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  • Adam Resurrected Camp Mounting Oscar Campaign

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    Adam Resurrected  (2008)

    Remember Adam Resurrected, the Paul Schrader-directed, Jeff Goldblum-starring film that Paul saw at Telluride which made him admit to wanting “to make out with Jeff Goldblum in the back of his Toyota Prius”? I got an invite for a press screening for the film a couple of hours ago, which I thought was weird, because the last I heard, the film didn’t have distribution. Now Mike Jones at The Circuit has posted an item that solves the mystery: it looks like Bleiberg Entertainment, the company that financed the film, have decided that rather than wait for a distributor to pick it up and miss this Oscar season, they’ll fund a qualifying run for the film in New York and LA themselves.

    Jones says producer Ehud Bleiberg was “unhappy with the offers he received after the pic’s Toronto fest screening,” Bleiberg himself implies that if any of those offers were promising in other respects, they didn’t include a timely release or support for an Oscar campaign. “Why would we screen the film at Telluride and Toronto and release it a year later,” he asks rhetorically. Considering that Goldblum’s performance is apparently so good that it propells heterosexual Midwesterners to contemplate the actor as an object of physical (and eco-friendly!) love, that question seems eminently reasonable.


    Originally posted on:SpoutBlog

  • Nightmare Before Halloween. Clip of the Day

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    Today’s video is a brilliantly simple mash-up: The Nightmare Before Christmas meets the song “Halloween”, by everyone’s favorite goth-punkers, The Misfits. The attempts to sync the lyrics with characters’ mouth movements are only so-so. But what makes the clip really work is how the tempo of the song highlights the kinetic energy of the film.

    The Nightmare Before Christmas, while being a widely-loved family film, never betrays its spooky aesthetic. “Halloween” by The Misfits is decidedly less kid-friendly, with lines like, “This day anything goes / Burning bodies hanging from poles / I remember Halloween.” But there is an undeniable kick to the beat that makes it feel celebratory.

    For more upbeat Misfits fun, check out the video for their cover of The Cryptkickers’ classic The Monster Mash. It’s cut together with stop-motion animation from the 1969 Halloween special Mad Monster Party.


    Originally posted on:SpoutBlog

  • Today in Ratings Board Iniquities: Wendy and Lucy Gets an ‘R’

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    The Box  (2009)

    Wendy and Lucy  (2008)

    Admittedly, I haven’t seen Kelly Reichart’s Wendy and Lucy since Cannes. But I’m still going to stand by the contention that it seems just a little weird for a film about a girl and her dog–nudity-free, with some moments of tension but very little violence as I recall–-to receive an R rating (for “language”), while Richard Kelly’s horror film The Box, said to contain “some violence and disturbing images,” gets a PG-13.

    This is probably not worth getting upset about. I’m not even sure if cutting off a teenage audience will really hurt Lucy’s theatrical success––Michelle Williams’ adolescent fan base has had a good five years to come of age since Dawson’s Creek, although one does imagine that there are a lot of teenage girls following the actresses seemingly unwanted appearances in the tabloids. But at least, it’s testament to that old chestnut about how Hollywood productions have an unfair edge over indies in the ratings game. If anything, Kelly was probably contractually obligated to deliver a PG-13 and engineered his cut of The Box to comply, while Kelly Reichart, who made Wendy and Lucy without a distributor on board, simply made the film she wanted to make. Too bad she had to put so many swear words in it.


    Originally posted on:SpoutBlog

  • The Sexiest Vampire Movie Ever: Daughters of Darkness

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    Most vampire movies suck like most porn, the pleasures of the flesh drained of all life. Fortunately there’s Daughters of Darkness, starring the intoxicating Delphine Seyrig as the blonde, femme fatale Countess Elizabeth Bathory. Harry Kümel’s very-70s flick is a sexy roundelay akin to Radley Metzger’s 1973 soft-core Score, only in this case the hungry horny couple are the blood lusty Countess and her secretary/lover/protégé Ilona Harczy played by Andrea Rau (with lips to rival Angelina Jolie’s – someone get Brangelina a vampire movie already!), looking like a knockoff Lulu with her flapper haircut. The objects of their carnal obsession, newlyweds Stefan (John Karlen, resembling a cross between Michael J. Fox and Andrew McCarthy but, alas, born a decade too early for a John Hughes film) and Valerie (Danielle Ouimet — think Elke Sommer with a French accent) may be unwitting, but Stefan especially is far from innocent. Which gives the standard vampire set up of Daughters of Darkness a compelling mystery twist.

    And also like Metzger’s Score, Kümel’s film is a sumptuous melodrama with a thumping sexual vibe through and through. The tone is set right from the start: an appropriately blue-hued sex scene, jump cuts from Valerie’s ecstatically grasping hand back to naked entwined torsos, Stefan virtually devouring his young bride, burrowing his head into the heaving flesh of her chest, going for the jugular without drawing blood. The entire atmosphere of the film is steamy, as visceral as the Florida summer of Body Heat. From the rising and falling suspense string score to the lush, sensuous colors and velvet fabrics of the European resort, as cavernous and creepy as the Overlook Hotel; from the fluid camerawork, the grand high angle and long shots, the noir shadows, the close ups on Seyrig’s flawless face, a playful pixie vixen, nails and lips forever painted blood red.

    And boy does Seyrig work those feline fingernails. Even as Stefan dodges introducing Valerie to his disapproving and mysteriously elusive mother, the Oedipal layers run deep. Countess Bathory, placing herself behind Stefan seated in a plush armchair in the front parlor, practically seduces the young man with her hands, fingers dancing along his sweater-clad chest, intimately rubbing his arms, as she and the rich playboy wax rhapsodically about the historical torture and ritual murder of virgins for blood, eyes closed in ecstasy (and both ignoring Valerie as she begs, “Stop! No! Stop!,” attempting in vain to break the hypnosis). The few actual sex scenes pale in comparison to this hot-blooded, erotic encounter.

    Yet even golden ingénue Valerie is a bit of a pervert at heart. “You actually enjoyed seeing that dead girl’s body,” she accuses Stefan, explaining why she suddenly fears him as they ride the bus back from Bruges where they just happened to witness the coroners removing the corpse of the latest throat slashing victim. “Just like you enjoy telling me,” Stefan snaps back. “We’re getting to know each other,” he adds before brushing away her hand – that is now reaching for his crotch!

    Daughters of Darkness seems to say that even the most innocent among us are less than saints, thus ripe for evil’s picking. “I’m just an outmoded character,” the Countess sighs as her silver sequin, mirror ball dress catches the light, defiantly shooting rays at the camera. Though the sly smile on her lips suggests otherwise, that inside every virgin lurks an insatiable slut – and, of course, that vamps never go out of style.

    Watch the first 8 minutes of Darkness above. There are more clips from the film on YouTube. Images via Cat Party and Taliesin Meets the Vampires


    Originally posted on:SpoutBlog

  • Judy Blume Movies: Casting Call

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    I was reading Diablo Cody’s recent article in Entertainment Weekly about her love for Judy Blume, and started wondering why there haven’t been any movies made from anything she’s written. Earlier this summer my friend Jen Jones published a biography of Judy Blume, and when I rang her up about any Judy Blume films, she confirmed my fears: she’d been relegated to the world of made-for-TV movies and development hell.

    Blume signed a multi-picture contract with Disney way back in March of 2004 (The New York Times talks about why it took so long), and since then we’ve neither seen nor heard a glimmer about the Deenie movie that was supposedly in development, nor anything about her other books. So in an effort to prime the pump, we’re going to present our top five dream casts for five of our favorite Judy Blume books. Check them out after the break.

    Tales of a Fourth Grade Nothing

    Although you might have to either figure out a way to de-age him, or make this film back in 1998, but Michael Cera would be a shoo-in for Peter Warren Hatcher. As both the narrator of the book and the subject of much torment at the hands of his brother Fudge, he’s the perfect innocent kid who never quite manages to handle (or surpass) the popularity of his turtle-swallowing sibling. Plus, we’re offering you a truly inspired CGI-tastic Superbad reunion here. Read on.

    • Michael Cera as Peter Hatcher. Michael Cera, the perfect kid that everyone was (either on the inside or outside) in elementary school. Despite everything going wrong for him, you still pull for him and hope that he’ll lose his morals and sock Fudge at some point, yet he always keeps his cool. They digitally grafted Mike Myers’ head onto the body of a kid for The Love Guru…let’s make it work in a funnier movie.
    • Jonah Hill as Fudge Hatcher. Likewise, remember the CGI process they used to superimpose Marlon Wayan’s face onto a midget/baby in Little Man? Yes, the movie was godawful, but the technology is almost there. If they could slap Jonah Hill’s face onto a three year old kid, then you might have something here. Cera and Hill, together again. Think about it.
    • Gilbert Gottfried as the voice of Uncle Feather. He’s already played a talking bird before in Aladdin, so he’s go the chops and the annoying voice to go along with it.

    Are You There God? It’s Me Margaret

    My mom found this book in my backpack when I was 12 or 13 years old, and I never heard the end of it. “Boys shouldn’t be reading about these kinds of things!” But would she object so hard if it was a big Hollywood movie? Margaret’s a vulnerable, serious girl who struggles with puberty and we’d want to reach beyond the Gossip Girl crowd to get someone with real acting legs in this role. I always thought Natasha Lyonne did a great job in The Slums of Beverly Hills, which is pseudo Margaret-esque. But she’s a bit too old for the role, and also she went nuts awhile back.

    • Georgie Henley as Margaret. She’s only 13 years old, so it wouldn’t be a huge stretch for her to pass as eleven. She’s also cute as a button, but can look pretty darn serious when she needs to, like during long conversations with God. So far she’s only been in the Narnia films, but she’ll need to shake the stigma of Lucy sometime, and this would certainly do it.
    • Madeline Martin as Nancy. Martin plays the darkly goth and starkly serious Becca Moody on Showtime’s Californication, and she’s got the chops to play Nancy as well. We’d like to see her as a slightly more outgoing teenage who befriends Margaret, and becomes one of her closest confidantes. Plus, she’s the perfect poster girl for pre-teen angst.

    Blubber

    Long before there was Mean Girls, Blubber tread the territory of bitchy girls in elementary school (forget high school, these kids start early), and showed us how to handle a bully. Plus, in the day and age of positive body image and embracing one’s true self, corporations would fall all over themselves for marketing campaigns, tie-ins, and advertising for this one. Entire lines of Blubber clothing for plus-sized girls, Blubber-Size It! fast food promotions, and more.

    • Allie Grant as Linda. She’s young, she’s funny, she’s charming, and she’s already been playing a plus-sized model on Weeds, so she’d be perfect as the weight-challenged Linda. Not that any young girl wants to fill out her resume by playing a character nicknamed “Blubber,” but she’d be great for it.
    • Dakota Fanning as Wendy. Dakota’s all grown up now, and she’s primed to shed that “gee-whiz-look-how-cute-I-am” image. I can’t think of a better way for her to do that than playing a bitchy teenager who gets her kicks making fun of chubby kids and slinging racial slurs.
    • Abigail Breslin as Jill. Little Miss Sunshine isn’t so sunny when she’s bashing Linda as one of Wendy’s lackeys. But she stands up to Wendy and her bitchiness and changes her ways, which makes her the most dynamic character in the book. This movie needs the audience to root for the little girl who could, and Abigail brings a bucketful of charisma that’s perfectly suited.

    Forever

    High school teenagers are just as obsessed with sex today as they were in 1975 when Blume first published this book. How many different ways can we follow a character while they hope to lose their virginity? It’s easy when the characters are touching, and one of them has named his penis Ralph.This book has often been banned from libraries for being too racy (along with several other Blume book) but it confronts both sex and relationships in a straightforward way that doesn’t talk down to teenagers.

    • Emma Watson as Katherine. Emma, it’s high time you shed the image of yourself as Hermione Granger, because that Harry Potter wellspring is going to dry up soon. What not in the part of a young girl losing her virginity? There won’t be a magic spell, broomstick, or flagon of pumpkin juice in sight, and audiences would love to see her in something new.
    • Michael Cera as Michael. He’s so perfect that we’re making a major listicle faux pas by putting him to use twice in this list. It’s virtually impossible not to think of Michael Cera in this role, because he’s both innocent and goofy at the same time. He gets to show off his charming side while he woos Katherine, and then his emotional side when she dumps him. Plus, I could easily buy him naming his penis Ralph. Done deal.

    Deenie

    Yet another banned Blume book, this time because it talks about teenage girls-*gasp*-masturbating, and features more frank talk about menstruation. Deenie is another foray into the world of sex and relationships for Blume, with slightly younger characters than Forever. Plus it has great family drama, with the mother pushing the brainy sister to be academic, while at the same time grooming Deenie to be a model.

    • Flora Cross as Deenie: She’s 15 years old, which almost puts her on target. She’s a great actress without being all Hollywood glam, and did a good job with drama in Bee Season. She also loves Bette Davis…which is a terrifically odd choice for someone her age. We salute that.
    • Ellen Page as Helen: Deenie’s older sister is the brains in the family, and her mother keeps pushing her to be a lawyer or a doctor. Put some librarian glasses on Page, and you’ve got a braniac older sister with charm, who manages to woo a boy in the family business.

    ______________________
    Every week Kevin Kelly will look at different writers whose books should be turned into films, films that were much better as books, or books that should never be turned into films upon pain of death. We’ll also talk about book to movie trends and deals if anything interesting happens. If you have ideas for future Hollywood + Books columns, let us know in the comments.


    Originally posted on:SpoutBlog

  • Milk, W, and the Value of Noise

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    Milk  (2008)

    On Monday night, The Hollywood Reporter published a story questioning Focus Features’ marketing plan for Milk, Gus Van Sant’s biopic on the country’s first openly gay elected official who was famously assassinated by a colleague in the late 70s. The story suggested that by “keeping its awards contender out of fall fests and heavily restricting media screenings,” the studio is deliberately trying to avoid any kind of partisan publicity (positive or negative) that could damage the film from reaching a mainstream audience.

    Focus chief James Schamus was, apparently, pretty upset by the story, particularly considering that it was timed to hit the web just under 24 hours before Milk’s premiere, a benefit screening at the Castro Theater in San Francisco. He’s written a letter to the editor of THR, which Eugene Hernandez posted on his blog last night before the Milk screening. The gist: Milk wasn’t ready in time for fall festivals, they don’t have enough prints yet to do widespread screening but they will, the entire internet has been going batshit crazy for the trailer (”probably the most inspiring piece of movie marketing about genuine (as well as out) politics ever created”) for over a month, and not only has Focus not avoided political attention but they’ve bought tons of ad space on The Huffington Post and NPR.

    If the issue was whether or not Focus is actively trying to create “noise” around Milk, then Schamus’ defense seems solid enough to lead to the conclusion that THR got that part of the story wrong. But the issue might not be the quantity of noise, but the brand of noise.

    When I went back and read the Reporter story after seeing Eugene’s blog post, one section popped out at me:

    “The best way to help this film win over a mainstream audience is to avoid partisanship, and the best way to avoid partisanship is to let people find out about the film from the film itself,” one person involved with the Sean Penn starrer described the gambit. Giving up word-of-mouth to avoid hot air is not a typical trade-off — notice how Lionsgate effectively flogged politically charged movies like W. and Religulous — but it’s one Focus is willing to make.

    There’s nothing in Schamus’ response that would suggest that the company is looking to milk controversy from the reactions of natural opponents to Milk, the way the story suggests Lionsgate has. But how effective has that “flogging” really been? Religulous is certified hit, but with Bill Maher, Lionsgate couldn’t have put together a non-partisan campaign if they tried. Meanwhile, W. is a financial disappointment in spite of a massive ad campaign that wedged Josh Brolin’s mugging impersonation into every primetime MSNBC break. And yet, the only controversy surrounding its release was the lack of controversy; more than one critic noted the film’s lack of bite, and even the Rush Limbaughs and Bill O’Reillys of the world complained, but weren’t sufficiently threatened to issue a boycott. Oddly, no one on the right seems to be as angry about the movie as one of it’s famously lefty stars. Check out this clip of Richard Dreyfuss (W.’s Cheney) on The View, in which he calls Oliver Stone “a fascist,” compares working with him to working with Sean Hannity, and complains about W.’s ending. Is Dreyfuss really using the ladies’ morning talk show to air his nagging grievances, or is Lionsgate going the last-ditch, reverse psychology route, creating a controversy around a film that wasn’t controversial enough on its own?

    If just positioning a film as potentially politically controversial isn’t enough –– to the point where controversy has to be manufactured –– wouldn’t Focus be better off keeping their noise as NPR friendly as possible? But in speaking to their base (ie: opening in San Francisco where Harvey Milk is a local hero, advertising to highbrow liberal media consumers) rather than trying to rile reaction from the other side, maybe Focus actually knows what they’re doing?


    Originally posted on:SpoutBlog