In Contention

Category: Daily

  • Not getting it

    Red West in Goodbye SoloA little over six months ago, I saw “Goodbye Solo,” Ramin Bahrani’s highly regarded fourth feature film, at the London Film Festival. As I said in my capsule review at the time, I found several elements to like in this genial, commendably sincere work — not least a greatly moving performance from 71 year-old former stuntman Red West — but found the whole overextended and dramatically underpowered. Narrative parallels to Kiarostami’s masterful “A Taste of Cherry” did Bahrani’s film no favours in my mind either.

    Anyway, after being mildly appreciative while watching it, I promptly forgot about “Goodbye Solo” altogether. That is, until last week, when its limited U.S. release was greeted with such breathless critical adulation — Roger Ebert and A.O. Scott are just two of the poetically enthusing critics contributing to the film’s lofty Metacritic score of 88 — that I began to wonder if I had lost the plot altogether.

    What resonance have I missed in Bahrani’s slight, bittersweet narrative? Why does the minimalism of “Goodbye Solo” strike me as self-conscious, where the similar approach of, say, “Wendy and Lucy” feels wholly organic? Is it a film that might repay the effort of multiple viewings? All are questions that have run through my head. I was interested, however, to read this Huffington Post piece by Marshall Fine that suggests I’m not the only one scratching my head over this. Calling the film the most overrated of 2009 so far, Fine continues:

    Turgid and uneventful, built around two characters of opposite demeanor whose paths temporarily reach a confluence, Goodbye Solo is another under-paced, under-dramatized film that falls into “neo-neo-realism” category that A.O. Scott went on about at such great lengths in a recent Sunday Times magazine piece.

    Say what you will about the so-called mumblecore school of filmmaking — with its slapdash aesthetic and endless self-regarding conversations — but at least those movies seem to have something on their minds, beyond creating a mood. Goodbye Solo, however, is a thin character study over which critics wank themselves into a state of ecstasy at all the meaning they can superimpose on the film — sort of the way people imagined that the emperor was wearing beautiful clothes.

    (more…)

  • Changes at Variety

    Congrats to Tim Gray, who will be stepping up to take vacating editor-in-chief Peter Bart’s job at Variety.  Bart “will assume a new role as vice president and editorial director of Variety,” this staff article reports.  “[He] will continue to contribute his weekly column as well as his blog and serve as Variety’s ambassador in public venues, on television, on the web and at industry events.”

  • Rourke ringside at WrestleMania

    Ricky SteamboatYeah, I shelled out the cash this evening to see WrestleMania 25, which might mark some skewed end to the 2008 Oscar season with Best Actor nominee Mickey Rourke’s decision to participate after all (news reported last month).  First pay-per-view in a decade.  Guilty.

    Anyway, I haven’t been keeping up with the WWE so forgive me if you have and are very much up on the story, but it seems the whole thing has been spun into a pretty good (as sports entertainment angles go) Chris Jericho versus the legends of wrestling kind of thing.  Tonight Jericho finds himself in a one against three handicap match with “Rowdy” Roddy Piper, Ricky “The Dragon” Steamboat and “Superfly” Jimmy Snuka.  Three dudes who wear their nicknames on their sleeves.  Jericho is valiant.

    Rick Flair is in their corner, by the way.

    So Rourke is at ringside.  He gave a few hugs to the vets on their way to the ring but he looked a bit agitated with the whole scene right before that.  Maybe a run-in was in the cards…

    Piper and Snuka were eliminated pretty fast.  But Ricky Steamboat held in there, which to an old fan of these shenanigans (and as a guy who grew up in North Carolina where Steamboat is kind of the shit), was kind of cool to see.  But Jericho won out in the end, fair and square.  Flair, of course, ran in to avenge his buddies but was also made short order of.

    On cue, Jericho grabbed a mic, mouthed off to the audience about “erasing the Hall of Fame wash-ups forever” and called out Mickey Rourke point blank.  Well, he demanded an apology, which he didn’t get.  Further mouthing got Rourke out of his seat and into the ring.  The old boxing stuff came out and Rourke got a few quick pops to start before landing a left hook that decked Jericho and…

    …that was it.  Flair hopped into the ring, raised Rourke’s s hand, Jericho slumped off and that’s the victory lap on this performance I guess.

    (Oh, and Rey Mysterio Jr. came out with a mask and face paint in homage to Heath Ledger’s Joker from “The Dark Knight.”)

  • Thoughts on ‘The Burning Plain’

    Charlize Theron in The Burning PlainI’ve been meaning to review Guillermo Arriaga’s directorial debut ever since I saw it two weeks ago, but for some reason, my thoughts on the film just won’t settle into place.

    It’s not a case of the film being particularly challenging or impenetrable — it’s Arriaga’s most structurally simple work to date, and arguably his most middlebrow too. I am, however, having trouble gauging precisely what the renowned screenwriter’s aspirations for the project were.

    If his intention was to make a searching character study for an arthouse audience, one that examines the occasionally mirroring intricacies of mother-daughter relationships from opposite ends of a slow-burning narrative candle, I’d have to deem the film an ambitious misfire, one that is too transparent in structure and thin in characterisation to bear the weight of its literary tropes.

    It is possible, however, that for his first outing in the director’s chair, the creator of such opaque, thematically dense narratives as “Amores Perros” and “21 Grams” was looking to safely downshift gears by making a tasteful, intelligent mainstream melodrama, one that operates more as an actors’ showcase than a writer’s (or filmmaker’s) platform. If so, the “The Burning Plain” — a generally compelling, well-crafted piece graced with a focused, charismatic trio of female performances — largely fulfils such a brief.

    (more…)

  • Fox shows Friedman the door after ‘Wolverine’ review

    As stunning as it is, the studio has made the right call regarding gossip columnist Roger Friedman’s decision to publicly admit to downloading the recently leaked copy of “X-Men Origins: Wolverine” and, worse, review the film in his Fox 411 column.

    Nikki Finke has the scoop:

    I’m told that Fox News’ actions were swift and severe. Roger Ailes, who overseas Fox News, deleted the offending post after he was contacted by 20th Century Fox, and then fired Friedman as a freelance Fox News entertainment writer. I hear the move was done with the full support of News Corp. “He promoted piracy. He basically suggested that viewing a stolen film is OK, which is absolutely intolerable. So we fired him,” a source told me Saturday. “Fox News acted promptly on all fronts.”

    Let’s hope the source holds water.  Finke has come under considerable online peer scrutiny over the past two weeks.

    Read more about the commotion here.

  • Fox condemns Friedman’s ‘Wolverine’ review

    The following statement was issued by the studio:

    We’ve just been made aware that Roger Friedman, a freelance columnist who writes Fox 411 on Foxnews.com – an entirely separate company from 20th Century Fox — watched on the internet and reviewed a stolen and unfinished version of X-Men Orgins: Wolverine. This behavior is reprehensible and we condemn this act categorically — whether the review is good or bad.

    What’s humorous to me is the amount of people calling for Friedman’s job due to the “criminal” nature of his actions who actually downloaded the film themselves and have admitted as much, more or less, in print.  Double standards all over the place.  You know if your conscience is clean or not.

  • Questionable to say the least

    Unless you’ve been under a rock, you know that earlier in the week, a work print of Fox’s “X-Men Origins: Wolverine” was leaked online and downloaded hundreds of thousands of times.

    The story hasn’t gone away for many reasons, chief among them the slow news week, I’m sure (which David Poland bemoans here).  But even with that having been said, New York magazine’s decision to post images from and commentary on the work print is deplorable to say the least.  I understand the blog’s desire to stay “hip” and maintain that characteristic snarkiness, and sure, it’s a funny post.  But how is this okay?

    Worse, Fox’s own Roger Friedman had the balls to actually review the film.  It’s already unbelievable that guy has a job to begin with, but Jesus.

  • Great performances in bad movies

    Tim Roth in Planet of the ApesIt happens, sometimes when a really fine actor manages to give a brilliant performance in a terrible or weak film, a diamond in the rough. In fact, some of the best actors working have shone brightly in bad films as far back as the 1940s, though I will focus on the 1970s to present day here today.

    For whatever reason the respective film fails: perhaps the writing was weak, the direction went horribly wrong, or all the ingredients needed to make a great film, hell even a good film, simply were not there. Yet a single actor did everything right, understood their character, understood the impact they needed to make in their scenes and they give a superb performance despite his or her surroundings.

    Look at Bruce Dern in “The Great Gatsby.”  Here we have an exceptional actor in one of the roles of his career.  He WAS Tom Buchanan, elevating every single scene he was in with sheer presence. Jack Clayton’s direction was lumbering, Robert Redford was woefully miscast and Mia Farrow? Please.  (The single burning question we need to ask ourselves is what about Daisy attracts Gatsby when he can now have anyone — she doesn’t appeal on that level.)

    Dern radiates the sort of danger Redford needed to have in the role of Gatsby, but is far too good as Tom to even think of him in a different role here.  The lead really should have been Jack Nicholson.  Can you imagine the sparks between him and Dern?

    Perhaps one of the best performances ever given in a bad film was Morgan Freeman’s breakthrough in “Street Smart,” portraying a vicious pimp using a journalist portrayed by Christopher Reeve to get off a murder rap without realizing that he too is being used. Freeman is brilliant, all smiles and kindness, the sort of guy you would like to hang out with until his temper flares (to say the least). With just a few moments of screen time he gave an unforgettable performance as Fast Black.

    (more…)

  • Is Clarkson one to watch for ‘Whatever Works?’

    Evan Rachel Wood and Patricia Clarkson in Whatever WorksAs Penélope Cruz, Dianne Wiest, Mira Sorvino and assorted nominees over the years can attest, if you’re an actress hungry for some awards attention, you can do a lot worse than take a supporting role in an (at least) halfway decent Woody Allen film. (Unless, of course, you’re Scarlett Johansson, who’s still holding an IOU for her startling work in “Match Point.”)

    Allen’s latest, “Whatever Works,” has just been unveiled at ShoWest, and while much of the advance speculation has been centred on leading lady Evan Rachel Wood, I’ve heard a couple of informal reports that, in accordance with the aforementioned trend, Patricia Clarkson could be the story here. Which wouldn’t be a surprise, of course; she’s a great actress, and the film apparently gives her a chance to play entertainingly against type.

    Judging from this faintly spoiler-ish description from a contributor at Nat Rogers’ Film Experience site, it sounds like a pretty showy role:

    Patricia Clarkson storms into the movie after approximately 40 minutes, and plays a role in many ways comparable to Penélope Cruz’s tempestuous Oscar-winning Maria Elena. While I was initially skeptical of Allen’s treatment of Wood as a young Lolita, Clarkson actually plays the much more sexualized character. After showing up on Boris’s doorstep in a hot pink ensemble (scrunchy included!) fit for the Southern pageant circuit, she is quickly awakened to the culture of New York … Her character transitions from praising Jesus to opening an exhibit of nude collages. Clarkson is dynamic and sexy and once again demonstrates her unbeatable range. I don’t think it is any stretch to consider her worthy of this year’s Oscar race.

    (more…)

  • Eckhart to join Kidman in ‘Rabbit Hole’

    Aaron EckhartNow this, to my mind, is a star pairing that really makes sense. Nicole Kidman has been attached for some time to star in the screen adaptation of “Rabbit Hole,” David Lindsay-Abaire’s stage play that was awarded the 2007 Pulitzer Prize for Drama. Aaron Eckhart is now reportedly in talks to play opposite her.

    The project represents a major dramatic opportunity for both stars: the play, which is said to be funnier than the thematic material suggests, revolves around a happily married couple forced to re-evaluate their relationship when their young son is killed in car accident. Cynthia Nixon (who won a Tony for her efforts) and John Slattery originated the roles on Broadway — I guess it’s fair to say the casting has been prettied up for film, but what’s new?

    Personally, I’m excited at the prospect of Eckhart getting a role with some significant emotional range to tackle, and for some reason, I imagine his everyman quality and Kidman’s nervous reserve complementing each other nicely. Kidman, meanwhile, continues to choose the most interesting projects but it’s been a while since she had a really meaty dramatic lead in this vein — I’d love to see her pull something sufficiently riveting out the bag to stem the (unwarranted, in my opinion) backlash against her.

    Meanwhile, the project may be an even more intriguing proposal for its director than for its stars. John Cameron Mitchell’s “Hedwig and the Angry Inch” and “Shortbus” have won him a legion of admirers, but this promises to be a very different kettle of fish from those gleefully in-your-face efforts. I’m intrigued to see what he does with more muted material that he hasn’t originated himself. (Lindsay-Abaire will be adaptating his own work.) One to watch, for sure.

  • Cannes-bound?

    With the “news” (which has, of course, been common knowledge for the better part of a year) that Quentin Tarantino’s “Inglourious Basterds” is set to compete at Cannes, it’s time to start contemplating what else might appear in the festival lineup.

    For my money, one of the safest bets has to be Ken Loach’s latest, “Looking For Eric.” A comedy centred on a working-class football fanatic who receives life coaching from legendary French footballer Eric Cantona, it looks like a refreshingly fanciful departure for a filmmaker celebrated usually for bleaker social-realist fare. That may not exactly sound like a festival gimme, but it’s been almost two decades since a Loach feature didn’t compete at one of the three major European fests — Cannes being the most hospitable of his work.

    Loach has an enviable track record at the Croisette — though 2005’s “The Wind That Shakes The Barley,” which finally netted him the Palme d’Or after eight attempts, never really caught on after the festival. The chirpy teaser below suggests to me that “Looking For Eric” may find more of an audience, even if it’s less award-friendly than previous Loach efforts. (Thanks to commenter Han for the tip.)

  • Us west-coasters won’t have to wait three hours for the Globes next year

    This is good news, though maybe some smart chap involved with the HFPA finally caught on that web streaming was stealing their west coast thunder last year.  It’s always been quite irritating that the Oscars don’t mind landing outside of prime time out here while the Globes remained archaic about it.  Now if only the SAGs would follow suit.

    From Brooks Barnes’s Carpetbagger post:

    The Golden Globes have a date for next year’s awards.

    The Hollywood Foreign Press Association announced Thursday that the 2010 Golden Globes ceremony will take place on Jan. 17 – a week later than this year. And for the first time, the show will be aired live nationwide.

    Usually, viewers on the West Coast have to wait until prime time to catch the festivities (unless they are friendly with a network executive who has a live feed) but the Internet has made the tape-delay practice unpractical.

  • Pixar on Blu-ray…whither ‘Nemo?’

    Probably the most beautiful films to watch on high definition are animated films, and at the very top of that tier, Pixar’s lot looks astounding.  I own each of the available titles (yes, even “WALL-E,” much to the shock of those who still think I hated the film).  But so far it’s just “Cars,” “Ratatouille” and the Pixar shorts collection joining last year’s lovable robot in the Blu-ray bin.

    The studio recently announced the May releases of “A Bug’s Life” and “Monsters, Inc.,” but where the heck is Pixar’s crowning jewel so far: “Finding Nemo?”  Ditto “The Incredibles,” which is still, mind you, the only animated feature film to win more than one Oscar outside the formerly easy-to-score music categories.  I popped “Nemo” in the ole’ PS3 the day I got the machine and even on regular DVD, those blues and greens of the ocean environment look amazing.  But I’m ready for the real HD deal, dang it!

  • Red band ‘Bruno’ trailer lands

  • Angry/sexy

    And Hope Davis… well… I have always liked watching Hope Davis’ work, but I haven’t always understood how directors saw her in some of the roles she’s played. Something like American Splendor is character work… terrific. But there has always been a kind of angry, sexy blond thing that I could see that directors saw in her, but I never really got it. To see her throw herself around the stage here… fearless… and showing herself to have a body that you would expect to see gracing the pages of Maxim. After years of watching her work, a serious actress, I must admit that it came as a real surprise to me.

    From David Poland’s recent comments on the New York stage production of “God of Carnage,” which I touched briefly upon two weeks ago.  I’m glad someone else recognized this fireball.

  • POLL: Which summer blockbuster are you most anticipating?

    Thanks to BJT for getting my creative juices flowing here.  But as we head into the summer months, let’s find out what the readership is most anticipating in the arena of blockbuster entertainment.  Let us know your thoughts in the sidebar poll.

  • Give me an idea for a poll…

    Obviously the old one is stale.  I got nothin’.  What do you think?

  • Casting news galore

    Michael ShannonLots of acting decisions being made today.  Despite the “holiday,” it’s all legit, too.  Well, I can’t vouch for /Film’s points us to the news that a trio of thesps joining Christopher Nolan’s “Inception” (each of them listed as “in talks”).  According to Variety, Cillian Murphy, Marion Cotillard and Ellen Page are circling the project (and I’m dying to get my hands on that script, by the way).  I wouldn’t mind seeing these three pan out.

    Elsewhere, Michael Shannon joins Mickey Rourke as the second of this year’s Oscar nominated acting class to sign up on a comic franchise.  Shannon and “Arrested Development” star Will Arnett have both been cast in Jimmy Hayward’s “Jonah Hex” among an ensemble that already includes Josh Brolin (in the title role), John Malkovich and Megan Fox.

    I’m stoked for Shannon even without knowing the specific role he’ll take in “Hex.”  Knowing the world of that comic book series, however, I expect he’ll find a nice home for one of his trademark off-kilter portrayals.  Arnett is a weird fit but, well, we’ll see.  I just want the movie to be good.  After “Watchmen,” studios will likely start scrutinizing the wisdom of comic book adaptations.  I don’t want something like “Hex” to come along, screw the pooch and do the very same thing to westerns.