tribeca Tagged Articles at Cinematical

Conor McPherson's The Eclipse had several suitors sniffing around as soon as the spooky tale made its world debut at Tribeca on April 24th, but in the end Magnolia Pictures won out with a mid-six figure deal for worldwide distribution rights.
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Sony Pictures Classics, Miramax, Lionsgate, and Roadside were all eyeing this story starring Ciaran Hinds, who won the Best Actor jury prize for her performance. Hinds plays Michael Farr, a widower and would-be writer in Cohb, Ireland, who is smitten with Lena, a horror author from out of town. Farr has quite a few things on his mind lately: the death of his wife, contending for Lena's affections with a smug American writer (Aidan Quinn), and the recent ghost he's been seeing.

Cinematical's Eric D. Snider wrote in his review of The Eclipse, "A widower dealing with grief, a romantic triangle, and an illicit affair are more than enough to fill one story. The addition of ghostly visions could have been a way to make the film stand out from its class; instead, those elements merely feel tacked on."

Interestingly enough, it's just that combination that had distributors talking, in the hopes that The Eclipse could appeal to both "genre" fans (i.e. fans of the horror and supernatural) and romance/drama fans. Who will really be lining up to buy tickets seems to be a big question mark for reviewers, but in a year when even Woody Allen's ballyhooed return to NYC fell flat, The Eclipse has, at the very least, gotten people talking. The Eclipse, which currently has no release date, is the first big Tribeca deal in several years.

With the Tribeca Film Festival now underway, one would expect indie filmmaker Ti West to be all kinds of happy. His latest, The House of the Devil, is having its world premiere there -- plus the guy recently finished work on Cabin Fever 2. So what's the problem? Well, according to a rather fine interview between West and Spout's Karina Longworth, Ti is irritated that his producers have trimmed his movie down by a few scenes.

Click right here for the full piece (which also offers some interesting tidbits regarding the long-gestating Cabin Fever 2), but the gist of the conflict seems to be this: The House of the Devil, in its Tribeca incarnation, is missing a few scenes that the director happens to think are important. Having already seen West's 'preferred' version, I can offer the opinion that ... yes, the guy has a very good point. It's no secret at this point, especially if you've seen West's earlier flicks (The Roost and Trigger Man), that The House of the Devil is what we call a "seriously slow burn." You could trim SIX scenes from the flick and it'll still be a deliberately-paced and, ok, slow film. Trimming two scenes from this movie "for pacing" is like removing ten M&Ms from a giant bag "for dieters."

For a lot of movie geeks, it's unnerving when the Oscar nominations are announced and there are films on the list that we haven't seen. (Except for the short-film categories, because no one's seen those.) This happens most regularly with documentaries, which often play only for a week or two at the local art house, if they play there at all.

On Jan. 8-10, Tribeca Cinemas in Manhattan will do its part to help this problem by screening six of the 15 docs that are on the shortlist for the Oscar nomination. The filmmakers, all of whom are alumni of the Tribeca Film Festival, will be on hand to present their work and participate in Q-and-A's. The event is sponsored by the Tribeca Film Institute and Gucci (because when you think of high-quality documentary filmmaking, you think of Gucci).

The films on the schedule are: At the Death House Door (about a prison chaplain who ministers to Death Row inmates), The Garden (about a community garden in South Central L.A.), I.O.U.S.A. (about America's debt problem), Man on Wire (about the crazy French guy who walked a tightrope between the Twin Towers in 1974 -- this will probably win the Oscar), Pray the Devil Back to Hell (about Liberian women bringing peace to their country after years of warlords), and They Killed Sister Dorothy (about the murder of a Catholic nun and social activist in Brazil).

Full details on the screenings are here. If you're in the NYC area, this is a great opportunity not just to see the films (Man on Wire is out on DVD anyway), but to meet the filmmakers. Every now and then, the rest of us get envious of you NYC dwellers. Every now and then.

Something about Yonkers Joe bugged me.

Don't get me wrong; it was a very well-made and well-acted film, with a very touching story about fathers, sons, and the difficulties of raising special needs kids. It's got two stars, Chazz Palminteri and Christine Lahti, that give their usual solid performances. And it even has a story that's got some nice tension and is emotionally satisfying.

But something bugged me. And I couldn't put my finger on why until the very end, but when I did, it made my discomfort crystal clear: This guy's a crook. Why should I care about him at all?

One of the best things about covering a film festival in New York is that there are about a billion different dining options available to you, even if you just have a half-hour between screenings. And, while I'm pretty good at exploring the dining scene in my home state of New Jersey (and yes, Jersey has a dining scene), I rarely get a chance to get more than a one-shot opportunity to sample what the Big Apple has to offer. So I made sure I used my time wisely.

I think I did a good job: last Friday, after my set of screenings, I met a friend and his sister and went to Resto, a Belgian place whose waiters wear t-shirts that say "I'm bringing the fatback." Oh, they love their fat there; my entree was a beef cheek carbonnade that was softer and tastier than any normal stew beef you can think of. Oh, and they had frites (fries) and beer there. Lots of frites and beer.

Life in Flight should prove to any aspiring screenwriter that you don't necessarily have to have an original story in order to get a screenplay made. In the film, which debuted at Tribeca on Sunday, first-time writer / director Tracey Hecht tells the tale of a man who's supposedly living the good life, but it's not the one he wants. And it takes meeting a young, vivacious woman for him to fully realize it.

Heard that story before? Sure you have, probably dozens of times. You've seen it in goofy romantic comedies from The Seven-Year Itch to Joe Versus the Volcano as well as "indie" dramas like Garden State. But good writing and acting always trumps originality of story, and Life in Flight has both, though there's still room for improvement.

I couldn't get to any of the press screenings for Man on Wire, so I decided to get on a Rush Ticket line and (gasp!) actually pay to get into a public screening. I was third on line, and I thought I was in good shape. I mean, it was 4:45 on a Tuesday; who was going to see a documentary about the guy who walked a tightrope between the Twin Towers almost thirty-five years ago?

Turns out that people in New York aren't as busy as you think, since the screening was packed to capacity. But they were in for a good show, as this documentary combined archival footage, interviews, and appropriately cheesy reenactments to tell the story of how in 1974, Philippe Petit, a French juggler and tightrope walker, managed to sneak a crew and a bunch of equipment to the top of the World Trade Center, extend a tightrope between towers, and walk across without a net.

Give Joshua Seftel some credit; he didn't pull any punches on War, Inc. In his first feature film, written by star/producer John Cusack, Jeremy Pisker, and Mark Leyner, Seftel attempts to make a scathing commentary on the War on Terror, the privatization of the military, the commercialization of societies all over the world, and other shenanigans. In a former life, Seftel was a former network news producer, and became known around Hollywood circles for directing documentaries like Breaking the Mold: The Kee Malesky Story.

He was nice enough to speak to me about the experience from a very blue room at the Tribeca Film Festival press office. Text and video are after the jump.

Took some time off from the Tribeca Film Fest tonight to catch an early screening of Iron Man with Mr. Weinberg. What's there to say about Iron Man? How does one put it into words so shortly after enjoying THAT kind of moviegoing experience? We have two Iron Man reviews coming up later next week, so I'll be brief with this tease: Mark my words (and I'm sure Scott W. would agree), Iron Man will change the way you look at these comic book films going forward. Ridiculously Bad Ass. And that be it for now.

Earlier in the day, I caught up with This Is Not a Robbery -- a quirky documentary about an 87-year-old bank robber. Short, sweet, to the point -- I don't really feel one way or the other, to tell you the truth. It wasn't bad and it didn't really do anything to stand out. Not the film's fault; the story itself isn't exactly feature-worthy. I dug it, though -- a review will come soon. The city is real busy right now, I'll tell you that much. It's warm, it's a weekend, there are people everywhere. Good news is I've enjoyed every film I've seen so far. Knock on wood, but I don't think that's ever happened people; I've seriously never opened a fest on that good a streak. Good times. More reviews and interviews coming; if you're itching to know about a certain film, let us know.

Iron Man. Oh man. You people are gonna devour this one.

The first time I heard the term "Baby Mama" was probably on either Maury or Jerry Springer (don't laugh... you hear a lot of things as you're flipping over to PBS). It and its male equivalent, "Baby Daddy," essentially describes a person with whom you've had a child, but no other relationship currently exists. It used to be street slang, but in a movie world where pregnancy of all types seems to be the hot, go-to topic (Juno, Knocked Up), the whole "baby mama" thing was sure to come up at some point. I just never thought it would come from Tina Fey and Amy Poehler.

In Baby Mama, which opens the Tribeca Film Festival tonight and arrives nationwide on April 25, Fey plays Kate Holbrook, a successful vice president of a Whole Foods-esque organic supermarket chain. She's got the great job and the stunning Philadelphia apartment, but at 37, she longs for something more. You guessed it: Kate wants kids, and doesn't want to wait until she gets married to have them. One little problem: her chances of actually having a child are one in a million ("I just don't like your uterus," is what Kate's fertility doctor, played by The Daily Show's John Hodgman, tells her).