In Contention

Blog

  • CONTEST: Win a ‘Tree of Life’ poster

    I’ve had this poster for Terrence Malick’s “The Tree of Life” sitting in a tube in the office for weeks now. Since I don’t really have space for it on the wall, and seeing as it’s a bit fresh given the on-going roll-out of the film in theaters, I thought I’d offer it up in a new contest.

    “Tone poem” is a term often used to describe Malick’s work, so I thought we’d go with another haiku contest (as always, courtesy of Sasha Stone at Awards Daily who does them often). So offer up your best Malick-themed haiku (5, 7, 5 syllables, remember) and the cream of the crop wins. You can do something built around his work or around the film itself, up to you.

    Let’s give this, oh, until the end of the week. So midnight (PT) Friday is the cut-off. Ready, set, GO!

    [Photo: Fox Searchlight Pictures]

  • ‘A Dangerous Method’ UK trailer

    Yesterday, news dropped of the Venice Film Festival’s opening film; now, with the first look at David Cronenberg’s Lido-bound latest (courtesy of Empire), the autumn festival season is starting to feel alarmingly close. Given the hot cast and the highbrow material, many have been pegging this as a likely Oscar player, despite the fact that Cronenberg (even in period dress) has never caught the Academy’s fancy. My personal hope is that the film is as Oscar-unfriendly as possible — after two accomplished but straightforward genre spins, I’d love to see the director tap into his kinky side again. As is my usual practice these days, I’m not watching the trailer, so I’ll just have to wait and see. You, however, can share your thoughts below. Click the image below to take a look or watch an embed after the jump.

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  • Beatty got back

    Usually, the news that someone is about to write, direct, produce and star in some film of no clear description for Paramount wouldn’t seem particularly worthy of notice until the parties involved release a few more details.

    But when the “someone” in question is 74 year-old Warren Beatty, the one-time Hollywood monarch whose name hasn’t appeared on screen since 2001 (as an ensemble member of all-star embarrassment “Town and Country”), it’s hard not to get curious.

    With Beatty not having steered a film of his own since 1998’s “Bulworth” — the fascinating but frustratingly scattershot political satire that never found a place in the popular imagination, despite netting him a writing Oscar nod and arguably featuring Halle Berry’s strongest performance — there’s likely a generation or two with little concept of what an industry force the man was across four decades. (Perhaps more enduring, on the pop-culture scale, is his reputation as Hollywood’s most storied lothario, though Annette Bening put a stop that 20 years ago.)

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  • Clooney’s ‘Ides of March’ to open Venice fest

    Once again this year, Guy will be covering the Venice Film Festival while I’m up in the Colorado mountains catching this and that at Telluride. Today, via Variety, the former’s opening night film has been announced:

    George Clooney’s “The Ides of March” has been tapped as the opening film of the 68th Venice Film Festival on Aug. 31. Fest hasn’t made an official announcement but a source not authorized to speak for the event confirmed the selection Monday. Sony’s dated the political thriller for an Oct. 7 limited release.

    Clooney directed from a script he co-wrote with Grant Heslov. He also stars in the film, which is based on the Broadway play “Farragut North,” written by Beau Willmon.

    It goes without saying, this one could be a big player on the circuit this year. Which reminds me, mark your calendars because July 4 I’ll finally dip my pen in the prediction ink this year with a new column and reassessment of the Contenders section.

    [Photo: Columbia Pictures]

  • ‘Lion King’ Father’s Day PSA

    The film will be re-released theatrically in 3D September 16 with an October 4 Blu-ray and DVD Special Edition close behind (trailer after the jump). Meanwhile, speaking of today, I figure I’ll shout-out a two-year-old list to commemorate.

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  • BOX OFFICE: ‘Lantern’ lights the way

    I imagine $52 million for the “Green Lantern” start is lower than WB was hoping for out of a potential franchise-starter but solid enough given the critical thrashing (and seems about right for the film). I totally forgot “Mr. Popper’s Penguins” was coming out this weekend, and so did most others, it seems. “Midnight in Paris” expanded wider than any Woody Allen film to date and keeps chugging, while “Super 8” had a pretty good hold.

    (Courtesy: Exhibitor Relations)

  • So we closed our eyes and said goodbye

    I remember the first time I saw Bruce Springsteen and the E Street Band vividly. I was late to the party. Springsteen’s music — still one of my earliest childhood memories — had been thrilling fans for decades before I finally saddled up to what is probably the greatest live show in the business (for my money — money I’ve spent six times since, once in London). But I actually took something pretty specific away from that night.

    The lights dimmed and then it hit: a long, slow, nuanced saxophone build-up to “The River.” It was beautiful. It was haunting. It was emotional, tender and, above all, spiritual. The very same show solidified for me what is still my favorite Springsteen track — “Spirit in the Night,” from his debut album, “Greetings from Asbury Park” — and that can be attributed in a big way to to the frolicking saxophone that dances through the story of that song. And now, the voice, the breath, the man behind that instrument has been taken from us.

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  • Weinsteins announce release dates for winter bait

    Harvey Weinstein has never been one to put much faith in the length of Academy voters’ memories, so as usual, he’s favoring a late-year release plan for his presumed awards contenders — the prospects of which I was discussing only the other day.

    Thanks to Coming Soon’s Ed Douglas for pointing out the newly announced release dates for his holiday-season prestige slate. You won’t be surprised to hear that it’s November and December down the line: “My Week With Marilyn” is first to go forth on November 4, followed by “The Artist” on November 23, “Coriolanus” on December 2, “W.E.” on December 9 and “The Iron Lady” on December 16.

    You can read as much or as little into this schedule as you like, though it’s worth noting that none of them are bowing as late as last year’s Weinstein Company property “Blue Valentine,” the perilously tardy post-Christmas release of which was widely blamed for a meager awards showing — with more time for glowing critical buzz to build, Ryan Gosling and writer-director Derek Cianfrance could arguably have stood a better chance of joining Michelle Williams in the nominee circle.

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  • New AMPAS invitees include Sorkin, Hooper… and Beyoncé

    The annual announcement of the new members invited to join the Academy of Motion Picture Arts and Sciences — the latest batch of industry pros we get to blame for next year’s Oscar results — is a moment that always prompts as much satisfied head-nodding as bewildered head-scratching.

    The latter action isn’t always in response to unworthy choices (though I imagine many will deem the inclusion of, say, relatively unproven comedian-turned-movie-star Russell Brand premature), but more to the tardiness of others: every year, I find myself surprised that so-and-so wasn’t already a member. Of course, that doesn’t necessarily mean it’s the first time they’ve been asked — not everyone accepts the invitation.

    I’m surprised, for example, that one of this year’s most esteemed Oscar champs, screenwriter Aaron Sorkin, is only now being brought into the fold. He’s one of a number of 2010 winners on this year’s list of 178 newcomers, including directors Tom Hooper and Susanne Bier, documentarian Charles Ferguson, writer David Seidler, editor Angus Wall, short filmmaker Luke Matheny and “The King’s Speech” producers Iain Canning and Gareth Unwin. A host of this year’s nominees are also joining, among them actors Jesse Eisenberg, Jennifer Lawrence, John Hawkes and Jacki Weaver, as well as female writer-directors Lisa Cholodenko and Debra Granik.

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  • Tell us what you thought of ‘Green Lantern’

    I gave Martin Campbell’s “Green Lantern” a big fat pass this week, while the rest of the critical establishment was busy tearing it down. (Guy joined their ranks with a take 180 degrees from mine.) I still think there is a lot of reaching for negativity in many of these assessments, but as the steam from the Hyperbole Express begins to clear the loading platform, I’d love to hear what the readership thought of the film, which hits theaters tonight at midnight screenings. (I may even give it another look because I’m interested in the largely hailed 3D conversion.) Sound off with your thoughts in the comments section below when you get around to seeing it this weekend.

  • Hero takes a fall

    In coming up with an idle, pop-related title for this post, I was faced with two choices: the one I eventually went with, or “We don’t need another hero.” I decided against the latter — partly because I’m sure other writers have already exhausted it, partly because The Bangles can always do with another shout-out — but in This Our Summer of the Superhero, it’d certainly be apt. With “Green Lantern” following “Thor,” “X-Men: First Class” and, earlier, its troublesome near-namesake “The Green Hornet” on the 2011 release schedule, and with “Captain America” still to come, casual moviegoers could be forgiven for wondering if their local multiplex has been part-colonized by ComicCon.

    It stands to reason that with so many darts being thrown at the same aesthetic and commercial target, some will hit their mark more squarely than others. If “Thor” managed to widely surpass expectations, the law of averages decrees that at least one of its Spandex-clad rivals will likely fail to meet them — or at least live down to expectations that had already been lowered. Critically, at least, it seems “Green Lantern” is taking that bullet: Kris may have appreciated Martin Campbell’s revival of one of the DC library’s dustier properties, but the first wave of reviews has been largely dismissive, with even the film’s vastly expensive effects work taking a beating from both high-end print critics and more genre-friendly bloggers like Drew McWeeny.

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  • Sony Classics picks up Cronenberg’s ‘Dangerous Method’

    Anyone else ready for Michael Fassbender to have a big fat coming out party this year? The press release, in part:

    Sony Pictures Classics announced today that they have acquired the US Rights to David Cronenberg’s A DANGEROUS METHOD from UK based Hanway Films. The film, produced by Jeremy Thomas (THE LAST EMPEROR, SEXY BEAST), stars Viggo Mortenson, Keira Knightley, Michael Fassbender, and Vincent Cassel. The film is currently in post-production…

    Seduced by the challenge of an impossible case, the driven Dr. Jung (Michael Fassbender) takes the unbalanced yet beautiful Sabina Spielrein (Keira Knightley) as his patient in A DANGEROUS METHOD. Jung’s weapon is the method of his master, the renowned Sigmund Freud. Both men fall under Sabina’s spell.

    “David Cronenberg and Jeremy Thomas have made a film that not only has an impeccable cast and crew working at the height of their talents but tells one of the most fascinating love triangles of the twentieth century. The American public will enthusiastically embrace this picture. We are delighted to be in business again with Jeremy and David,” states Sony Pictures Classics.

    [Photo: Sony Pictures Classics]

  • ‘Moneyball’ trailer

    Yesterday there was an Entertainment Tonight sneak peek at the trailer for Bennett Miller’s “Moneyball,” based on the best-selling book with a screenplay by Steve Zaillian and Aaron Sorkin and starring Brad Pitt and Philip Seymour Hoffman. It has all the pieces to make it LOOK like an awards play, but it’s still to be seen if it reaches those heights. The full version of the trailer has dropped via Yahoo! Movies. Check it out by clicking the image below or watch an embed after the jump.

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  • INTERVIEW: ‘A Better Life’ director Chris Weitz

    Filmmaker Chris Weitz has taken a ride on a rather inconsistent career path since making a splash (along with brother Paul) with 1999’s “American Pie.” He followed that raunchy comedy with the critically mauled Chris Rock starrer “Down to Earth” before bouncing back with the beloved intimate romantic comedy “About a Boy.” He then fled to the arms of big budget filmmaking with 2007’s “The Golden Compass” and last year’s “The Twilight Saga: New Moon.” This year brings an effort hearkening back to the character-driven work of his early career, “A Better Life,” which premieres at the Los Angeles Film Festival next week.

    The film could be read as a riff on Vittorio De Sica’s “The Bicycle Thieves,” though transplanted in Los Angeles with a heavy dose of Mexican-American culture. But it’s unfair to hold it up to that agreed-upon masterpiece of neorealist cinema. Yes, the films share some plot details — “A Better Life” tells the story of an undocumented Mexican landscaper who purchases a truck and equipment to start his own business, hoping to make a better future for him and his street-smart son, only to have it stolen — but it is a successful piece of slice-of-life dramatic filmmaking that was a breath of fresh air for Weitz after his blockbuster detour.

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  • Nolan and Fincher on the impression left by Malick

    Those are three heavyweight names to stuff into one headline, but thanks to some shrewd marketing on the part of Fox Searchlight Pictures, it’s a reality.

    Terrence Malick’s “The Tree of Life” continues to roll out in its platform release, landing in a boatload of new cities this weekend. As the film prepares to go wider, the studio has tapped the thoughts of filmmakers Christopher Nolan and David Fincher to get their perspective on the famed auteur.

    “His work is immediately recognizable, but it’s very tough to put your finger on why that is,” Nolan says in a new featurette launched at Apple. “The technique is not immediately obvious.”

    Fincher, meanwhile, notes that “with Malick, you’re seeing something that was thought about and meditated over. You’re seeing someone who’s making choices that are specifically designed to evoke a feeling.”

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  • First look at ‘Moneyball’ via ET

  • ‘Tabloid’ poster

    Last week the trailer for Sundance Selects’ “Tabloid,” one of Errol Morris’s best films in some time, hit the net. The poster has also been floating around, so I thought I’d toss that up as well. Have a look at the full image after the jump.

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  • ‘Green’ means go see it

    It didn’t really hit me how excited I (still) was for “Green Lantern” until the lights dimmed and the green hit the screen. It can’t be understated how much of a long-time-coming type of thing this is, a theatrical version of such a vast cosmic comic book creation. And given the mechanics of the world, the amount of digital wizardry needed to conjure it, not to mention some dense continuity that never presented a clear-cut story for the screen, it’s understandable that it took so long.

    But things started to change in 2004. Geoff Johns, a long-time DC guy who had written on a number of the company’s books (and already had a nice film education under his wing from his time as a Richard Donner mentee), started re-tooling the DC universe, beginning with one of his favorite characters: Hal Jordan. The “Rebirth” storyline led into a revitalized line of books featuring the Green Lantern Corps, a more than 3,000-member strong organization of intergalactic peace keepers, with Jordan right in the center of things. The elements Johns began tinkering with and re-envisioning — which were themselves building toward the “Blackest Night” and “Brightest Day” comic events of the last two years — began to reveal a way into the material for the screen. And now, “Green Lantern.”

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