WaltzWithBashir Tagged Articles at Cinematical

Confessions of a Shopaholic
Perhaps we shouldn't expect anything from a movie about a shopaholic, but this comedy's ditzy heroine and silly story can't even compare to other notable films in the romcom genre. In her review, Jette Kernion said: "Confessions of a Shopaholic tries to have it all ... Unfortunately, it's never as good as the movies it tries to imitate." Skip it. Also on Blu-ray.

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Inkheart
Yet another film in Brendan Fraser's ever-growing collection of familial adventure. (Will he ever leave it behind and return to his dramatic roots?) Nick Schager describes the film as "a scattered collection of ideas, most of them cavalierly mixed together and barely fleshed out." Skip it. Also on Blu-ray.

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The Pink Panther 2
It might not seem possible, but as Eric D. Snider wrote in his review of the Steve Martin-starring sequel: "Despite being a sequel that is completely unnecessary, The Pink Panther 2 is actually better than its predecessor," and "It has several funny sequences and a general tone of good-natured frivolity." When fluffy fun is on the agenda, Rent it. Also on Blu-ray.

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Phoebe in Wonderland
Tim Burton's spin on Alice in Wonderland is quickly coming our way. But for now, there's the Elle Fanning-starring tale of a girl trying to find her place in real life. Kim Voynar said: "there are so many rich layers to explore in this carefully crafted story; it's rather like a kaleidoscope, in that what you see and get out of it shifts and changes depending on which character's perspective you're looking at, and what ideas you bring to watching it." Rent it.

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Also out: The Code, Bob Funk, Dragon Hunters, Table for Three, Mr. Troop Mom, Simon Says, Legend of the Bog, Backwoods, He's On My Mind, War Wolves

After time off for good behavior, Indie Roundup returns with an opinionated look at recent news.

Awards. The Cinema Eye Honors seek to recognize "the breadth of the [documentary] genre." Their second annual awards were handed out on Sunday, with James Marsh's superb Man on Wire deservedly taking home prizes for Nonfiction Feature Filmmaking, Production, and Editing. Ari Folman's Waltz with Bashir received awards in the International Feature, Direction, and Graphic Design and Animation categories. Yung Chang's Up the Yangtze won the Audience Choice Award and Debut Feature Film honors, while Werner Herzog's Encounters at the End of the World was recognized for Peter Zellner's cinematography. More information on the films is available at the official site of the Cinema Eye Honors.

Deals. IFC Films acquired Alexis Dos Santos' Unmade Beds and plans to make it available via their IFC in Theaters or IFC Festival Direct on demand offerings later this year, according to indieWIRE. Dos Santos previously made Glue, which drove me nuts with its motion-sickness handheld camera work, but his work has won critical acclaim and may, come to think of it, play better on television rather than on a big screen. Heresy, I know. Unmade Beds is described as "an exuberant, warmly romantic film about youth culture."

Adam Wingard's Pop Skull, "a sonic fury of abstracted imagery bathed in menacing splashes of light and sound," has been picked up by Halo-8 Entertainment and will received a limited theatrical release before hitting DVD in July. The description comes courtesy of my friend Collin Armstrong at Twitch. The film follows an Alabama drug addict battling personal demons and, oh yeah, murderous ghosts in his house. We've embedded the trailer below (if you dare).

After the jump: A fashion doc, a film critic, and Gen Art.

400 Screens, 400 Blows is a weekly column that takes an in-depth look at the films playing below the radar, beneath the top ten, and on 400 screens or less.

Every year critics are subjected to who knows how many dozen documentaries; most probably don't bother to see them all, and others will be reluctant to admit that most of them are the same. Oh, the subjects are different. One may be about war in Asia and one will be about war in Europe and another is about politics in the U.S.A., but they're the same in structure and tone and rhythm. We usually get the big three: talking heads, stock footage and photographs, and sometimes some "re-creation footage."

Here are some pointers for future documentarians. 1) Don't do that thing where, if the subject starts crying, you discreetly keep the camera rolling, and then use that footage in the final film. If your cutting is otherwise neat and smooth during the rest of the film, then if you suddenly pause over a weeping shot for the first time, it's annoyingly obvious why you're doing it (see My Architect). 2) If the police or someone else tries to make you turn your camera off, pretend to comply and leave it on. It's very cool and it gets the audience on your side (see Street Fight). 3) No fancy graphics, unless your movie is funny (see Bigger, Stronger, Faster). Animation is still cool -- see Chicago 10 and Waltz with Bashir (208 screens) -- but it could get old, fast, so approach with caution.

400 Screens, 400 Blows is a weekly column that takes an in-depth look at the films playing below the radar, beneath the top ten, and on 400 screens or less.

The Oscars are on Sunday and awards season is almost over. The flavor of the month this season has been almost all war movies and biopics, as it has been roughly since 9/11. Though this year we have the occasional mention of Hurricane Katrina (which kind of falls in both categories). For example, Baz Luhrmann couldn't bring himself to make pure entertainment like he did with Moulin Rougue. This time he had to make Australia (110 screens), which starts out as a lightweight entertainment, and then morphs into a heavy war movie, and drags on too long in the process.

At least three movies managed to combine biopic and war elements: Edward Zwick's Defiance (442 screens) managed to please some viewers, but most critics as well as the Academy voters couldn't get past its awkward filmmaking to embrace the powerful true story hidden somewhere deep inside. On paper, Steven Soderbergh's Che (20 screens) seemed tailor-made for Oscars. Both the director and star (Benicio Del Toro) are former Oscar-winners, and the film runs four hours and encompasses both war elements and a true story. Many critics went bonkers for it, but Academy voters resisted it, possibly because of the length, but more likely because it doesn't spell out precisely what it wants you to think. It's a hugely complex, very intelligent, slightly aloof essay-like film rather than an emotional rise-and-fall story like most biopics.

As further proof that it's Slumdog Millionaire's world and we're all just living in it, Danny Boyle won the Directors Guild of America prize Saturday night. Slumdog, nominated for 10 Oscars, was already named best picture by the Producers Guild of America, and it could still win a Writers Guild award, too. Oh, and then there are the Oscars, where it's the front runner to win Best Picture.

All of the guilds are fairly good predictors of the Oscars (the guilds' memberships overlap quite a bit with the Academy voters), but none more so than the DGA. In the guild's 61 years of prize-giving, all but six recipients have gone on to win their respective Oscars. So if I were a betting man, I'd put money on Boyle's name being announced on Oscar night.

But with Slumdog now having won the PGA award and the DGA award, surely you are asking yourself: How often has the same film won both awards? And does that mean it's bound to win the Oscar for Best Picture, too?

The short answer is yes. In the 19 years that the PGA has given out awards, it has matched the DGA award 13 times. And of those 13 double-winners, 10 have gone on to win Best Picture at the Oscars. (The three exceptions were Apollo 13, Saving Private Ryan, and Brokeback Mountain.) Ergo, if I'm a betting man, I'm looking at Slumdog.

In other DGA award news, Ari Folman won the documentary prize for Waltz with Bashir, which is nominated for an Oscar, too ... but in the foreign-language category, not documentary. So you're on your own for predicting that one.

OK, I think this is the last narrowing-down-the-list that will occur before the actual Oscar nominations are announced a week from Thursday. The Academy of Motion Picture Arts and Sciences has whittled the candidates in the Best Foreign-Language category to these nine semi-finalists. It is from these that the five nominees will be chosen:

Revanche, Austria; The Necessities of Life, Canada; The Class, France; The Baader Meinhof Complex, Germany; Waltz with Bashir, Israel; Departures, Japan; Tear This Heart Out, Mexico; Everlasting Moments, Sweden; Three Monkeys, Turkey.

If the Turkish film is nominated, it will be a first for that country, which has submitted a film every year since 1992 but has never made the Big 5. The other countries have all been nominated before, though Mexico and Israel have never won.

These nine shortlist contenders were culled from 67 entries. After embarrassing situations in previous years where the Academy's stodgy old foreign-language nominating committee neglected films that should have at least made the shortlist, a new rule was implemented this year that allowed that group to choose only six of the nine semi-finalists. The other three were chosen by the Academy's "foreign-film executive committee," which skews younger and less boring. The Academy didn't say which films on the shortlist came from which group, though.

As you probably know, each country is permitted to submit only one film per year. If you want to see what everyone submitted this year -- and rail against the Academy for not shortlisting, say, Italy's Gomorra or Jordan's Captain Abu Raed -- the complete list is here.

The Italian films Il Divo and Gomorra hogged the spotlight at Saturday's announcement of the European Film Award nominations, with five nods apiece, including best picture. "But wait," you might be saying if you're not European. "Why do the European Film Awards matter to me? I'm not European!"

They matter because you love foreign films, that's why. OK, and also because the EFAs often presage the Academy Awards. Recent EFA best picture winners have included such Oscar-scented titles as The Lives of Others, Talk to Her, Amelie, and Dancer in the Dark. Gomorra -- which is apparently about skinny underwear models who shoot guns at the beach -- has been submitted as Italy's Oscar hopeful and now seems like a surefire nominee, thanks to its EFA attention. The other EFA best picture nominees are The Class (France's Oscar submission), Waltz with Bashir (Israel's submission), Happy-Go-Lucky (whose star, Sally Hawkins, has generated Oscar buzz), and The Orphanage (which was eligible for Oscar consideration last year).

In the director category, the EFA nominees are Laurent Cantet (The Class), Andreas Dresen (Cloud 9), Ari Folman (Waltz with Bashir), Matteo Garrone (Gomorra), Steve McQueen (Hunger), and Paolo Sorrentino (Il Divo). Also of note: Toni Servillo is named in the best actor category for two performances -- Il Divo and Gomorra. You'd think those were the only two films Italy made this year.

Most of the EFA-nominated films either have U.S. distribution lined up or are already playing here. Success at the awards, to be handed out in Copenhagen on Dec. 8, will increase their visibility in American theaters and may also help their chances at the Oscars. The complete list of nominations is here.

Bonjour! Buenos dias! Whassup! It's diversity week here at the Trailer Park and we're looking at previews for films from our about different cultures.

Dragonball
I've seen only a a few episodes of the Japanese cartoon on which this live action film is based, but I'm not seeing a whole lot here that reminds me of the anime. Frankly it reminds me more of Mortal Combat Kombat. Like the original, this is a martial arts fantasy with prophecies, super powers, lots of action and a hero with preposterously spiked hair. Chow Yun Fat is in there to add some action movie cred, but will that be enough? From what I've read the anime fans are not thrilled with this one, and it's not doing a lot for me either. I don't think this one if for me.

Amexicano
Here's a charming looking indie about a friendship between and Italian American and an illegal immigrant from Mexico. Bruno (Carmine Famiglietti) is behind on his rent and reluctantly goes into the construction business, hiring Mexican day laborers to help him. When he hires Ignacio (Raúl Castillo) the two forge a bond despite the fact that Ignacio does not speak English. I'm looking forward to this one.

Some people may consider the New York Film Festival a simple "Best Of" sort of event, but the fact that it compiles selections from earlier film fests and merely showcases them in a competition-free program is what I love about it. For those of us New Yorkers who can't always make it to the highlands of Utah and Colorado or the exotic seaside locales of Italy and Southern France, it's nice to know that major festival highlights will likely make their way to Lincoln Center in late September, early October.

This year, the lineup for the 46th NYFF is being noted for its inclusion of films that previously screened at Cannes back in May. Even Steven Soderbergh's four-hour Che (aka The Argentine and Guerilla), which played to mixed reactions in France, even while picking up a best actor prize for star Benicio Del Toro, has been given a spot. Also featured are Cannes leftovers Waltz With Bashir, Wendy and Lucy, Grand Prix-winner Gomorrah and Clint Eastwood's Changeling, which stars Angelina Jolie and has the honor of being NYFF's centerpiece film. Opening the festival is the Palm d'Or winner The Class, while the closing film is Darren Aronofsky's The Wrestler, which premieres a few weeks prior at the Venice Film Festival.

Other exciting big name films include Mike Leigh's Happy-Go-Lucky, Wong Kar-Wai's Ashes of Time: Redux, Lucretia Martel's The Headless Woman and Olivier Assayas' Summer Hours. Surprisingly, Charlie Kaufman's Synechdoche, New York, which screened at Cannes, is New York appropriate and is scheduled to open in October, is missing from the lineup.

The complete list of NYFF selections, courtesy of The Hollywood Reporter, can be found after the jump:

What were the surprises at this year's Cannes Film Festival? Does the showcasing of films like Waltz with Bashir and Che at the world's premier film festival mean that traditional film making has been replaced by a new wave of technology and technique? Which factor had more to do with the lower-than-expected number of sales at this year's Cannes Festival -- weak films, or the weak dollar? Is there a subtle subtext to the past few years at Cannes, and what were the films that got away this year? Joining us this week to talk about all these topics and more is Glenn Kenny, the former film critic for Premiere who's now blogging independently at Some Came Running. Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



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