Weirdsville Tagged Articles at Cinematical

As Spin-ematical alerted you earlier today, the cinematic wonder that is Paul Blart: Mall Cop is now available on DVD and Blu-ray for our movie-loving paws. But that doesn't mean we want it. (I hope!) Why go for the "harmlessly humorless" when you can revel in true commerce comedy?

There are a number of better options to satisfy your yearnings for officers of the shopping law and mall mayhem. Most of them are funny, one is downright scary, and all offer something both entertaining and worthwhile. And that's the key -- isn't it? Being entertained without feeling like we've been lobotomized?

Read on for my selections, and be sure to comment with your own favorite mall mayhem movies. Beware: some of the following clips are full of f-bombs and adult language, so NSFW.

This is a great week to catch up with a few indies that came and went quickly in theaters. Craig Zobel's Great World of Sound burst out of Sundance last year with positive notices -- check GreenCine Daily's roundup -- and our own James Rocchi named it one of the ten best of the year. The basic premise is that two music scouts go on the road in the American South to look for acts to sign. In James' original review, he described it as "funny and vital and tough." Magnolia's DVD includes an audio commentary and deleted scenes.

If Feast of Love had nothing else to recommend it, it would deserve recommendation as director Robert Benton's latest work. As Jeffrey M. Anderson commented, Benton's melodramas (Kramer vs. Kramer, Places in the Heart, Nobody's Fool) "almost always hit home." Feast of Love "focuses on several couples in a Portland college community," he wrote. "These characters may live in a college town, but in love, everyone has something to learn." Morgan Freeman, Greg Kinnear and Radha Mitchell star. MGM's DVD looks bare, with just one feature evidently on board.

Director Allan Moyle returned to his roots (Pump Up the Volume, Empire Records) to make Weirdsville, in which stoners, Satanists and drug dealers commingle. In her TIFF review, Monika Bartyzel called it "fun, endearing, and quite fluid for a stoner comedy. It's also recognizably Canadian (the drug dealer is into curling), but still completely palpable for wider audiences." Wes Bentley and Scott Speedman star. Magnolia's DVD includes an audio commentary and 14 featurettes: behind the scenes, making of, and interviews.

Here in the dawn of the New Year, I'm still nursing my holiday hangover, so I'm going to finish up with my three-part Overlooked and Underrated series of columns, starting with Julian Jarrold's Becoming Jane, a fictitious biographical romance about Jane Austen (Anne Hathaway). It garnered unfavorable comparisons to Shakespeare in Love (1998), a film as dreadfully over-hyped as its cousin was under-hyped. (The hype meter must be perfectly balanced now.) James McAvoy -- currently receiving showers of awards attention for his involvement in Atonement (306 screens) -- plays the smoldering lover who titillates the educated and prickly Miss Austen. Unlike most brain-dead comedies in which the lovers are supposed to "fix" each other's shortcomings, these lovers are perfectly matched. Not to mention that Maggie Smith gives another one of her deliriously snooty performances.

I can't figure out why Richard Shepard's The Hunting Party failed, when it was just as energetic and funny as The Matador -- unless critics bristled at the film's political pokings. In this one, Richard Gere, Terrence Howard and Jesse Eisenberg make a wonderful team as three journalists (ranging from rookie to washed-up) who journey through Bosnia to find an infamous war criminal. Shepard's movie is constantly unexpected and alive, with three-dimensional characters you won't soon forget. Stick around for the whimsical closing credits, which explain the parts of the film that were "real."

I want this week's trailer park to be a celebration of the strange, a bash of the bizarre. Once again, we are the weird, and where better to start than:

Weirdsville
You gotta love that title, and the tagline "the road to salvation is paved with burned out hippies," is pretty cool too. Dexter and Royce need to pay off their drug dealer and dispose of a body quick, but run into trouble when the abandoned drive-in theater they chose for a grave site is being used for a satanic ritual. We've got midgets in medieval armor, gnomes and talking mice too. Nice. I have high hopes for this one, and it goes into limited U.S. release on October 5.. Monika Bartyzel saw Weirdsville at the Toronto International Film Festival and you can read her review here.

Southland Tales
Future cult classic or the next Ishtar? Judging from the trailer it could go either way, but I'm dying to see this. I stumbled across Richard Kelly's previous film Donnie Darko when it hit DVD and absolutely loved it, and like many others I've been waiting for his followup project for some time. Cinematical's James Rocchi reviewed the film in May 2006 after it played at Cannes, but apparently the release version represents a very different cut of the film. Synopsizing Southland Tales is quite a challenge, especially since I've only seen this preview, but apparently Kelly is expanding upon his apocalyptic visions from Donnie Darko. Dwayne "The Rock" Johnson plays an action film star and Sarah Michelle Gellar is his porn star girlfriend who has the best line in the trailer when she says "Scientists are saying that the future is going to be far more futuristic than they originally predicted." There appears to be some kind of paranoid conspiracy at work, and I'm getting flashbacks of Terry Gilliam's Brazil and the works of David Lynch.

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.

I didn't know it at the time, but I was first introduced to Allan Moyle in Squeeze Play, when he was the "Wet T-Shirt Waterboy." The flick is an old, risque adult comedy that my friend and I would sneakily watch late at night during sleepovers (when we were way too young for the buttocks-ball-catching material). But it wasn't until the '90s that Moyle hit his stride, directing two music-laden, teen cult classics -- my beloved Pump Up the Volume and the goofy yet lovable Empire Records. After that, he was teen-tuckered out and made a few forgettable movies with Baldwin brothers and the surprisingly mellow New Waterford Girl. But now he has revisited some of his previous music magic with the quirky, Canadian black comedy -- Weirdsville.

The flick is pretty much Harold and Kumar meets Bubble Boy, but take away the Fabio-freaks and add in some Satanists. Wes Bentley's Royce and Scott Speedman's Dexter are stoners who hang out with a waifish escort named Matilda (Taryn Manning -- what a surprise). They owe a drug dealer named Omar (Raoul Bhaneja) a big chunk of change, so they strike up an agreement to sell drugs to pay it off. But Royce and Matilda speed through the stash in a marathon week of drugging, and now the trio is without the money or drugs to pay Omar back. Oh, and Matilda has OD'd and died.

Here's some bits and bites for you to chew on:

• If you're like me, you've been anxious for Allan Moyle to get back to his deliciously cult Pump up the Volume roots, which it seems he has, with his Canadian film, Weirdsville. After opening the Slamdance Film Festival, the U.S. rights to the flick have been picked up by Magnolia Pictures. The movie follows two heroin addicts (Scott Speedman and Wes Bentley) who almost bury an almost-dead junkie (Taryn Manning), have a run-in with Satanists* and a mob of little people....and a drug lord. The Hollywood Reporter has more info on the deal, and the film's website has got a trailer and other goodies. And yes, that's Bentley in the picture to the right, sporting lots of fu-facial hair.
• In December, Chris brought us news of Topher Grace's upcoming movie, Kids in America. Now Venom finally has some co-stars. The pic follows Grace as a recent college who tries to nab his paramour at a crazy party while dealing with his on-coming adulthood -- as any good coming-of-age story should. Scary Movie's Anna Faris has been cast as Grace's twin sister, Dan Fogler -- that wild-haired ping ponger from the upcoming Balls of Fury -- will play the best friend and Australian actress Teresa Palmer gets to be Grace's dream girl.
• Ms. Felicity Huffman, Transamerica star and desperate housewife, is now an author. She's penned A Practical Handbook for the Boyfriend: For Every One Who Wants to Be One/For Every Girl Who Wants to Build One with Patricia Wolff, which was launched in LA on Monday. This super-short titled book gives advice on how to be a good boyfriend "while still maintaining guy-dignity." Anyone want to make bets on how long it will be before this gets adapted into a really, really bad film?

*Thanks to Kirby for the good catch! While a group of Satinists would be interesting, this mob is of the Satan variety.

Who doesn't love Screen Media Films? Without them, we wouldn't be able to rent The Karate Dog, featuring the voice of Chevy Chase, or the spoof Disaster! The Movie, with the voices of all of Mötley Crüe. Okay, so they don't just distribute bad straight-to-video titles -- they also allow us to see the mediocre directorial offerings of Kevin Bacon and Chazz Palminteri. And they must be doing something right, because they have a great distribution deal with Universal Home Entertainment, and now they also have enough money to expand.

This week, at Sundance, Screen Media will debut its new theatrical division. The company has distributed films to theaters before, such as Bacon's Loverboy, but never on a big scale. Their first release will be Bickford Shmeckler's Cool Ideas, a comedy that Scott saw at SXSW last year (he called it "one of the more colorful surprises" of the fest). They apparently will also be distributing Weirdsville, which premieres next week at Slamdance.

Anyway, this is mostly important news for any filmmakers out there in Park City who can't seem to find a good deal. Look for the Screen Media reps. You could be in the same library as The 12 Dogs of Christmas! And if you think you're better than that, just remember the photo above, because surely Jon Voight once thought he was better too.

Every year, as Sundance fires up in Utah , Slamdance slides in to slam the independent festival by providing a more accurate selection of independent film. The films selected for competition must be made by first-time filmmakers for budgets under $1 million, and many of them are quirky beyond belief, even the opening-night galas. Last year, the opener was Larry Clark's Wassup Rockers. This year, it's Weirdsville.

While that name might not ring bells, perhaps its director, Allan Moyle, does. He's the nineties teen cult movie guru who brought us Pump up the Volume and Empire Records, as well as the quirky The Gun in Betty Lou's Handbag and the more somber New Waterford Girl. I can't share its plot any better than Slamdance does, which they describe as the "story of two junkies on the run from a satanic cult, a cabal of midget knights, a vengeful drug dealer, and a mouse, in a little town called Weirdsville."

The rest of the Slamdance line-up slides into four film areas -- narrative features, documentaries, special screenings and shorts. (Their website also has short film content online, and is worth checking out.) The narrative battle includes a ton of world premieres and the topics range from American Zombie, which is about a group of zombies trying to gain acceptance in LA, to a boy willing to fight his rooster to win the heart of a young prostitute in Tijuana Makes Me Happy. For the docs, selections range from Noah Thomson's Children of God: Lost and Found, his account of growing up in a Christian cult, to Luke Wolbach's Row Hard No Excuses, a story about men attempting to row across the Atlantic . There seems to be a little something for everyone, so check out the full list of films on their website.

After writing and directing the wildly popular Pump Up the Volume, Allan Moyle picked up his filmmaking pace (to that point he'd been averaging about a movie every decade), and enjoyed moderate indie-style success with The Gun in Betty Lou's Handbag and Empire Records. Since then, however, it's been 10 years of relative silence (apart, I mean from his brilliant TV movie, Man in the Mirror: The Michael Jackson Story) from the director.

According to this morning's Variety, Moyle back, this time with an indie film with enough cute boys in it to guarantee both a release and a solid audience of teenage girls. Set to star Scott Speedman, Wes Bentley (where the hell has he been, anyway?) and Hustle & Flow's Taryn Manning, Weirdsville is about two "hapless slackers" - that's industry code for morons - who, while trying to bury the body of their buddy who (oops) just ODed, "stumble on a satanic cult performing a ritual." Oh, and it's a comedy. Of course it is. Written by Willem Wennekers, the movie is being produced by Darius Films, a small, Toronto-based company, and has already secured US and Canadian distribution - we should see it sometime next year.