TheBrothersBloom 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...

So here we have it, the summer movie season finally winding down, and maybe it's just us, but a couple of peculiar trends have cropped up since May that we thought were worth bringing to light. For starters, we've only further elaborated on Eric's early indicator that puking was 'in' this year (seriously, it's gotten to be a pretty considerable theme), and as for the rest, you can check them out after the jump. Some spoilers follow. And if there are any corrections or additions to be made, please pipe up in the comments, and do so gently.

A few movies out there, specifically Easy Virtue (255 screens), The Brothers Bloom (209 screens) and the new Cheri (opening this week on 80 screens), have taken it upon themselves to try and re-capture something of the style of old movies. Easy Virtue is based on a 1926 Noel Coward play, which was previously filmed by Alfred Hitchcock in 1928. Cheri comes from a 1920 novel written by the creator of Gigi (1958). And The Brothers Bloom is a new, original screenplay but it comes with some of the sensibilities of old films, namely snappy dialogue and hats.

I'm all for this, since many of today's movie fans who name their "all time favorite" films rarely list anything made before 1999. Aside from that at least half the cinema buffs out there is generally aware of a short list of classic films, which includes things like The Godfather, Dr. Strangelove, maybe some Charlie Chaplin or Buster Keaton, Casablanca, etc. And those are, of course, great places to start for those interested in looking at something beyond the IMAX screen. But there's a danger in labeling all that stuff "old movies." Not all of them come with country estates, or hats, or even dialogue.

I succumbed to the obvious sort-of-pun this week. I couldn't help it. I'm sorry.

$68.2 million for Up is pretty close to the highest opening weekend gross for any Pixar film in history -- just about $2 million off the numbers for both Finding Nemo and The Incredibles. It beats last year's Wall-E opening weekend by about $5 million, and since it's probably a bit less challenging than that film, it may hold up a little bit better. $250 million probably isn't out of reach, but we'll see.

The numbers for fan and critical favorite Drag Me to Hell -- $16.6 million -- will be a hot topic for discussion this week. It is not a particularly strong horror opening; this year, it finds a rough analogue in The Last House on the Left. The hope is that good reviews and word-of-mouth keep it afloat in the weeks to come, whereas most horror flicks open big and sink quickly.

After opening second-banana to Night at a Museum last week, Terminator Salvation took the expected big hit its second weekend -- 62%. It's likely to top out around $130 million domestically which, I feel safe in saying, is below expectations. Night at the Museum: Battle of the Smithsonian is running a little bit behind its predecessor, though the first film had the benefit of opening at Christmastime. And The Brothers Bloom quietly expanded onto 150 screens, winding up in 11th place with a decent per-screen average.

Star Trek passed $200 million and now holds the #1 spot for the year.

The full top 10 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.

There's a caveat or two with which I submit this list of our favorite con artists on film, to correspond with tomorrow's NY/LA bow of The Brothers Bloom (our review from Toronto is here; our interview with director Rian Johnson, there).

One: I have not seen the following -- David Mamet's House of Games, David Mamet's The Spanish Prisoner, and David Mamet's Frank Oz's Dirty Rotten Scoundrels. I know, for shame, boo and hiss and so on and so forth.

Two: I've seen but don't fully recollect either The Grifters or Nine Queens enough to feel comfortable including them as if I had (I also missed the English-language remake of the latter, Criminal, though I've been told that's for the best). If I were a slier man, then maybe I could fittingly deceive the lot of you, but I'm not, so I won't.

While I don't doubt that the characters in those films would be worthy of a slot on our list, there are still at least seven other con (wo)men in the movies worth shining the spotlight on, and I do hope that you do think that may make do when all's said and done.

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.-

This year it's Summer Appreciation at Cinematical, but summer doesn't just mean one lumbering tentpole blockbuster after another. In fact, smaller distributors and indie studio arms often use summertime to offer some great low-key alternatives -- not big Oscar contenders, but smaller-profile festival favorites. And this summer is particularly rife with other options if and when you tire of all the sequels and franchises. Here are seven small films -- most but not all of which I've seen -- that you might consider supporting in the next three or four months.

1. The Brothers Bloom (May 15) - Rian Johnson's sophomore feature -- a character-driven fairy tale masquerading as a con man flick -- debuted at Toronto last year to muted acclaim. It's no Brick, but it's actually a fantastic summer offering: sunny, whimsical and bittersweet. Summit was originally set to release the film last fall, then last winter, before finally bumping it to May. It's legitimately funny and whip-smart, which should make it an attractive option in mid-May.