emile hirsch Tagged Articles at Cinematical

The Shakespeare adaptations, they just keep a-coming! On the heels of two King Lear pics, two wild re-dos of Macbeth, and Julie Taymor taking on The Tempest, Catherine Hardwicke has decided to jump on the bardwagon ... now that she's done with those PG vampires. Luckily, she's not crazy enough to take on Taymor and make it three dueling adaptations. The Hollywood Reporter posts that she'll helm a modern take on Hamlet, with Emile Hirsch starring.

It seems that Hirsch helped conceive the idea, which Ron Nyswaner (Philadelphia scribe) will adapt, taking the themes of Hamlet and throwing them into contemporary America (again). Young Hamlet will have to decide whether he should kill his uncle and avenge his father's death. In other words, it sounds just like Ethan Hawke's Hamlet without the corporate intrigue. Milk producers Dan Jinks and Bruce Cohen are whipping this up, and they say their "goal is to present the story as a suspense thriller. We want to make it exciting and accessible for an audience today." Taking into account Hardwicke's track record, I wonder -- all-age thriller, or Hamlet for the teen girl crowd?

Milk is a well-intentioned film, but it's also well-made, and it never confuses nobility of purpose with narrative direction. It's full of inspiration and aspiration, but at the same time, it never kids itself -- or us -- about the tricky, twisty ways of modern American urban politics. It's a sincere plea for equality that doesn't ignore the challenges of prejudice and fear. It celebrates past victories and speaks to current struggles; it mourns devastating losses and is still a hymn to hope. It commemorates a man and spotlights a movement; it avoids cliché feel-good moments but still wrings richness out of moments that feel good. It has a heart, and a brain; it's tender and loving while also being sexy and hot; it features a brilliant performance from Sean Penn but surrounds him with other talented actors doing superb work. Milk is adult and intelligent in ways many films are not, and it's rousing and enthralling in a way few films are. It's a minor miracle of sheer film making joy and determination, and one of the best American films of 2008.

Directed by Gus Van Sant (Elephant, My Own Private Idaho), Milk is radically conventional; it's also subtly, gracefully, innovative and sharp. Best of all, Milk shows us a man who may have been a martyr, but who was most assuredly not a saint -- and makes us respect his accomplishments all the more by showing us the public work and private deals it took to make them happen. Sean Penn stars as Harvey Milk, a New York white collar worker who, at 40, came out of the closet, moved to San Francisco in 1972 with his lover Scott Smith (James Franco) and opened a business and got active -- first as a community organizer, then as a political candidate and ultimately a San Francisco City Supervisor in 1977, the first openly gay elected official in California. Milk was killed in 1978, when his fellow Supervisor, Dan White (Josh Brolin) shot and killed San Francisco Mayor George Moscone and Milk in the wake of White's resignation. It's hard to imagine an audience member not knowing this going into Milk, and yet Van Sant wisely puts it up front, to contextualize Milk's work and to let the film -- and the audience -- commemorate a life instead of merely chronicling a death.

(If the version above doesn't work, here's the proper Quicktime link.)

To paraphrase an IM conversation I just had with a friend regarding the trailer for Gus van Sant's forthcoming biopic, Milk: he thought the trailer was "incredible", whereas I felt it painted openly gay elected official Harvey Milk in a bit too saintly a light, at least within those two-and-a-half minutes, much to his chagrin.

I'm not saying that the real-life Milk wasn't a key figure in the fight for gay rights; I'm not saying that he deserved to be assassinated by Dan White (Josh Brolin); I'm not saying that Sean Penn doesn't look or sound just like the guy (that, I cannot speak for) and won't turn in an impressive performance. All I can speak for is the trailer itself and how I felt towards it.

So, as I go to put the 1984 Oscar-winning doc The Trials of Harvey Milk in my Netflix Queue, in the name of knowing better, would any of you care to attest for both the accuracy and anticipation behind this project?

When Demetri Martin joined the cast of Taking Woodstock, it was set to begin production in late August. In a nice change of pace, the movie is still on schedule, and will begin shooting at the end of the month, SAG strike be damned. But that isn't the only reason to anticipate Ang Lee's project. Variety reports the ensemble cast has been set, and it's insanely good. Get ready for a film that includes the likes of Emile Hirsch, Imelda Staunton, Liev Schreiber, Jeffrey Dean Morgan, Eugene Levy, Paul Dano, Zoe Kazan, Dan Fogler, Mamie Gummer, Henry Goodman, and Jonathan Groff.

Martin stars in the memoir adaptation as Elliot Tiber, a closeted gay man and aspiring interior designer who gives up his Big Apple dreams to run the family business in a Catskills motel. In 1969, he offered the hotel as home base for Woodstock organizers while his neighbor Max Yasgur (Levy) offered his farm. Staunton and Goodman play Tiber's parents, Groff will be festival organizer Michael Lang, Hirsch will play a Vietnam vet just back on American soil, Schreiber is in talks to play a transvestite named Vilma, Morgan will be a closeted married man having an affair with Tiber, Dano and Kazan play a hippy couple going to the concert, Fogler will be the head of a local theater troupe, and Gummer will take on the role of Lang's assistant.

I have a feeling this will be so very, very good.

The conventional wisdom regarding Sean Penn's justly acclaimed rendering of Into the Wild is that the film is "faithful" to the Jon Krakauer book. This is utterly cracked, and the misconception is illustrative of my staunch "books are not movies" philosophy. Not only is Into the Wild not "faithful" to the book, but it couldn't possibly have been faithful and remain a narrative film. Sure, it dutifully replicates what Krakauer was able to discover about Chris McCandless' adventure – most of the supporting characters, destinations and events are here, and some lines of dialogue are lifted from Krakauer's account. If that's all it takes for a movie to be "faithful," then I guess it's faithful. But that ignores the fact that the book and the film were trying to accomplish fundamentally different things, and went about it in fundamentally different ways.

Krakauer's book – which, by the way, is a national treasure – is first journalistic, and then philosophical. The author did painstaking research to piece together the details of McCandless' journey and death from interviews, personal observations, and Chris's own writings. What emerged probably wasn't what Krakauer, who obviously sympathizes and identifies with his hero, would have preferred: the picture of McCandless his sources paint is that of a young man who is bright and curious, but also inconsiderate, arrogant, and often downright unpleasant. (The letter he wrote to "Ron Franz," Hal Holbrook's character in the film, haranguing the octogenarian to sell his possessions and go on the road, is painful to read.)

There's been much buzzing around the Cinematical virtual office over the past few days about Speed Racer. James pretty much liked it (for a kids' movie), Scott pretty much hated it, and Eugene seems, well, a bit disappointed. We just got back from taking the crew to see Speed Racer.

Last week at the same time, we were at Iron Man, and the theater was almost completely packed, with only front row seats left by the time the previews started. This week, same time, exact same theater, even, and there were maybe 20 people total. And I have to say, if the Wachowskis are aiming for the kiddie market with this film, as many seem to think, I think they've largely missed their mark. Aside from the largely empty matinee theater, there were a couple of signs during the screening that this movie wasn't playing well to the kiddie set.

At the Long Beach Grand Prix, the roar of high-powered race car engines fills the air, a deep bass thrum cutting through the smell of exhaust in the early summer heat. Tens of thousands of race fans have gathered to take in the metal-and-rubber reality of racing, but in the Long Beach Convention Center, a small group of journalists have gathered to talk about a big-screen fantasy vision of the spectacle roaring around us, Cinematical was there to speak with the people behind Speed Racer: Emile Hirsch, Christina Ricci and Matthew Fox, as well as producer Joel Silver.

Emile Hirsch, relaxed and fairly amused, is asked about embodying a classic character. "It's pretty cool." He laughs; "I was a very big fan of the show growing up ... I would just watch it every morning with cereal ... sometimes soda in the cereal. ..." I then asked Hirsch if, after reading the script, he was worried about being Mark Hamill to Matthew Fox's Harrison Ford, that Speed would be out-cooled by Racer X. "Well, now I am ..." The rest of the sentence is unprintable, but Hirsch then mocked Fox's masked mystery man and spoke sincerely about Speed's virtues: "Yeah, (Racer X) is so cool ... No, no, no; Speed's got the nobility; Speed does the right thing; Speed is ... Speed's cool."

(Hirsch on coolness:)

I don't know a lot about Speed Racer aside from what I've gleaned from the theme song over the years -- apparently, the young man's a demon on wheels -- so, in many ways, I'm the best possible audience for Larry and Andy Wachowski's new big-screen interpretation of the character. Originally a Japanese animation program exported and re-dubbed for the American market in the '60s, Speed Racer has now been revived and revitalized for now. And the Wachowskis have created a blast of pure pop family fun; Speed Racer's a bright, bold visual spectacle designed for kids.

And why shouldn't it be? Or, rather, how could it not? This is a property where one of the supporting characters is, after all, a monkey; any fully-grown individual hoping for an adult action film or racing realism is looking in the wrong place. Speed Racer plays like a car-crazed visual wonder -- it looks and feels like what pop artist Roy Lichtenstein would dream if you locked him in a room full of gas fumes, gave him only candy to eat and showed him nothing but Tron, Indianapolis 500 footage, episodes of the '60s Batman TV show and Chitty Chitty Bang Bang. All at the same time. With the volume very, very high.

Not long ago we asked you folks to submit a bunch of questions for Speed Racer stars Emile Hirsch and Christina Ricci to answer, and guess what -- they answered them! Well, not all of them, but a few lucky individuals had their questions hand-picked, thrown up on a screen and presented to those two charming kids during another one of Moviefone's fabulous Unscripted installments. As always, you can check out an exclusive clip from their chat above -- one you will only see here on Cinematical. In it, Hirsch and Ricci talk about working with a green screen, and how "tripped-out" the whole experience is. I believe Ricci compared it to feeling very high. Hmmm.

But anyway, these two cats star in the new film Speed Racer, out this Friday in theaters everywhere. And, as you're probably already aware, Speed Racer was based on an old 14th century poem about two spiders who fall in love with an elephant. Kidding! Of course it's based on the "tripped-out" (just tying it all in) cartoon from the '60s. The live-action feature film was written and directed by Larry and Andy Wachowski (aka those Matrix guys), and it also stars John Goodman, Susan Sarandon and Matthew Fox.

Check out the Moviefone Unscripted chat over here, and watch as the two talk about kissing (with and without tongue), cutting hair, fighting and details on their "perfect drive." Speed Racer arrives on May 9, and you can check out loads of really cool images from the film in our gallery below.

While I'm personally much more excited about Iron Man and Indy 4, there's certainly been lots of buzzing amongst the internet bees about the Wachowski's adaptation of Speed Racer. In case you haven't seen the millions of trailers, the film looks ... well, it looks pretty damn trippy. Like they took the old cartoon and dosed it up with acid. It looks visually intense, with lots of brought, swirly colors, speedy-fast cars, and fairly simplistic dialog. Jeff Wells over at Hollywood Elsewhere put up a post noting that the tracking for Speed Racer looks a bit concerning, with not as many people as the studio might like saying they plan to see it opening weekend.

As commenters on Hollywood Elsewhere have noted, Speed Racer's target demographic looks to be A) fanboys who will pay to see anything about the cartoon they loved in their youth, especially if it's made with groovy CGI and shiny, pretty colors; and B) four-year-old boys. I can't really see a lot of chicks begging their boyfriends to see Speed Racer on date night, though there may be more than a few guys bargaining and sitting through Baby Mama or Made of Honor in exchange for a Speed Racer date.

Cinematical's James Rocchi caught Speed Racer last night at a sneak screening. I caught him on his cell at the Speed Racer junket this morning to ask his initial impressions of the film; here's what he had to say about it: "It's pure, pop family fun, a bold, bright kids' movie that's visually exciting and keeps the tone right." James noted that his overall impression of the film was "generally very favorable -- as a kids' movie." If any Cinematical readers have been to a preview screening of Speed Racer, let us know what you think of how the full movie plays. And the rest of you movie fans -- does Speed Racer look hot, or not? And are you planning to see it in the theater?