Black Sheep Previews: HAMLET 2

HAMLET 2. The concept is hilarious. Didn't everyone die at the end of Shakespeare's timeless classic, you might ask. Well, yes, they did. It was a tragedy, after all. No matter though as this is not exactly a sequel to the bard's work. Nor is it a sequel to the Mel Gibson or Ethan Hawke film versions from recent years. In fact, it is not a sequel at all. The name, HAMLET 2, refers to a musical that is to be performed, and from the looks of the previews, performed very badly, by the hopeful high school students of a Tucson drama club.

HAMLET 2 stars British actor/comedian, Steve Coogan, as a washed up actor who has decided to turn lemons into lemonade by teaching the young about the craft. While this is all very noble, the underlying problem is that he is just as good at teaching as he was at acting, which is to say not at all. Coogan strives to be the kind of teacher that makes students stand up on desks and salute him or rip out pages from great literary classics to follow in his protest but he is far too deep into his own delusions to see that he is a complete mess. His swan song is to be this great musical but all he musters is controversy. I suppose he should have seen it coming with numbers like, "Rock Me Sexy Jesus."

The cast is rounded out by Catherine Keener, David Arquette and Elizabeth Shue (in a hilariously self-referential turn as herself in present day, having left the craziness of Hollywood and started a new life as a nurse at this Tucson school). The potential is in place and with Pam Brady, co-writer of TEAM AMERICA and the SOUTH PARK movie assisting writer/director, Andrew Fleming, the possibility for laugh out loud hilarity is even greater. Who knows? If it does real well, we could be seeing HAMLET 3 before you know it.

HAMLET 2 is in theatres August 22.

Click here or any of the links above to see "Rock Me Sexy, Jesus" and the HAMLET 2 trailer.

AMERICAN TEEN

Written and Directed by Nanette Burstein


Jake Tusing: My life sucks right now but what if it’s even worse after high school? I’m afraid of what’s going to happen to me.

I always just assume, as I’m dragging my tired ass out of bed, into the shower, out the door, into the subway and up the 22 flights of stairs to my tiny box my boss calls a cubicle that any teenager I pass has no clue about anything at all. I know I’m selling them short but I always see them just standing there, talking about nothing at all and making sure everyone around them can hear what they have to say. They’re texting each other and shoving each other and making out obnoxiously up against me on the bus. They annoy me but this is primarily because I wish I had it as easy as they do. The irony is that they do have it so easy but they think they’re going through the hardest part of their lives, that once they get out of high school, everything will work out in their favour. There’s a reason people are always urging young people not to grow up too soon, y’know.


I expected terror. I expected anxiety. I didn’t expect these things from the kids in Nanette Burstein’s documentary, AMERICAN TEEN, but rather from myself while having to sit through an in-depth exploration of what it means to be a teenager in middle America these days. I got neither. Instead, I felt sympathy, connection and nostalgia. The promotional material for this Sundance winner for Best Direction in a Documentary suggests that the five teenagers who make up the main subjects follow in the stereotypical footsteps of THE BREAKFAST CLUB. There’s Hannah, the rebel (who is really more of an artist than a rebel), Colin, the jock (who defies all preconceived notions of what it means to be a jock), Megan, the princess (who delights in drama and the suffering of others), Jake, the geek (who naturally plays video games and is in the school band) and Mitch, the heartthrob (who barely leaves an impression on the viewer like the others). The reality is that AMERICAN TEEN is actually a much more tender and understanding exploration of the insecurities that lie behind the images. All five of these kids turned into characters grow more into themselves before our eyes.


Burstein followed these five kids and a good number of their friends for the entire 2006 scholastic year at Warsaw Community High School. They had troubles with their parents, with their friends, with where they would go to college and with what the prom theme would be, to name but a few of the daily dramas in their lives. As one would expect from a teenager, they believe the world revolves around them and that their problems are monumental in comparison with anyone else’s. What struck me most though is that their problems are not really that different than my problems or those of my friends. Now I haven’t been a teenager for many a year but I still struggle with finding a partner, with finding myself. I still wonder where my life will lead, where I fit in. With responsibilities like bills, rent, a job, staying fit and keeping up with Jones’, I don’t have time to let the drama consume me. These five and the millions of others just like them define themselves by their dramas as they don’t know the fragility of life yet. Still, their subtle self-questioning, their longing to belong and their hope for their futures gives me a whole other kind of hope for the future of humanity.


AMERICAN TEEN is an enjoyable, refreshing documentary that will inevitably play differently to all who see it, as everyone had a different adolescent experience. Some have moved on while others still hear the echoes of torment or thrill in their minds. I know I was just as lost as they were at their age but I’m pretty sure I wasn’t as loud or vindictive - and, yes, I am aware of how simply making this statement ages me more than is necessary. Thanks to Burstein’s finely balanced exposition though, when I see a bunch of kids loitering outside my local corner store, I won’t focus solely on the loudness with which they ponder which Jonas brother is the hottest but rather remember the confusion that lives inside them and still lives somewhere within me.

BLACK SHEEP'S WEEKLY NEWS WRANGLE

THE DARK KNIGHT TRIPS OVER A PINEAPPLE AND A PAIR OF PANTS
Opening early to avoid having to compete with the China Olympics, PINEAPPLE EXPRESS was smoking right out of the (hot) box. Earning the superfluous title of best August Wednesday opening of all time, the new stoner action comedy from the house of Apatow pulled in $12.1 million. THE DARK KNIGHT was forced not only down t second place but all the way down to third for the first time in its entire record breaking run. Yes, opening in second place on Wednesday is THE SISTERHOOD OF THE TRAVELING PANTS 2 with $5.7 million, just ahead of Batman's $5.1 million. It remains to be seen what the weekend will hold but it looks like the stoners might be able to do what the Mummy could not.
Source: Box Office Mojo

ANG LEE GRABS THE BOYS AND GOES BACK TO WOODSTOCK
Teaming with producer James Schamus for the 12th time, director Ang Lee is adapting original Woodstock organizer, Eliot Tiber's memoir, "Taking Woodstock: A True Story of a Riot, Concert, and a Life" from a screenplay written by Schamus. The Focus feature is set to start filming later this month after a postponement to make way for an impending actors' strike. Though this still could happen, the threat has decreased and seeing as how the cast is ready, it's best not to waste any time. The cast in question is includes Emile Hirsch, Imelda Staunton, Liev Schreiber and from "The Daily Show with Jon Stewart", Demetri Martin as Tiber himself.
Source: JoBlo

STREEP GETS SAPPY
After two proven summer blockbusters - 2006's THE DEVIL WEARS PRADA and this year's MAMMA MIA! - leading lady, Meryl Streep is in serious negotiations to star in Nancy Meyers' next feature. The project is yet untitled but essentially Streep would be at the center of a romantic triangle with two other men. This would mark Streep's first romantic comedy since, geez, does DEATH BECOMES HER count? It seems like Streep is tired of serious and I'd say she deserves the break.
Source: Variety

QUENTIN TARANTINO THIS ...
Brad Pitt has officially signed on to Quentin Tarantino's remake, INGLORIOUS BASTARDS. The World War II epic drama is a drastic departure for the director on some levels but not on others, given the original film's B-Movie roots. This would be Pitt's first time working with the contemporary genius and Quentin secured his partcipation just shortly after Pitt welcomed his new twins into the world. Also in negotiations to join Pitt on the project are Nastassja Kinski and Simon Pegg. Fellow director, Eli Roth has already commited to acting in the project. Tarantino intends to shoot this October and have the project ready for next years's Cannes film festival.
Source: Variety

QUENTIN TARANTINO THAT
While the last Tarantino story is actually based on fact, there are also plenty of Tarantino rumours circulating. Apparently, the B-movie obsessed director intends to remake another film when he's finished with BASTARDS. He hopes to put his own personal spin on Russ Meyers' FASTER, PUSSYCAT! KILL! KILL! Now, whether he wants it to be any good or not is a whole other issue. The bigger rumour here is that Tarantino is seriously consdiring Britney Spears for the role of Varla, a killer lesbian, stripper. I guess the B-movie tone would be perfect for Spears' particular acting talents. We shall see if this actually happens.
Source: Telegraph

Black Sheep Gets Caught UP!

Hello down there! I'm running a little behind this week on my expected Fall Movie Preview so rather than abandon you altogether, I thought I would share some very fresh pics from Pixar's next feature, UP! Details are sparse right now but I do know that Pixar's 10th feature tells the story of one Carl Frederickson, a gentleman in his seventies who travels around the world in his floating house to fight the bad guys with his boy scout type sidekick, Russell, before sitting down to dinner at 3:30 in the afternoon. In theory, it sounds ludicrous but most Pixar projects do before you see them. Carl is voiced by Ed Asner. Newcomer, Jordan Nagai will voice Russell. The picture was written by Bob Peterson (FINDING NEMO) and directed by Pete Docter (MONSTERS INC). It will be released on May 29, 2009.

Here is a first look at some of the character photos from the film, revealed at this year's Comic-Con convention in San Diego.







Source: The Pixar Blog

PINEAPPLE EXPRESS

Written by Seth Rogen and Evan Goldberg
Directed by David Gordon Green
Starring Seth Rogen, James Franco, Danny McBride and Rosie Perez


Private Miller: I feel like a slice of butter melting all over a big ol’ pile of flapjacks … yeah.

I’m pretty sure my mother always told me that smoking pot was bad for you. She’s my mother so, naturally, I always believed her. Now, I’m not so sure though. She couldn’t possibly have seen PINEAPPLE EXPRESS before making this assertion. If she had, then she would know that smoking only leads to hilarity and kinship. At least that is one of the many valuable life lessons I learned while watching the latest Seth Rogen vehicle to come off the Judd Apatow assembly line. I also learned that paranoia can be a very good thing, that friends who smoke together stay together and that James Franco actually has a drastically different side to his usual stoic, dry presence. I think most importantly though, I learned that stoner movies, when they’re done right like this one, don’t require the audience to smoke up heavily beforehand in order to have a good time. Albeit, I’m sure a whole other kind of good time would be had if you did.


You could see this movie as an opportunity for Rogen to push his pot smoking agenda onto unsuspecting youths that think of his as some sort of demi-God after last year’s one-two punch, KNOCKED UP and SUPERBAD, or you could just drop the act and enjoy the trip. Besides, smoking is hardly over glorified in this film. Every time Rogen, as Dale Denton, a crafty process server, lights up, he finds himself in a whole heap of trouble. He makes stupid mistakes that lead to his deeper and deeper into despair. And while watching Rogen alone is certainly entertaining, watching him get goofy with a buddy is even better. The buddy here is the unexpected Franco. Franco plays Saul Silver, the drug dealer to Dale’s drug doer. Get these two in a forest and give them a little herbal amusement and there is no telling how stupid they will get and how far out in space their minds will go. There is one sure thing though, weed brings these two together and their lives are better for it.


Thank goodness these two have each other because they could never endure what they need to go through all alone. Saul sells Dale some of his highest-grade bud, called pineapple express. It’s so rare, so exclusive, that after Dale witness a homicide and dumps his roach at the scene, he believes that it can be tracked back to him. Saul must then get involved as he is the sole distributor of pineapple express and therefore the whole thing can be traced back to him. In order to get out of their unfortunate bind, the two must go to the source and get the bad guys, including a feisty Rosie Perez as a crooked cop, before the bad guys, and gals, get them. Many a stoner has inhaled and embarked on zany adventures before these two but how many find themselves in high speed car chases or live-or-die bang-up’s or even fleeing scenes of explosive proportions? Well, I can’t say actually but I can say that none have been this funny in what feels like a very long time (what feels even longer if you actually are stoned).


Dale and Saul are the new stoner buddies, the new Harold & Kumar, if you will. They are accidental action heroes whose pot smoking both gets them in and out of trouble. Unlike the punks responsible for the most recent Harold & Kumar disaster, the people behind PINEAPPLE EXPRESS are actually interested in making a solid film, one with an engaging story and consistent character development. Director David Gordon Green (SNOW ANGELS) knows that just because his characters are stoned out of their heads 99% of the time does not mean his audience will be necessarily. The audience might want to shut off and have a great time, either naturally or enhanced naturally, and that does not mean that you don’t actually have to try. When I want to shut off, I like to be around good people and let the laughs roll. Watching PINEAPPLE EXPRESS is like hanging out with the guys and I already want to hang out with these guys again next weekend.

DVD Review: THE BAND'S VISIT

Written and Directed by Eran Kolirin
Starring Sasson Gabai, Ronit Elkabetz and Saleh Bakri


THE BAND’S VISIT is immediately striking. Against a vast, monochromatic backdrop, a line of eight men in pastel blue army uniforms stand at attention. They are still and authoritative due to their sheer size and numbers but they are also entirely lost and go almost unnoticed by the few strangers that pass by. The second striking thing about this tiny gem is how incredibly complex it is without seeming the least bit so. Led by Colonel Tawfiq Zacharya (Sasson Gabai), these eight men comprise the Alexandria Ceremonial Police Orchestra. Hailing from Egypt and in Israel to perform at an Arab cultural center, the band find themselves forgotten at the airport and don’t know where to turn. They find hospitality and some much-needed rest in some local townspeople. THE BAND’S VISIT is ripe with conflict between these two opposing peoples but deals with all of it with dignity, grace and overall visual lyricism that delights while it enlightens.


Initially, THE BAND’S VISIT was Israel’s official submission to the Academy Awards but was eventually disqualified because over 50% of the film’s dialogue is in English. Israeli’s and Palestinian’s trying to communicate with each other and having to settle for broken English seems like a pretty foreign notion to me but I’m not a voting member of the Academy. (The film went on to win 8 out of the 13 nominations it received at the Israeli equivalent of the Oscars, including awards for the three main actors, the director and the film itself.) No matter as the film found a warm, embracing audience around the world regardless and with its recent release on DVD, has the potential to reach even more. Once in people’s homes, audiences will get the pleasure of watching an appreciative cast and crew in a making of (and unfortunately little else). Interviews with all the major cast members, as well as the director and score composer shed light on what it meant to be a part of such a multi-cultural collaboration and how they didn’t want this to be an issue film.


Director and writer, Eran Kolirin certainly succeeded in avoiding the issues by weaving them seamlessly into the fabric of these people’s existences instead of dealing with them directly in dialogue. The result is an awkward overnight stay that allows for all involved in this potentially tense scenario to let down their uniformed guards and find the peace within through music.

FILM

DVD

WEEKEND BOX OFFICE: Fraser's Fanaticism

Who cares about opening at the top of the box office when you can have two titles in the Top 5? Right? How cool is that? Ok, fine. I’m sure THE DARK KNIGHT folks are tickled purple that they narrowly held off the competition to secure a rare three consecutive weekends at the top of the heap. But, I’ll tell you who doesn’t care … Brandon Fraser, that’s who. This guy puts out one mind numbing, crowd-pleasing hit after another and consistently delivers the cash. And now, with the number two debut of THE MUMMY: TOMB OF THE DRAGON EMPEROR and the slight 29% drop for JOURNEY TO THE CENTER OF THE EARTH 3D, Fraser finds himself headlining two big hits at the same time.

Meanwhile, THE DARK KNIGHT camp continues to command the attention of every man, woman and child on the planet (not surprisingly, the Batman sequel is doing boffo business overseas as well). It drops off a very respectful 42% in its third week and is will close in on $400 million before Monday is up.


THE MUMMY (above) people should be happy they managed as well as they did. This may not be the kind of movie that people read reviews for but this is by far one of the worst reviewed films of the year. It’s supposed to be worst than THE LOVE GURU people! (I cannot back this up as I have carefully avoided both titles.) The $42 million take is a far cry from the $65+ million take of the last mummy movie from seven years ago. In fact, this debut marks the worst for the series, which falls perfectly in line with the critical consensus.

The only other debut the Top 10 saw this weekend is barely worth mentioning. Opening in sixth place and soon to be forgotten in the Kevin Costner starring, SWING VOTE. There, that’s about as much attention as it deserves.

Moving on, the Top 10 saw very strong holds for a number of its titles. This might mean that summer is slowing down and some might be finally catching up with the titles they missed or perhaps just that these films are that good. Who knows? Still, the numbers don’t lie and five titles in this week’s Top 10 saw drops below 40%. The aforementioned JOURNEY TO THE CENTER OF THE EARTH, WALL-E and MAMMA MIA! saw drops even lower, under 30%. Meanwhile, THE X-FILES: I WANT TO BELIEVE must have found its few scant believers last weekend as the film, which only made $10 million last weekend, fell off over 65% this weekend. Maybe Mulder & Scully could investigate the unsolved case of why no one cared about their movie. They aren't doing anything else anyway.


Below the Top 10, the art house scene is finally alive and well after being overshadowed by the summer blockbusters. BRIDESHEAD REVISITED (above) continues its successful, aggressive expansion. Adding over 150 screens pushed its business nearly 250% and it might even find itself sitting comfortably in the Top 10 next weekend when it adds another chunk of screens across the country. If you thought an increase of 250% was impressive, how about 280%. This is a feat boasted by Sundance favorite, AMERICAN TEEN. The documentary about today’s teens added 34 screens and will continue to roll out in the weeks to come. Meanwhile, the highest per screen average of any film playing belongs to TRANSSIBERIAN, a Brad Anderson thriller starring Woody Harrelson. In its third week, the film pulled in an average of $15K per screen on just two screens.

NEXT WEEK: Opening early on Wednesday, PINEAPPLE EXPRESS looks to hit the young, both the stoned and the sober but they best be quick because the “highly anticipated” THE SISTERHOOD OF THE TRAVELING PANTS 2 is opening two short days later. All the girls from the original have returned but unfortunately, the jeans have been worn out.

BRIDESHEAD REVISITED

Written by Jeremy Brock and Andrew Davies
Directed by Julian Jarrold
Starring Matthew Goode, Ben Wishaw, Hayley Atwell and Emma Thompson


Sebastian Flyte: If only it could be like this always. Always summer, always alone, fruit always ripe.

While some might be making their second and third visits, this would be my first visit to Brideshead. The stately manor is overwhelmingly alluring. It commands attention and imposes its values upon all who enter or even enter its proximity. On many levels, it deserves the focus it insists upon but it does sit there with a certain air of pompous self-assurance. It takes itself very seriously and it would appear as though its influence stretches as far as the director of the movie that revolves around it, Julian Jarrold. BRIDESHEAD REVISITED plays out as though it believes in its own importance as though it can do no wrong and all who bask in its glory are fortunate for the opportunity. It is only a short ways in, when Jarrold seems to get over his own ego and stops trying so hard to be something he’s not, that we are even allowed into Brideshead. Once inside though, it is clear that there is much history and depth to be taken in. Oh, and one hell of a matriarch to reckon with.


We are introduced to Brideshead at the same time as Charles Ryder (Matthew Goode), a young painter in his first year at Oxford University who comes from a humble heritage. Everything is so new to him; the world is opening up to him. It is his first time away from home, his first time pursuing his passions and his first time exploring the bonds to be had between men. At Oxford, he meets Sebastian Flyte (Ben Wishaw). Sebastian hails from Brideshead and has wanted for nothing his entire life with the exception of having an actual life of his own. He is a peculiar boy, soft and delicate, who sits to lunch with a battered teddy bear and Charles falls for him instantly. Charles sees something magical about the man but there is something even more alluring about the way Sebastian holds him in such regard. Charles is sold though when Sebastian brings him to Brideshead. Goode’s lucent blue eyes beam with enthusiasm at everything he is now a part of.


Before long, Charles is a part of the family. With no family of his own, he is overwhelmed by this but he will soon discover that this is much less an honour and much more so a curse. As his relationship with Sebastian becomes strained, he meets Julia Flyte (Haley Atwell), Sebastian’s sister. She is as particular as her brother but more detached, independent and vivacious. She soon catches his attention and the twisted triangle that inevitably develops soon catches the attention of the lady of the house, Lady Marchmain (Emma Thompson). Lady Marchmain is as authoritative and commanding as the home she oversees. In fact, she is so imposing that her presence and the fear she induces is felt long before we even see her grace the screen. Thompson, as always, is magnificent. The manner in which she asks a question implies the expected answer and the control she exudes over her children and in the name of God, is masterful. Her face may be constantly at peace, her hair may be perfectly placed at all times but her but the virtue she puts forth never diminishes her power.


The first visit to Brideshead is certainly memorable but when Brideshead is revisited, the film loses its urgency and direction. It becomes unclear how it all could possibly end with any sense of excitement or necessity. Charles has gotten himself into a right mess and it’s obvious why Sebastian avoided so diligently introducing him to his family to begin with. Brideshead requires a certain standard by all who enter and, as only Lady Marchmain can live up to them, Charles too struggles with falling prey to the guilt both the manor and the God that presides over it impose. Interestingly enough, Charles, a self-professed atheist, becomes something of a saviour to the Brideshead clan. It is unfortunate though that BRIDESHEAD REVISITED couldn’t find the same fortune and find its own.

BLACK SHEEP'S WEEKLY NEWS WRANGLE

FESTIVAL SEASON ANYONE?
The 65th Annual Venice Film Festival opens on August 27 with the world premiere of the Coen Brothers' follow-up to NO COUNTRY FOR OLD MEN, last year's Oscar winner for Best Picture, BURN AFTER READING. The pic stars Coen regulars George Clooney and Frances McDormand as well as Coen newbiews, Brad Pitt and Tilda Swinton. Like the Cannes festival, the line-up is short on American fare due to the wrtier's strike that halted productions that would have ordinarily been ready for festival season. Other high profile Hollywood pics include Darren Aronofsky's THE WRESTLER (starring Mickey Rourke), Kathryn Bigelow's HURT LOCKER (an Iraq war film with Ralph Fiennes) and Jonathan Demme's RACHEL GETTING MARRIED, starring Anne Hathaway as a struggling addict who goes home after ten years. The latter two will go on to screen at the Toronto Film Festival days later and all four titles find themselves in competition for the Lion d'Or.
Source: Variety

WHITE KEYS BOND
It has already been reported that Alicia Keys had been tapped to sing the theme from the upcoming Bond feature, QUANTUM OF SOLACE. This week, more information about the song itself has surfaced. The song, entitled, "Another Way to Die", was written and produced by White Stripes frontman, Jack White. White also plays drums on the tune which happens to be the first Bond theme duet in the franchise history. The soundtrack will be available October 28 and the film itself hits theatres November 7.
Source: Billboard

THE MARTIAN IS LANDING
Warner Brothers has given the green light to a movie based on the popular Looney Tunes character, Marvin the Martian. The project, which will be specifically aimed at the prepubescent crowd, will be a mix of CGI and live action. Marvin will make his way to earth with the intention of destroying Christmas, only to find his plans foiled when he gets trapped in a wrapped present. There is no word yet on who will helm the project nor whether Bugs Bunny will be making a cameo.
Source: Variety

TIM AND JOHNNY DOWN THE RABBIT HOLE?
Last week, Tim Burton confirmed that he has cast his Alice in his upcoming mixed CGI/live action remake of ALICE IN WONDERLAND. The actress is young, Australian, Mia Wasikowska. She might now have her Madhatter. In what would be a seventh pairing between director and star, Johnny Depp is reumoured to be in talks to take on this iconoclastic character. Burton and Depp first worked together on EDWARD SCISSORHANDS in 1990.
Source: Internet Movie Database

WHATEVER, WOODY
Woody Allen's 40th feature, VICKI CHRISTINA BARCELONA, is about to hit theatres but news regarding his 41st feature, currently in post-production, is already starting to surface. As per usual, details are scarce but Allen has revealed the title to be WHATEVER WORKS. The story itself supposedly centers around a relationship between Larry David (61) and Evan Rachel Wood (21). Gotta hand it to Woody .. he never shies away from exploring his own demons.
Source: JoBlo

MOVIES WITH PRIDE

If it’s nearing the end of July in Montreal, there are two things you can be sure of. The first is that it’s likely heavy and muggy outside. The second is that the city is about to gather in support of its boisterous gay community with the pride parade and festivities just around the corner. Sweltering heat and thousands of gay men – that can only go in one direction.

In honour of the yearly celebration and the fact that it is supposed to rain all weekend, I thought I might share a few words about some of my favorite gay films. (Ladies, I apologize as these suggestions are entirely male centric.) You would think that after the success of BROKEBACK MOUNTAIN, there would be a plethora of recent material to choose from. Sadly, this is not the case. Still, a trip to your local video shop can provide oodles of choices.


In 1996, movies that were gay themed didn’t play at the multiplex. In fact, if this movie were to come out today, it would probably still only find playtime at the repertory house. I saw Hettie McDonald’s BEAUTIFUL THING at a tiny theatre that was packed full and it still holds a special place in my heart. Based on Jonathan Harvey’s play, BEAUTIFUL THING is about exactly that. Two boys, Jamie & Ste (Glen Barry and Scott Neal), live next door to each other in the London projects. They find themselves one night sleeping head to toe and everything changes between them. The beauty they share goes much deeper than their young, innocent looks. The deeper beauty is found in the naïve discovery of what love is and that it can actually be found between two men. The picture itself never leaps past its stage roots and hasn’t aged gracefully but it has not lost its heart. When the two boys run through a forest with abandon before falling into a passionate kiss, innocence and discovery meet and are married.


Flash-forward to four years later and you will find that sexuality is still somewhat taboo but with a cast this vast, it is clearly making inroads. These particular inroads are in West Hollywood and this particular cast includes Timothy Olyphant, Zach Braff, Dean Cain, Justin Theroux and John Mahoney. The movie is THE BROKEN HEARTS CLUB – A ROMANTIC COMEDY, a modern version of the seminal film, THE BOYS IN THE BAND, with slightly less self-loathing. This ensemble piece focuses on the ties that bond gay men together and turn them into an indispensable support network for each other. Common experiences like coming out and kissing a man for the first time are universal but while these friendships build confidence and self love, they also break it down with jealousy and smothering. From Greg Berlanti of “Dawson’s Creek” fame, the film does play out like a serialized drama but the performances and predicaments are so sincere that tears will flow for any one into a little sap.


While we’re heading down the road of cute, why don’t we travel across the country to a New York subway where aspiring musical writer, Gabriel (Christian Campbell) meets eyes with go-go boy, Mark (J.P. Pitoc). They stare and look away until it’s time for Gabriel to get off. Chancing it, Mark follows so that he might do the same. True to its title, TRICK is about two strangers who scour the city in search of a place where they can get down and naked. Here’s the kicker; they find something else entirely. What they find is that by spending all that time together without getting naked means you can actually get to know someone and if you try really hard not to try at all, you might actually spark. This modern romance is innocently told by director, Jim Fall and will inspire even the most dire of cynics, including this one (my therapist would be pleased). AND … AND … TRICK features Tori Spelling singing and tap dancing!


From one night to one full summer of love, the next film on the list is France’s PRESQUE RIEN (COME UNDONE). This is the most poetic and artistic of the bunch. It is calm and it takes its time to tell the story of Mathieu and Cédric (Jérémie Elkaim and Stéphane Rideau). These two beach beauties meet and fall in love in the way only a summer romance allows. It is what follows the summer that forces each of them to grow up much faster than they imagined they would have to. While the film is at times quite sensitive, it is at others quite steamy. The first time I saw the film was in a theatre and the projection went out of sync and into a half frame during a particularly intense beach scene. Let me assure you, I’d never heard so many men holler at the projectionist so quickly and so loudly. Still, director, Sebastien Lifshitz tells this story of first love with candor and insight, allowing for a beautifully paced and engrossing experience.


Staying with the language but leaving the country for a city I call home, the last film on a list that could include oh so many more wonderful gems is Montreal director, Jean-Marc Vallée’s C.R.A.Z.Y. This film hits particularly close to home in more than just its setting. It may be just another coming of age story to some but Vallée’s script is sweetened with so many beautiful flourishes of memory, the tiniest details described with a magnitude that exposes its creator as a man of grace and understanding. Zac Beaulieu (played as an adult by Marc-André Grondin) is the fourth of five brothers. His mother believes he has been blessed by God as a healer; his father simply believes he is special. Neither of his parents wants to accept what they see developing in him but Zac wants it even less. Even as a young child, he knows there’s something different, cannot identify what that is but knows he has to pray to God every night until it goes away. C.R.A.Z.Y is subtle, sincere and heartbreaking. It is certainly a standout Canadian film.

Like I said, the list could go on and on and with the rain that seems to be doing the same these days, there could be plenty of time to rent these fabulous films as well as, I don’t know, HEDWIG AND THE ANGRY INCH … or LILLIES … or THE VELVET GOLDMINE … or TARNATION … or MY OWN PRIVATE IDAHO … or THE CRYING GAME … or BROKEBACK MOUNTAIN, even. I think you get my point though, as colorful as it may be.

SAVAGE GRACE

Written by Howard A. Rodman
Directed by Tom Kalin
Starring Julianne Moore, Stephen Dillane and Eddie Redmayne


Barbara Baekeland: One of the uses of money is that is allows us not to live with the consequences of our mistakes.

When I was growing up, my mother could be a little over involved in my life but she’s got nothing on Barbara Baekeland (Julianne Moore). SAVAGE GRACE tells Barbara’s story and that of her incalculable influence on the direction of her very tight family. Together, Barbara, Brooks (Stephen Dillane) and Tony (Barney Clark as a boy, Eddie Redmayne as an adult), exist in a tiny bubble where they can be seen by and perform for the rest of the world but ultimately exist solely for each other. Rich beyond their own comprehension, the Baekeland’s exude an air of arrogance and thrive on the act of acting. And even though, as the years pass on, the friends, acquaintances and passersby will have run far away, the Baekeland’s still have us.


The Baekeland’s come from money. Well, at least Brooks does. His father was the inventor of Bakelite, a popular plastic. Barbara, a former model and almost famous actress, married into the fortune and it suited her just fine to do nothing but be seen. With no real drama to occupy their time, the Baekeland’s must create their own and they become experts in the craft. And like the entirely selfish parents they are, they teach their young son, Tony, everything they know. First time feature filmmaker and brave soul, Tom Kalin, tells their revolting yet tragic story in a manner that neither glorifies nor condemns their demented ways. All the while though, he centers his attention on Tony so that we never forget who the real victim is. This makes it all the more deplorable when Tony abandons reason to embrace his family heritage.



SAVAGE GRACE is not for all. Make no mistake, when I say that the Baekeland’s ruin each other and bring about all of their own misfortune, I am not speaking lightly. This is a family that shares baths, beds and lovers. Kalin is mindful of his audience’s likely discomfort but also never afraid to show that audience the dirty details. Besides, when all the debauchery becomes too much to handle, one can always look to Moore and bask in her brilliance. Moore is flippant one moment and affected the next. Her performance is so delicately balanced between calculated control and callous chaos that one never knows which way she’ll turn and one is always shocked to find out. Both Dillane (who is practically unrecognizable) and Redmayne (who could so easily be related to Moore in reality with his pale, freckled skin) do more than simply hold their own. They complete the trio and it is a delight to watch them play off of each other, albeit a disturbing delight.


Kalin has not only crafted an engaging film but also a bizarre experience. If you can stomach this true story, then you will be treated to a frankness that is not common in American cinema. You will also get to spend time in dark places you may not be accustomed to. However, when you inevitably arrive safely on the other side, you will know the drastic differences in what it means to be fortunate.

THE TEASE ( A Trailer Review): W.

You can never trust a trailer entirely. They want you to see the movie after all. It would appear though that Oliver Stone's hush hush George W. Bush biopic, W. (pronounced Dub-ya), seems to be taking some shape in the public eye with this first look preview. It looks to me that we're going to see how George Jr., an incredibly messed up goof in his younger years, somehow ended up being the President of the United States. I'm intrigued and certainly impressed by the overall look. You've gotta love watching the leader of the free world chugging beer through a funnel. Still, I'm not sure why they decided to list all the character names instead of wow-ing us by telling us who all the actors behind all the make-up. (Did you catch that split second shot of Richard Drefuss as Dick Cheney?) Maybe it's me but I thought names tend to get more people into theatres. Still, as you watch Josh Brolin running ragged at the tail end, you know that a fair amount of people are going to run to see what Mr. Stone has to say about it all. W. is in theatres October 17th.

Trailer Grade: B

WEEKEND BOX OFFICE: The Dark Knight Holds Court

The truth is out there and it can be found in THE DARK KNIGHT apparently. The geeks have spoken and they have shunned THE X-FILES in favour of their new leader, Batman. It half pains me to see how dismal the returns for THE X-FILES: I WANT TO BELIEVE actually were. On the one hand, I wonder where all the X-philes were but on the other hand, I guess they were just avoiding this incredibly disappointing return. Even the musical and stupid comedy followers were more loyal than the X-philes. The film will go on to recoup its $30 million budget but a $10 million take essentially ensures that this is the last we will see of Mulder & Scully. I for one will miss you.

THE DARK KNIGHT continues to shatter records as it pulls in another $75 million. It is now just shy of IRON MAN’s $315 million to take the title of 2008’s biggest film. No other film came close to matching Batman’s success and there is now even talk that THE DARK KNIGHT could go on to become the greatest domestic blockbuster of all time. It would have to beat TITANIC’s $600 million take to do so but as it only took 10 days to pass the $300 million mark, it is certainly the first film in years to pose a viable threat. At the very least, it should go on to take the runner up spot, ahead of the original STAR WARS.


Opening in second place is the new Will Ferrell pic, STEP BROTHERS. Ferrell has reclaimed his king of comedy crown after it was in jeopardy of being taken from him after this spring’s disappointing SEMI-PRO. The $30 million take doesn’t match the previous opening weekends for summer comedies like GET SMART or YOU DON'T MESS WITH THE ZOHAN but it surpassed negative reviews to take the number two spot, which is the best anyone could have hoped for.

Many titles in the Top 10 held on strongly while a number of art house films opened to promising titles. MAMMA MIA! saw a minimal decline, putting in a position to best last year’s HAIRSPRAY. JOURNEY TO THE CENTER OF THE EARTH 3D continues to benefit from strong word of mouth and should help usher in next week’s other Brandon Fraser movie, THE MUMMY 3. And Pixar’s WALL-E may no longer be on course to be one of the top three Pixar successes but as it rounds the $200 million mark, it should definitely surpass last year’s RATATOUILLE.


On the art house front, the steamy BRIDESHEAD REVISITED debuted on 33 screens to a per screen average of $10K. The film is expanding aggressively in the next couple of weeks. The critically acclaimed documentary, MAN ON WIRE, opened on a mere 2 screens and took in $24K per screen. And French import, TELL NO ONE, continues to expand strongly, taking in almost $6K per screen in its fourth week. Last but not least, this year’s documentary winner at Sundance, AMERICAN TEEN, pulled in $8.5K per screen but it remains to be seen whether the apathetic teens the film portrays will overcome their apathy to make their way to the theatres as it expands.

NEXT WEEK: THE MUMMY 3 is the first reasonable challenge to THE DARK KNIGHT. Mind you, I guess Kevin Costner could swing the vote his way with his election comedy, SWING VOTE.

Source: Box Office Mojo

THE X-FILES: I WANT TO BELIEVE

Written by Frank Spotnitz and Chris Carter
Directed by Chris Carter
Starring David Duchovny, Gillian Anderson, Amanda Peet, Billy Connolly and Xzibit


Father Joe: So you believe in these kind of things?
Fox Mulder: Let’s just say I want to believe.

Like Mulder, I too want to believe. Or at least at this point, I wanted to. I wanted to believe that THE X-FILES: I WANT TO BELIEVE could bear its inherently heavy burden of justifiably resurrecting this classic modern television series six years after its close and ten years after the last film incarnation. I wanted to believe because I was an X-Phile; I watched religiously every week to see Mulder and Scully (David Duchovny and Gillian Anderson) take each other on while they tackled the unexplained that no one else wanted to deal with. I wanted to believe show creator and film director, Chris Carter, knew that this was the right time, that he had the right story to come back with that would breathe new life into these two characters that are cherished by and inspirational to so many fans around the world. The truth is, and I do understand the weight of that particular phrase given the context, that Carter and co-writer/X-Files veteran, Frank Spotnitz, clearly put a lot of care and thought into bringing these characters into the present but their best efforts are also their ultimate undoing. Carter may have shattered all of my beliefs but they were all the wrong ones to break.


Given the amount of secrecy that surrounded the production of this film, one would think it might be difficult to discuss the plot without revealing too much about the film. However, I fail to see the need for all the precautions, as there isn’t too much to the plot. In order to sell the X-Files to a wider and younger market, it was decided that this new movie would be a stand-alone X-file and not one shrouded in the alien conspiracy that made the show so compelling long before contemporary serial dramas like “Lost” or “Heroes” followed suit. Only the conspiracy was one of the major factors in creating the urgency that the X-Files television series commanded. It may not have been prominent in every episode but it was never forgotten. Now, we find that Mulder and Scully have moved on from the FBI. She has become the medical doctor she had always planned to and he is hiding out in the woods somewhere, true to his paranoid character. When the FBI comes around asking for their assistance on a case that only their expertise can help solve, the twosome are at odds with how deep they wish to get involved. Let alone that the case itself would be better suited for a “Without a Trace” movie as there is nothing particularly freaky or scary about it,
but how am I supposed to be excited about Mulder and Scully being back if they aren’t?


This is not to say that Duchovny and Anderson aren’t there; they are. In fact, the most satisfying element of I WANT TO BELIEVE is the opportunity to spend time with these two unique personas once again. Although they both acknowledged publicly that they struggled with finding these characters again when they first started shooting, you can’t tell. The love and respect that bonds them together is still present, as is the stubbornness and frustration that stems from that mutual admiration. The way in which Carter and Spotnitz approach these characters after years apart from them is to imagine where they would have ended up, drop them there and then let us see them. While this is very mindful of the inevitably intelligent audience the X-Files has always attracted, it is not terribly satisfying for that same audience that has craved progress and resolution to the Mulder & Scully relationship all this time. Bits and pieces of what has happened between them in the years we’ve missed are revealed in dialogue that is tossed out casually and we have to notice it, grab it and connect the dots ourselves. I would ordinarily applaud this writing but we’ve had this dance before; in fact we had it for nine seasons. It is no longer enough to tease. The time has come where seeing is believing.


It is near impossible for me to be entirely objective when it comes to the X-Files so I warn you ahead of time that my grade will probably be higher than it should be and the truth about THE X-FILES: I WANT TO BELIEVE is still out there for you to discover all on your own. The problem here is that I can’t recommend you pursue this particular truth. Fans will be disappointed but still find a part of their hunger fed but I can’t see any appeal for anyone outside of the fan base. It lacks thrills, chills and the aesthetic of a feature film. I almost wish they had left it all alone but I wanted to believe that Carter could kick-start a film franchise he should have jumped on years ago. Instead, all I believe now is that we can’t go back and forward at the same time.