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Conor McPherson's The Eclipse had several suitors sniffing around as soon as the spooky tale made its world debut at Tribeca on April 24th, but in the end Magnolia Pictures won out with a mid-six figure deal for worldwide distribution rights.
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Sony Pictures Classics, Miramax, Lionsgate, and Roadside were all eyeing this story starring Ciaran Hinds, who won the Best Actor jury prize for her performance. Hinds plays Michael Farr, a widower and would-be writer in Cohb, Ireland, who is smitten with Lena, a horror author from out of town. Farr has quite a few things on his mind lately: the death of his wife, contending for Lena's affections with a smug American writer (Aidan Quinn), and the recent ghost he's been seeing.

Cinematical's Eric D. Snider wrote in his review of The Eclipse, "A widower dealing with grief, a romantic triangle, and an illicit affair are more than enough to fill one story. The addition of ghostly visions could have been a way to make the film stand out from its class; instead, those elements merely feel tacked on."

Interestingly enough, it's just that combination that had distributors talking, in the hopes that The Eclipse could appeal to both "genre" fans (i.e. fans of the horror and supernatural) and romance/drama fans. Who will really be lining up to buy tickets seems to be a big question mark for reviewers, but in a year when even Woody Allen's ballyhooed return to NYC fell flat, The Eclipse has, at the very least, gotten people talking. The Eclipse, which currently has no release date, is the first big Tribeca deal in several years.

In a ceremony held last night, the Tribeca Film Festival announced this year's winners of its competition categories. The top prizes went to Iranian drama About Elly for Best Narrative Feature and audience fave Racing Dreams for Best Documentary Feature.

About Elly, written and directed by Asghar Farhadi, revolves around a group of "old college pals" who reunite for a weekend by the sea, a friendly outing that turns serious when one of the women disappears. The jury (Bradley Cooper, Richard Fischoff, Todd Haynes, Meg Ryan, and Uma Thurman) called the Iranian movie "a seamless piece of ensemble filmmaking." Racing Dreams, directed by Marshall Curry, follows three go-kart racers, ranging in age from 11 to 13, who are competing for a national champiomship that's considered "a huge stepping stone to auto racing's big show-NASCAR." The jury (Liz Garbus, Henry Louis Gates, Jr., Whoopi Goldberg, Morgan Spurlock, and Brian Williams) declared it to be "a completely compelling, entertaining film of incredible quality."

For his Norwegian comedy North, director Rune Denstad Langlo was recognized as Best New Narrative Filmmaker, while Ciarán Hinds (The Eclipse) and Zoe Kazan (The Exploding Girl) were honored as Best Actor and Best Actress, respectively. In the documentary arena, Ian Olds won the award as Best New Documentary Filmmaker for Fixer: The Taking of Ajmal Naqshbandi, which tells the story of an Afghan "fixer" (defined as "someone hired by foreign journalists to facilitate the gathering of news stories") and the "dangerous and unseen world of wartime news gathering." The recently-acquired Defamation received a Special Jury Mention.

The complete list of award winners is available at the official site. The festival continues through May 3. Check out all of our coverage right here.

The press kits that accompany most films usually aren't very useful beyond telling you how to spell the actors' names, but the one for The Eclipse was insightful. The film is an unusual mixture of somber character drama and supernatural horror, and the statement from director Conor McPherson confirms something I'd suspected from watching it: the supernatural elements were wedged into the screenplay after everything else.

McPherson says he started with a screenplay based on a short story by Billy Roche but was stymied in his efforts to make it work as a film until he came up with the ghosty stuff. It's a shame (or, rather, it's a shame that it's so obvious), because films that combine these two disparate genres successfully are rare. And The Eclipse, even with its flaws, is still a respectable effort, with sensitive performances and shrewd direction. It just doesn't live up to its promise.

It is set in the quaint Irish town of Cobh, where a widowed schoolteacher named Michael Farr (Ciaran Hinds) lives with his two teenage children and still mourns the death of his wife two years ago. Michael writes fiction for a hobby and longs to do it professionally, a desire that is increased by his involvement with Cobh's annual literary festival. Authors come to town from around the world to do readings and signings, and Michael is part of the volunteer staff, driving guests to their hotels, that sort of thing.

In fulfillment of the prophecy that Disney will eventually remake every single one of its live-action movies, here is Race to Witch Mountain. It bears a passing resemblance to 1975's Escape to Witch Mountain, but it's more reminiscent of a tiresome carnival ride whose operator abandoned it and left it to run for 90 minutes. Whatever fun there is in it quickly gives way to tedium.

Appropriately, it's set in loud, gaudy Las Vegas, where Jack Bruno (Dwayne Johnson) works as a cab driver. In the past he has freelanced his services for one Mr. Wolf, a shady underworld figure whose goons regularly visit Jack trying to re-enlist him. Maybe I shouldn't bother mentioning that, though, because it ultimately has nothing to do with the story. For that reason, I'm also not going to mention Jack's lifelong desire to own a particular Ford Mustang, since that detail was clearly added only after someone read a screenwriting book and paused at the chapter that talked about giving your characters hopes and dreams. It's extraneous.

But back to the actual story. Jack encounters two strange preteens, a brother and sister named Seth (Alexander Ludwig) and Sara (AnnaSophia Robb). They are extraterrestrials whose spaceship crashed in the desert when they came to Earth in search of a MacGuffin, and now they must get the item and return to the ship -- which is problematic, because the U.S. government, led by heartless Henry Burke (Ciarán Hinds), has recovered the craft and hidden it away somewhere. There's also an alien assassin pursuing the kids, though that's another thing that's ultimately not particularly relevant.

The Tribeca Film Festival has been in the news lately for significant personnel changes, but what about the movies? This year's edition gets underway on April 22, and Cinematical has received a list of the first 38 of the 86 feature films that will be screened. A few titles that jumped out at me:

The Eclipse. The great Ciaran Hinds stars in an "atmospheric drama about a widower who sees and hears strange things in his house." Hinds was fairly magnificent in the TV series Rome and stood out in Steven Spielberg's Munich. Add to that Iben Hjejle and Aidan Quinn as writers the widower encounters at a literary festival, and this is a drama that I want to see.

The Fish Child. Lucia Puenzo made the well-regarded XXY and now comes a "a passionate love story in the arms of a pulsating thriller." I love the idea that for her sophomore feature, the director has made what is evidently a very different type of movie than her quieter debut drama.

Stay Cool. The Polish Brothers (Northfork) return with a "charming comedy" about a high school reunion of sorts, with Winona Ryder and Hilary Duff. Manure was sharply criticized at Sundance just a couple of months ago; could Stay Cool possibly be any good? Winona Ryder doesn't get seen enough, and Hilary Duff has made interesting choices, so this could be surprisingly good -- or another train wreck.

Outrage. Documentarian Kirby Dick, who made the terrific This Film is Not Yet Rated, turns to the subject of "the hypocrisy of closeted politicians who actively campaign against the LGBT community they covertly belong to." I'm hoping it's as sensational as it sounds.

After the jump: The complete announcement. Browse away, and tell us what looks good to you!

From the star, director and studio behind The Game Plan comes... another movie pairing up Dwayne "The Rock" Johnson with kids! Okay, this one -- Race to Witch Mountain, a remake of Disney's own Escape to Witch Mountain from 1975 -- seems a fair bit more tolerable than that one was, as cab driver Johnson is forced to team up with UFO expert Carla Gugino on an unexpected mission to get two unique children (AnnaSophia Robb and Alexander Ludwig) to the above-mentioned location of their spaceship.

A couple of things should be said for the trailer, which we've included after the jump.

1. There is an unavoidable watermark on it, but other than that, it seems to be a fully digital trailer and not bootlegged from sneaks of Bolt this past Saturday. (Okay, I get it: Star Trek is Star Trek... and you know who else pulls a very similar 'letting a vehicle crumple around you' trick? Bolt does.)
2. Said watermark and the YouTube premiere suggests that this hasn't been officially released by the studio yet, so I'd be willing to bet that this trailer gets taken down by the end of the day. Good luck!
3. More power to Johnson for throwing himself wholly into work like this, even if we can already see his character growing out of skepticism and towards accountability over the course of these two minutes. (Besides, Brendan Fraser can't hold a monopoly on all the family adventure hero roles.)

With that said, thanks to Roger Moore of the Orlando Sentinel for digging this up, and onto the trailer! Race to Witch Mountain opens next March.

We're now two steps closer to Disney's 're-imagining' of the kid's classic, Escape to Witch Mountain. The Hollywood Reporter has announced that Ciarán Hinds (Stop Loss) and Alexander Ludwig (The Seeker: The Dark Is Rising) are signed to star in Race to Witch Mountain, the update of John Hough's 1975 film. Witch Mountain focused on two orphans with paranormal abilities, and was based on the 1968 sci-fi novel by Alexander Key.

For those who didn't come of age wishing to be witchy orphans, the storyline focused on mind-bending siblings Tia and Tony, whose alien origins had them on the run from an evil millionaire. This will mark the second attempt at a remake, with the first being for TV back in 1995. Matt Lopez (She's the Man) was in charge of the re-write and Andy Fickman was signed to direct back in July. Casting for Race to Witch Mountain started back in August, when Dwayne "The Rock" Johnson signed on for a role as a part time cab-driver and protector to the siblings. A little while later, Anna Sophia Robb was hired to play one of the 'spooky kids'. I can only guess that now that Ludwig is on board he will be taking over the part of Tony and Hinds will play the evil millionaire.

When the book was first adapted, there were plenty of complaints that Disney ignored most of the darker elements of the story. But Fickman has promised that this time around he is going to make, "a pretty bad-ass ride." Probably not how I would have described a movie from the man who directed The Game Plan; but you never know. Race to Witch Mountain is scheduled for release March 13th, 2009.

   • Big Momma's House 2 - In Martin Lawrence's desperate minstrel show, the comedian reprises his role as undercover FBI agent Malcolm Turner, again donning a fat suit to become the sassy, black Southern matron Big Momma. He has to stop a potentially destructive computer hacker, and the movie is broad, shameless and pandering in most every respect. Lawrence appears to assume that we automatically like him and Big Momma, and does little to endear them to us any further. Incessant mugging, weak slapstick and Teflon catchphrases fill in the many cracks of its already shaky foundation, leaving a hammy house of horrors that should have been condemned when it was still a half-baked pitch.
    • Grandma's Boy - Adam Sandler's longtime second-banana, Allen Covert, gets his shot at a lead in this stoner comedy, but despite his appealing, aw-shucks demeanor, the movie, about a 36-year-old video game tester who moves in with his grandmother and her two roommates, is just irredeemably stupid. It is sad to see three lovely ladies like Doris Roberts, Shirley Jones and Shirley Knight stooping for laughs like this, though based on the fact that practically no one saw it in theaters (or will go out of their way to rent the DVD), it is a very minor tragedy.