hard candy Tagged Articles at Cinematical

One of the benefits of attending film festivals is that it offers someone who sees pretty much everything the chance to finally see pretty much anything without knowing about it one iota in advance.

It's a strategy that's led me astray before, but at the Florida Film Festival a couple of years back, a sold-out screening of Hard Candy (okay, it would've been my second time) forced me to bumble instead into a showing starting right there and then of something Norwegian called The Bothersome Man.

Lo and behold, I actually very much enjoyed this deadpan tale of a man who finds himself dropped off in a banal purgatory of sorts, an Ikea-laced hell where money won't buy you happiness, drinks won't get you drunk, sex won't get you laid, and suicide won't get you killed. For the Netflix-savvy among you, it remains available on their Instant Watch format, and even on pesky ol' disc, I heartily recommend it.

Of course, I told you that to ask you this: What's the last time that you stumbled across a movie on pure and complete accident or convenience -- dragged on a date, came across on cable, etc. -- and with no recommendation that took you by total and utter surprise?

(With Valentine's Day arriving this week, we though we'd dig up some of our old romantic favorites and mix them in with some new stuff. Enjoy.)

By: Christopher Campbell

If you've ever had a bad first date -- and in the age of internet match-ups, it's all the more likely you've had at least a disappointing one -- you're not alone. Thanks to the awkwardness of getting to know somebody, and the nervousness that comes with that, it's a wonder any of us ever have good first dates. But as much as we end up fixating on the failure of a single bad date, we must remember that it's a part of life and has been since the dawn of man, when Adam had to deal with Eve ordering the forbidden item on the menu. Also, we must realize that it's all relative and there's always a worse date out there than the worst we've ever had. Often (and especially because it's Valentine's Day this Saturday), it's a good idea to look to the movies, and compare our worst first date to the worst first dates in cinema:


License to Drive (1988)

Imagine you're all set to get your driver's license, and the hottest girl in school has agreed to go out with you the night you pass the exam. But you don't pass the exam. Then you steal your grandpa's car. Then your date drinks too much and passes out for the rest of the night. Oh, and it only gets worse from there. License to Drive is just one of many films that shows us that a first date can be a crazy mix of Murphy's Law and the snowball effect. Also, like many comedies, it teaches us that an automobile can be destroyed many times over, and that it might be best if our first time driving, as well as our first time dating, be with a car that has little value.

Some of the fondest memories of my misspent youth were the hours I wasted watching bad '80s horror with my girlfriends. Sure, as we aged they became drinking games, but I digress. In spite of growing up as a proud little feminist (think Lisa Simpson with a lower grade point average), I learned to accept the sad truth that a girl's role in horror is usually as cannon fodder -- unless you look very closely. Listed below are some horror flicks that not only give us gals something to do other than scream and occasionally take a shower, but have given me that much-needed boost of 'bad-ass' that all girls could use from time to time.

1) High Tension / Haute Tension
Alexandre Aja's High Tension usually goes to the top of the list for a feminist horror critique. Some critics have been insulted by the film's seeming judgements on sexuality and gender, while others have praised it for attempting to breathe new life into the 'Chainsaw Massacre' formula. It all starts with college friends Marie (Cécile de France) and Alex (Maïwenn Le Besco) heading out for a weekend in the country. But, when a serial killer comes knocking it becomes a fight to the death for Marie to not only keep herself alive, but save her friend. Regardless of what you might think of Tension's twist ending (and I won't spoil it here), you can't deny that this flick has a lot to say about love, sex, and violence. But even if gender wars aren't your thing, there is still plenty to recommend in this story of two women being stalked by a vicious killer -- there is just something about a gal wielding a concrete saw, isn't there?

I would have embedded the clip, but I want to make sure no children or men accidentally push play without being either of proper age or sufficiently warned. It's definitely NSFW, and the fact that it features rising star Brittany Snow (Prom Night) repeatedly punching a guy in the crotch makes it a truly uncomfortable moment for males to witness. Sure, it's got nothing on the cringe-worthy castration sequence from Hard Candy or the end of Little Children or most of Teeth or, for that matter, any number of horror films, but it's still pretty painful to watch (and listen to -- the sound effects really make it). So, click at your own risk.

The clip comes from On the Doll, the feature debut of Grammy-nominated music video director Thomas Mignone (Slipknot's "Wait & Bleed"), which opens in New York June 13 and then is released on DVD and online June 17. Snow plays one of several sexual abuse victims whose stories are interwoven throughout the apparently dark and twisted film (see the R-rated trailer here). The rest of the mostly young cast includes relative unknowns Clayne Crawford (A Love Song for Bobby Long), Stephen Sowan (TV's The Riches) and Josh Janowicz (The Chumscrubber), who is best known for being the soon-to-be-ex-husband of Lost star Emilie de Ravin. Fans of the Oceans Eleven series may also recognize Eddie Jemison, who plays a teacher who's propositioned by two of his students.

[via Defamer]

Although I read Libertas and other conservative sites regularly, on the premise that it's a good idea to know what the barbarians are up to before they get to your gate, I rarely post about stories I read there. This piece they had up yesterday, though, is so blatantly misinformed and misguided that I felt compelled to address it.

The piece is yet another conservative rant against the liberal Hollywood machine. It starts out by linking to an article over on The Daily Standard, deemed by Libertas an "insightful piece on a disturbing trend." That alone set off my inner alarm bells, but I gamely went off to see what insights the Standard had to offer. In his piece, titled "Hollywood on the Offensive -- Child Abuse Hits the Silver Screen," Kevin Kusinitz starts out by attacking two films from Sundance 2007 -- Hounddog, starring Dakota Fanning as a young rape victim, and An American Crime, a dramatization of the murder of Sylvia Lukens in 1965, starring Ellen Page. Kusinitz then goes on to attack Page for her role in Juno thusly:

If you've ever had a bad first date -- and in the age of internet match-ups, it's all the more likely you've had at least a disappointing one -- you're not alone. Thanks to the awkwardness of getting to know somebody, and the nervousness that comes with that, it's a wonder any of us ever have good first dates. But as much as we end up fixating on the failure of a single bad date, we must remember that it's a part of life and has been since the dawn of man, when Adam had to deal with Eve ordering the forbidden item on the menu. Also, we must realize that it's all relative and there's always a worse date out there than the worst we've ever had. Often (and especially because it's Valentine's Day this Thursday), it's a good idea to look to the movies, and compare our worst first date to the worst first dates in cinema:


License to Drive (1988)

Imagine you're all set to get your driver's license, and the hottest girl in school has agreed to go out with you the night you pass the exam. But you don't pass the exam. Then you steal your grandpa's car. Then your date drinks too much and passes out for the rest of the night. Oh, and it only gets worse from there. License to Drive is just one of many films that shows us that a first date can be a crazy mix of Murphy's Law and the snowball effect. Also, like many comedies, it teaches us that an automobile can be destroyed many times over, and that it might be best if our first time driving, as well as our first time dating, be with a car that has little value.

If you read these pages with any regularity, you already know that I'm quite a fan of Ellen Page. Her work thus far, in Hard Candy, An American Crime, and, most recently, in the lovable, fabulous Juno, has been superb. I noted a while back that Page has several films warming up in the bullpen, and one of them is Jack and Diane, in which she's set to costar opposite Olivia Thirlby, who plays her best friend in Juno.

Now let me tell you about Jack and Diane (oh, you knew I had to go there, c'mon). According to its website, the film, which is supposed to be directed by Bradley Rust Gray (Salt), is about: "Jack and Diane, two teenage lesbians, meet in New York City and spend the night kissing ferociously. Diane's charming innocence quickly begins to open Jack's tough skinned heart. But, when Jack discovers that Diane is leaving the country in a week she tries to push her away. Diane must struggle to keep their love alive while hiding the secret that her newly awakened sexual desire occasionally turns her into a werewolf."

Lesbian teenage werewolves? Holy jeepers, what's the world coming to? This excerpt from the director's statement gives a better idea of what Gray has in mind: "I see JACK & DIANE as an investigation of love. It's unapologetically romantic. Love is the most instinctive way for us to understand other people regardless of cultural background, race, or sexuality. Everyone has the same desire to love and to be loved." (You can read a lot more about the film at its official website.)

It's not every day that one gets to see a film that's charming, sweet, intelligent and also happens to be written by an erstwhile stripper/phone sex operator (who, incidentally, owns a cat named Douchepacker). I had that pleasure at the Toronto Film Festival, however, when I took in Juno, penned with surprising astuteness by first-time screenwriter Diablo Cody (the aforementioned former stripper), directed by Jason Reitman (Thank You for Smoking), and starring Ellen Page (Hard Candy), Michael Cera (Superbad), Jason Bateman and Jennifer Garner.

In the film, 16-year-old Juno MacGuff (Page) discovers that she's all knocked up after just one foray into sex with her best bud Paulie Bleeker (Cera), a sweet but clueless orange-Tic-Tac-addicted track star who seems perfectly content to let Juno have an abortion. She doesn't. Instead, she decides to keep the child and let a "perfect" young yuppie couple (Bateman and Garner), who can't have kids of their own, adopt her baby-to-be. The result is a hilarious, endearing and moving picture that explores family and friendship, loyalty and loss, and what it truly means to love someone, all while expertly avoiding turning into a gooey, steaming pile of melodrama.

I sat down with Jason Bateman and Ellen Page to talk about the film, and -- while the full interview won't be posted until the December release date nears -- I thought I'd give you a small yet delicious (some might say orange-Tic-Tac-like) taste of what I learned ...

With so many movies crowding the box office these days, distributors have to try to produce marketing for their films that will cut through the cacophony of TV, radio, iPods and ringing cell phones. It can be hard to produce a poster that is eye-catching enough to make you stop and give it a second look. What's the last poster that really caught your eye? The blog Sam's Myth has a nice collection up of his favorite five posters from the past year. While we don't agree with all of his choices (Nacho Libre, really?) -- for the most part they're nice picks from the absurd amount that were seen plastered around a town near you.

Check out the poster for Dave Chappelle's Block Party, which proves that a movie doesn't have to be great to have a fantastic poster. This is basically a concert film, but the poster really pops and has a 60s/70s feeling to it. Plus, a film like Hard Candy, which was barely a blip on the radar, has what is probably the most visually arresting poster from the entire year. I'm a huge fan of retro art and magic, so naturally I rushed out to see both films that were set in the world of turn-of-the-century magic. I thought The Illusionist was extremely engaging, but The Prestige fell a bit flat for me. The same is true for their posters, as well. In fact, The Illusionist is probably my favorite poster from this year, besides the Superman Returns poster that pays homage to the amazing artwork of Alex Ross.

However, this year has also produced some posters that weren't worth the adhesive they were hung with. What's with The Good German directly ripping off Casablanca? That's a classic movie poster that shouldn't be imitated, and there's a fine line between homage and copying.

Look for my inner Grinch to come out as I post the Worst Movie Posters of 2006 just before Christmas. Bah, humbug!

Recent Theatricals

Hard Candy (Lionsgate) -- Ice-blooded chiller about a potential pedophile and the turning of tables. (two commentaries, documentary, featurette, deleted scenes)

Loverboy (Universal) -- Smothery mother slowly turns creepy. Kyra Sedgwick does some great work here. (director's commentary)

The Proposition (First Look) -- Reeks of Sam Peckinpah and Walter Hill. And is a damn fine film. (filmmaker commentary, five featurettes, deleted scenes)

Stay Alive (Disney) -- They made a horror movie out of that silly old marble game? (filmmaker commentary, FX reel)

Stick It (Disney) -- No, you stick it. I got good movies to watch. (two commentaries, blooper reel, featurette, deleted scenes)

Catalog Picks

Backdraft (Universal) -- Ron Howard gets fiery and throws a little Lecter in there. (director's intro, deleted scenes, five featurettes)

Boris Karloff Collection (Universal) -- Includes Night Key (1937), Tower of London (1939), The Climax (1944), The Strange Door (1954) and The Black Castle (1952). (trailers)

Chucky Killer Collection (Universal) -- Includes Child's Play 2 (1990), Child's Play 3 (1991), Bride of Chucky (1998) and Seed of Chucky (2004). (Because the original is an MGM title, that's why.) (all the extras from the previous releases, which (on parts 4 and 5) are a lot)

Grease: Rockin' Rydell Edition (Paramount) -- Otherwise known as: The Edition They Should Have Released Five Years Ago. (four featurettes, deleted & extended scenes, DVD launch party footage, trailers)