thank you for smoking Tagged Articles at Cinematical

For the longest time -- until earlier this week, in fact -- I was convinced that Jason Reitman's next directing project was Diablo Cody's horror flick Jennifer's Body. Maybe that's because at a Team Juno roundtable interview last year, the two of them talked about it like it was their project (which it is, sort of -- Reitman's producing). Anyway, it's actually Karyn "Aeon Flux" Kusama who is directing Cody's follow-up, while Reitman is moving on to helm an adaptation of Walter Kirn's Up in the Air.

I strongly recommend the novel, which is a terrific satire about a perpetually transitory businessman obsessed with collecting a million frequent flyer miles. I liked it better than Kirn's more popular Thumbsucker which was already adapted into a film. The movie could be very funny in the hands of a guy like Reitman -- sharp and insightful. It should be closer in tone to Thank You for Smoking than to Juno.

Reitman has already shifted the project into a higher gear by setting his sights on George Clooney, who's in talks to star as the narcissistic protagonist. While I'm pretty sure the character is quite a bit younger than the actor, Clooney has precisely the effortless comic chops this project needs. His profile won't hurt, either.

Among the perks of being a sought-after Oscar-winning screenwriter is, apparently, the ability to fourwall a movie theater for two weeks and play a bunch of your favorite films for an appreciative audience. That's exactly what Juno's Diablo Cody is doing at LA's New Beverly Cinema from today through July 24th, and it won't come as any surprise to Cody's admirers that the lady's got good taste. Her slate includes reliable classics (Stripes, Pretty in Pink), off the wall genre picks (A Nightmare on Elm Street 3: Dream Warriors), some culty fun (Wet Hot American Summer) and the expected shout-out to Juno director Jason Reitman.

Previous guest programmers at the New Beverly have included Edgar Wright, Eli Roth and Joe Dante. Cody will introduce some of the films herself, and the theater's MySpace page promises "many guest appearances."

Kudos to Movie City News for coming across this. Check out the entire schedule after the jump -- it's really an inspired slate of picks. She's got a nose for filmmaking that's smart and unabashedly mainstream, as both Juno and this film festival proves.

At the age of 30, Jason Reitman has directed a half dozen short films, two narrative features, and an episode of The Office. He has been nominated for an Academy Award for Best Achievement in Directing. He is beyond the usual Hollywood definition of "hot": he is, thanks to the runaway success of Juno, superheated, like the molten core of the sun.

At the age of 30, his father, Ivan Reitman, had directed one short film and two narrative features (the immortal Foxy Lady and Cannibal Girls). At that point of his career, it is safe to say he was as far from "hot" as possible: he was as cold as the far side of the moon, at least as far as Hollywood was concerned. Three years later, the success of Meatballs, especially in relation to its budget and its recognition as the one that made Bill Murray a film star, warmed things up for the senior Reitman, in much the same way that Thank You For Smoking would later warm up his son's career, raising expectations.

Thus it's interesting to compare Ivan Reitman's follow-up, Stripes, with his son's follow-up, Juno. Strictly in financial terms, Stripes was comparable to Juno, earning $85 million in 1981, a year in which only nine films broke the $50 million mark. (To be fair, Juno's budget, at $2.5 million, was only 1/4 of Stripes' reported budget.) Stripes wasn't nominated for any Academy Awards and Ivan has never been nominated, so that gives a leg up for Jason, but that's more a reflection of the Academy's malleable taste than any intrinsic merit. Though Stripes is remembered as a broad, mainstream comedy, I'd argue that it's just as edgy and independent as Juno, and displays some of the same borderline reactionary leanings as the newer film.

The new website for the heist comedy Mad Money has gone live with its first full-length trailer. It is pretty much what you would expect from a harmless little comedy, so if you are looking for a hard-edged crime flick, you are definitely in the wrong place. Along with the trailer, the website has the usual photo galleries and downloads (you can check out Cinematical's exclusive gallery here). There is even the chance to win a little of your own 'mad money' in a sweepstakes. Directed by Callie Khouri, the film stars Katie (or Kate; I can never keep it straight) Holmes, Queen Latifah, Diane Keaton, and Ted Danson. The story centers on three employees of the Federal Reserve who pull together for a plot to steal the money that is going to be taken out of circulation.

Khouri is probably best known as the writer for another famous female 'buddy film'; Thelma and Louise. Money is a pretty light-hearted flick so I doubt we'll be seeing Keaton, Holmes, and Latifah going over a cliff in a protest of patriarchal control. Mad Money will be Holmes' first big-screen role since Batman Begins and Thank You for Smoking back in 2005. As we all know, Holmes wasn't invited back for The Dark Knight and there were even a few thinly veiled shots directed towards her in the press over the whole matter. Since all that Wonder Woman talk never panned out either, for the sake of her career I only hope that comedy vets like Keaton and Danson can help keep Mad Money afloat at the box-office. Maybe then, Holmes will get credit for being something other than Mrs Tom Cruise. Mad Money hits theaters on January 18th.

So ever since Fox Searchlight showed up last summer with a little winner called Little Miss Sunshine, folks immediately began to scour the 2007 slate to see which film would be its cinderella story. Because you need one of those each year; a film that doesn't feature a full cast of A-listers; doesn't revolve around the politics of war; and isn't some two and a half hour period piece about a queen or a famous author with major issues. Well maybe I'm going out a limb here (having not seen the movie yet), but not only will Juno show up on several top ten lists at the end of the year, but I also feel it will land a few award nominations as well (best original screenplay, to give you at least one).

The buzz for this film coming off Toronto was stellar; our own Scott Weinberg (who's opinion you should definitely trust) said: "From arcane pop culture references to casually amusing slang words to pitch-perfect dialog volleys, Juno might be the smartest 'teen' movie since the also-brilliant Election." Big shoes to fill, sure, but I believe it -- ever since seeing Jason Reitman's Thank You For Smoking, I knew this kid was destined to do some wonderful things with the comedy genre. And though the trailer doesn't provide us with any laugh-out-loud set pieces, it does show a film with tremendous quirk and potential. Heck, I could watch Rainn Wilson call someone "home-skillet" for two hours alone -- but that's me. Juno is set to hit theaters on December 14. Go see it.

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 ...

Following the success of Thank You For Smoking, producers Edward R. Pressman (Edward R. Pressman Film Corp.) and Stephen Belafonte (WhiteShark Films) have decided to stick with Christopher Buckley's work by moving forward with a planned adaptation of Buckley's novel God Is My Broker, attaching Peter Himmelstein to pen the script. On Smoking, Pressman (who bought the rights to Broker back in 1998) served as executive producer, while Belafonte was an associate producer; Alan and Gabe Polsky will also produce through their Polsky Films.

Buckley's book follows an alcoholic Wall Street stock broker who's so fed up with his life that he ditches everything to join a monastery. However, when he's unable to accept the monks' vow of poverty, the broker taps back into some of those old skills by transforming his new environment into the same one he left behind. (Why is it hard for me to imagine a bunch of monks chain-smoking and cursing at a row of computer monitors?) Currently, no cast or director is attached; Jason Reitman is not involved, nor could I see him taking to this sort of material. Seems like a fun enough story, though I'm not sure why it's taken nine years to get off the ground. Anyone read the book? Care to share your opinions?

Why is it that every year as we approach Oscar time, there are always people who feel compelled to write about how this or that award-favored film isn't really original? The latest offender is the Carpetbagger, who rehashes some tired detritus floating around the internet about the shocking -- truly shocking! -- parallels between Little Miss Sunshine and another family road trip comedy, National Lampoon's Vacation (which, for the record, is one of the funniest films ever made).

We even have some commenter on this piece on the Carpetbagger's site slamming LMS because the character of Olive resembles that pudgy girl with the big glasses from Blind Melon's "No Rain" video. I don't know about that, but if the directors did get the idea for Olive's look from a music vid, that wouldn't be shocking, either, as they're best known as music video directors. I'd still rather see a girl character who looks like Olive and is true to herself than yet another endlessly "cute" blond kid.

As for the originality argument -- I would challenge anyone bitching about the originality of LMS to name any film that isn't derivative in some way of some other film, book, play, magazine article, or even real life. Oh, heavens! The Queen isn't original, they just pulled that right from real stories about what happened between QEII and Blair! The Departed? Remake. Children of Men? Little Children? Thank You for Smoking? Bah, nothing but adaptations.

Reminds me of an interview with the Black Crowes many years ago when they were accused of not sounding "original" enough, and one of the band members responded tartly that he supposed they could be truly original and bang beaver pelts together, but that wouldn't make for very good music.

[ via Hollywood Elsewhere ]

Even if you consider Borat (full title not necessary) to be primarily a scripted work, it is still a film that works best in its unscripted sequences. This is debatable, sure, but I would like someone at the Writers Guild to tell me what was so great about the actual screenplay used. Personally, I think the scripted parts, as well as the adherence to the plot, are the weakest elements.

Nonetheless, Sacha Baron Cohen and his five collaborators are nominated for a Writers Guild Award for Adapted Screenplay. And despite my questioning of this recognition, I don't really prefer any of its competition. The other titles in the adapted category are Little Children, The Departed, The Devil Wears Prada and Thank You for Smoking. If I had to choose, I'd go with the last of these, but I think the prize will go to the overrated Little Children.

I also don't think the Original Screenplay category is that great, either. The nominees for that award are Little Miss Sunshine, Babel, United 93, Stranger Than Fiction and The Queen. Again, I'd have to go with the last of these, but predict the overrated first.

Hopefully, unlike with other guild awards, the WGA's honors will not reflect the Oscar nominations, which may recognize foreign films Volver and Pan's Labyrinth, which were ineligible here.

Well, another year is in the can folks, and what do we movie lovers have to show for it? Actually, we have a lot. 2006 has seen it's highs (Martin Scorsese gives us his best flick since 'Goodfellas'; a "racist" Kazakh reporter draws the fury of thousands, bags Pamela Anderson -- literally -- and scores box office gold) -- and its lows (Sidney Lumet's 'Find Me Guilty' is guilty ... of sucking; all couples who go see 'Date Movie' together break up within two weeks). I was lucky enough to see a whole lot of good flicks and only a moderate level of what we experts like to call crap. Below, I present my picks for the Top 10 Movies of 2006.* My fellow Moviefone editors will be posting their own lists later this week, so remember to check back for those. Happy Holidays!

10. Children of Men
Director Alfonso Cuaron follows up his masterful 'Harry Potter and the Prisoner of Azkaban' adaptation with a film about a war-torn future world in which women no longer bear children. Not surprisingly, the flick is bleak and most certainly not for kids. But its hopeful message is more powerful than a hormonal teenaged wizard hopped up on gillyweed.

9. The Descent
This lean, mean thriller about six sexy female spelunkers battling bloodthirsty cave mutants avoids all the classic horror-film pitfalls: lame plot twists, gratuitous shower scenes (OK, I secretly approve of these) and a silly hook-wielding killer. Plus, it oozes with a certain quality lacking from so many horror pics these days: actual horror.

8. Stranger Than Fiction
Will Ferrell tones down his shtick and reaps the benefits in this funny and poignant tale about an IRS agent who awakes one day to find that his life is being narrated by an author bent on killing him. The cornerstone of the movie -- the budding romance between Ferrell and the baker (Maggie Gyllenhaal) he's auditing -- is so sweet you'll want to start dating a baker just so you can bring her "flours."

7. Apocalypto
Say what you will about Mel Gibson, but the guy took a cast of mostly Yucatec-speaking non-actors and a topic (the downfall of the Mayan civilization) that isn't exactly hot-button and made a two-and-a-half-hour film that's gorgeous, captivating, unique, supremely violent and, frankly, awesome.

6. Casino Royale
Finally, a James Bond flick where 007 is a real guy who bleeds when the bad guys cut him, scars when the love of his life hurts him and wins the day with brut force and smarts rather than gadgets. It sounds like blasphemy, but Daniel Craig might be the best Bond ever. Yes, even better than George Lazenby.

5. Thank You for Smoking
Writer-director Jason Reitman has done something awe-inspiring with his adaptation of Christopher Buckley's satiric novel: He's made the smug, self-righteous chief lobbyist for Big Tobacco into a -- wait for it -- sympathetic character. For this, he owes no small debt to Aaron Eckhart, who imbues said lobbyist with equal parts piss, vinegar and vulnerability. Sounds gross, but it goes down smooth.

4. Borat
Despite offending just about every ethnic, religious, political and gender group known to man, woman or goat, Sacha Baron Cohen's improvisational road-trip comedy was a runaway hit and hands-down the funniest flick of the year. By the time the credits roll, you'll want to make sexytime with this moviefilm. Niiice.

3. Little Miss Sunshine
Dysfunctional family dramedies have become something of a cliché these days (damn you, 'Family Stone,' for being the nail in the coffin!), but the yellow-VW-van-driving Hoovers somehow managed to weasel their way into my heart nonetheless. Every performance -- from Steve Carell's gay, suicidal Proust scholar to Alan Arkin's drug-snorting, curse-spewing grandpa with a heart of gold to Paul Dano's mute, Nietzsche-loving pilot wannabe -- deserves an award. And, more importantly, despite their Grand-Canyon-deep flaws, each character is, at his core, good and intensely likeable. You'll laugh, you'll cry and you'll go wild for the film's finale, set to none other than Rick James' 'Superfreak' -- because they're the Hoovers, bitch!

2. Pan's Labyrinth
Fantasy and reality -- harsh reality, actually -- collide in director Guillermo del Toro's captivating yarn about a 10-year-old named Ophelia (the brilliant Ivana Baquero) who, at the behest of a faun named Pan, undertakes a harrowing quest to protect her family at the tail end of the Spanish Civil War. I'd say it's a fairy tale for adults, but not too many fairy tales feature a peasant being bludgeoned to death with a wine bottle. Still, it's beautiful, hopeful and more heartbreaking than anything I've seen in a long, long while. If you don't cry at the end, you have no heart in your hollow tin chest.

1. The Departed
Martin Scorsese's blood-soaked, cuss-filled urban morality tale about two undercover moles on opposite sides of the law (one a cop infiltrating the mob, the other a mobster posing as a cop) boasts a pitch-perfect script, some of the best actors in the biz (DiCaprio, Damon, Nicholson, Wahlberg, Baldwin) at the very top of their game and an ending so powerful it'll knock the wind out of you like a Louisville Slugger to the nards.

Honorable Mentions
Babel
Brick
Half Nelson
The Illusionist
Inside Man
The Last Kiss
The Prestige
Slither
Superman Returns
United 93

*Note: A few films that might have made this list were left off because I was not able to see them in time. These include, but are not limited to, 'Dreamgirls,' 'Notes on a Scandal' and 'Letters From Iwo Jima.'

POST: Do you agree with these picks?

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