Among my favorite film books is Michael J. Weldon's two-volume "Psychotronic" film guide. The first was published in 1983 and the second in 1996 (Michael hopes to publish a third at some point). Unlike Leonard Maltin's annual book, Weldon doesn't update an existing guide; each new guide is an entirely new volume. If you want to read about Halloween, you need Vol. 1 and if you want to read about Halloween 4, you need Vol. 2. A "Psychotronic" movie can be fairly easy to define. It's basically any of the "lower" film genres, dealing with the more questionable elements of society: horror, sci-fi, bikers, strippers, superheroes, zombies, kung-fu, vampires, comic books, drugs, sex, action heroes, rock 'n' roll, midnight movies, monsters, witches, cults, serial killers, magic, time travel, robberies, heists, contract killers, gladiators, Spaghetti Westerns, mad scientists, murder mysteries, pimps, voyeurs, etc.
Not many people care to admit it, but Hollywood is run by fear. Fear is an emotion generated by things that are not known or understood, and in the movie business, no one ever knows what's going to happen. (William Goldman was right when he said, "Nobody Knows Anything.") All those accountants, producers, publicists, entertainment TV shows, ad campaigns, etc. are all an attempt to get a handle on the unknown, an attempt to control the uncontrollable. Anything can happen. The world's biggest movie star can jump up and down on a couch and suddenly become a weirdo outcast. Or the star of a dismal turkey like Showgirls can turn around and find herself cast in a Woody Allen film. This fear, in essence, is why so many movies are so bad. The more investors and business people try to control their investment, the more they clamp down on it, and the more it gets smothered.
See, movies can live and breathe like an organic life form, but they have to have a chance. If brave producers step back and let the movie come to life in the hands of a genuine artist, they could wind up with something extraordinary like Joel and Ethan Coen's No Country for Old Men (229 screens), a film that somehow pleased critics both highbrow and middlebrow, won a handful of Oscars and has nearly grossed $75 million. This film has already entered the cultural canon as a classic of cinema. More or less the same can be said of Paul Thomas Anderson's There Will Be Blood(224 screens), which, having lost the Oscar for Best Picture, is now in a position of being an underrated underdog. But those are exceptions to the rule. No one is immune to the fear: a few years back the Coen Brothers teamed up with sleazy producer Brian Grazer, of all people, and came up with their first dud, Intolerable Cruelty.
Have you ever liked an actor that no one else seems to like? You almost want to keep your adoration to yourself, for fear that you'll be laughed out of a party or a gathering when you say how much you like Josh Hartnett. I actually do like Josh Hartnett, quite a lot. For a pretty boy, he has a very warm screen personality, and though he can appear perfectly comfortable playing a boxer or a cop, he also has a wonderful sense of humor. In short, he's not a brooder or a poser like most of his other pretty boy contemporaries. And yes, he was in Pearl Harbor, but he made up for that with excellent performances in The Virgin Suicides, O, 40 Days and 40 Nights, Hollywood Homicide and The Black Dahlia. Incidentally, these are all under-appreciated or misunderstood movies, just like Josh himself.
There. I've gone on record. Looking down the list of movies currently playing on 400 screens or less, I came up with several other actors I like that have not really received the love they deserve. First up, we have Amy Adams, who I just caught in the new Miss Pettigrew Lives for a Day. As far as I'm concerned, Amy walks on water. She's like a Carole Lombard for the 21st century. That means that she's not particularly suited for low-key "realistic" roles, such as the one she plays in Charlie Wilson's War (97 screens); in that, she basically trails Tom Hanks and occasionally reads some complicated dialogue to him. (I thought Mike Nichols was supposed to be good with actors.) But in Enchanted (329 screens), Amy is perfectly cast as a slightly cartoonish, screwball kook. She can move her eyes and her entire body in very precise ways for outlandish results, but she still retains a strain of humanity; she never spirals off into anything untouchable or unknowable. I thought she deserved an Oscar nomination for this one, but I'm afraid she'll need to put on a lot of "ugly" makeup before she wins anything.
In a quiet post-Oscar week, Austria's The Counterfeiters (Sony Pictures Classics), winner of the Academy Award for Best Foreign Language Film, kept its position at the top of the charts, earning $10,050 per screen at 18 locations, according to estimates compiled by Leonard Klady at Movie City News. Klady noted that the film "doubled its playdates and box office but appears short of the commercial traction (or social vibrancy) of last year's triumphant The Lives of Others."
Chop Shop (Koch Lorber) performed very nicely at its single-theater engagement in New York City's Film Forum, grossing $8,900. Kim Voynar described it as one of her favorite films from last year's festival circuit; filmmaker Ramin Bahrani (Man Push Cart) follows a 12-year-old orphan struggling to survive on the mean streets of New York. Chop Shop continues its run at Film Forum through March 11.
Other new indie releases struggled to find audiences. Chicago 10 (Roadside Attractions), "appreciable as one of the most creative and entertaining documentary films in years," did the best, pulling in $3,030 per-screen at 14 locations. Playing on 75 screens, City of Men (Miramax), "neither as stylistically fresh nor as powerfully raw as City of God," scratched out $1,570 per engagement, while Bonneville (SenArts), "a road trip movie for spunky older chicks" starring Kathy Bates, Joan Allen and Jessica Lange, and Romulus, My Father (Magnolia Pictures), "an incredibly slow-paced film that relies on the strength of its actors to thrive" starring Eric Bana, trailed behind, earning $1,410 and $1,070 per screen, respectively, in limited engagements.
Analyzing the weekend box office returns, Leonard Klady of Movie City News saw "no great Oscar box office surge," though No Country for Old Men enjoyed an upward swing; based on his estimates, Best Foreign-Language Film Oscar winner The Counterfeiters(Sony Pictures Classics) topped the indie charts. Hailing from Austria, The Counterfeiters tells "one of the most interesting stories to come out of World War II," wrote Christopher Campbell, though he felt it was "not quite a great film." The Counterfeiters averaged $12,330 per-screen at the seven locations where it played.
French master Jacques Rivette's latest, The Duchess of Langeais(IFC Films) struck Ryan Stewart as similar to La Vie en Rose "in that it works just well enough to support a dynamic performance but contains too many structural oddities, fights too many directorial idiosyncracies and stifles its own momentum too much to succeed on the whole." Rivette's fans came out at both theaters where it opened, averaging $11,250 per screen, according to Box Office Mojo.
What a quiet weekend for indie films! Two holdovers performed very well, while several newly-opened films faced difficulty in attracting audiences. In its second week of release, The Band's Visit (Sony Pictures Classics) expanded from seven to 13 theaters and enjoyed a per-screen average of $9,769, according to estimates compiled by Box Office Mojo. The Israeli film may sound like a traditional culture-crossing crowd-pleaser (tiny Egyptian police orchestra gets lost en route to a gig, spends the night in a tiny rural Israeli town, everyone learns important life lessons), but the material is deftly handled to produce a very satisfying and thoughtful entertainment.
Also in its second week out, In Bruges (Focus Features) stars Colin Farrell and Brendan Gleeson as hit men cooling their heels in Belgium after a job gone wrong. James Rocchi said it moves "in unexpected directions which are the kind of unexpected that you do not actually expect." Specialty audiences turned out in good numbers to see it, to the tune of $8,178 per screen at 112 locations.
Martin McDonagh's plays -- The Pillowman,The Lieutenant of Inishmore -- has earned him acclaim in the world of the theater; with In Bruges, McDonagh's moving from the stage to the silver screen in his feature film debut. In Park City, McDonagh spoke with Cinematical about the differences between theater and film, working with Colin Farrell and Brendan Gleeson, and how in some ways having his film as the opening night selection at Sundance " ... would not be my first choice for a weekend away."
This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
Last night saw the first formal party of Sundance 2008 -- the post-screening bash for In Bruges. Held in the Tent at the Lift on Main Street, it featured everything you might expect from a Sundance party: Booze sponsor you've never heard of? Check! (And thank you, Hypnotiq vodka.) Meat on a stick? Check! A cross-promotional tie-in that makes no sense? Check! (Guitar Hero was scattered throughout the party with playable kiosks. If you can explain to me, in a hundred words or less, what the game has to do with In Bruges in any way, shape or form, then please do so; you'll win a prize.) Celebrity guest with no reason to be there? Check! (And hello, Mary-Kate Olsen!) Farrell and Gleeson were in attendance, but attempts to take photos of the stars within the party were firmly -- and understandably -- being rebuffed. Here's a photo of the crowd, though -- just to remind you that if you're a claustrophobe, Park City's a bad, bad place to be for the next few days.
Sundance kicked off this afternoon with the Opening Press Conference, featuring Sundance Film Festival Director Geoffrey Gilmore, the President and Founder of the Sundance Institute, Robert Redford, and In Bruges director Martin McDonagh (not pictured). Redford's opening remarks spoke to the Festival as an agent of -- and subject to -- change. Redford cited the Festival and the Institute's efforts to "create product that is different," while Gilmore noted that in 2008, Sundance has "... more new film makers this year than any since our first."
Gilmore also spoke to the New Frontier and Midnight programmes of the Festival, noting how they, in many ways, represent "the most innovative aspect, the most risk-taking aspect of the Festival." The trio took questions from the audience, including Eugene Hernandez from IndieWire's point-blank question about whether the WGA strike will be putting an added focus on this year's Festival as a possible source of new films for distributors. Redford demurred to Gilmore, who noted how "the film people come to Sundance talking about isn't the film people leave Sundance talking about" and suggesting that over the next ten days, anything could happen. Redford was asked about the politics of the Festival, and if 2008's role as an election year would shine a new light on the films here. Redford pointed out the Festival's long-standing commitment to documentary films as an alternate form of political discourse, and when asked if he was endorsing any specific candidate in 2008, Redford simply answered with a drawn-out and slightly exhausted "Nooooo ..." And with that, Sundance began -- so keep it here at Cinematical during the next ten days for all the coverage you need from Park City.
Focus Features has sent Cinematical a fourth and final exclusive clip from In Bruges (check out the first clip, titled Hideout, over here, the second clip, titled Review, over here, and the third clip, titled Uzi, over here), which will enjoy its premiere at the Sundance Film Festival next month. Here's a bit from the film's official synopsis: "Bruges (pronounced "broozh"), the most well-preserved medieval city in the whole of Belgium, is a welcoming destination for travelers from all over the world. But for hit men Ray (Colin Farrell) and Ken (Brendan Gleeson), it could be their final destination; a difficult job has resulted in the pair being ordered right before Christmas by their London boss Harry (two-time Academy Award nominee Ralph Fiennes) to go and cool their heels in the storybook Flemish city for a couple of weeks." For more, be sure to check out the film's official website, www.filminfocus.com/inbruges. In Bruges is due out in theaters (in limited release) on February 8, 2008.
Focus Features has sent Cinematical a third exclusive clip from In Bruges (check out the first clip, titled Hideout, over here, and the second clip, titled Review, over here), which will enjoy its premiere at the Sundance Film Festival next month. Here's a bit from the film's official synopsis: "Bruges (pronounced "broozh"), the most well-preserved medieval city in the whole of Belgium, is a welcoming destination for travelers from all over the world. But for hit men Ray (Colin Farrell) and Ken (Brendan Gleeson), it could be their final destination; a difficult job has resulted in the pair being ordered right before Christmas by their London boss Harry (two-time Academy Award nominee Ralph Fiennes) to go and cool their heels in the storybook Flemish city for a couple of weeks." For more, be sure to check out the film's official website, www.filminfocus.com/inbruges. In Bruges is due out in theaters (in limited release) on February 8, 2008.
Focus Features has sent Cinematical a second exclusive clip from In Bruges (check out the first clip, titled Hideout, over here), which will enjoy its premiere at the Sundance Film Festival next month. Here's a bit from the film's official synopsis: "Bruges (pronounced "broozh"), the most well-preserved medieval city in the whole of Belgium, is a welcoming destination for travelers from all over the world. But for hit men Ray (Colin Farrell) and Ken (Brendan Gleeson), it could be their final destination; a difficult job has resulted in the pair being ordered right before Christmas by their London boss Harry (two-time Academy Award nominee Ralph Fiennes) to go and cool their heels in the storybook Flemish city for a couple of weeks." For more, be sure to check out the film's official website, www.filminfocus.com/inbruges. In Bruges is due out in theaters (in limited release) on February 8, 2008.
Focus Features has sent Cinematical this exclusive clip from In Bruges, which will enjoy its premiere at the Sundance Film Festival next month. Here's a bit from the film's official synopsis: "Bruges (pronounced "broozh"), the most well-preserved medieval city in the whole of Belgium, is a welcoming destination for travelers from all over the world. But for hit men Ray (Colin Farrell) and Ken (Brendan Gleeson), it could be their final destination; a difficult job has resulted in the pair being ordered right before Christmas by their London boss Harry (two-time Academy Award nominee Ralph Fiennes) to go and cool their heels in the storybook Flemish city for a couple of weeks." For more, be sure to check out the film's official website, www.filminfocus.com/inbruges. In Bruges is due out in theaters (in limited release) on February 8, 2008.
Call them what you will -- progeny, small fry, rug rats -- this week it's all about the kids. Welcome to Trailer Park: The Ankle Biter edition.
The Orphanage This latest trailer has me stoked to see this Spanish language creep-fest. Directed by Juan Antonio Bayona, produced by Guillermo del Toro, and positively reviewed by Cinematical's own Scott Weinberg, this looks like one worth seeing when it goes into limited U.S. release on December 28. The preview is light on plot details, but creepy as hell with enough atmosphere to get not just the horror fans excited but a more mainstream audience as well. A woman reopens the orphanage where she was raised, and her son develops relationships with some new "imaginary" friends. The boy soon goes missing and the plot is off and running. The kid with the bag over his head that you see several times in the trailer just gives me the willies (that's a good thing).
In Bruges As is pointed out in the trailer, Bruges in in Belgium, a fact I was aware of, but only because part of a Harry Kumel's Daughters of Darkness takes place there. At any rate, be advised this is not a green band trailer and F-bombs (among other expletives) are hurled left and right. Colin Farrell and Brendan Gleeson (Mad Eye Moody from the Harry Potter films) are two hit men who have been ordered by their boss (Ralph Fiennes) to lay low in Bruges after whacking a priest. Apparently two working class mobsters in Bruges is a bad fit, and cultural clashes and a disagreement with Fiennes leads to some fun bits. This one barely makes the cut for the Ankle Biter edition, but there's a pretty funny bit where Gleeson's character insults Fiennes' kids using the aforementioned "other expletives." I'll definitely be trying to find this when it goes into limited release on February 8. If you're going to be at Sundance this year, In Bruges will be the opening night selection. Here's Jessica's take on the trailer.
In Bruges is described as a "darkly comic suspense thriller [that] tells the story of hit men Ray and Ken (Colin Farrell and Brendan Gleeson). After a botched job in London, the team is ordered by their boss Harry (two-time Academy Award nominee Ralph Fiennes) to cool their heels in the storybook city of Bruges, Belgium. Very much out of their comfort zones, the men find themselves drawn into increasingly dangerous entanglements with locals, tourists, and a film shoot. As their stay in Bruges gets weirder, they realize Harry may have other plans for them than a simple vacation."
Martha Fischer first wrote about In Bruges in March 2006, which is when Focus Features made a deal to produce and distribute the film. Monika Bartyzel updated us when the cast was assembled earlier this year. Focus plans to release the film on February 8. Festival openers go down easier when they're a bit light-hearted, and the combination of a new director, stars and a dark comedy sounds ideal. The complete lineup for Sundance will be announced on November 28 and 29; the festival runs from January 17-27. Look for complete coverage right here on Cinematical.
In a quiet post-Oscar week, Austria's 
Analyzing the weekend box office returns, 
What a quiet weekend for indie films! Two holdovers performed very well, while several newly-opened films faced difficulty in attracting audiences. In its second week of release, 
Last night saw the first formal party of Sundance 2008 -- the post-screening bash for 
The 
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