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  • Lohan, The Simpsons and Southland: Trade Roughage 07/25/07

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    lindsayredback.jpg

    • Brian Lowry has a favorable review of The Simpsons Movie: “Put simply, if somebody had to make a Simpsons movie, this is pretty much what it should be — clever, irreverent, satirical and outfitted with a larger-than-22-minutes plot, capable (just barely) of sustaining a narrative roughly four times the length of a standard episode.”
    • Variety has a loooong consideration of Lindsay Lohan’s future career prospects, as well as an update on the status of Poor Things, the film the rehab rat was scheduled to begin shooting next month alongside Shirley MacLaine. Can Linds make a Robert Downey Jr.-like comeback? The story quotes sales agent Andrew Herwitz, who speculates that Lohan might be able to find redemption in indie film: “She wanted to break free of kid roles, anyway. A lot of indie producers are probably going to be able to cast her in interesting parts because she will actually be reading their scripts. Not a lot of other scripts may be sent to her for a while.”
    • The Hollywood Reporter has a ho-hum quote from Richard Kelly regarding the Southland Tales release date saga, as well as the news that he’ll be making an appearance at Comic-Con to discuss the film.



    Originally posted on:Spoutblog

  • Lindsay Lohan: Is She Judy Garland, or Norman Maine?

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    A Star is Born  (1954)

    lindsay_lohan.pngI *really* didn’t want to do back-to-back Lindsay Lohan posts, but I just can’t pass up an opportunity to talk about A Star is Born. Blame Jeff Wells.

    Okay: back in June, I wrote a column for the Huffington Post, in which I placed Ms. Lohan’s downward spiral in a trajectory of wrecked childstars that possibly began with Judy Garland. I wrote:

    Lindsay and Judy have an awful lot in common. Both were child stars, raised by stage mothers far more interested in their daughter’s fame than in their actual well-being. Judy’s life-long drug addiction began when her mother (in cahoots with Louis B. Meyer) put her on uppers to lose weight; if Lindsay’s mom isn’t actually doing drugs with her daughter, she’s at the very least accompanying Lindsay to clubs and turning a blind eye on her daughter’s substance abuse…[W]hen that letter from the producer of Georgia Rule leaked, all I could think of was Garland’s famous suspension at MGM in the late 40s, which inevitably led to the end of her career in movies. The drugs that kept [Judy] slim and energetic in musicals as a teen and 20-something had taken their toll by her 30s, and through a combination of her declining looks and her inability to show up on time, she became virtually unemployable. She lived out the last decade of her life broke, semi-homeless, and all but forgotten by the producers who made millions off of her as a teenager.

    Four years after Judy Garland was dropped from her MGM contract, she famously tried to make a comeback by producing and starring in a musical remake of A Star is Born. In that film, Garland played an up-and-coming singer/actress whose rise to the top of the Hollywood ladder parallels her alcoholic actor husband’s fall. At the end of the film (spoiler alert!), the husband, whose stage name is Norman Maine, gets arrested for drunk driving and, in an attempt to spare his wife further embarrassment and bother, walks into the ocean. Seen today, with Garland’s drug-fueled demise far in the rearview, A Star is Born plays like a failed attempt on the part of the former childstar to publicly exorcise her crippling demons. Needless to say, that didn’t work; Star also didn’t do much to revitalize her film career.

    As news of Lohan’s latest arrest spread across the web this afternoon, various self-appointed experts have rushed to diagnose the damage done by this incident to Lohan’s career. E! Online speculates that Lohan will almost surely lose a role currently on her slate, and Perez Hilton says (caps, of course, his), “NO ONE is going to want to work with her now. And IF they do hire her, Lohan will most likely be forced to pay for her own insurance on films, which will be VERY COSTLY.” Jeffrey Wells puts it like this (again, emphasis his):

    She can’t be an “actress” any more because there’s no accepting her as anyone other than herself — the dumbest and most arrogant meltdown case in Hollywood history…It goes without saying that she’s become the industry’s youngest-ever Norman Maine. If this was a movie, the classy sad solution would be to walk into the Pacific…and stay there.

    This, just a week after Jeremy Blake, in response to the suicide of girlfriend Theresa Duncan, allegedly did the same thing with a different ocean. Nobody seemed to think Blake’s walk into the Atlantic was “classy”–in fact, a friend of Blake and Duncan told the New York Post that he thought it was “cliche” and “calculated.” But I guess Blake wasn’t famous/famously messed up enough for his walk into the sea to qualify as a career “solution.”

    In other news, Lindsay has a movie coming out this weekend!


    Originally posted on:Spoutblog

  • Kovacs, Toronto, Telluride: Trade Roughage 07/24/07

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    Ghostbusters  (1984)

    • Laszlo Kovacs, the Hungarian-born master cinematographer who shot Paper Moon, Easy Rider and Ghostbusters, has died. A documentary about Kovacs and his friend and fellow cinematographer Vilmos Zsigmond is currently in the works. Above: a clip from one of his most visually stunning works, Martin Scorsese’s batshit-insane 1977 musical New York, New York, via YouTube.
    • The Telluride Film Festival has invited Edith R. Kramer to serve as guest diretor of the 2007 festivities. Kramer served as lead curator at UC Berkeley’s Pacific Film Archive for two decades, and as Telluride’s Tom Luddy notes in this press release, “Her international reputation will result in Kramer bringing movies to Telluride that nobody else could get from archives.”
    • George A. Romero’s latest will debut in the Midnight Madness program at the Toronto Film Festival. The director promises that George A. Romero’s Diary of the Dead is “not a sequel or a remake, it’s a whole new beginning for the dead.”

    Originally posted on:Spoutblog

  • Michael Moore’s Rejected Debate Querie — Clip of the Day

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    Sicko director Michael Moore submitted a question to the CNN/YouTube debate, but it didn’t make the final cut. (Hmmm….wonder why?) After the debates, he posted his question–along with a lengthy explication–at the Huffington Post.


    Originally posted on:Spoutblog

  • An Early Review of the New Al Pacino Movie From Marnie Stern

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    88 Minutes  (2008)

    In late 2005, Jon Avnet (who, it should be noted, is a very successful producer who hasn’t directed a film you might have seen since Fried Green Tomatoes) directed Al Pacino in a “real-time thriller” called 88 Minutes. A trailer for that film seems to have shown up on the web around this time last summer. According to IMDb, 88 Minutes was released on DVD in Brazil this past February and in a handful of other countries theatrically over the course of the spring; the pic’s US release date has been bumped several times, and is now listed as sometime in 2008.

    Perhaps now we know why. In an interview with Pitchfork, indie rock guitar virtuoso Marnie Stern admitted to having recently downloaded “40 or 50 movies” while touring with Hella drummer Zach Hill. “But,” she says, “Every movie is a pile of garbage!” Stern elaborates on one recent download:

    Another movie I saw last night was Al Pacino in 88 Minutes, I don’t even know if it went to the goddamn theatres. He looks unbelievably terrible. Like, in the Rolling Stones category. Dyed hair, he’s over-tanned, he’s really is not looking good at all. And in the movie he’s having sex with 25 year-olds.

    So what do we learn from this little anecdote, beyond the fact that Al Pacino is no longer a credible love match for Alicia Witt or Leelee Sobieski? That studios might as well release dust-collecting duds, because the piracy chain is now so massive that an up-and-coming American rock star is easily able to illegally gain access to a film before any American film critic, and then ultimately tell the Wall Street Journal of hipster websites all about how ridiculous it is? Yeah, I guess that’s all kind of a big deal, but mostly, I’m just really hoping Marnie Stern starts a film blog. In the meantime, you can watch the video for her song “Every Single Line Means Something” above.


    Originally posted on:Spoutblog

  • Four Eyed Monsters’ Arin on Social Networking and Film Exhibition

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    CinematicalIndie has a lengthy interview with Arin Crumley of Four Eyed Monsters fame, and in an unusual twist, Arin has made a video of his side of the conversation, which Cinematical’s Erik Davis has posted alongside a partial transcription.

    Arin and Erik cover a lot of ground–an explanation of how Arin and Susan racked up so much debt, the pros and cons of putting your feature film up on YouTube, the dynamic between Arin and Susan’s business relationship and thier personal relationship–but I was particularly interested in this segment, where Arin talks about the potential role for social networking sites in the distribution/exhibition process. (I swear, I’m not excerpting this just because Arin has a lot of nice things to say about Spout):

    If you look at Spout and the way their site works … one of the ways I use is I kind of organize the films I plan to see…Netflix is no good because that’s just if the film is available on DVD, and some are not available yet. So what I do on Spout, there’s a button next to every film, you search that film, you find it, you hit the button that says I want to see this film. So if you project ahead to either their site, or other sites, or who knows who might build this tool…but the concept of being able to store and publicly share your interest in movies–and if you can also be publicly sharing your location, which of course changes from time to time–there could be an intelligent system that knows what people want to see. And because of digital projection, you could really be showing anything on a screen, you’re not limited to what film prints were mailed to you…theoretically, you should be able to have a theatrical jukebox, where anything can be shown there. It’s just a matter of, “Well, what do people want to see?”

    Transcribing from YouTube is no fun, and the whole interview is really worth ingesting, so just watch it yourself (or, as Arin suggests, listen while you work–it is, after all, about 49 minutes longer than your average YouTube clip). And if for whatever reason you still haven’t signed up for Spout, go here, start a free account, and Arin and Susan will be able to subtract one more dollar from their mountain of debt.


    Originally posted on:Spoutblog