The cast and crew of New York, I Love You keeps growing and growing. There's not even enough room on the headline to list all the names that were just added. New York is a collection of short stories, part of a "Cities of Love" anthology that was begun by Paris, je ta'ime. New York will reportedly be followed by Shanghai, and then cities in South America and Africa.

The stories are showcasing an incredible variety of actors and directors. Natalie Portman and Scarlett Johansson are both making their directing debut, there's a good representation of international talent, and Brett Ratner hasn't been driven away by pitchforks and torches. Variety reported that Orlando Bloom, Olivia Thirlby, Hayden Christensen, and Ethan Hawke had climbed aboard the film. No word on who's segments they will appear in yet -- but a far better choice for Bloom's career than Prince of Persia, wouldn't you say?

Two reasons I'm writing this story: 1) I love screenwriter success stories, and 2) I love New York City screenwriting success stories. (No, I'm not very interested in seeing a sequel to New Jack City ... unless, of course, Chris Rock loses fifty pounds and plays another crack addict.) Over at Yahoo, they have a great story about a NYC tollbooth worker who wrote a crime script last year called Brooklyn's Finest. See, his car was totaled in an accident and so he entered this screenwriting competition with hopes the cash prize would help pay for a new ride. While Michael Martin had studied film in college, he had never written a full screenplay before -- and though his script placed second, it attracted attention from all over the place; landing on the steps of a Warner Bros-based producer who was searching for someone gritty enough to write the sequel to New Jack City.

Dude eventually moved to Los Angeles, wrote for the Showtime series Sleeper Cell, but then got homesick and returned to New York -- where, to this day, he works for the Transit Authority (he was just promoted to construction flagger). In between flagging, he still works on the New Jack City 2 script (which will probably go direct to DVD) on break in the subway tunnels, all while Brooklyn's Finest gears up to go into production this May -- in Brookyln -- with Don Cheadle, Ethan Hawke, Richard Gere and Ellen Barkin starring. Training Day's Antoine Fuqua will direct.

Oh, and he has a new car now.

Great story; you can read the entire thing here. And good luck to you Mr. Martin!

My pick of the week comes from Brazil: Antonia. Directed by Tata Amaral, Antonia is an engaging, low-key pleasure about four women that live in a poor, crime-ridden neighborhood in São Paolo but have dreams of fame and fortune. As I've written before, "the beauty of Antonia is its down-to-earth nature. These women are not super-heroines, nor do they expect any special treatment just because they can sing like angels. They just want a fair shake." The DVD includes a behind the scenes feature and a music video.

From the Eastern European front, both Czech Dream and The Way I Spent the End of the World have received good critical notices. Czech Dream is perhaps best described as a subversive, activist documentary look at the dangers of rampant consumerism, while End of the World is a "tragic-comic coming-of-age tale." DVD details on both titles are scarce.

An early, entirely distasteful scene in Drama/Mex soured me on the film, yet others have been won over by its stylish excess and primal urgency in telling three related stories in a seaside town. DVD details are not available. Cinematical's Jette Kernion called The Girl Next Door "nightmare-inducing," and not in a good way; it's a family drama set in the 1950s featuring physical torture. The DVD includes two audio commentaries, interviews with the cast and crew, and a "making of" feature.

Ryan Stewart had many things to say about The Hottest State, none of them good, so you may want to check out his review before renting this drama featuring Laura Linney and directed by Ethan Hawke. The DVD includes a commentary with Hawke and the crew and a short film by Hawke. The latest version of Lady Chatterley generated highly enthusiastic early reviews, which did not impress Nick Schager, who said the film "shouldn't be associated with the term 'cinematic' in almost any way, shape or form." The DVD includes trailers and a photo gallery.

Well, with a title like Real Men Cry, I guess it's a relief that this won't be a movie about men taking sensitivity training. The Hollywood Reporter announced that Mark Ruffalo, Amanda Peet and Ethan Hawke have signed for the leads in autobiographical crime drama called Real Men Cry. The film was written by actor-turned-director Brian Goodman, and is his autobiographical story about a local Boston boy who overcomes his criminal past. "Hawke and Ruffalo will play childhood friends Paulie and Brian, respectively, who are forced to survive on the tough streets of South Boston through a life of petty thievery. They join a local gang of criminals, but Brian finds it hard to reconcile his work and friendship with Paulie and his relationship with his wife (Peet) and son."

After years of petty criminal acts and drug and alcohol abuse, Goodman was finally incarcerated and began to turn his life around. Goodman told THR, "I came from a broken home and was living in survival mode. I have three bullets in me, one in the back of my head." Goodman began to score parts in small, local films in the late '90s, and also crossed paths with boy-band veteran Donnie Wahlberg at a high stakes card game in Boston. Wahlberg, another native of Boston's mean streets, even collaborated with Goodman on the script with fellow Boston actor Paul T. Murray. According to THR, the film has been put on the fast track; now that casting is already underway, I wouldn't be surprised if the film is aiming for a 2008 release.

Fall 2007 is shaping up to be the season of illogical movies. First there was the much-praised Gone Baby Gone, which has a third act twist that's logically crazy and impossible in practicality, and now there's Before the Devil Knows You're Dead, a film from the aging non-master Sidney Lumet that twists its narrative into a pointless and annoying timeline-pretzel and in doing so drains every ounce of energy and motivation from the piece, only to arrive at a Greek tragedy climax that has a plot hole so large you could drive a Hummer through it. (Don't worry, I won't spoil it, but I'll just say this -- cops?) That both both films contain performances by Amy Ryan may be their saving grace -- Ryan has a lock on Best Supporting Actress this year that's as tight as Ben Foster's lock on Best Supporting Actor, but that's not enough to push Before the Devil over the line. Nor is its high-grade cast, that includes Philip Seymour Hoffman and Ethan Hawke. Even Marisa Tomei's frequently naked breasts don't get it done.

The plot: two brothers scheme to knock over their parents' jewelry store. Mom and pop will get the insurance money, they'll get the loot, and everyone's rent gets paid. Sounds pretty simple, only -- pause for effect -- something goes wrong. What goes wrong is Rosemary Harris, who re-confirms here what she proved in the Spiderman films -- she can't act worth a lick. Harris plays the boys' mother, who unexpectedly stops the thief they send in to rob her with a handgun and also gets herself shot in the process. 'Big emotion' is not something that should ever be required of Harris, and I felt a tinge of relief when she was dispatched early on in the film -- the less screen time she takes up the better. The boys' father, played by the excellent Albert Finney, sets out to make it his mission in life to find the "guy who did this." And so it begins ... or ends ... or something. The timeline in this film is so herky-jerky that for all I know, my interpretation of its events could be completely wrong.

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.

The Hottest State is one of the most inauthentic films I've seen in a long time. Written and directed by Ethan Hawke, and from his own novel no less, the film plays out like some version of hell where everyone is being forced to perform in an acting class skit that will never end. The story follows William (Mark Webber), a 20-year-old aspiring actor who is hanging around the Manhattan bar scene when he runs into Sarah, the girl of his dreams. The casting of Sarah is the movie's fatal flaw. As written, she's an aspiring singer who is gaga over William, but Catalina Sandino Moreno is an actress who, it's clear from the get-go, can't sing a note and worse, seems ready to climb the walls to get away from her co-star throughout the picture. I've seen more sexual chemistry from two doorknobs. Watching this mess, you have to believe that Ethan Hawke, as talented as he is, must have realized he was making a colossal turkey but was too far into the thing to back out.

And that's only the start of it. The Hottest State is structurally odd -- something that's sometimes a necessity in the case of book adaptations, but especially true in this case, since what begins as a romance ultimately takes on the trappings of a thriller in the third act. I won't go into specifics in case you plan to see it for yourself, but let's just say that if the entire movie were on the same wavelength as the third act, I think we'd actually have an interesting, tough little film here. I also think Hawke must have known this too on some level, because it's only in the third act that his personality as a director begins to shine through -- interesting and creative camera choices, powerful acting moments and an earned level of tension that are present only during this part of the movie. The first two-thirds of the film are a cloying, obnoxious romantic fable about two young people bouncing around in Manhattan and down in Mexico, lounging around and pretending, for our benefit, that they actually love each other.

Not long ago, I had a chance to sit down with Julie Delpy in Manhattan to talk about 2 Days in Paris, her upcoming directorial effort that's bowing on August 10th. (You can check out Erik's glowing Berlinale review here.) As she waited on some black tea to arrive, we quickly got into talking about the film, which is about a native Parisian played by Delpy who brings her American boyfriend home to Paris for a quick visit; the two of them try to survive what the resulting cultural shockwaves do to their relationship. We also got into the subject of her next directorial project -- a biopic of the infamous 16th century 'Blood Countess' Elizabeth Bathory -- and discussed the unconventional arc of her career in general. Delpy has been quite vocal about having grand ambitions as a director -- she dreams of helming major action/sci-fi blockbusters -- but told me with characteristic bluntness that her filmmaking goals wouldn't force her to put acting on the backburner. "I don't have to choose, so I'm not going to," she said, pointedly. Here's the interview.

RS: Have you seen Zoe Cassavetes' Broken English yet?

JD: I didn't see it yet. I want to, though.

RS: The reason I bring it up is because [spoiler warning] they came pretty close to ripping off the ending of Before Sunset.

JD: They did?

RS: Yeah. Girl meets French guy in New York, she chases him to Paris, can't find him, finds him at the very end, they're deciding if they will stay together, and he says something along the lines of 'you're gonna miss that plane,' and that's the end.

JD: No..

RS: Yes. Lots of critics noticed it at the time, not just me.

JD: Really?

RS: Yeah. It was like, why would she do that?

JD: Why would she do that? That's weird. Was it conscious?

RS: I don't know. I thought maybe you two were friends, and it was an homage. Who knows?

JD: Maybe it's an homage.