deep water Tagged Articles at Cinematical

Having faced Charlie Wilson's War, Mike Nichols is gearing up for his next film, and this time, there's a good dose of murder. Variety reports that he's going to direct Joe Penhall's adaptation of Patricia Highsmith's novel Deep Water. Set in an American suburb, the book reveals the life of a loveless marriage between Vic and Melinda -- one that survives only because Melinda is allowed to take on as many lovers as she pleases (as long as she doesn't pack up and go). However, then her lovers start to die.

Penhall, you might recall, adapted Cormac McCarthy's The Road, while Highsmith was the novelist behind Strangers on the Train and The Talented Mr. Ripley. But it's the magic of Nichols that really makes this appealing. While he's had a quite varied film career that extends from Catch-22 to dolphin assassins, Nichols has always excelled the most with dysfunction and drama -- from the early days of Who's Afraid of Virginia Woolf? and The Graduate to Closer and Charlie Wilson's War. Add some kills and thrills into the mix and this should be interesting.

For me, he's the director who helped warm me to the world of film criticism. I believe The Graduate was one of the first films where I began to notice how cinematic flairs make a film all the better. And hey, he's also the man who revealed a whole different depth to Julia Roberts with Closer.

But how about you? What's your favorite Nichols film?

Back in January, we wrote about director AJ Schnack's (Kurt Cobain: About a Son) efforts to create awards for non-fiction filmmaking that would be ... somewhat more relevant than the Academy Awards. Back when the Oscar shortlist for docs came out, Schnack wrote an angry diatribe about the process and the films selected (and, more importantly, those that were not selected) that echoed the sentiments of many of us who write about, or make, documentary films.

Although I'm not at all displeased that Alex Gibney ultimately won the Oscar for Taxi to the Dark Side, and would have been equally happy if No End in Sight had won, there were some glaring omissions in the Oscar shortlist that were truly appalling, most notably In the Shadow of the Moon and King of Kong: A Fistful of Quarters.

One of the true underdog stories of the year, "art house musical" Once arrives on DVD today from Fox Searchlight. Written and directed by John Carney, the film won the Audience Award at Sundance back in January and ended up earning more than nine million dollars in the US. James Berardinelli at Reel Views wrote: "This isn't a perfect motion picture but, in the midst of summer's vapid pursuit of spectacle, a movie that provides real heart and emotion is a rare find." The DVD includes music and film commentaries by Carney and actors/musicians Glen Hansard and Markéta Irglová, two featurettes and an animated "webisode."

I don't understand why John Landis' Mr. Warmth: The Don Rickles Project was selected to screen at the New York Film Festival. It's a fine celebrity documentary with plenty of well-known faces praising the acerbic, long-lived insult comic, Landis keeps the pace snappy, and it's quite entertaining, but it fits in quite well on HBO (where I saw it) and if there were any transcendent angles, I missed them entirely. Cinematical's Jette Kernion had a similar reaction. The DVD from Vivendi is a two-disk "collector's edition," but I haven't been able to find specific details on what's included.

Deep Water sounds intriguing: the "stunning true story of the first solo, non-stop, round-the-world boat race." Richard von Busack felt that the documentary by Louise Osmond and Jerry Rothwell "seems like a last word; the film gives a full and aesthetically satisfying overview" of the events that occurred, effectively meshing interviews with dramatizations. (His review is well worth clicking through to read in its entirety.) The DVD includes additional interviews with sailors, family members and journalists involved with the race.

Stephen King divided up the realm of horror into three categories in his indispensable book of essays Danse Macabre. There is terror -- the large sense of the universe never being the same again after the events told in the story, of inescapable personal threat as the aim of the story: nameless dread finally has a name. There is horror: a more removed sense of sympathy and pity for some victim of supernatural violence. And, as King concluded, if you can't get either one, there's always the good old reliable gross-out. Well, the gross-out is king in current horror. It's a lever is pumped 'till the handle breaks, and no one ever tires of it. The jack in the box pop-up followed by the explosion in the strawberry jam factory ... not that I'm complaining, mind you, but a more rarefied sense of terror is what floats my boat. Using some examples from America's first horror master Nathaniel Hawthorne (1804-64) I'd like to try to describe easy ways to get it ...

New releases had a tough time drawing interest this past weekend. Leonard Klady of Movie City News estimates that Bollywood comedy Heyy Babyy grossed the highest amount with a box office take averaging $4,460 per screen at 68 locations -- for a total of $300,000. This is the first full-length feature by Sajid Khan, who previously contributed a segment to the anthology film You Must Be Scared. Heyy Babyy looks like it was inspired by Three Men and a Baby; the trailer features a ton of faces being slapped, for some reason that doesn't translate without subtitles.

A handful of indies made their debuts in very limited engagements. Deep Water did the best, with Klady estimating $10,550 for each of its two screens, while Dedication took in $5,570 per screen and Hannah Takes the Stairs followed with $4,800. I checked Rotten Tomatoes for each: Deep Water scored a perfect 100%, while the others trailed far behind, with Dedication at 46% and Hannah at 55%. Cinematical's Nick Schager was highly critical of Dedication, but Jette Kernion was much more positive about Hannah. Deep Water, a doc about nine men competing in a solo boat race around the world in 1968, has a smashing trailer.

Three other new releases performed below expectations; our own Ryan Stewart saw two of them. He quite liked Right at Your Door, which he described as a manipulative but clever thriller with a good performance by Mary McCormack. On the other hand, he described Ethan Hawke's The Hottest State as "one of the most unauthentic films I've seen in a long time ... I've seen more sexual chemistry from two doorknobs." Ouch! Right at Your Door played on 20 screens but could only scare up $1,430 at each, according to Klady's estimate, while The Hottest State only pulled in $2,730 per screen (at three locations). That's still far better than family film Eye of the Dolphin, which dragged in just $290 per screen at 130 locations.