The Weinstein Company’s ‘found footage’ horror film, Apollo 18, opens in theaters on September 2nd but even though it’s just a week away, we haven’t really heard much about the upcoming release (not even a cast list or photos have been officially released by TWC) However, TWC has just released two clips from the film and they’re fairly effective in showing what Apollo 18‘s about.
The Plot:
Officially, Apollo 17, launched December 17th, 1972 was the last manned mission to the moon. But a year later, in December of 1973, two American astronauts were sent on a secret mission to the moon funded by the US Department of Defense. What you are about to see is the actual footage which the astronauts captured on that mission. While NASA denies its authenticity, others say it’s the real reason we’ve never gone back to the moon.
In the first of two clips released, Apollo astronauts take a look at the window and don’t see what they expect to in the ‘Flag’ clip. Next up, the astronauts discover mysterious footprints on the surface of the Moon. Check out the videos and see what you think.
Johnny Depp’s third film of 2011, The Rum Diary, is heading to theaters on October 26th, and the popular actor’s showing no signs of slowing down. Rango rode into theaters in March and May’s release of Pirates of the Caribbean: On Stranger Tides showed Depp’s Captain Jack Sparrow is just as popular now as when he first donned the pirate gear for Pirates of the Caribbean: The Curse of the Black Pearl in 2003. But Depp couldn’t have anticipated having three films to promote in 2011 as The Rum Diary was filmed way back in early 2009.
With The Rum Diary, Depp’s revisiting the world of Hunter S Thompson (he previously starred in the author’s Fear and Loathing in Las Vegas) by tackling the lead role in the film adaptation of Thompson’s first book.
The Plot:
Based on the debut novel by Hunter S. Thompson, The Rum Diary tells the increasingly unhinged story of itinerant journalist Paul Kemp (Johnny Depp). Tiring of the noise and madness of New York and the crushing conventions of late Eisenhower-era America, Kemp travels to the pristine island of Puerto Rico to write for a local newspaper, The San Juan Star, run by downtrodden editor Lotterman (Richard Jenkins). Adopting the rum-soaked life of the island, Paul soon becomes obsessed with Chenault (Amber Heard), the wildly attractive Connecticut-born fiancée of Sanderson (Aaron Eckhart).
Sanderson, a businessman involved in shady property development deals, is one of a growing number of American entrepreneurs who are determined to convert Puerto Rico into a capitalist paradise in service of the wealthy. When Kemp is recruited by Sanderson to write favorably about his latest unsavory scheme, the journalist is presented with a choice: to use his words for the corrupt businessmen’s financial benefit, or use them to take the bastards down.
These days, superhero films are a dime a dozen. It seems like a new one comes out each week, all of them trying to top the last one in terms of spectacle and star power. Thankfully, in some warped version of Newton’s third law, for every wave of big-budget superhero films, there are a few indie examples of the genre that help counterbalance things.
Earlier this year, there was the almost criminally underrated Super and now in select markets is an Australian import, Griff the Invisible. Comparing the two is akin to comparing their budgets to that of Green Lantern or Thor. However, their common bond is in telling a far more personal story and creating a real connection, rather than simply being a series of CGI-enhanced Tomfoolery draped over a bare-bones script.
In the film, Griff (Ryan Kwanten) is a mild-mannered, low-level office drone with a very active imagination. So active his own brother thinks he’s a mental case and whatever chances he might have at a social life get lost whenever he lets his fantasy world take over the real one. For Griff, his alter ego is a bit like Batman, with a few nifty gadgets at his disposal, but with the added ability to become invisible (the title is somewhat of a spoiler in this regard). His latest case involves a mysterious figure roaming the neighborhood and it’s his duty to protect the civilians from this menace.
Of course, what’s really happening is that Griff himself feels invisible and I’m sure any college psych major would diagnose him in a heartbeat. However, there are two things that raise the film out of its simple trappings: that it’s Australian, which often means a sincere, endearing sense of quirkiness that permeates much of their cinema, and the romantic subplot that deviates somewhat from the norm.
Rather than focusing the story on how to bring Griff back to reality, Melody (Maeve Dermody) pops into his life precisely because he’s not the average guy. A daydreamer herself, she’s attracted to his eccentricities and outlook on what’s real and what’s fiction. It’s a wonderful pairing and one that increases the appeal of the overall picture.
Being a small film from Down Under, the budget is rather meager, and it shows in many of the effects – most of which look like 90’s American television. But the earnestness of the entire project (written and directed by Leon Ford) more than makes up for this element, as do the performances of the main cast. While neither Kwanten nor Dermody will be taking home many statuettes for this, it’s nearly impossible to deny their likability, and audiences should find themselves quickly rooting for their success.
So for those of you out there who prefer stories about people that happen to be superheroes, rather than ones about superheroes who are technically people, Griff the Invisible is a quaint charmer that relies on its humanity rather than a framework of CGI and explosions. It’s also one of the few films in release at the moment that don’t feel like a lump of celluloid dumped off the shelf just to clear inventory. And don’t let its super-powered premise fool you, this is a story accessible to anyone looking for a bit of imagination and wonder in the current cinematic landscape.
GRADE: B
Griff the Invisible hit theaters in limited release beginning August 19, 2011 and is rated PG-13 for some language and violence.
Last week it was announced that Lars Von Trier’s Melancholia would screen at Fantastic Fest in Austin in September. It was also revealed that Magnolia Pictures would be releasing the film on VOD on October 7, ahead of its November 11th limited theatrical release. A new poster was unveiled with the tagline “it will change everything,” which makes sense as the film’s about the end of the world. And now Melancholia has a new trailer to show off.
Melancholia earned Kirsten Dunst the Best Actress award at this year’s Cannes Film Festival, but it was director Lars Von Trier who wound up grabbing all the headlines. During the film’s outrageous press conference, Von Trier said he was a Nazi and understood Hitler. The comments got him banned by Cannes, with the Festival organizers condemning his statements and asking for an explanation. Von Trier ultimately issued an apology. “If I have hurt someone this morning by the words I said at the press conference, I sincerely apologise,” said Von Trier. “I am not antisemitic or racially prejudiced in any way, nor am I a Nazi.”
After the press conference, Von Trier spoke with the Associated Press. “I don’t have so much to say, so I kind of have to improvise a little and just to let the feelings I have kind of come out into words,” said von Trier in an interview with AP. “This whole Nazi thing, I don’t know where it came from, but you spend a lot of time in Germany, you sometimes want to feel a little free and just talk about this (expletive), you know?”
In addition to Dunst, the cast of Melancholia includes Charlotte Gainsbourg, Alexander Skarsgård, Charlotte Rampling, John Hurt, Stellan Skarsgård, Udo Kier and Kiefer Sutherland.
I really need to stop looking at the director’s name whenever Luc Besson is co-writing the screenplay and producing a film. Seeing the adverts and realizing that Olivier Transporter 3 Megaton was at the helm, expectations for Colombiana were mediocre at best. If anything, the promise (and realization) of Zoe Saldana’s character being allergic to pants was enough to get my attention. But only a few minutes into the film, that issue was merely icing on top of a surprisingly well-conceived cake.
The movie begins in 1992, in Colombia of course. A 9-year-old Cataleya Restrepo (played at that age spectacularly by Amandla Stenberg) gets a quick goodbye speech from her hitman father right before he and her mother are gunned down in front of her. Cataleya is then forced to run and escape the same fate, done via an excellent parkour-filled chase through Colombian back alleys which are the spitting image of the Brazilian favelas so famously depicted in films like City of God and Fast Five.
Shifting forward 15 years, and under the patronage of her Uncle (Cliff Curtis), Cataleya has followed in her father’s footsteps, and her thirst for revenge hasn’t wavered one bit. The only distraction is a romantic entanglement with an artist/neighbor (Michael Vartan), and of course, this is where a predictable slip-up allows the FBI to get closer to catching her. But aside from that convenient plot device, the story progresses with the kind of purpose and intensity one has come to expect from Besson.
And actually, while only time will tell if this statement holds up, Colombiana is this generation’s Léon. Now, before the hate mail flows in, allow me to explain. Both are written by Luc Besson. Both films involve an adolescent female protagonist whose family is gunned down, thrusting them into the business of revenge. Both women seek the help of a seasoned professional (sorry for the pun) and won’t take no for an answer. Both films see our leads outwit their human targets and in turn the police (or in this case FBI). Even the endings are somewhat similar in their tones.
None of this is too surprising. Rumors of a sequel to the 1994 classic that launched Natalie Portman’s career and contains one of my favorite Gary Oldman performances (it’s a long list) have been circulating for some time. Whether this satisfies Besson’s curiosity about what Portman’s character would have been like when she was older or not is something only he can answer, but from an audience’s perspective, that’s very much what Colombiana feels like. Even the soundtrack is a wink at this being an homage to the original, with covers of both Portishead’s “Glory Box” and Nine Inch Nails’ “Hurt” featured prominently.
Still, while there is a veritable gaggle of similarities, the film stands on its own and does so quite well for the most part. Saldana is anything but tough to look at, and she handles the emotion of the character and the physicality very well. Her kills are executed nicely, and some good thought and fight choreography went into most scenes.
Where the film is a bit of a letdown is in the supporting cast and their development. I love Cliff Curtis more than the next guy, but he’s given much more of the Danny Aiello role than the Jean Reno and it would have been nice to see another scene or two with the younger Cataleya beginning her training. Michael Vartan isn’t given much to do but enjoy being pressed up against Saldana (tell me he didn’t get paid for this) and Lennie James is your stock FBI special agent. None of that is their fault per se, but the characters just don’t feel as dynamic and iconic as they could/should be.
The biggest disappointment is in the villain … or should I say in either of the two people basically set up to be the villain. It’s never made clear whether Cataleya cares more about killing the drug lord who ordered her parents’ death or his chief lieutenant for doing the killing.
Adding to that issue is that neither actor will be remembered for their characterization; sure it’s unfair to compare most actors to Gary Oldman, but playing the bad guy should allow actors to have more fun in carving out their own little niche. Paul Giamatti did it wonderfully in Shoot ‘Em Up, Jason Patric had The Losers, and Javier Bardem took home the Oscar for No Country for Old Men. It can be done, it just wasn’t in this case.
Still, any fans of Besson’s will definitely enjoy what’s going on in Colombiana. The action is well thought out and executed, Saldana is ridiculously hot, and the film delivers all the beats required in its genre (even though it’s only rated PG-13). Hopefully, audiences will see it the same way, allowing for a sequel where Portman and Saldana cross paths; now that’s a concept actually worthy of consideration. Get to it, Besson.
Grade: A-
Colombiana hits theaters on August 26, 2011 and is rated PG-13 for violence, disturbing images, intense sequences of action, sexuality and brief strong language.
“1+1” isn’t Beyonce’s typical dance video. Instead, the sultry singer lets her voice do all the work – along with some gorgeous lighting and a just barely seen male love interest. There’s some ice, a blindfold, and even some tears shed as Beyonce requests the unseen lover make love to her. It’s a sexy video, just as we’ve come to expect from the 16-time Grammy Award winner.
Although I’m setting myself up for easy ridicule, after seeing Our Idiot Brother, it took me a little time to gather my thoughts about the film. In some ways, it made me wonder who was the bigger idiot, Paul Rudd’s character or myself.
And then it dawned on me. This odd, fish-out-of-water feeling comes from thinking the film is a mainstream Hollywood affair. It isn’t. This is very much an arthouse comedy – but with a central cast (Paul Rudd, Elizabeth Banks, Zooey Deschanel) that has enough mainstream recognizability to warrant a wider release.
I’m actually a little embarrassed to have fallen for the marketing ruse when I knew full well beforehand that it was directed by Jesse Peretz, who worked with Rudd before on 2001’s The Château. Upon shifting my mindset, so many of the film’s elements became clearer. While it sports a succinct 90-minute runtime, the slower unfolding of the character dynamics makes it feel about a half hour longer.
Rather than pander to cheap, easy, and often gastrointestinally-related humor, the laughs flow from watching the characters react to their lives. And the big breakthrough doesn’t come from some grand gesture or elaborate setup, it’s simply the fallout of Rudd’s character unable to maintain his abnormally positive outlook for once.
Now, when I intimate that this is an arthouse comedy wrapped in bigger budget clothes, I’m not saying it won’t appeal to general audiences. Far from it. There are a number of good laughs to be had but perhaps approaching it from the notion that it’s a movie about a family going through some tough times that just happens to find the humor in everyday life is the best way to go.
The cast plays wonderfully off of each other. Many of them have worked together before, and you really get the sense that Peretz and Rudd just felt like making this film and then called a bunch of their friends in with the promise of catered food and a summer camp atmosphere. Rudd, who seems to have fallen victim to typecasting in the last few years, gets to play a character far more layered and akin to some of his earlier roles; and as a fan of that work, it’s nice to see. Banks, Deschanel, and Emily Mortimer each add their particular talents to the basic framework of the family, and there are some very funny moments from Steve Coogan and T.J. Miller as well.
If Peretz had figured out a way to pace the movie better, the overall effort would have been better received but as it stands, Our Idiot Brother is more of a rental than a must-see on the big screen. And while the film does have comedy running throughout its veins, don’t go in thinking there will be outlandish antics like that of The 40-Year-Old Virgin or Forgetting Sarah Marshall. It’s much more about telling the story of how Rudd’s character fits into the lives of his sisters’, with the laughs coming packaged with a ton of heart and charm – which isn’t a bad thing, it just means changing your expectations slightly.
GRADE: B-
Our Idiot Brother hits theaters on August 26, 2011 and is rated R for sexual content including nudity, and for language throughout.
Sir Anthony Hopkins in '360Fernando Meirelles’ (City of God, The Constant Gardener) latest film, the romantic drama 360, has been named the opening night film for the 55th BFI London Film Festival. Peter Morgan (The Queen) wrote the script and Rachel Weisz (who worked with Meirelles in Constant Gardener), Anthony Hopkins, Ben Foster, and Jude Law star in 360.
Sandra Hebron, the Festival’s Artistic Director, stated, “‘I’m delighted that 360 will be our opening night film, and very pleased to welcome back Fernando Meirelles and Peter Morgan to the Festival. With its impeccable film making credentials and intriguing premise, 360 combines masterful visual story telling with a modern and moving narrative, helped by strong performances from a terrific ensemble cast. It will be a pleasure to open this year’s Festival with such an accomplished film from one of international cinema’s finest film makers.”
“In the past decade I’ve been to the BFI London Film Festival six times, some of them as a guest, and some as part of the audience,” said director Fernando Meirelles. “The BFI London Film Festival is one of the best festivals in the world due to its selection of films and the number of theatres the films are shown in. I am very honored 360, an intimate film that talks about our options in life, has been chosen to open the Festival this year, and I want to thank Sandra Hebron for extending this prestigious invitation to me for a second time, following The Constant Gardener, which opened the Festival in 2005.”
360 features interconnected love stories and relationships which link characters from different cities, starting in Vienna and moving through Paris, London, Bratislava, Rio, Denver and Phoenix.
The Plot:
From a simple decision made by one man – to remain faithful to his wife – springs a series of consequences. From uplifting, beautiful and romantic moments through to desperate, confused and conflicted interludes, each protagonist in 360 has their own vivid, entertaining, funny, tragic narrative as their stories entwine across the globe.
“They let me go early.” “I won most cooperative inmate four months running,” says Ned (Paul Rudd) to his ex-girlfriend after just being released from prison for selling marijuana to a uniformed policeman in the comedy film Our Idiot Brother.
Having no money and being kicked off his ex’s farm, Ned turns to his family for assistance. The first to take him in is his sister, Liz (Emily Mortimer). Feeling guilty for having told him her door is always open, she convinces her husband (Steve Coogan) to have Ned help with his documentary. Ned, being a hopelessly upbeat person but not the sharpest tack in the shed, starts to accidentally aid in the unraveling of Liz and Dylan’s already failing marriage with a series of blunders both at home and at Dylan’s work.
Desperate for a little peace, Liz sends her dimwitted brother to stay with their sister, Miranda (Elizabeth Banks). To say Miranda is not happy to have Ned crashing on her couch is a gross understatement. Now don’t get the wrong idea, she loves her brother but would rather not have him upset her comfortable routine.
However, when Miranda needs Ned’s help on a story she’s working on for her magazine editor he becomes the key to her hope for a promotion. The only snag is that Ned would have to help Miranda do something unethical. Believing people are basically good and almost never lying, Ned is less inclined to aid his sister in her quest for the ultimate gossip article. This, plus throwing a huge wrench into her close friendship with Jeremy (Adam Scott) by some horrible miscommunication, it’s not long before Ned is on the doorstep of his third sister, Natalie (Zooey Deschanel).
Already in the middle of her own life crisis, Natalie makes the mistake of confiding in Ned about the big secret she’s keeping from her girlfriend Cindy. Now it’s only a matter of time before well-meaning Ned lets the secret out thinking it’s already been dealt with and causing Natalie’s world to come crashing down around her.
Our Idiot Brother is a lighthearted, funny comedy that’s highlighted by a stand-out performance by Paul Rudd. His portrayal of Ned, the good-hearted, likable, naïve organic farmer is reminiscent of other lovable underdog characters from cinemas past. From Charlie Chaplin’s Little Tramp, Jackie Gleason’s The Pour Soul and Tom Hanks’ Forrest Gump, Rudd brings to Ned just the right amount of heart and simple-mindedness to have the audience rooting for him to get his beloved dog back from his annoying ex-girlfriend and start over.
Elizabeth Banks delivers a spot-on performance as Miranda, the bossy, demanding, pushy but loving sister who becomes the first out of the family to start to appreciate and envy Ned’s pure outlook on the world and the people in it.
The only real problem with the film is the miscasting of Zooey Deschanel as the free-spirited youngest sister, Natalie. Her constant wide-eyed expression and the fact she has zero chemistry with the rest of the cast brings the film down a full grade and makes the third act with her character completely uninteresting and very predictable. Still, this is a comedy to be seen on the big screen if for no other reason than to see Rudd’s laugh-out-loud performance. This is his movie all the way. The scene’s with him, and his character’s parole officer are the true highlights of the film and are truly hilarious.
Having to have to sit through many mean-spirited, dumb, vulgar, unoriginal, gross-out so-called comedies, it’s a true pleasure to recommend a funny, goofy and at times sweet film that will have you chuckling and smiling as you leave the theater.
GRADE: B-
Our Idiot Brother is rated R for sexual content including nudity, and for language throughout.
With the exception of the director who will be handling the letter ‘T’, Drafthouse Films, Magnet Pictures and Timpson Films have signed up directors to handle the 26 individual stories that will make up the anthology horror film, The ABCs of Death. According to the production companies, each director is “assigned a letter of the alphabet inspiring a single word about death,” and there’s a contest currently going on to find a new, talented horror director to tackle the ‘T’ story. For details on the competition, visit http://26th.theabcsofdeath.com/. The contest will end on October 1st.
The two latest additions to the list of directors are Jon Schnepp (co-director of Adult Swim’s Metalocalypse) and Jorge Michel Grau (Somos Lo Que Hay [We Are What We Are]).
“Having Jon Schnepp onboard is really going to bring some anarchic diversity to the project,” stated co-producer Ant Timpson. “His work on Metapocalypse, The Venture Bros and Aqua Teen Hunger Force shows that he is the real deal; a supremely multi-talented guy with a unique perspective and set of skills to match.”
“Jorge Michel Grau won top honors, the ‘Next Wave’ award, at last year’s Fantastic Fest for his feature We Are What We Are. We are delighted that this visionary filmmaker is joining our already strong roster,” added co-producer Tim League.
The ABCs of Death Directors:
Kaare Andrews (Altitude), USA
Angela Bettis (Roman), USA
Ernesto Diaz Espinoza (Mirageman), Chile
Jason Eisener (Hobo With A Shotgun), Canada
Bruno Forzani & Héléne Cattet (Amer), Belgium
Adrian Garcia Bogliano (Cold Sweat), Mexico
Xavier Gens (Frontiers, Hitman), France
Jorge Michel Grau (We Are What We Are), Mexico
Noburo Iguchi (Robo Geisha), Japan
Thomas Malling (Norwegian Ninja), Norway
Anders Morgenthaler (Princess), Denmark
Yoshihrio Nishimura (Tokyo Gore Police), Japan
Banjong Pisathanakun (Shutter),Thailand
Simon Rumley (Red, White & Blue), UK
Marcel Sarmiento (Deadgirl), USA
Jon Schnepp (Metalocalypse, The Venture Bros.), USA
Srdjan Spasojevic (A Serbian Film), Serbia
Timo Tjahjanto (Macabre), Indonesia
Andrew Traucki (The Reef), Australia
Nacho Vigalondo (TimeCrimes), Spain
Jake West (Doghouse), UK
Ti West (House of the Devil, The Innkeepers), USA
Ben Wheatley (Down Terrace, Kill List), UK
Adam Wingard (A Horrible Way to Die), USA
Yudai Yamaguchi (Yakuza Weapon), Japan
Source: Drafthouse Films, Magnet Pictures and Timpson Films – August 25, 2011
With the exception of the director who will be handling the letter ‘T’, Drafthouse Films, Magnet Pictures and Timpson Films have signed up directors to handle the 26 individual stories that will make up the anthology horror film, The ABCs of Death. According to the production companies, each director is “assigned a letter of the alphabet inspiring a single word about death,” and there’s a contest currently going on to find a new, talented horror director to tackle the ‘T’ story. For details on the competition, visit 
