ghost world Tagged Articles at Cinematical

Clockwise from upper left: Splinterheads, Ghost World, An Education, House of the Devil.

Opening. Amiable and pleasant, Splinterheads revolves around a romance between Justin (Thomas Middleditch), an aimless small town dreamer, and Galaxy (Rachael Taylor), a gorgeous grifter who (literally) bumps into him at a gas station. She's more interested in separating him from his money than getting to know the lunkhead within, while he quickly decides that he's met the love of his life -- or, even better, a reason to leave his upstate New York world behind and start living for himself instead of his mother and grandfather.

Brent Sersen (Blackballed) is a better director than writer; the characters hold few surprises and the plot's trajectory threatens to die of old age before it reaches its pre-ordained conclusion. Still, he takes advantage of a visiting carnival and the grifter's obsession with geocaching, a variation on treasure hunting, to string together several lyrical interludes and enough laughs to deserve a recommendation. Dean Winters, Lea Thompson, and Christopher McDonald provide reliable support. Splinterheads opens in New York on Friday and expands to other cities the following week; check the official site for theaters and showtimes. Also opening in New York the same day: Collapse, Chris Smith's latest doc (more from last week and the exclusive poster debut).

On-Demand / Online Viewing. Terry Zwigoff's adaptation of Daniel Clowes' graphic novel Ghost World departs from the source material quite abruptly, but still remains faithful to the dark spirit of loneliness that haunts the characters. Thora Birch, Scarlett Johannson, and Steve Buscemi star. It's now available on FilmBuff, Cinetic's cable on-demand channel; check local listings to watch this essential indie at home.

After the jump: Who educated the devil?

We often tie our Tuesday Cinematical Seven picks with DVD releases, and this time, I was torn. On the one side, there was the out-to-lunch Hollywood science that allowed there to be identical cousins in The Patty Duke Show. But aside from the wonder of creating a girl with a crappy computer, a barbie, and some David Lee Roth personality, there wasn't much I felt could battle with cousins who look exactly alike. But then there's also the DVD release of the first two seasons of Felicia Day's famous web series, The Guild. Sold -- The Best Big-Screen Geek Girls.

Elisabeth's Geek Beat recently discussed what it means to be geek, and for the purposes of this list: It's on-screen characters who have smarts and delight in things that usual characters don't. They might love learnin', comics, computers, geek flicks, or even following around freaky people and collecting warped memorabilia. They're a little bit different, all sorts of kickass, and all sorts of worthy for the Best Big Screen Geek Girls. Check out the rundown after the jump and weigh in with your own picks!

Iron Man opens this week, and thus the summer movie season has officially arrived. I love a good summer movie as much a the next guy, but this morning I found myself looking back at some of the little films that cropped up during the summer; some of them managed to get a "summer" feel on a much lower budget and without all the advertisement and hype. My absolute favorite summer art house movie has to be Tom Tykwer's Run Lola Run (1999). I saw it three times that summer, and each time I clutched my seat, my heart pounding. I was amazed at how brilliantly Tywker had mapped out his three possible storylines and how lovely the small, quiet interludes were. I loved Franka Potente, and I loved his throbbing score, which practically entered into your bloodstream and pumped up your adrenaline by hand. Every color, movement and cut was designed for maximum effect (I've always been puzzled how Tykwer's movies since have seemed so long and sluggish.)

Also that same summer, John Sayles delivered his baffling adventure/suspense film Limbo, which had several people trapped on an island awaiting rescue and stalked by bad guys. The ending had everybody in an uproar and caused the film to die a quick death. The summer before that one, Darren Aronofsky's debut feature Pi gave me a good dose of sci-fi thrills, as well as a few head-scratching puzzles (which were actually real). 2000 was a particularly bad summer, but John Waters' Cecil B. DeMented provided a mischievous little oasis in the middle of it all. In that film, renegade filmmakers kidnap a Hollywood starlet and force her to be in their indie production; each team member has a tattoo of a maverick filmmaker's name. (I've often wondered which filmmaker's name I would pick for a tattoo? Maybe David Cronenberg...)

Every once in a while, we will be inevitably thrown by news of a young actor's death. It happens, but thankfully, not all the time. This month, however, just one shocking week apart, we lost two -- Heath Ledger and Brad Renfro. I don't want to weigh this down with discussions of their death, any pain they might have been dealing with, or the loved ones who mourn them. Instead, let's focus on the footprints they made in the world of film. I could cite the serious achievements of both -- Ledger's Brokeback Mountain or Renfro's Apt Pupil -- but we've had enough pain over the last 10 days. Instead, I want to focus on something happier. Tonight, in memory of two talented actors taken too soon, I give you: 10 Things I Hate About You and Ghost World.


10 Things I Hate About You



Sure, I have a soft spot for The Taming of the Shrew, but with or without Shakespeare's classic play, 10 Things I Hate About You hit the right spots and helped catapult Heath Ledger into stardom. He starred as Patrick Verona, a supposed bad boy who turns out to be the coolest guy in school...well, after he comes to his senses and realizes that a bribe isn't the way to a girl's heart. Nevertheless, he breaks through Kat Stratford's (Julia Stiles) tough exterior and steals her heart while her fluffy sister Bianca (Larisa Oleynik) tries to figure out if she wants Joey (Andrew Keegan) or Cameron (Joseph Gordon-Levitt).

While all play their parts well, it was Heath who made the most impact. He made the hokey stuff seem less goofy, and he knew how to portray the cocky, irresistible sparks of the original Petruchio. He made paintball sexy, and over-the-top musical numbers seem devilish instead of desperate. Even Roger Ebert was charmed by Heath's performance.

Patrick Verona serenades Kat Stratford.

Poetry for Patrick.

Bloopers!

I wanted to stick with Heath bits, but I can't resist the flick's beginning, with Allison Janney's sexy writing.

I have to admit, I wasn't crazy about this idea when they first announced it -- basically, a take on The Six Million Dollar Man, except the government only throws a measly $40,000 into this experiment. Great. Will Ferrell, Jack Black -- throw one of them in there, and it's just another doofy spring comedy. But now that The Hollywood Reporter tells us Terry Zwigoff will be directing, my anticipation meter just shot up. Zwigoff doesn't take on just any project; he's not one of those directors who's shoveling out a film every year. I guess you could say he's somewhat of an odd fellow, but I've loved each and every one of his films for different reasons. They're all slightly off, slightly warped -- each finding its own cult audience over time, with one (Bad Santa) hitting the right chords with more of the mainstream crowd, yet even that film could be deemed "out there."

But the news gets even better -- apparently Zwigoff, aside from directing the flick, will help re-write the script alongside his Ghost World partner Dan Clowes (both were nominated for a Best Adapted Screenplay Oscar for their work on that film's script). For those that adored Ghost World (and I know there's a ton of you out there), this is probably wonderful news -- even if it does sound like an odd project for the duo to take on. As I alluded to before, The $40,000 Man centers on an astronaut who's injured in a horrific crash and then re-built by the government on a shoe-string budget of $40,000. Zwigoff last helmed Art School Confidential, which I remember starting out as this goofy, mainstream teen comedy before turning into something completely different. One thing's for sure here -- however you think this film is going to end up, it will most likely go in the exact opposite direction. And I cannot wait.

Life in Hollywood just keeps getting better for alternative cartoonist Daniel Clowes. After being Oscar-nominated for his Ghost World screenplay (based on his own graphic novel), Clowes had his Art School Confidential adapted for the screen, and was hired to write the screenplay for Master of Space and Time, a mad scientist flick directed by Michel Gondry (who surely can identify with the subject matter). And now, according to Variety, there's more: Jack Black's Black and White production company has picked up the rights to Clowes' Death Ray, and signed him to adapt it for the screen.

Though the story does feature a kid with a death ray (he inherited from his dad, a scientist who also injected him with "an experimental hormone that activates super-strength and heightened sensation through nicotine"), based on this very detailed summary, it's as much about the struggles of growing up as it is living with super powers. Since Clowes has said (seriously, I think) that he plans to change the character from a teenager to a middle-aged adult for the movie, it'll be interesting to see how he reworks his original story to fit the new focus.

Talk about getting mileage out of a metaphor. On our Sundance video podcast, James Rocchi cracked that last year's Sundance hit Saw reminded him of David Fincher's Seven ... as performed by the Max Fischer Players, the grade school company spearheaded by the protagonist of Rushmore. I tried to come up with my own analogy to bring to the table, in discussing Art School Confidential, Terry Zwigoffs latest collaboration with Ghost World creator Daniel Clowes, but James' framework just seemed so very apt. So, in 25 words or less: Art School Confidential is exactly what would happen if the Max Fischer Players tackled Heathers. In other words, it's a stilted satire of teenage passion and apathy, sex and death and crime. And like a classic Max Fischer production (if such a thing exists), it's so concerned with aping style that it never bothers to consider its characters as people.

Following in the success of their previous joint effort, the Academy Award nominated Ghost World, the creative team of director Terry Zwigoff and comics creator Daniel Clowes have reunited to bring us Art School Confidential, a movie based on the comic story of the same name. The flick sounds great so far, and you can now check out the official word at their newly launched website. ASC tells the story of a talented young artist who hopes to become the next big thing, but is disappointed when he arrives at a high profile art school only to find it populated by sensationalists and hacks. His talent is ignored and derided by the modern pseudo-artist scene.

I think Clowes' work is fantastic, and I was pleased with Zwigoff's film adaptation of Ghost World, so I'm certainly looking forward to ASC. And having Steve Buscemi in your cast list never hurts, as far as I am concerned. Also – is it just me, or is Ethan Suplee looking noticably trimmer in his post Titans years?