noise Tagged Articles at Cinematical

For this week's Trailer Park we're taking a Rube Goldberg approach, with an intricate series of mechanisms (metaphorically speaking) allowing us to careen from one trailer to the next by one connection or other. Ready? Let's start with:

X-Files: I Want to Believe
Yes, I want to believe too. X-Files became unwatchable for me in its last few years on the air, but prior to that it was one of the best hours of dramatic television ever. I'd love to see the series revived as a successful film franchise, but this trailer isn't doing much for me. We have the reappearance of Fox Muldar (David Duchovny) and Dana Scully (Gillian Anderson), as well as the theme from the TV show, but the rest is a muddle of chaotic imagery. This being X-Files, details are being kept to a minimum, but I'm not seeing enough here to get me revved up, which is how I was hoping to feel. Here's Elisabeth's take on it.
And speaking of Gillian Anderson...

Apologies for the one-day delay, but, as it happens, the indie weekend charts changed in the interim. Early on Sunday, estimates compiled by Box Office Mojo indicated that Tarsem Singh's The Fall (Roadside Attractions) won the weekend, but when the figures were tabulated, Lloyd Kaufman's Poultrygeist: Night of the Chicken Dead (Troma) sneaked into the top position with a take of $10,624 at one theater in Manhattan. Ed Gonzalez of The Village Voice says the film "chronicles what happens when a fried-chicken shack goes up on a Native American burial ground" and called it "a predictably hit-and-miss yukfest."

Doug Pray's Surfwise (Magnolia) surged near the top, grossing $10,304 at another theater in Manhattan. The doc follows a doctor who abandoned his practice to become a surfer and live in a camper, packing along his wife and nine children. All 12 critics whose reviews are listed at Rotten Tomatoes were positive.

The Fall fell to third place, earning $8,845 per screen at nine locations. Reviews were mixed (57% positive, per Rotten Tomatoes), though even the naysayers acknowledged the visual beauty of the film. We've previously pointed to the trailer, posted exclusive stills and a clip, which definitely confirm this impression. In the words of our own Eric D. Snider, it is "a visually stunning fable where a man in a hospital tells a little girl a story, and that story is craaaazy."

You may never have heard of Henry Bean, but he made a movie called The Believer back in 2001 that single-handedly catapulted Ryan Gosling to prominence (if not stardom) before The Notebook was a twinkle in anyone's eye. (He also wrote Internal Affairs and some other, schlockier early-90's thrillers, but you probably don't remember those either.) Gosling played a Jewish young man who became an increasingly fierce Neo-Nazi, at one point donning a tallis while executing Nazi salutes. It wasn't just difficult material, it was impossible material, and the fact that Bean managed to make something coherent out of it is, I think, one of the more impressive accomplishments in indie cinema this decade.

Bean waited seven years before delivering his directorial follow-up, a dark comedy called Noise, and there's a new trailer for it up top for you to watch. (We also ran a piece on the movie last October.) It looks like a new take on Falling Down, except funnier, and with a faux-superhero twist: Tim Robbins plays an urban professional who is so incensed by the incessant noise of car alarms that he names himself the Rectifier and starts smashing up offending cars to shut them up. This causes a political brouhaha, getting the attention of the mayor (William Hurt). Oh, and it's autobiographical: apparently Bean got himself arrested breaking into cars to turn off the alarms. They are annoying, aren't they?

The movie logically gets a New York-only release on May 9th. Early reviews have been mixed, but the trailer is nifty, and the pedigree piques my interest. I hope it manages to expand.

And I will strike down upon thee with great vengeance and furious anger when your car alarm goes off in the middle of the night! Okay, so this isn't exactly what was said in Pulp Fiction, but I thought that particular Sam Jackson rant was appropriate for this story. Way back in March of 2006, Cinematical posted that director Henry Bean was setting out to make a dark comedy called Noise, with Tim Robbins in the lead. Now the film is finished, and it is starting to get acclaim on the fest circuit, so now comes all the interviews and news that fills in the blanks.

Reuters recently talked with Bean about the film, and while it is fictional, the director says it's based on his own life. Bean used to get so ticked off about car alarms screeching in the middle of the night that he would break into the cars and disable the alarms -- which landed him in jail. Instead of staying in his cycle of stress-influenced crime, he decided to make Noise.

Robbins plays David, "an upper-class family man driven insane by New York's loud sounds -- grinding garbage trucks, horns honking, back-up beepers and worst of all, car alarms squealing at all hours." He is so infuriated by the racket that he becomes a vigilante called "The Rectifier" and declares war on the alarms. Not surprisingly, he ends up in jail, almost loses his marriage, and then continues the fight legally, although he's stopped by "the city's slimy mayor, played by William Hurt, forcing David to resort to an extreme strategy to make his point."

Hopefully the flick will get picked up and the rest of us can see it soon. But in the meantime, which loud noises would you like to become a vigilante over? Personally, there was this garbage truck where I used to live that would come in the middle of the night to pick up garbage and recycling from the neighboring bar -- oh, how I would've loved to silence that back-up noise. Beep. Beep. Beep. Beep....

The complete lineup for the latest edition of AFI Fest was announced last week -- indieWIRE was among the first to report on it -- and I've been mulling it over ever since. I've worked at the festival in the past and so it's difficult for me to be completely objective, but even though I won't be attending this year, I can't help but feel intense interest. When it comes to film festivals in general, I prefer to be unreasonably optimistic rather than smugly pessimistic.

Under new Artistic Director Rose Kuo, the programming team has made some adjustments. The Asian New Classics section is gone -- the Asian films have been integrated into other sections -- but other regional sidebars remain (American Showcase, Latin Cinema Series, African Showcase) and a new documentary showcase has been introduced, as well as Milestones, devoted to retrospective films. Beyond the already-announced titles, including Robert Redford's political drama Lions for Lambs as the opener and Jason Reitman's much-loved comedy Juno as the centerpiece gala, Mike Newell's romantic drama Love in the Time of Cholera, starring Javier Bardem (pictured), has been named as the closing night presentation. Tributes have also been announced for Laura Linney and Catherine Deneuve.

North American Premieres include Noise, directed by Henry Bean (The Believer), in which Tim Robbins stars as a New York attorney who takes the law into his own hands when life in the city gets too noisy for him, and The Searchers 2.0, the latest by Alex Cox (Sid and Nancy), featuring two aging actors in search of revenge on an even more aging screenwriter. Doghead stars Juan Jose Ballesta (the excellent Seven Virgins) as a young man suffering from an odd disease who starts a romance that encompasses "the endearing and the bleak," according to the program notes. Please Vote for Me is a documentary from China about eight year olds (!) running for class monitor. AFI Fest runs from November 1-11.

I learned long ago that falling in love with a plot summary is a bad, bad idea, and yet I just can't stop. (Which, come to think of it, is really strange, because I'm not generally an optimistic person. Weird.) The latest summary to work its magic on me is the one for a "dark comedy" called Noise, which was written and will be directed by Henry Bean (this, also, is promising, because his only other work behind the camera was on the highly praised Jewish skinhead flick, The Believer).

In Bean's film, the noise in question is the general sound of New York City (It's noisy here? What? I'm sorry, I can't hear you.), and the movie centers on one guy who, instead of fleeing when he can't take it any more, decides to do something about the din. The main character (David Owen, to be played by Tim Robbins) "renames himself 'The Rectifier' and becomes a vigilante, making war on car alarms that go off in the middle of the night." Yes, I hear you whispering "Brilliant!" to yourself. But wait - it gets better. Being The Rectifier, you see, isn't all kicking (car alarm) ass and taking names: when one chooses to live as an urban crusader, there are consequences. In Owen's case, said consequences involve things like questionable sanity, the destruction of his marriage and, of course, "the murderous enmity of the Mayor of New York."

Noise starts shooting next month in New York, and if there was an Episode I-style line to get in to await its release? I'd totally be in it.