fear of the people outside? Sounds like Night of the Living Dead to me, which itself used radiation to explain the menace. Bleak and apocalyptic but fascinating as hell, I'm looking forward to seeing this one. The film starts its limited theatrical release to U.S. theaters on August 24. Have a look at the trailer right here:


The Nines
Usually I find myself gritting my teeth over trailers that don't actually tell you what the movie is about. Isn't that the whole point? This trailer plays its hand close to its vest, not really telling the viewer what's going on, but showing enough to really make me curious. Delightfully vague is how I would describe it. Ryan Reynolds plays three characters: a troubled actor, a television show runner, and an acclaimed videogame designer who find their lives intertwining in mysterious and unsettling ways. There appears to be some Matrix-esque reality bending at work here. Are these three different aspects of the same person? Are these characters in a computer game? Am I dying to find out? A resounding "yup" to the former. Cinematical's own Erik Davis posted an exclusive look at the poster here. The Nines goes into limited release on August 31.

Above is an exclusive look at the final one-sheet for The Nines (click on poster for larger image), written and directed by John August. Yup, the extremely talented screenwriter (and frequent Tim Burton collaborator) is making his directorial debut with a film about three people (a troubled actor, a television show runner and a video game designer) whose lives and stories all intertwine to form a single narrative that explores the relationships between author and character, actor and role, creator and creation. Alternately funny and unsettling, The Nines is like a riddle where the answer may just lead to another question. The film stars Ryan Reynolds, Melissa McCarthy, Hope Davis and Elle Fanning. Additionally, you can check out the trailer over at IGN, as well as two puzzles (via UGO and Coming Soon) which should keep you busy until the flick arrives in theaters on August 31.

The directorial debut by veteran Hollywood screenwriter John August is among the seven films selected for the International Critics' Week program, which will be held during the upcoming Venice Film Festival. The Nines had its world premiere at Sundance early this year and was subsequently picked up by Newmarket Films for U.S. release and GreeneStreet for international. Ryan Reynolds and Hope Davis star in what's been described as "a compelling blur of reality, science fiction and metaphysical fantasy." A fall release is expected.

The program is composed entirely of first features, so it would seem to be a good scouting ground for new talent. Last year the Critics' Week Prize was awarded to Dito Montiel's A Guide to Recognizing Your Saints, which didn't strike Cinematical's James Rocchi as either new or very talented, so obviously opinions will differ. Still, I'm curious to see the closing night feature, Jónas Cuarón's Year of the Nail. It's "a thoughtful, tender but quite hip look at two young people with too much separating them for a match to ever be possible," according to Robert Koehler's Variety review. Koehler thought distributors and film festivals looking for new voices "should come a courting," so maybe it will secure additional exposure for the first film by the son of Alfonso Cuarón.

As with scripter John August, other experienced industry professionals have moved into the director's chair. Veteran French actor Jalil Lespert is represented by 24 Measures (pictured). Set on Christmas Eve, it's a drama about "four young people that were never meant to meet." Long-time assistant director Andrea Molaioli gets his shot with The Girl in the Lake, a thriller about a possible serial killer preying upon young people. International Critics Week will take place between August 30 and September 8; Cinematical will be on the scene in Venice.

The 2007 Sundance Film Festival is a wrap. I saw some outstanding movies (King of California, Grace Is Gone, Son of Rambow, The Nines) and some not-so-outstanding movies (The Go-Getter, Smiley Face), some A-list celebs (Justin Timberlake, Samuel L. Jackson, Christina Ricci) and some not-so-A-list celebs (Heavyset Girl #1 from Black Snake Moan). All in all, it was a great experience, full of flicks, fun and plenty of Bud Lights. In order to best summarize the things I saw, heard and learned at the festival, I now present Sundance by the Numbers.

1: Number of times I heard Justin Timberlake ask Samuel L. Jackson, "Are there any motherf#&!in snakes in Black Snake Moan?"

1: Number of times I heard Samuel L. Jackson reply "Only trouser snakes."

1: Number of movies about a girl who grows an actual set of teeth in her vagina. The twisted and, yes, crowd-pleasing flick is quite appropriately entitled Teeth, and those dangerous vajay-jay chompers belong to rising star Jess Weixler (Little Manhattan).

1: Number of people who laid down on the floor and went to sleep during the press screening of Heather Graham's Adrift in Manhattan.

1: Number of dudes dancing shirtless at the Sundance Awards after-party.

2: Number of movies in which a character goes off to war in Iraq and gives a loved one a digital wristwatch with an alarm set to beep at the same time as the alarm on his/her wristwatch -- that way they'll know they're thinking about each other at the exact same moment. Justin Timberlake gives one to Christina Ricci in Black Snake Moan, and John Cusack's unseen wife gives one to their daughter in Grace Is Gone.

2: Number of movies starring a Fanning -- Dakota headlines the controversial Hounddog and younger sis Elle plays a supporting role in The Nines.

3: Number of times Christina Ricci takes her top off in Black Snake Moan.

4: Number of times Ryan Reynolds takes his shirt off in the first 20 minutes of The Nines.

4: Millions of dollars paid by Harvey Weinstein for distribution rights to Audience Award and Screenwriting Award winner Grace Is Gone.

5: Number of attempts it takes drunken teenager Hal Hefner (Reece Thompson) to throw a cello through the window of the girl who jilted him in the Thumbsucker-esque Rocket Science.