margaret cho Tagged Articles at Cinematical

Twenty-two years ago, Sam Rockwell was a junior in high school. I wonder if his young teenage mind ever imagined that two decades later he'd be starring in a feature film as a choking con man/sex addict. Since the adaptation of Chuck Palahniuk's Choke is hitting theaters today, I thought we'd head back to Rockwell's real childhood.

There was no crazy mother kidnapping him and taking him on wild bus rides and dangerous adventures at the zoo. Instead, he was a student at San Francisco School of the Arts, busying himself with the school's improv group. About a minute in on the above video, you can see him sitting on a stage with one Ms. Margaret Cho. They do a little saucy improv before briefly talking about themselves. First there's Cho, hitting on areas she'd become famous for discussing, and then there's Rockwell. That guy oozed cool even back then.

From galaxy-wide adventures to the Old West, methinks Rockwell sought the adventure he said he was looking for.

[Thanks to Christopher Campbell for the heads up!]

It seems like an odd choice to hire a Frenchman to remake a film by Japanese master Takashi Miike. I've only seen half a dozen Miike features to date, which isn't many considering that he makes at least that number in any given year. But I can say that his style ranges from utterly insane to completely cracked, and few French filmmakers -- who generally specialize in intelligence and austerity -- could match him. But director Eric Valette brings something interesting to the new remake of One Missed Call. Most horror remakes come complete with an undisguised sense of callousness, and almost flat-out disdain, for their intended customers. But One Missed Call has a kind of effective low-key tone. Perhaps it was confusion or sheer laziness, but it worked for me far better than some other junky remakes I've seen.

Sure, the story is unbelievably stupid, and the film doesn't do much to justify its silly logic. Both this and Miike's film were adapted from a novel by Yasushi Akimoto, and I'd like to believe that the novel made a far better argument for its plot. A med student, Shelley (Meagan Good), dies after receiving a mysterious phone call. After her death, her phone mysteriously dials a friend, and that friend dies. And so on. The calls come in dated and timed to some point in the near future, and the recipient of the call hears his or her own voice at the moment of their death. So they know exactly what day and time they're going to die and they know what they're going to say, but that information can't help some of the dumber characters from saving their own lives. One character sits at a café with only one minute to go to his impending death. Instead of sitting there safe one minute longer, he decides to get up and cross a busy street.