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December 2007 - Posts

  • 2007 Wraps

    Posted by Phil Nugent

    We know that by the time you see this, you'll probably feel that you've just spent a year reading year's-end wrap-up pieces, but we'd be remiss if we didn't mention that one of our favorites has been posted at Not Coming to a Theater Near You. Eighteen essays by writers you should have heard of even I hadn't, ranging from engaging to provocative, laid out in a design that, one commenter at GreenCine Daily notes, "Makes me feel like my site is created with two rocks and a stick." A special shout-out to Adam Balz, who had the taste and decency to single out two performers who had a little screen time in big, highly praised pictures, and whose amazing work threatened to get lost in all acclaim that those movies' stars (deservedly) received: John Carroll Lynch, a veteran character actor extending his range in surprising and scary ways as a front-running serial killer candidate in Zodiac, and Kristen Thomson, a fresh new face as a perfect caregiver in Away from Her, who unexpectedly takes a moment to remind the people onscreen (and the people in the audience) that she does have her own feelings about some of the bullshit she has to listen to from grieving, self-pitying spouses, and then politely resumes giving solace--leaving ripples in the picture that will continue to resonate after we've seen the last of her. I probably would have missed the "Not Coming" feature entirely if GreenCine hadn't linked to it, which may be a sign of how thoroughly I have my head wedged under a rock, but with any luck is really proof of two things, both of which have come to feel more and more true to me over the course of the past year: there are untold riches to be unearthed on the Internet, and GreenCine is the on-line film lover's best friend. Happy New Year, all.


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  • Geekfare

    Posted by Leonard Pierce

    When you're a comics nerd, it's Christmas every day, and over at Comics2Film -- rapidly becoming the indispensible site for those of us who can't get enough of men in tights on screen, "Strip Club" blogger Supernaut lays out the case that as great a year as it was for movies in general, it was an even better year for comic book, fantasy, and "geekfare" movies in general.  Elsewhere on the site, we're treated to the first stills from The Incredible Hulk, the debut trailer for Guillermo del Toro's Hellboy II:  The Golden Army, and, via Wizard magazine, an interview with Christopher Nolan about The Dark Knight, in which he discusses Heath Ledger's interpretation of the Joker as "the most extreme form of anarchist" and his own plans, or lack thereof, for a third Batman picture:  "Every film I’m working on, to me. is the last film I’m ever going to make."


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  • Trailer Roundup: 21

    Posted by Paul Clark


    If Hollywood is to be believed, smart people are only interesting when they're using their intelligence for selfish, greedy ends. So it is here, in a movie inspired by an actual case in which a group of college students took a Las Vegas casino by counting cards in blackjack. Of course, blackjack and math aren't particularly fun to watch by Hollywood's standards- blackjack doesn't have the built-in drama of poker, after all- so the trailer includes plenty of tricked-up filmmaking like sped-up play and funky camera angles. In addition, he's still trying to force Kate Bosworth on us, despite her being largely rejected by paying audiences (seriously, what was she doing as Lois Lane?). Still, I'll see this, since a friend of mine worked as an extra in some the MIT scenes, and I'd like to support him. It helps that this looks somewhat better than his last extra gig, last year's The Game Plan.


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  • Location, Location, Location: Times Square

    Posted by Scott Von Doviak

    When we think of New Year's Eve, we think of short-lived resolutions, ill-advised groping and hangovers that would cripple King Kong. But we also think of the lighted, bejeweled ball dropping in Times Square as an increasingly withered Dick Clark counts down the seconds until the new year's arrival. So on this final day of 2007, we can think of no better way to kick off a new recurring feature dedicated to notable locations and their portrayal on film than with Times Square. Here are a few of our favorite movie moments set - though not necessarily shot - in that ever-evolving hub of humanity.

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  • Tehran as Toon Town

    Posted by Phil Nugent

    Marjane Satrapi, the brains and heart behind Persepolis, the animated film based on her autobiographical comics about growing up in the wake of the 1979 Iranian rvolution, talks to Nancy Ramsey about turning her life into art, and about not knowing just how her home nation's government might like to reward her for it. "First of all, I'm not revealing stuff that nobody knows, there have been hundreds of documentaries on this. I'm against all fanatics -- Muslim, Jewish, Christian, secular, Communist fanatics. This is about repression, the idea of, 'If you don't think like me, you are my enemy and so I have to kill you.' This idea doesn't belong to a special place."

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  • Farewell, J.Ro... But Not Really.

    Posted by Paul Clark

    According to the Time Out Chicago blog, Chicago Reader film critic extraordinaire Jonathan Rosenbaum will be retiring from weekly criticism as of early next year. According to the TOC blog post, Rosenbaum's retirement will take place effective February 27, his 65th birthday, and that Rosenbaum will be officially announcing this in his upcoming best-of-2007 piece.

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  • The Movie Moment(s): Notable Moments of 2007, Part 2

    Posted by Paul Clark

    Seth's secret shame, Superbad



    2007 was a great year for dark and despairing cinema, but less so for really good comedy. But if nothing else, it can lay claim to at least one comedy sequence for the ages, even while it's so raunchy it would've made Curly Howard blush. In the scene, Seth (Jonah Hill) confesses to his best friend Evan (Michael Cera) his longstanding compulsion to draw penises. Of course, Evan has a hard time believing it (2007's funniest line in a walk: "Dicks? Like a man dick?") but the wonder of the scene is that Hill plays it completely straight. Seth is clearly ashamed of himself, angered by the trouble it's brought him, and annoyed that no one seems to understand his plight. In addition, screenwriters Seth Rogen and Evan Goldberg (note the first names) make the details in the scene so specific that I wouldn't be surprised if it wasn't drawn from real life. Which, of course, only makes it that much funnier.

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  • 12 Angry Men, 3 Little Pigs, and One Horny Polyp

    Posted by Phil Nugent

    The Library of Congress has announced its annual list of new additions to the National Film Registry.. Every year since 1989, the Registry has named 25 films--everything from Casablanca to the Zapruder home movie of President Kennedy's assassination--to be permanently preserved owing to their being deemed to possess cultural, historical, or aesthetic significance. Among the inclusions this time: Close Encounters of the Third Kind, Grand Hotel, Days of Heaven, The Man Who Shot Liberty Valance, 12 Angry Men, In a Lonely Place, Wuthering Heights, Bullitt the Disney cartoon Three Little Pigs, the Robert Benchley comic short The Sex Life of the Polyp, the Oscar-winning Sinatra-does-tolerance short The House I Live In, and Dances with Wolves. (We have no idea whether that last one is supposed to be culturally, historically, or aesthetically significant, but maybe somebody at the Registry just doesn't think that Native Americans have suffered enough.) The most recent of the new additions to the Registry, which now tops out at a total of 525 titles, are the Kevin Costner thing and Back to the Future (1985), which has the enduring distinction of being the only time-travel teen comedy ever directly referenced by name in a presidential State of the Union address. (Ah, the eighties!) For the record, the newest movie listed in the Registry overall is still 1996's Fargo, the subject of a recent "Face/Off" column at this site by the Corsican brothers of on-line film writing, Leonard Pierce and myself. The Registry declined comment on rumors that plans are underway to commemorate this event by constructing a life-size bronze statue in front of the building showing a couple of geeks having a shovel fight.


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  • Trailer Roundup End of Year Special- Best Trailer of 2007

    Posted by Paul Clark

    There Will Be Blood



    Given how exacting his direction has become, one could forgive Paul Thomas Anderson for handing responsibilities for cutting his trailers off to someone else. But ever since Magnolia Anderson has opted to assemble his own trailers, and I'm grateful that he has. Magnolia's initial teaser was a marvel of summing up the film perfectly while saying nothing, and Punch Drunk Love's trailer perfectly captured the screw-loose sense of un-pretty comedy at play in the film. Every trailer for There Will Be Blood has been a must-see, but the final version is the true classic of the bunch, emphasizing the film's macabre style and violent emotions. In addition, Anderson wisely recognizes his trump card, the great Daniel Day-Lewis, and he plays him early and often. 2007 has had its share of memorable trailers, but none will quickens the pulse like this one.


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  • MIchael Kidd

    Posted by Phil Nugent

    Choreographer-director Michael Kidd, a major force in Hollywood and Broadway musicals, has died; his family says that he was 92, though Kidd himself had claimed to be 88, probably so that he could hang onto his student discount. A sometime actor who used dance as an expression of character and to serve a narrative function, Kidd won five Tonys for his stage work, which included Finian's Rainbow and Guys and Dolls, and was awarded a special Academy Award in 1997.

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  • The Movie Moment(s): Notable Moments of 2007, Part 1

    Posted by Paul Clark

    Keeping with the year-end theme of looking back, I've decided to post some brief thoughts on some of my favorite movie moments from 2007. These aren't necessarily my five favorites, nor are they from my five favorite movies of the year. However, they're all treasured cinematic memories from this past year, each for its own reason. I'll be posting two today and three more tomorrow, and I encourage all of you to give a shout out to some of your favorites in the comments section.

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  • Home Video Is Where the Heart Is

    Posted by Phil Nugent

    2007 was a pretty good year for moviegoing, but it may have been an even better one for DVDs. Even the acrimonious racket over the format battles couldn't obscure the almost steady flood of eye-catching product issued on shiny steel discs. For starters, a number of the most exciting new movies of the last twelve months were released in especially fine, often two-disc editions, including Pan's Labyrinth, Children of Men, The Host, and Knocked Up in its "unrated, expanded" form. But there's also been a treasure trove of oldies and oddities of every kind, sure to be of interest to anyone who was lucky enough to score a gift certificate or two over the holidays.

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  • Sniped

    Posted by Scott Von Doviak

    You can hardly blame Wesley Snipes for keeping a low profile these days, given his recent run of troubles - most notably a federal indictment for tax fraud that has the actor facing up to 16 years in prison if convicted. If you don't follow the direct-to-DVD market closely, you may not even be aware that Mr. Snipes is still in show business. (The feds caught up to him while he was in Namibia filming Gallowwalker, a "zombie Western.")

    But with his tax trial pending, Snipes has resurfaced, granting a fascinating, sometimes bizarre interview with Entertainment Weekly in hopes of clearing his name. By turns charming, paranoid and defiant, Snipes tries to make the case that he's being railroaded, explains his lawsuit against New Line over the third Blade movie, and sets the record straight on just why he was buying up all that land near a cult compound in Georgia.


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  • Trailer Roundup End of Year Special- Worst Trailer, 2007

    Posted by Paul Clark

    Alvin and the Chipmunks



    There's a special place in Hell reserved for the makers of crappy kids' movies. Just because kids will watch just about anything doesn't give Hollywood license to sell them shoddy goods. It seems nearly impossible to find a big-budget non-Pixar kids' movie these days that doesn't contain self-aware pop-culture jokes and the unholy triumvirate of "family-friendly" gags- poop, flatulence, and "ow, my balls!" But while contenders for the dubious honor of 2007's worst trailer were plentiful, ranging from Cuba Gooding Jr. and the fat white guy who suffers most of the painful gags in Daddy Day Camp to the farting seals of Arctic Tale, the worst of all was almost certainly Alvin and the Chipmunks, a mix of CGI and live-action from the visionary who brought you Garfield: A Tale of Two Kitties. What exactly puts this over the top? Is it the oh-so-hip musical stylings of a trio of singing rodents crooning that cutting-edge hit "Funky Town?" The sight of Jason Lee managing, by simply appearing onscreen, to outdo the indignity he suffered making Underdog? The presence of a clearly slumming David Cross? The spectacle of Alvin farting in Lee's face? Actually, I'd say it's none of these things. Instead, I'd argue that what makes this an odious phenomenon is the idea that, now that the studios have pillaged the pop culture touchstones of our youth in the name of nostalgia, they've even more cynically begun adapting material that wasn't even very good to begin with, repackaging it for a new generation of undiscerning kids. It's times like these that make me glad I don't have kids.


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  • God Damn Us All to Hell, Every One!

    Posted by Phil Nugent

    In I Am Legend, Will Smith zips around a depopulated Manhattan in a sports car, with his trusty German shepherd in the seat next to him; if he takes a curve too fast and the pooch soils the upholstery, he can always pick up another one. Smith also high in the tall grass that, intended, has sprouted up in Times Square and hunts deer with the Virgin Megastore in the background. He doesn't have any scenes with the Statue of Liberty, but as Sewell Chan points out in The New York Times, apocalyptic fantasies centered in New York City often go straight for the lady in the harbor. Charlton Heston had a hissy-fit when he encountered her remains at the end of Planet of the Apes; her torch sticking out of the waterline was the last visible trace of a submerged New York in Steven Spielberg's A.I.; and the promotional artwork for the forthcoming Cloverfield uses a smoking, ravaged statue to indicate what horrors may await audiences when that viral-marketed behemoth finally lumbers into theaters.

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  • Anderson, Par Vantage Conspire to Make Smaller Cities Feel Inferior

    Posted by Paul Clark



    For those of you who are chomping at the bit to see P.T. Anderson's by-all-accounts-awesome new film There Will Be Blood, your wait may soon be over. If you live in one of fourteen selected cities, that is. As the above video states, exclusive midnight sneak preview screenings are scheduled to be held on December 29 in the following cities: Austin, Boston, Chicago, Dallas, Denver, Miami, Minneapolis, Philadelphia, Portland, Sacramento, San Diego, Seattle, Toronto, and Washington, D.C. So if you're lucky enough to live in one of those cities- or New York or Los Angeles, where the film opened yesterday- you'll be able to bask in the greatness. Meanwhile, if you live anywhere else in North America, you'll have to drive for hours through the snow or bemoan the fate that landed you in, say, Columbus, Ohio.


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  • Forgotten Films: "Remember the Night" (1940)

    Posted by Phil Nugent

    Of all the movies that might have become perennial stocking-stuffers over the years, none has been more undeservedly forgotten than the 1940 Remember the Night. The first few times I came across the title, I thought that I'd seen it already, and that it was about the Titanic. Instead, it's a romance starring Barbara Stanwyck and Fred MacMurray, four years before their more acidic teaming in Double Indemnity, and directed by Mitchell Leisen, from an original screenplay by Preston Sturges. Three years earlier, Leisen had directed Easy Living, one of the funniest Sturges scripts from before Sturges started directing them himself. This film, though, is less a screwball farce than a gentle comedy than turns more and more into a swooning love story. Luckily, Stanwyck's just-barely meltable hard edge and Stanwyck's way with a wisecrack keep it just this side of mushiness.

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  • "Fred Claus", on the Other Hand, Had No Problem Getting Released

    Posted by Phil Nugent

    Sure, we could spend this awards-and-ten-best-lists season arguing about the virtues of There Will Be Blood versus those of No Country for Old Men or pitting Persepolis against Ratatouillie, and we'd have fun. But ultimately, arguing about movies that people actually had the chance to see in theaters is for sissies. There is another world where critics and geeks have it out in their equivalent to one of Pynchon's secret wars, debating over which great unknown movie's failure to be snatched up for proper distribution constitutes the biggest disgrace, and no fewer than 106 of these worthies performed the public service of voting in indieWIRE's seventh annual on-line poll to select the best undistributed film of 2007.

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  • Trailer Roundup End of Year Special- Best Fake Trailer

    Posted by Paul Clark

    Don't



    While it's nice to have the extended cuts of Death Proof and (to a lesser extent) Planet Terror out on DVD, for me the movies don't feel quite right without the trailers that played with them. Every Grindhouse had his favorite of the four trailers, but while Robert Rodriguez's memorably trashy Machete and Eli Roth's sick joke Thanksgiving were both worthy, for me the best of the lot was Edgar Wright's Don't. Not only is it hilarious (love the way he sets up that wonderfully awful last line) but it's probably the only one of the four I could imagine playing at a real grind house. Unlike his fellow Grindhouse trailer directors, Wright plays it almost completely straight, mimicking the atmospheric shots, frenzied editing, and borderline incoherence of 70s advertising campaigns for Eurotrash thrillers like Torso. I somehow doubt that a real-life version of Don't would have been very good, but this trailer would have guaranteed my presence at the theatre opening weekend.


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  • He Lost It. Then He Went to the Movies.

    Posted by Phil Nugent

    Mark Edmundson, the author of The Death of Sigmund Freud, writes: "For a year or two during the mid-1970s, living in New York, I was a moviegoer. I was in my early 20s then, working off and on, driving a cab, setting up the stage at rock shows, writing occasional pieces for The Village Voice. But there were also long empty spells. I tried to write some fiction and couldn’t, tried to read and could—but only for so long. I ended up going to the movies. It was the right decade to be doing that." You think? Edmundson continues: "Martin Scorsese made Mean Streets, Alice Doesn’t Live Here Anymore, and Taxi Driver; Paul Schrader wrote and directed Blue Collar; and Robert Altman directed Brewster McCloud, The Long Goodbye, California Split, and Buffalo Bill and the Indians. The Godfather, both I and II, were news then. Woody Allen seemed to be bringing out something good every six months. I can’t really tell you whether these movies summarized a national mood, but they summarized some moods of mine. Almost all of the movies conveyed a feeling of missed opportunities, of having been tossed out of the garden just before you came to know you’d been living in one. The only paradises, we’re told, are lost paradises, and I had recently left a couple of them...People who need movies, the true moviegoers, go in the afternoon; matinees are therapy for those who can’t afford therapists or don’t know that they should get one." The essay, which does a bang-up job of speaking for all of us who, for a while there during the uneasy transition to something like adulthood, had movies instead of a life, is in the current issue of The American Scholar, which has actually been on a bit of a roll lately and is well worth searching for in the "literary" section of your neighborhood newsstand. But those of you who may be snowbound can find the full text on-line here.


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  • P.T.A. Report

    Posted by Phil Nugent

    For those who've been handicapping the race for supremacy among the American filmmakers who achieved big-deal status during the 1990s, here's how things stand as this year winds down: with Quentin Tarantino providing the half of a double feature that followed the half that much of the audience walked out on, Richard Linklater taking a well-deserved breather, David O. Russell becoming a reality star on YouTube, Alexander Payne ducking through corners in a Groucho mask to avoid explaining his screenwriting credit on I Now Pronounce You Chuck and Larry, and Kevin Smith unable to make a long-term thing out of his job directing the pilot for the TV show about an underachieving minimum-wage ape with a secret life battling dark forces that isn't Chuck. We extend wishes of good luck and productivity in the year to come to all of them, except maybe for Kevin Smith. In the meantime, with less than a week of 2007 left to go, Paul Thomas Anderson has vaulted into first place with his first movie in five years, There Will Be Blood.

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  • The Rep Report (December 26 -- January 3)

    Posted by Phil Nugent

    NEW YORK: The Film Society of Lincoln Center spends the end of the 2007 charting the evolution of a couple of decades in the life of the American dance musical, as seen through the career of one of its legendary practitioners, with "All That Fosse" (December 28 - January 1). Included are all five of the movies that Bob Fosse actually directed (starting with the clumsy debut of Sweet Charity and including the sizzling instant classic Cabaret and the self-lacerating, autobiographical All That Jazz.

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  • Trailer Roundup End of Year Special- Best Comedy Trailer, 2007

    Posted by Paul Clark

    Be Kind Rewind



    For a time, I was toying with the idea of simply calling this "Funniest Trailer" and giving the award to Superbad, but I've rewatched the Be Kind Rewind trailer so many times that I couldn't bear with the thought of not recognizing it here. The trailer has a distinct 80s-style wacky buddy comedy feel to it, with Jack Black and Mos Def teaming up to shoot low-budget remakes of some of their favorite movies. But I don't think the familiarity of the genre is necessarily a bad thing here, and it could provide a certain amount of grounding for the Michel Gondry flights of fancy, which was sorely lacking in last year's The Science of Sleep. But mostly, this just looks like a lot of fun. Also, ever since the trailer first emerged I've taken advantage of every chance I've gotten to quote Jack Black's priceless line, "I will shoot you, and I know robot karate." So that's something, right?


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  • SLIFR University Announces Eminent New Professor

    Posted by Paul Clark

    Winter has arrived, and in the blogosphere that can only mean one thing- it's time once again for the latest epic quiz from Dennis Cozzalio's must-read blog, Sergio Leone and the Infield Fly Rule. Dennis has a tradition of attributing his quizzes to famed educators of filmdom, and this one's got a doozy- Ball of Fire Bertram Potts, who's always dressed up like a million-dollar trooper. So whether you're blogging from work on a slow afternoon or looking to fill some of that end-of-year vacation time, take a trip to the hallowed halls of SLIFR University, sharpen those No. 2 pencils, and take Professor Bertram Potts' Hella Homework For the Holidays Christmas Break Quiz. Check it out- it's super duper!


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  • Trailer Roundup End of Year Special- Coolest Trailer, 2007

    Posted by Paul Clark

    From now through the end of the week, I'll be posting some of the most memorable trailers from 2007.

    Iron Man



    2008 looks to be a banner year for movies geared toward fans of fantasy and comic books. But while I'm excited for movies like Hellboy 2 and The Dark Knight, no trailer of 2007 had me geeking out more than the spot for next summer's Iron Man. A lot of it has to do with Robert Downey Jr.'s presence in the lead role. It pleases me to no end that he's finally cleaned up his image in Hollywood's eyes, to the point where he can headline a summer blockbuster. But if the trailer is any indication, he's still Downey through and through, which if anything is even more exciting. So yeah, this trailer won me over even before he donned the iron suit. Everything after this was a pure geek delight, with the trailer blaring Black Sabbath right on time to accompany Iron Man doing what he does best. It takes a very special- and very cool- trailer to get me as pumped to see a big-budget action movie as I used to get when I was a kid, but the Iron Man trailer does just that.


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  • The Kubrick Rarities

    Posted by Scott Von Doviak

    Soon you’ll be nestled all snug in your bed, and perhaps visions of sugarplums will dance in your head. Being a Screengrab reader, however, it’s more likely that you’re entertaining visions of the snazzy new Stanley Kubrick Directors Series DVD box set waiting under the tree. But if Santa decides you’ve been more naughty than nice and leaves you a copy of the Uwe Boll Collection instead, there’s no need to lose that holiday spirit. As our gift to you, we’ve put together a very different Kubrick collection consisting of the prickly auteur’s early shorts and rarely-seen first feature. It may be lacking in Malcolm McDowell commentaries and spiffy digital remastering, but we assure you it is the finest YouTube has to offer.

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  • Critics Make Lists, Give Awards, Close Book on '07

    Posted by Paul Clark

    It's nearing the end of the moviegoing year, and you know what that means- a heaping portion of top ten lists and awards from critics around the country. We here at Screengrab plan to post our best-of-2007 lists over the next week or so, but until that happens there are plenty of other year-in-review pieces all over the Internet that should tide you over. We won't link to every one of them here, but you can find two of our favorites after the break.

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  • One Last Shot: Romance and Cigarettes

    Posted by Peter Smith

    John Turturro's third film as director, Romance and Cigarettes, got canned by its distributor and suffered some of the worst reviews around this year (even from some of my favorite outlets, like The Onion AV Club), as well as a handful of the best. Count me in the "best" category; I loved it and was lucky enough to interview Turturro about it, an experience that really cemented my admiration for him and his work. I'm not sure what other critics disliked about it so much, though I could see it being a movie you either love or hate. A blue-collar musical, it follows James Gandolfini through a torrid affair with Kate Winslet, and an estrangement from his wife (Susan Sarandon) and his daughters (Mandy Moore, Mary-Louise Parker and Aida Turturro). It's sweet, sad, hilarious and dirty — a great date movie, if your date has a good sense of humor.

    Turturro has distribution rights to Romance and Cigarettes until January 17th, at which point Sony will ignominiously dump it to DVD and run for the hills. It's done really well given its limited distribution, but in this last push — well, I can't speak for my Screengrab colleagues, but at least a portion of Screengrab encourages you to see this lovely film before it leaves the screen. Here's a clip (illustrating Turturro's juxtaposition of bawdy humor and fantasy) I hand-picked to whet your appetites. (Right-click to save.) Hit the jump for a list of theaters opening Romance and Cigarettes in the coming weeks; it's also currently playing at a number of others, including, for New Yorkers, the Quad on 13th St.

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  • Take Five: Mockumentaries

    Posted by Leonard Pierce

    It can't have been long after the first documentary film was made that some enterprising wise-ass with a cut-rate kinetoscope hit upon the idea of making a fake documentary. After all, since it's an age-old comedy trope that reality always outstrips satire, it only makes sense to create satire that apes reality as closely as possible.  Walk Hard:  The Dewey Cox Story opens wide this weekend, and there's plenty of reasons to believe it'll be a fine entry into the mockumentary canon; it's directed by Jake Kasdan, co-written by the red-hot Judd Apatow, and stars the talented and eminently likable John C. Reilly (as well as a boatload of potentially amusing guest stars, including Jack White as Elvis, Frankie Muniz as Buddy Holly, and, as the Beatles, Jack Black, Paul Rudd, Justin Long, and Jason Schwartzman!).  We figured it might be a good time to bring up some of our other favorite pseudo-documentaries, and, as an extra challenge, do it without mentioning any of the films of a certain Mr. Christopher Guest.  (To top it all off, I'm not even going to discuss Albert Brooks' amazing Real Life.  Well, except right then.)

    THE RUTLES: ALL YOU NEED IS CASH (1978)

    Yes, Screengrab readers, there actually was a time when goofing on the Beatles wasn't the most played-out thing a human being could do!  That time was about thirty years ago, when Monty Python alum Eric Idle penned, starred in, and co-directed this made-for-TV movie about the rise and decline of the Prefab Four, the most famous band ever to come out of Rutland. George Harrison liked it enough to funnel some money into producing the film, even though he's savagely parodied as Stig O'Hara, the group's dullest member, who doesn't appear to speak any English, accidentally sues himself, and is eventually replaced by a wax dummy. It features a few other Python members as well as some Not-Ready-for-Prime-Time SNL alums — the only filmed collaboration between the two groups — and as such, contains more than its share of hilarious dialogue and situations. What really elevates it above the level of standard rock 'n' roll pseudo-documentary is the music, written entirely by co-star (and former Bonzo Dog Band front man) Neil Innes. The songs so closely resemble Beatles originals that it's easy to miss the absurdly funny lyrics.

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  • The Movie Moment: The Miracle of Morgan's Creek (1944, Preston Sturges)

    Posted by Paul Clark

    For years, Hollywood’s Production Code was the last word in regulating the decency of American movies. If a movie’s subject matter, content, or intent didn’t meet with the approval of the Production Code Administration (PCA), a movie had to be tinkered with until it did. It was a formidable obstacle for filmmakers, and such limits forced them to get creative. This was especially true of Code-era comedies, which often hid dicey material just well enough by playing it for laughs.

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