albert finney Tagged Articles at Cinematical

My friend Paul never looked at me the same way after I convinced him to see Wolfen rather than the latest James Bond adventure in the summer of 1981. I was planning my first trip to New York that fall and was utterly enthralled by the apocalyptic views of a burned-out South Bronx, looking like an exotic urban wilderness -- or Dresden after the fire bombings. I gloried in the long, gliding, low-angle Steadicam shots, enjoyed the tension generated, and tolerated the blood and guts on display. My soon to be ex-pal hunkered down in his seat, hating every second and throwing daggers at me with his eyes.

As the years have passed, I have nursed an untoward affection for Wolfen. Many horror fans have concluded that it is, at best, the weak cousin to the two other superior entries in the unofficial and unrelated "wolf vs. man" trilogy of 1981. Admittedly, An American Werewolf in London and The Howling rip Wolfen to shreds as far as style, pacing and dark entertainment value are concerned. Yet buried within the often lugubrious storytelling of Wolfen lies a gem of an idea and a radical approach to the traditional Hollywood fantasy of werewolves.

How did Michael Wadleigh, the director of 1969's landmark documentary Woodstock, come to direct his first fiction feature more than a decade later? And why adapt a novel by the notorious Whitley Strieber? One must first be disabused of the misconception that Wolfen is actually about werewolves or is a horror thriller; in a literal sense, it is more an environmental tract, a plea for man to live in harmony in nature, than it is any kind of supernatural fable.

Director Sidney Lumet turned 83 this year, and his debut feature, 12 Angry Men (1957) turned 50. Most film buffs count that film among the great debut films in history, and Lumet has certainly gone on to make many more classic films: Serpico (1973), Dog Day Afternoon (1975), Network (1976), The Verdict (1982) and Running on Empty (1988), among others. However, most film buffs also agree that, despite his notable debut, Lumet is more of a superior craftsman than an artist and that his long filmography -- more than 50 movies and TV shows -- contains just as many clunkers as it does hits. But here's the good news about a craftsman: he usually learns from his mistakes and gets better and better. And Lumet's two most recent films, last year's Find Me Guilty and the new Before the Devil Knows You're Dead, are among his best.

The bad news is that when Hollywood people and moviegoers hear the thing about Lumet being 83 years old, they'll probably stay away from the new film, as they stayed away from Find Me Guilty a year ago. Lumet has also made the commercial mistake of telling a jewel heist story and telling it straight, without any of the jokey, self-referential stuff that drives most post-Tarantino crime movies. Lumet's movie is about people rather than jewels or guns. And, at 83, he knows a thing or two about people.

"May you be in heaven half an hour before the devil knows you're dead."

It comes from an Irish toast, that quote, and it's also the first thing we see as director Sidney Lumet begins his latest film, Before the Devil Knows You're Dead. It's open for interpretation, in the way that it's used here, however Lumet chose to follow up the quote with a graphic opening shot of a barenaked Andy (Philip Seymour Hoffman) on his knees, and a naked Gina (Marisa Tomei) bent over on all fours in front of him. They're having sex. Some of the best sex they've had in years. If only life was always like this for Andy and Gina; unfortunately, it's not. This is vacation sex for a married couple -- away from the hustle and bustle of the big city, where the most important decision of the day revolves around which swanky restaurant to eat dinner at. They're in Brazil; Rio to be exact. And this is heaven. Both enjoy their brief, passionate encounter -- and discuss how great it would be to move to Rio and live out their days on a beach -- but then, eventually, return home to New York City ... where all hell breaks loose.

See, Andy is having money problems. He's got a great job, sure -- as head of payroll for a real estate firm -- and lots of cash to boot, but he's a sneaky crook with an expensive drug habit. Money-wise, his younger brother Hank (Ethan Hawke) is in a similar situation. He's a few months behind on child support payments to his ex-wife, and as much as he loves his daughter -- and would do anything to provide for her -- his drinking problem, a lack of motivation and the fact that he's sleeping with his brother's wife isn't helping put money in the bank. As more and more funds disappear, and as both brothers are forced into a corner they're not sure how to escape from, Andy comes up with a full-proof plan to fill their pockets: rob a Mom & Pop jewelry store. Except, there's one problem -- that Mom & Pop jewelry store is owned and operated by -- you guessed it -- Andy and Hank's own mom and pop.

Part of me loves attending the New York Film Festival every year, and part of me doesn't. Since it's a pain in the ass to get from Queens to Lincoln Center on the Upper West Side of Manhattan, the part of me that hates to use up five hours of my time to see one film is always nagging in my ear: "Skip it this year, man. It takes up too much time. And you're lazy." Then again, when on your first day of screenings you get to watch an exceptional new film from Sidney Lumet, Before the Devil Knows You're Dead, and then get to stick around for a Q&A with the legendary director, the part of me that loves attending NYFF ultimately wins out.

Since I've only seen one film so far (mainly because, this year, time just doesn't allow me to snort up every little piece of filmmaking), instead of writing a dispatch I thought I'd place my initial thoughts here. NYFF is a strange festival, because the press screenings begin a good week before the fest officially opens, and they're fairly spread out across four weeks. Since the fest also takes place within the confines of, say, a block or so, that summer camp, community aspect is not really there. You see a press screening, stick around to chat with another NYC-based writer about Marisa Tomei naked (more on that in a bit), and then you go home to write about it. That pretty much sums it up. All the NYC regulars are there, there's always some old smelly guy sitting either next to me, in front of me or behind me, and no matter when I go to the bathroom, I always wind up standing next to someone I know at the urinal. Last year it was actor Patrick Wilson, and this year it was Andrew Grant (aka Filmbrain). Thus, I'm thinking about starting a urinal interview series for folks I run into -- if, ya know, they don't think that's awkward.

You know what most movie trailers need? Marisa Tomei, completely topless. You know what else they need? An end tag that tells us the film is "now in post-production"! You know what else they need? Long, drawn-out clips of Philip Seymour Hoffman and Ethan Hawke, as down-on-their-luck businessmen planning to rob a mom and pop store that happens to be run by their own mom and pop. Needless to say, this trailer, for Before the Devil Knows You're Dead, is my favorite of the year so far. I didn't even know much about this film before watching, and the one drawback is probably that I now know too much. The trailer gives away so much of the plot that I think I can even figure out what the third-act is going to be all about, and that's a little too much information. This is a trailer that's popped up on a French website, so before they release it to the U.S., I would advise that they substantially trim down those final scenes with Albert Finney -- that's just more than we need to know.

I'll admit that I'm not a terribly big fan of Sidney Lumet -- I skipped Find Me Guilty, in fact. And the screenwriter is apparently a first-timer, so there's nothing to go on there. But I like all the actors here -- Ethan Hawke, especially, is always able to do some good work when he has the right material. Annoyingly, there's no U.S. release date for this film yet, even though it's opening in France in late September. If everything goes to plan, I'll be in Europe around that time this year anyway, so maybe I'll be able to see it in a French theater.

Samuel Goldwyn Pictures seems to see a huge American audience for foreign, Kirsten Dunst-free period drama that no one else has noticed. To that end, they've picked up the rights to Michael Apted's Amazing Grace, a movie that phantom audience is sure to devour: The film stars a trio of talented actors who are also non-draws in the US (Ioan Gruffudd, Albert Finney and Romola Garai), and is a biopic of William Wilberforce, an 18th-century British abolitionist. Yes, 90% of America just fell asleep.

Now to me, this sounds awesome (as does the distributor's insane-yet-admirable plan to collaborate with Walden Media on a "comprehensive marketing initiative" addressing modern slavery, and urging social action) -- but you know I'm a history nerd who enjoys reading books about things like maps and 15th-century monarchs. And moviegoers like me will earn this film what, $4,000 on its opening weekend next February? If you're not yet convinced that everyone at SGP has lost their minds (albeit in a wonderfully ambitious way), get this: The release date has been schedule to fall on the 200th anniversary of Parliament's vote to end slavery in all British-controlled territories. If anyone cares about this, I will be the happiest wrong person on earth, but really, the chances seems very, very slim.

Word comes from Cannes that screen master Sidney Lumet, whose latest accomplishment was making Find Me Guilty and star Vin Diesel far more than tolerable, will next direct a thriller entitled Before the Devil Knows You're Dead. Though "advanced negotiations are currently under way with another award-winning male star" to fill one of the lead roles (the IMDb thinks it's Philip Seymour Hoffman), the movie already features a pretty stacked cast, including Marisa Tomei (girl has an Oscar, you may recall), Ethan Hawke, and the great Albert Finney.

Based on a screenplay co-written by Lumet, the movie tells the intense-sounding story of two brothers (one of whom seems to be played by Hawke) who come up with a plan to rob their parents' jewelry store. Not surprisingly, things don't go as planned, "triggering off a series of events that send them, their father (Finney) and Hawke's wife (Tomei) hurtling towards a shattering climax." Mmm ... shattering climax.

There's no word from Cannes about when the production will begin, or where the film will be shot.