Anton Corbijn's "A Most Wanted Man" is among a particularly strong group of narrative and documentary features debuting at this year's fest.Anton Corbijn's A Most Wanted Man is among a particularly strong group of narrative and documentary features premiering at the 2014 Sundance film Festival. Celebrating its 30th anniversary, the festival on Monday unveiled this year's lineup of premieres, which also will include the Michael Fassbender starrer Frank, Lynn Shelton's coming-of-age comedy Laggies featuring Keira Knightley in the role that Anne Hathaway famously abandoned and David Wain's send-up of the roMantic comedy genre They Came Together, starring Amy Poehler and Paul Rudd. PHOTOS: Sundance's Greatest Hits: The Movies That Broke Through A Most Wanted Man has been generating heat thanks to the source material (John le Carre's best-selling thriller) and a cast that includes Philip Seymour HoffMan, Rachel McAdams, Robin Wright and Willem Dafoe. Documentaries include Alex Gibney's Finding Fela, about the late Afrobeat pioneer and huMan rights activist Fela Anikulapo Kuti, and a look at the Penn State college football program's pedophilia scandal, Happy Valley, as well as films about Mitt Romney and James "Whitey" Bulger. STORY: Sundance film Festival Unveils 2014 Competition Lineup "The Premieres and Documentary Premieres sections of the 2014 Sundance film Festival feature new work from Many established independent filmmakers who began their careers at our festival years ago, which allows us to reflect on the impact, legacy and growth of the independent film movement over the past 30 years," Sundance film Festival director John Cooper said. Added director of programming Trevor Groth: "In Many of the films selected for our 2014 Sundance film Festival, we see fascinating characters and subjects throughout. Whether portrayed by recognized actors taking on more challenging and diverse roles or in the stranger-than-fiction reality of our documentaries, we look forward to sharing these incredible stories with audiences at our festival." The festival runs from Jan. 16-26 in Park City, Salt Lake City, Ogden and Sundance, Utah. Sundance already announced films in the U.S. and World Competition, NEXT, Spotlight, Park City at Midnight, New Frontier and Sundance Kids sections. On Tuesday, the festival will unveil its Shorts lineup. PREMIERES Calvary / Ireland, United Kingdom (Director and screenwriter: John Michael McDonagh)—Calvary is a blackly comedic drama about a priest tormented by his community. Father James is a good Man intent on making the world a better place. When his life is threatened one day during confession, he finds he has to battle the dark forces closing in around him. Cast: Brendan Gleeson, Chris O'Dowd, Kelly Reilly, Aidan Gillen, Dylan Moran, Marie-Josée Croz. Frank / Ireland, United Kingdom (Director: Lenny Abrahamson, Screenwriters: Jon Ronson, Peter Straughan) — Frank is an offbeat comedy about a wannabe musician who finds himself out of his depth when he joins an avant garde rock band led by the enigmatic Frank—a musical genius who hides himself inside a large fake head. Cast: Michael Fassbender, Domhnall Gleeson, Maggie Gyllenhaal, Scoot McNairy. Hits / U.S.A. (Director and screenwriter: David Cross) — A small town in upstate New York is populated by people who wallow in unrealistic expectations. There, fame, delusion, earnestness, and recklessness meet, shake hands, and disrupt the lives around them. Cast: Meredith Hagner, Matt Walsh, James Adomian, Jake Cherry Derek Waters, Wyatt Cenac. I Origins / U.S.A. (Director and screenwriter: Mike Cahill)—A molecular biologist and his lab partner uncover startling evidence that could fundamentally change society as we know it and cause them to question their once-certain beliefs in science and spirituality. Cast: Michael Pitt, Brit Marling, Astrid Bergès-Frisbey, Steven Yeun, Archie Panjabi. Laggies / U.S.A. (Director: Lynn Shelton, Screenwriter: Andrea Seigel)—Laggies is a coming of age story about a 28-year-old woMan stuck in perManent adolescence. Unable to find her career calling, still hanging out with the same friends, and living with her high school boyfriend, Megan must finally navigate her own future when an unexpected marriage proposal sends her into a panic. Cast: Keira Knightley, Sam Rockwell, Chloë Grace Moretz, Ellie Kemper, Jeff Garlin, Mark Webber. Little Accidents / U.S.A. (Director and screenwriter: Sara Colangelo) —In a small American coal town living in the shadow of a recent mining accident, the disappearance of a teenage boy draws three people together—a surviving miner, the lonely wife of a mine executive, and a local boy—in a web of secrets. Cast: Elizabeth Banks, Boyd Holbrook, Chloë Sevigny, Jacob Lofland, Josh Lucas. Love Is Strange / U.S.A. (Director: Ira Sachs, Screenwriters: Ira Sachs, Mauricio Zacharias)—After 39 years together, Ben and George finally tie the knot, but George loses his job as a result, and the newlyweds must sell their New York apartment and live apart, relying on friends and family to make ends meet. Cast: John Lithgow, Alfred Molina, Marisa Tomei, Darren Burrows, Charlie Tahan, Cheyenne Jackson. A Most Wanted Man / GerMany, U.S.A. (Director: Anton Corbijn, Screenwriter: Andrew Bovell) — Based on John le Carré's bestselling book, Anton Corbijn directs this modern-day thriller with Academy Award–winning actor Philip Seymour HoffMan, Rachel McAdams, Robin Wright, and two-time Academy Award nominee Willem Dafoe headlining an ensemble cast. Cast: Philip Seymour HoffMan, Rachel McAdams, Willem Dafoe, Robin Wright. Nick OfferMan: American Ham / U.S.A. (Director: Jordan Vogt-Roberts, Screenwriter: Nick OfferMan) —WARNING: MINOR NUDITY AND NOT SUITABLE FOR VEGETARIANS. This live taping of Nick OfferMan's hilarious one-Man show at New York's historic Town Hall theater features a collection of anecdotes, songs, and woodworking/oral sex techniques. The routine includes OfferMan's 10 tips for living a more prosperous life, so hearken well. Cast: Nick OfferMan. The One I Love / U.S.A. (Director: Charlie McDowell, Screenwriter: Justin Lader) — Struggling with a marriage on the brink of falling apart, a couple escapes for the weekend in pursuit of their better selves, only to discover an unusual dilemma waiting for them. Cast: Mark Duplass, Elisabeth Moss, Ted Danson. The Raid 2 / Indonesia (Director and screenwriter: Gareth Evans) — Picking up where the first film left off, The Raid 2 follows Rama as he goes undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and expose the corruption in his own police force. Cast: Iko Uwais, Yayan Ruhian, Arifin Putra, Oka Antara, Tio Pakusadewo, Alex Abbad. Rudderless / U.S.A. (Director: William H. Macy, Screenwriters: Casey Twenter, Jeff Robison, William H. Macy) — When a grieving father in a downward spiral stumbles upon a box of his deceased son's original music, he forms a rock 'n' roll band, which changes his life. Cast: Billy Crudup, Anton Yelchin, Felicity HuffMan, Selena Gomez, Laurence Fishburne, William H. Macy. CLOSING NIGHT film They Came Together / U.S.A. (Director: David Wain, Screenwriters: Michael Showalter, David Wain)—This subversion/spoof/deconstruction of the roMantic comedy genre has a vaguely, but not overtly, Jewish leading Man, a klutzy, but adorable, leading lady, and New York City itself as another character in the story. Cast: Amy Poehler, Paul Rudd, Ed Helms, Cobie Smulders, Max Greenfield, Christopher Meloni. The Trip to Italy / United Kingdom (Director: Michael Winterbottom, Screenwriters: Rob Brydon, Steve Coogan, Michael Winterbottom)—Michael Winterbottom reunites Steve Coogan and Rob Brydon for more delectable food, some sharp-elbowed rivalry, and plenty of laughs. Cast: Steve Coogan, Rob Brydon. The Voices / U.S.A., GerMany (Director: Marjane Satrapi, Screenwriter: Michael Perry) —This genre-bending tale centers around Jerry Hickfang, a lovable but disturbed factory worker who yearns for attention from a woMan in accounting. When their relationship takes a sudden, murderous turn, Jerry's evil talking cat and benevolent talking dog lead him down a fantastical path where he ultimately finds salvation. Cast: Ryan Reynolds, Gemma Arterton, Anna Kendrick, Jacki Weaver. White Bird in a Blizzard / U.S.A. (Director and screenwriter: Gregg Araki)—Based on the acclaimed novel by Laura Kasischke, White Bird in a Blizzard tells the story of Kat Connors, a young woMan whose life is turned upside down by the sudden disappearance of her beautiful, enigmatic mother. Cast: Shailene Woodley, Eva Green, Christopher Meloni, Shiloh Fernandez, Gabourey Sidibe, Thomas Jane. Young Ones / U.S.A. (Director and screenwriter: Jake Paltrow)—When a series of events is set into motion, altering his young life forever, Jerome is forced to make choices that no child should ever have to make. Cast: Michael Shannon, Nicholas Hoult, Elle Fanning, Kodi Smit-McPhee. DOCUMENTARY PREMIERES The Battered Bastards of Baseball / U.S.A. (Directors: ChapMan Way, Maclain Way)— Hollywood veteran Bing Russell creates the only independent baseball team in the country—alarming the baseball establishment and sparking the meteoric rise of the 1970s Portland Mavericks. Finding Fela / U.S.A. (Director: Alex Gibney)— Fela Anikulapo Kuti created the musical movement Afrobeat and used it as a political forum to oppose the Nigerian dictatorship and advocate for the rights of oppressed people. This is the story of his life, music, and political importance. Freedom Summer / U.S.A. (Director: Stanley Nelson) — In the summer of 1964, more than 700 students descended on violent, segregated Mississippi. Defying authorities, they registered voters, created freedom schools, and established the Mississippi Freedom Democratic Party. Fifty years later, eyewitness accounts and never-before-seen archival material tell their story. Not all of them would make it through. Happy Valley / U.S.A. (Director: Amir Bar-Lev)— The children of "Happy Valley" were victimized for years, by a key member of the legendary Penn State college football program. But were Jerry Sandusky's crimes an open secret? With rare access, director Amir Bar-Lev delves beneath the headlines to tell a modern American parable of guilt, redemption, and identity. Last Days in Vietnam / U.S.A. (Director: Rory Kennedy) — During the chaotic final weeks of the Vietnam War, the North Vietnamese Army closes in on Saigon as the panicked South Vietnamese people desperately attempt to escape. On the ground, American soldiers and diplomats confront a moral quandary: whether to obey White House orders to evacuate only U.S. citizens. Life Itself / U.S.A. (Director: Steve James) — Life Itself recounts the surprising and entertaining life of renowned film critic and social commentator Roger Ebert. The film details his early days as a freewheeling bachelor and Pulitzer Prize winner, his famously contentious partnership with Gene Siskel, his life-altering marriage, and his brave and transcendent battle with cancer. Mitt / U.S.A. (Director: Greg Whiteley) — A filmmaker is granted unprecedented access to a political candidate and his family as he runs for President. This May Be the Last Time / U.S.A. (Director: Sterlin Harjo)— filmmaker Sterlin Harjo's Grandfather disappeared mysteriously in 1962. The community searching for him sang songs of encouragement that were passed down for generations. Harjo explores the origins of these songs as well as the violent history of his people. To Be Takei / U.S.A. (Director: Jennifer Kroot)—Over seven decades, actor and activist George Takei journeyed from a World War II internment camp to the helm of the Starship Enterprise, and then to the daily news feeds of five million Facebook fans. Join George and his husband, Brad, on a wacky and profound trek for life, liberty, and love. We Are the Giant / U.S.A., United Kingdom (Director: Greg Barker) — We Are The Giant tells the stories of ordinary individuals who are transformed by the moral and personal challenges they encounter when standing up for what they believe is right. Powerful and tragic, yet inspirational, their struggles for freedom echo across history and offer hope against seemingly impossible odds. WHITEY: United States of America v. James J. Bulger / U.S.A. (Director: Joe Berlinger) — Infamous gangster James "Whitey" Bulger's relationship with the FBI and Department of Justice allowed him to reign over a criminal empire in Boston for decades. Joe Berlinger's documentary chronicles Bulger's recent sensational trial, using it as a springboard to explore allegations of corruption within the highest levels of law enforcement. Email: Tatiana.Siegel@THR.com
Fonte » www.hollywoodreporter.com - 10/12/2013 00:09
James D. Cooper?s celebratory documentary traces the roots of the Who via its affectionate portrait of the idiosyncratic Management team that helped define the band.Is it too sweeping a statement to say Lambert & Stamp instantly earns a place in the pantheon of great music docs? Who cares, let’s just go ahead and say it. This wildly entertaining account of the genesis and rise of the Who gives due acknowledgement to Kit Lambert and Chris Stamp, described by Roger Daltry as the band’s fifth and sixth members. James D. Cooper’s rollicking film is a heady return to Swinging Sixties England at the height of the Mod explosion that’s packed with primo archival material and killer tunes. It’s also a vigorous testament to the rewards of creative collaboration, shining a spotlight on two highly unorthodox, self-invented rock entrepreneurs. The brilliant synergy of those contradictory yet complementary personalities should make this dynamically packaged movie of interest to audiences far beyond hardcore Who fans. As an account of the early days of a band that galvanized “My Generation” while smashing up guitars, it’s as probing and candid as one could hope for -- stuffed with memorable anecdotes and tasty trivia nuggets. But Lambert & Stamp is arguably even more rewarding – not to mention surprisingly moving – as an intimate snapshot of an unlikely chalk-and-cheese friendship. Lambert died in 1981, which might be expected to cause an imbalance in the way the band’s joint Managers are represented. Though he also died in late 2012, the garrulous Stamp was still very much around at the time this film was being made, to share his colorful recollections first-hand. But Cooper and ace editor Christopher Tellefsen have accessed an extraordinary trove of filmed material and interviews that make Lambert every bit as vivid a presence in absentia as his friend and business partner, or the surviving Who members, Daltry and Pete Townshend. PHOTOS: Sundance at 30: Vintage Photos of Park City's Biggest Stars The abundance of terrific footage from the era is perhaps a direct reflection of the shared interest that first drew Lambert and Stamp together when they met while working as assistants at Shepperton Studios in the early ‘60s – they were both film lovers and aspiring directors in thrall to the French New Wave. They didn’t set out to make a mark on popular-music history. Rather, their impetus was to find a band they could take under their inexperienced wings and steer to a sufficient degree of success to make a movie about them, thus providing the would-be auteurs with an entrée into the film biz. Townshend reflects that “irreverence” is probably the wrong word to describe their approach, since that would imply that they weren’t fully invested in the process. But there’s undeniably a larkish, make-it-up-as-we-go spirit that characterizes Lambert and Stamp’s role in molding the raw talent of the High Numbers, as the group was originally called, into rock royalty. Townshend’s art school chum Richard Barnes observes that Lambert and Stamp were such inherently different types that they seemed alMost like characters out of a sitcom. Indeed there is a certain odd-couple, buddy-movie vibe to Cooper’s film that feeds its ample humor. Lambert was the terribly posh son of the celebrated classical composer and conductor Constant Lambert, and the godchild of Margot Fonteyn. An Oxford-educated, well-traveled polyglot who was as openly gay as was possible at a time when homosexuality was still illegal in England, he is first seen cruising around Beverly Hills in the back of a Rolls, expounding on the demise of opera and the symphony and heralding pop as the new frontier. Barnes jokes of the dedicated chain smoker: “We think he used one match in his whole life to light the first cigarette.” One of Lambert’s earliest film jobs was as a cameraMan on explorer John Hemming’s dangerous Iriri River expedition into unexplored country in Brazil in 1961. PHOTOS: The Scene at Sundance film Festival 2014 Stamp, on the other hand, was an unvarnished London East Ender whose father was a Thames tugboat captain. His brother, the actor Terence Stamp, describes him as “a rough, tough fighting sort of spiv,” whose only notable interest was in girls. It’s inferred that his working-class background and Lambert’s sexuality gave them an outsider status in common that overcame any barriers of class. Refreshingly, Lambert being gay never appears to have caused any problem for the straight guys in his orbit. Townshend even grumbles amusingly that he never made a pass, making him feel unattractive, while Daltry says he was the first toff ever to speak to him without condescension. While combing music venues for a band to launch, they were drawn to a dingy club with lines of scooters parked outside, where Daltry, Townshend, John Entwistle and Keith Moon pumped out feedback-heavy sounds from the stage for a crowd of mesmerized Mods. With no music-industry experience and no connections, Lambert and Stamp had only chutzpah to recommend them, but the guys in what was to become the Who liked the shtick of these instinctive ideas men. This influential period in British pop culture has been widely documented elsewhere – not to mention depicted in dramatized form in the 1979 film Quadrophenia, based on the Who’s concept album. But the footage here, coupled with the incisive commentary, is bracingly immersive. While Stamp says his thing was “Trotsky rhetoric,” Lambert excelled at erudite social commentary, distilling the teen Mod gestalt (in television interviews in GerMan and French, as well as English) into an eruption of revolutionary self-empowerment and rule flaunting that served to forestall the post-20 slide into middle-class convention. Lambert and Stamp positioned the Who at the center of this ferment as a whole new philosophy in popular music, which stood apart from what the Beatles or Stones were doing. PHOTOS: THR's Sundance Instagram Portraits While the band and its Managers for Many years were spending more than they earned, Lambert shared “his aristocratic expertise in how to get by with no money,” as Townshend puts it. But his influence was felt in other ways, too, throwing Purcell recordings and other classical music championed by his father at Townshend to inform his understanding of structure and melody. Cooper deliberately jumps around in his chronicle, avoiding a restrictive timeline in favor of energizing non-linear curiosity. While less attention inevitably is given to the late Entwistle and Moon than to Daltry and Townshend, pithy observations illuminate the contributions and personalities of all four musicians. Accounts of friction within the band – particularly before Daltry tamed his scrappy streetfighter nature and stopped taking the bait of Moon’s goading cruelty – are especially absorbing. However, the Most compelling conflict emerges with the slow disintegration of Lambert and Stamp’s relationship to the Who, which started with the release of “Tommy.” Townshend is both forthright and self-protective in his account of the gestation of that rock-opera concept album and the eventual 1975 Ken Russell movie, conceding that Lambert helped identify a through-line in a postwar story that began as a more amorphous spiritual allegory. Lambert and Stamp naturally assumed that they would produce and direct the film version, fulfilling their long-stalled ambition. But Townshend balked at the idea and the deal went in another direction. This also caused a rift between the Management partners. Stamp got an executive producer credit on the movie, while lead producer Robert Stigwood shut Lambert out due to his escalating drug habit. The pain of that period, plus subsequent lawsuits, professional separations and deaths might threaten to cast a downbeat pall over a film about collaboration. But its water-under-the-bridge sense of Zen-like acceptance makes the final section incredibly poignant. The graciousness shown by Daltry perhaps instigates this resolution, but it’s Stamp’s humor and rough-hewn wisdom that make it resonate. When he discusses letting go of the dream to make a great film that he had carried around since he was 16, the hard-won peace of the Man is beautiful, made even more so by the knowledge of his death since these interviews were shot. Needless to say, the ageless music of the Who courses through the film like electricity, along with that of other artists associated with Lambert and Stamp, among them Jimi Hendrix (whom they signed to a record deal before they even had a label). One clip in which Townshend gives Lambert and Stamp a first acoustic taste of “Glittering Girl” is a gem. Editor Tellefsen’s credits are in narrative features, and this marks an impressive step into documentary, incorporating lively graphic elements and image Manipulation, and making extensive use of black and white on new interviews to integrate them amongst the vintage clips. Cooper tells a full-bodied story in this fast-paced two hours, harnessing the chaotic energy of two men who generated a whirl of unconventional ideas and strategies. Venue: Sundance film Festival (Documentary Premieres) With: Chris Stamp, Pete Townshend, Roger Daltrey, Terence Stamp, Heather Daltry, John Hemming, Richard Barnes, Robert Fearnley-Whittingstall, Irish Jack Production companies: Motocinema, Harms/Cooper Director: James D. Cooper Producers: Loretta Harms, Douglas Graves Executive producers: Loretta Harms, Mark Mullen Director of photography: James D. Cooper Music: The Who Editor: Christopher Tellefsen Sales: Motocinema No rating, 117 minutes.
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Michael Rossato-Bennett's documentary explores how music can help Alzheimer patients.PARK CITY – When the Loving Spoonful’s John Sebastian’s sang, “The magic’s in the music and the music’s in me,” he didn’t envision the neurological and healing wonder of his lyric. It turns out that songs are embedded deep in our memories and Alzheimer patients’ minds can be resuscitated by their favorite music or songs. A packed audience at Sundance was invigorated by witnessing this magical, non-medical story of healing. Alive Inside was brought to full dimension by filmmaker Michael Rossato-Bennett’s vigorous filmic hand, blending a bedside Manner with a rousing aesthetic. In this stirring documentary, Rossato-Bennett unveils the healing power of music to reinvigorate memory in nursing- home patients suffering from Dementia. Rossato-Bennett follows social worker Dan Cohen who discovered that a patient’s favorite songs are intact in a part of the brain that is still alive when all other communication and awareness seem irretrievably lost. With a sharp cinematic scalpel, filmmaker Rossato-Bennett reveals Cohen’s keen insight and discovery. We see that the “nursing-home industry” evolved from poor-house roots and merged with today’s concept of sparing families the wear of elder care. The “huMane” result: Alzheimer patients are basically warehoused, soused with meds and propped away in their rooms. PHOTOS: Sundance at 30: Vintage Photos of Park City's Biggest Stars In short, “medical” care does not touch the heart and souls of the patients. It merely subdues them. Recognizing that sad and deplorable fact, social worker Cohen tried a different approach: He provided Dementia sufferers with IPods containing their favorite tunes. And this is where “the magic in the music” comes in. As the sounds burst out, from Schubert to the Shirelles, their blank faces and somber visages erupt into joy. They swing and sway, recalling the magical life memories they associate with their favorite songs. The dull deadness of their eyes lights up into a gleaming sparkle, saying “And the music’s in me.” Production Company: Ximotion Media Screenwriter/director: Michael Rossato-Bennett No rating, 74 minutes.
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Martha Stephens and Aaron Katz make a buddy movie about two seventyish gents who take an unplanned trip.The road movie is refitted for a charming spin around scenic Iceland in Land Ho!, a serio-comedy of very modest ambition but a distinct character of its own. At its Most reductive a buddy movie about two seventyish gents who take an unplanned trip with the intent of “getting our grooves back,” this first collaboration between writer-directors Martha Stephens and Aaron Katz offers pleasure all the way but leaves the lingering feeling that it could have pushed itself further, both dramatically and comedically. Acquired by Sony Pictures Classics at Sundance, this is the sort of disarming out-of-nowhere surprise that could catch the fancy of a healthy slice of the specialized audience and also become one of those occasional films that lures senior audiences into theaters.
Befitting classic comic tradition, the script throws together two temperamental opposites, the expansive, lewd and life-embracing Mitch (Earl Lynn Nelson) and the taciturn, unassertive and watchful Colin (Paul Eenhoorn), two ex-brothers-in-law with time on their hands and in need of a pick-me-up.
Mitch, a well-off surgeon already fed up with retirement, is a big fellow with big appetites, a guy who likes women, wine and weed and whose irrepressible suggestive remarks to and about the opposite sex marks him as a dinosaur in a politically correct world. Colin, a former French horn player and banker, habitually keeps his own council and has to be prodded by Mitch to accept his invitation to a first-class, all-expenses-paid trip to Iceland for a chance of scenery.
And mighty good scenery it is, too. Countering the trend of indie as well as local directors to exoticize the island and its inhabitants with a sort of stilted, deadpan humor, the directors show the place just as the well-heeled travelers experience it, from the spare modern elegance of Reykjavik’s first-class restaurants and hotels of to the striking natural splendors of the coast and countryside.
Uttering words of wisdom, blunt remarks and anatomical observations with a deep Kentucky drawl that charms and takes the edge off, Mitch is antsy in retirement and not disposed to consider himself out of the game. Although he’s not saying, the suspicion persists that he was forced to resign from his job. He and Colin were wed to sisters, although both marriages have ended, and Mitch takes it upon himself to pull Colin out of the doldrums and get his blood running again.
PHOTOS: The Scene at Sundance film Festival 2014
In the city, the two old boys are joined by Mitch’s cousin Ellen and her friend Janet (Karrie Crouse and Elizabeth McKee), both PhD candidates at Columbia. Gregarious Mitch, whose running comments about everything are generally amusing and never banal, takes the gang to the city’s best fish restaurant and then to a nightclub where the guys are at least forty years older than anyone else, but he can’t get the others to share his reefers or loosen up to his standards. He’s a born libertine and a shoot-from the-hip philosopher.
Once the gals take off, the two adventurers rent a big Hummer and head for Iceland’s natural wonders, including The Golden Circle, sensational waterfalls, the geyser (to which Mitch immediately attaches heavy sexual connotations) the black beaches and the blue lagoon. They encounter a couple on their honeymoon, get so lost wandering away from their remote motel one night that they have to sleep outside and, over the course of things, open up a bit more about their lives and feelings. Nothing that goes deep, but things that touch, sometimes poignantly, on the prospect of being put out to pasture and how to move ahead and not be encumbered by the past.
It goes, more or less, how the great majority of trips like this would go -- pleasantly, with mild highlights and chance encounters, but not the way Most movies are constructed to be dramatically eventful or exaggeratedly comic. The tendency with this sort of material, especially in Hollywood’s hands, would be to turn it into an outright farce, along the lines of Grumpy Old Men or The Bucket List, and it’s easy to imagine the remake rights to this being snapped up and tailored for the likes of Jack Nicholson, Steve Martin, Tommy Lee Jones, Morgan FreeMan, Michael Caine, Harrison Ford or any number of other big older stars.
Land Ho! is appealing for not going the route of easy gags and dumbed-down humor, content instead to ride on Nelson’s abundant personality and the slow-burn gravitas of Eeenhoorn, who scored last year in The Return of Martin Bonner. Not a professional actor, Nelson appeared in Stephens’s two solo features, Passenger Pigeon (2010) and Pilgrim Song (2012). For his part, Katz on his own previously directed Dance Party USA (2006), Quiet City (2007) and Cold Weather (2010).
Venue: Sundance film Festival (NEXT)
Opens: Autumn 2014 (Sony Pictures Classics)
Production: Gamechanger films
Cast: Paul Eenhoorn, Earl Lynn Nelson, Karrie Crouse, Elizabeth McKee,
Alice Olivia Clarke, Emmsje Gauti
Directors: Martha Stephens, Aaron Katz
Screenwriters: Martha Stephens, Aaron Katz
Producers: Mynette Louie, Sara Murphy, Christina Jennings
Executive producers: David Gordon Green, Julie Parker Benello, Dan
Cogan, Geralyn Dreyfous, Wendy Ettinger
Director of photography: Andrew Reed
Editor: Aaron Katz
Music: Keegan DeWitt
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Nick OfferMan offers ten lessons for leading a more OfferMan-ish life in his stand-up film.PARK CITY — A concert film exposing both the endearing sides of the Man behind Parks and Recreation's Ron Swanson (woodworking, homemade valentines) and those we might just as happily not know about (like his fondness for describing semen), Jordan Vogt-Roberts's Nick OfferMan: American Ham bills itself as "Ten Tips for a Prosperous Life." Given how Many of these tips have something to do with oral sex, it's more like three tips and change -- which is okay for those who feel the Man can do no wrong, but is pretty lightweight for those of us who've simply come to rely on him to make us laugh. A heavily bleeped slot on Comedy Central seems the Most appropriate venue, though Nick OfferMan's popularity might bump the film up to a pay cable berth. Walking onstage at New York City's Town Hall, OfferMan proudly bares his torso before donning a stars-and-stripes button-up. It's a body built by barbecue and bacon, untouched by hair-removal techniques, which is exactly what one expects. Since we already know that's what he looks like under his shirt, does he really need to show us? Similarly, Most fans would probably be happy to assume that OfferMan has a highly enjoyable sex life with actress Megan Mullally, given how long they've been married and how adoring they are of each other in the press. But OfferMan really needs us to know, making frequent and graphic reference to what he does with the woMan who has legally been his property (he makes that line sound loving) for Many years. Granted, plenty of comedians talk graphically about sex, but they're rarely talking about partners we know. If OfferMan's our ornery-but-cool uncle, or big brother, or son we weren't Manly enough to raise, it eventually feels like quite a bit too much information for him to tell us exactly what he puts where during couplings with Aunt Megan. PHOTOS: THR's Sundance Instagram Portraits Maybe the actor is simply drunk on the freedom of escaping the intensely secretive, no-hugging-or-sharing persona of Ron Swanson. He's got to let it all hang out, to nail down the ways in which he is not his beloved character. Yet Most of these life lessons would sound perfectly natural coming from Swanson -- they'd just be more pithy. Here, OfferMan can start off talking about Tip #2: Say Please and Thank You, and soon be lambasting those "dicks" who wrote Leviticus, the Biblical justification for stoning gay men and treating menstruating women like lepers. The segues are anything but smooth. Rambling or on point, OfferMan is often very funny, and American Ham is Most enjoyable when he's using that stern, authoritative voice to remind us of things we already believe: vanity is stupid; Twitter's a waste of time; it's healthy to get outdoors and to learn a craft or two. One of OfferMan's chosen hobbies is acoustic guitar, evidently, and about half of his ten comMandments come with jokey little songs that will never lead anyone to suggest he make an all-music comedy record. Maybe if OfferMan puts together another ten life tips sometime, one could be Stick with Your Strengths. Production Company: Six Two and Even Director: Jordan Vogt-Roberts Screenwriter: Nick OfferMan Producer: Julien Lemaitre Executive producers: Nick OfferMan, Jordan Vogt-Roberts Directors of photography: Matthew Garrett, Ross Riege Music: Ryan Miller Editor: Josh Schaeffer, Alex Gorosh Sales: UTA No rating, 77 minutes
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Christopher Abbott and Brady Corbet co-star in a U.S.-set film from Norwegian writer-director Mona Fastvold.The Sleepwalker proves all too apt a title for Mona Fastvold’s debut feature, an oblique, haltingly paced drama concerning family secrets and wounded psyches. Euro fests and markets may warm to the film’s emotionally distant tone, but attracting American audiences could turn out to be a tough sell. On an isolated, wooded Massachusetts estate, Kaia (Gitte Witt) and her boyfriend Andrew (Christopher Abbott) are renovating the estate left behind by her late father, an architect and by all accounts a rather stern taskmaster who hired Andrew as an assistant prior to his death. Passionate but not especially intimate, the two have a shared past extending back to the local high school, but are only recently coupled. A late-night call forces Kaia from bed to drive to the nearest town and collect her younger sister Christine (Stephanie Ellis), who’s arrived unannounced. All drama to Kaia’s seeming placidity, Christine breathlessly relates that she’s pregnant by her fiance, whom she’s left behind in Boston while pulling one of her frequent disappearing acts. Kaia and Andrew try to adjust to her unfocused energy, but Kaia is quickly drawn back into her sister’s frequent drama. The next day Christine’s well-off fiance Ira (Brady Corbet) arrives to collect her, but she’s not yet prepared to leave her childhood home, asking Kaia to let them stay the night, to which she agrees. One overnight turns into another, with the houseguests quickly disrupting Kaia and Andrew’s routine of refurbishing and rewiring the house. Boozy late night conversation revisiting Andrew’s violent past and prison stint for battering his ex-girlfriend, as well as Christine’s libidinous high school reputation, put everyone on edge. Kaia continues to nurse resentment over wounds she suffered following a fire on the property that she attributes to Christine’s erratic behavior. The elevated tension is further aggravated by Ira’s open attempts to flirt with Kaia and Christine’s reversion to nightly sleepwalking, exactly like when she was younger. Her somnambulant habits are quickly suspected when she disappears in the middle of the night, with the ensuing search exposing further, potentially tragic, rifts among the remaining trio. As the central character anchoring the small ensemble cast, Norwegian actress Gitte Witt more than holds her own with the native English speakers, empathetically pitching her perforMance somewhere between compassion and bewilderment with her sister’s behavior. PHOTOS: THR's Sundance Instagram Portraits Corbet’s character could have done with more development and his attempts to shade in the blanks are only moderately successful. Ellis gives the only truly intriguing perforMance, exteriorizing Christine’s agitated mental state with barely restrained Manic energy, which becomes the counterpoint to Abbott’s minimally veiled menace. Fastvold and co-writer Corbet subscribe to the less-is-more branch of screenwriting, assuming that audiences will be drawn in by the air of mystery surrounding the sisters, when in fact the lack of narrative detail is consistently off-putting. None of the characters is particularly likable or admirable, leaving little opportunity for sympathy or curiosity to penetrate the constantly heightened air of psychodrama. As director, Fastvold displays better comMand of the material, alternately bathing the rooms and hallways of the labyrinthine home in wan daylight or evening shadows – even the exteriors have an oppressive, underexposed look to them. While the film’s style isn’t particularly expressive, the frequently insistent sound design and ominous score by Sondre Lerche and Kato Adland add to the increasing tension, until the absence of a worthwhile payoff deflates the entire proceedings. Venue: Sundance film Festival, US Dramatic Competition Production company: 4 1⁄2 film Cast: Gitte Witt, Christopher Abbott, Brady Corbet, Stephanie Ellis Director: Mona Fastvold Screenwriters: Mona Fastvold, Brady Corbet Producers: Karin Julsrud, Turid Oversveen Executive Producers: Hakon Overas, Pal Sletaune, Marius Holst, Petter Stordalen, Karin Julsrud, Turid Oversveen Director of photography: Zachary Galler Production designer: Lucio Seixas Costume designer: Keri Lee Doris Music: Sondre Lerche, Kato Adland Editors: John Endre Mork, Michael Mazzotta Sales: LevelK No rating, 92 minutes
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Paul Rudd and Amy Poehler play a very familiar couple in David Wain's deconstruction of rom-com cliches.Movie lovers of America: Are you sitting down? David Wain and Michael Showalter have something they need to tell you. Know those roMantic comedies you go see once or twice a month? They're all. The same. Movie. This troubling assertion is demonstrated in Wain's They Came Together, which deconstructs the rom-com into its Many cookie-cutter parts. A great Many of these individual scenes are funny, and you could hardly ask for a better cast than the one led by Amy Poehler and Paul Rudd, who play the Meg Ryan/Tom Hanks types who are so wrong for each other they just have to be right. But the film fails to do what those rare, immortal rom-coms get right: take all its individually pleasing ingredients and make a satisfying movie out of them. Lionsgate should get a decent weekend or two out of the gimmick and marquee cast, but box office dropoff should be precipitous after that. The film begins at a Greenwich Village restaurant where Poehler and Rudd, evidently a couple of long standing, are asked by their double-date buddies (Ellie Kemper and Bill Hader) to recall how they got together. Even before the flashbacks begin, we're knee-deep in the cliched language of the Hollywood roMance. The set-up is essentially You've Got Mail, with books replaced by sweets: Poehler's Molly runs a cutesy little candy store, Rudd's Joel works for a heartless corporation about to open a sugary superstore across the street. (Forget The Shop Around the Corner, which inspired Mail: This is a parody of the Nora Ephron epoch that leaves her antecedents untarnished.) It may not come as a surprise to know that each character has a supportive and/or wisecracking good friend; that they hate each other when they first meet, despite feeling a strong physical attraction; that when they do acknowledge their attraction and start dating, each is held back by the ghosts of earlier failed relationships. Wain and co-screenwriter Showalter take pains to show that they know we know this is all a stale template. They further work to ensure that we know that they know that we know. But then they drop clues that they know we know that they know that we -- If you think this is tiresome, try to run out for popcorn during the sequence when a bartender tells Joel he looks like he's had a hard day and Joel replies, "You can say that again." The screenplay blazes through expected plot points at such a pace -- with little breathing room for the kind of detail and characterization that distinguishes one story from another -- that viewers might expect the movie to have wrapped up by the 45-minute mark. It's a little hard to explain how it continues to 83 minutes, frankly. Even allowing for storytelling breaks in which we're back at that Greenwich Village grill -- with Hader and Kemper as tired of the yarn as we are -- there's so much nothing here that it seems like it should fit in an hourlong basic cable slot, even with commercials. The problem isn't just the winking tone. In fact, one of the funniest moments early on has Poehler quickly glancing at the camera to make sure we're in on the joke. It's that winking and straightforward genre rehash, with dialogue baldly stating what each scene is supposed to add to the plot, is practically all the film offers. Though it occasionally throws in an absurdist gag having nothing to do with the format being parodied, these are minor flourishes in an exercise whose strict structure doesn't even allow its leads to charm us. A movie that made us fall in love with its leads while still mocking its depiction of their courtship might deserve to be called subversive. But They Came Together isn't much trickier than the intentionally lame double-entendre in its title. Production Company: Lionsgate Cast: Amy Poehler, Paul Rudd, Bill Heder, Ellie Kemper, Ed Helms, Cobie Smulders, Max Greenfield, Christopher Meloni, Michael Ian Black Director: David Wain Screenwriters: David Wain, Michael Showalter Producer: Michael Showalter Executive producers: David Wain, Peter Principato, Paul Young, Matt Kaplan, Tony Hernandez Director of photography: Tom Houghton Production designer: Mark White Music: Craig Wedren, Matt Novack Costume designer: Dana Covarrubias Editor: Jamie Gross No rating, 83 minutes
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Documentary team Ben Cotner and Ryan White follow the milestone lawsuit against the state of California after Proposition 8 unconstitutionally revoked same-sex marriage rights.How do you make a compelling documentary on a subject so recently given saturation news coverage that pretty much every informed audience member is going to know the outcome? Co-directors Ben Cotner and Ryan White answer that question in The Case Against 8. Exhaustively tracking the five-year battle to overthrow California’s ban on same-sex marriage, they distill the dense legal process into a lucid narrative while illuminating the huMan drama of the plaintiffs, and by extension, the countless gay men and lesbians they represent. That makes for a stirring civil rights film that is both cogent and emotionally charged. Some may feel that the sense of urgency surrounding this issue has ebbed since Section 3 of the Defense of Marriage Act was declared unconstitutional last year, recognizing marriage equality at the federal level. But the film, which airs on HBO in June, tempers its final-act euphoria with a reminder that 33 U.S. states continue to deny gay men and lesbians something now widely recognized as an inalienable right. That number appears certain to keep dropping, in line with the dramatic shift in public opinion in recent years. But given that Many states – like Utah at present – will continue to appeal against legalized same-sex marriage, The Case Against 8 remains a powerful advocacy film as well as one of historical record. Perhaps even more interestingly, Cotner and White’s all-access pass to a rollercoaster legal odyssey provides an uplifting demonstration of functioning bipartisanship, something exceedingly rare in American politics. The leading conservative lawyer Ted Olson shocked right-wing pundits by agreeing to represent the California plaintiffs. Even more startling was Olson’s decision to reach across the aisle and bring on board his liberal counterpart, David Boies, as co-counsel. That the two men who had been on opposite sides of the Bush v. Gore case in 2000 would team up to champion the rights of gay men and lesbians still seems alMost surreal. Olson emerges here not only as an unlikely hero, but a Man of enormous integrity and open-mindedness. People eager to label all conservatives as bigots need to take a look at this guy. The mutual respect and friendship between the chief lawyers is inspiring, and their profound idealistic investment in the case is apparent at every turn. There might actually be more huManization of the legal profession in less than two hours here than there is in multiple seasons of The Good Wife. The film begins in November 2008, when California passed Proposition 8, revoking the marriage rights of same-sex couples and voiding six months’ worth of legalized unions. The American Foundation for Equal Rights, which organized the controversial lawsuit against the state, needed two California couples to serve as plaintiffs. Wholesome relatability (“people who were just like everybody else”) was a key requirement, but the frustrating lack of detail on the vetting process makes this read simply as non-threateningly white. More upfront discussion of this part of the story would have been useful. AFER settled on Kris Perry and Sandy Stier, a lesbian couple from Berkeley with four sons; and Paul Katami and Jeff Zarrillo from Burbank, who see the domestic partnership route as acceptance of second-class citizenship. Much of the heart of the movie is in these families’ interactions – their unguarded displays of nerves or courage; their moments of tenderness or overwhelming emotion. The film makes it clear this was not some heroic crusade undertaken for personal glory, but a choice involving considerable sacrifice and stress. Five years of lurching between repeat victories and setbacks before the final breakthrough obviously deManded strength of character. Making propulsive use of Blake Neely’s score and Kate Amend’s fluid editing, the filmmakers shadow Olson, Boies and their team as they drill the plaintiffs and watch key witnesses for the state fall away. There are digs at some of the more absurd attempts to validate Prop. 8, such as a patently bogus study on “Gender Disorientation Pathology,” or an alarmist “Yes on 8” commercial. In general, however, the film strives to be as even-handed as possible. Cameras linger just long enough to register anti-gay protesters; anonymous phone calls spewing hate rhetoric are heard. But the directors are careful not to milk the ugliness surrounding the case for melodrama. A decision appears to have been made to keep this very much a positive story of unwavering commitment and ultimate victory. The court’s decision to block the broadcast of the trial might have been a blow in documenting the events. But Cotner and White get around that deftly, having lawyers and witnesses read from transcripts, the text of which is often spread across the screen for dramatic impact. Some of the twists in the trial are so vividly discussed that we have the illusion of being there, yielding fascinating insights into the justice system and the constitutional rights of all Americans. This was one of the Most widely discussed and divisive cases in recent history, and its reverberations continue, with more states preparing ballot initiatives on same-sex marriage. We may know where it ends, but the film’s methodical focus makes the journey there a momentous and moving one. Venue: Sundance film Festival (U.S. Documentary Competition) Production companies: HBO Documentary films, Tripod Media, Moore’s filmed Goods and Services Director-producers: Ben Cotner, Ryan White Executive producer: Sheila Nevins Music: Blake Neely Editor: Kate Amend Sales: HBO Documentary films No rating, 109 minutes.
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
A.J. Edwards? feature debut explores the physical and familial circumstances that crucially shaped the heart and mind of the future 16th president.The shadow of producer Terrence Malick looms heavily over writer-director A.J. Edwards’ feature debut, The Better Angels. This meticulously researched, lyrically filmed evocation of a significant transitional period in the boyhood of Abraham Lincoln relies far more upon impressionistic glimpses of rough Indiana farm life, circa 1817-19, than upon conventionally scripted and staged dramatic scenes as it endeavors to convey key factors in the formation and growth of the future president’s character. As impressive as it is in Many ways, the film is so beholden to Malick, and particularly to his style as it has evolved over the comparatively busy past decade, that it comes across as a work at once freshly conceived and bluntly imitative. Its world premiere in the New Frontier section of the Sundance film Festival rightly identifies this black-and-white feature as a self-consciously rarified artwork of interest primarily to the cinematic corps d’elite.
Malick reportedly initiated research on this project with the idea of possibly directing itself but at an early stage handed it off to Edwards, who entered Malick’s circle in 2004 as a co-cameraMan on the documentary The Making of The New World and subsequently was second unit director and co-editor of The Tree of Life, To the Wonder and the upcoming Knight of Cups. In other words, Edwards is as well versed in Malick’s methods as it is possible to be and the influence is immediately felt in the swirling, darting, deep-focus cinematography, the preference for voice-over commentary instead of extended dialogue and the extensive use of classical music (Bruckner is a major source here, as it has been for Malick lately).
With narration derived from the text of an actual interview with Lincoln’s last surviving cousin, Dennis Hanks (who lived with him Most of the time until the aspiring lawyer was 21), The Better Angels begins with brief shots of the imposing, lifeless marble of the Lincoln Memorial, then plunks itself down into the thick of nature, a bucolic swath of forest and farmland where the impoverished Lincolns have settled after leaving Kentucky.
There is the seemingly inevitable Malicky imagery of girls twirling around a maypole, of everyday chores, of gamboling in the woods, rather too much of it photographed with the camera rushing toward the subject while held very low to the ground, creating significant wide-angle distortion. Still, much of cinematographer Matthew J. Lloyd’s monochromatic work is very beautiful to observe, as it devotes itself to portraying the glories and hardships of isolated farm life. Gradually, some of the individuals onscreen are identified. Dominant is Tom Lincoln (Jason Clark), a stern disciplinarian of very few words who repeatedly takes the whip to his eight-year-old son Abe (Braydon Denney), who is already showing signs of preferring book learning to physical labor. “He’s got a gift,” someone is heard to say. Still, he is put to work tilling and sowing, chopping wood and hunting with his dad. Although this life has its idyllic aspects, its overbearing toughness and uncertainties prevail. Despair sets in when cows begin to die mysteriously, then suddenly Abe’s mother Nancy (Brit Marling) takes ill and expires as well. Leaving Abe and older sister Sarah (McKenzie Blankenship) alone on the isolated farm, Tom departs for Kentucky, from which, at length, he returns with a new wife of surpassing beauty, Sarah (Diane Kruger, whose presence here illustrates that idealized Hollywood-style casting extends even to this sort of indie venture; a photograph of the real Sarah suggests a resemblance to a character you wouldn’t want to meet in the woods in a Grimm’s fairy tale)..
So starts the process of the integration of two families -- widow Sarah has three children of her own -- as well as the growing Abe’s acquisition of certain skills and interests which would importantly attach to his legend—axe-wielding, wrestling, reading (Pilgrim’s Progress and Defoe, for starters) and eventual formal schooling. “He won’t stay in these woods forever,” his observant teacher predicts. “He’ll make his mark.”.
Thanks to its indelible image-making and dedication to what could be termed lyrical realism, The Better Angels notably succeeds in creating a vivid impression of the physical and familial circumstances that crucially shaped the heart and mind of the future 16th president, which was certainly the filmmakers’ central goal. There is also time to reflect upon the extraordinary and arguably unprecedented socio-political conditions that permitted a Man from such humble circumstances to achieve such power and greatness. When, in the history of the West, had such a leap been possible before the existence of the United States? How was it that such a poor boy came to occupy the memorial shown at the beginning?
Edwards’s approach is paradoxical in that the film’s historical aspects have been so minutely researched even though the prevailing storytelling approach is impressionistic rather than detailed in either a dramatic or documentary sense; much basic information—the reason for the formerly affluent Tom Lincoln’s newfound poverty and his move from a slave state to a free one, the specific cause of Nancy’s death, anyone’s interior life—is passed over in favor of pure image-making. But the film succeeds in that it provides a more vivid sense of this sort of 19th century childhood—and Lincoln’s youth in particular—than Most people would have had before..
Adorned by surgingly dramatic music much of the time, the film was shot in the Mohonk Preserve in the Appalachians, 90 miles north of New York City. Venue: Sundance film Festival (New Frontier)
Production: Brothers K Productions
Cast: Jason Clark, Diane Kruger, Brit Marling, Wes Bentley, Braydon Denney, Cameron Mitchell Williams, McKenzie Blankenship
Director: A.J. Edwards
Screenwriter: A.J. Edwards
Producers: Terrence Malick, Nicolas Gonda, Charley Beil, Jake Devito
Executive producers: Jason Krigsfeld, Joseph Krigsfeld, Suzanne Deal Booth, Antoine Douaihy
Director of photography: Matthew J. Lloyd
Production designer: Caroline Hanania
Costume designer: Lisa Tomczeszyn Editor: Alexander Richard Milan Music: Hanan Townsend 94 minutes
Fonte » www.hollywoodreporter.com - 26/01/2014 00:10
Il film di Olivier Dahan aprirà l'importante kermesse ma le polemiche innescate dai Grimaldi non smettono e, a complicare la situazione, c'è anche la diatriba tra il regista e il produttore americano Weinstein.
Fonte » cinema.fanpage.it - 26/01/2014 00:10
Kurt Russell toplines the sports doc from co-directors ChapMan Way and Maclain Way.PARK CITY – The Battered Bastards of Baseball is not just about baseball. It transcends the game and is a charming anti-establishment yarn that should delight audiences who don’t even know an r.b.i. from a balk. Co-directors ChapMan Way and Maclain Way have hit a crowd-pleasing homer with this inspiring, underdog story. After its festival runs, Battered Bastards would be a hit on ESPN. The so-called "Battered Bastards" were aptly named The Mavericks. They were an unlikely "Bad News Bears"-type assemblage put together by an upstart owner from Hollywood, Bing Russell. His baseball credentials? He had played the sheriff on Bonanza for 13 years. When organized baseball moved its AAA club out of Portland, there was a market opening. Bing’s quixotic notion was to put together a team that was not affiliated with a Major League club, one that would be totally independent. Such notions set him up as a screwball, but sportswriters and citizens loved his infectious energy and unconventional approach. Like Oakland’s Charles Finley, Bing was a showMan who liked to tweak the powers-that-be. The Mavericks’ games were entertainment, distinguished by such motley characters as the "Broom Man," who exhorted the fans by waving a broom from atop the dugout. Soon, the stands were filled with broom-wielding fans. Bing Russell also had his athletic kid, Kurt, playing for the Mavericks. Kurt later went on to play in the movies. His cast-off guys were playing bonus babies. Some still clung to the hope of getting into the Majors in their 30’s. Several had traveled long distances to try out for the team. Each was a distinctive personality, which endeared them to the Portland fans, who identified with individual players. PHOTOS: The Scene at Sundance film Festival 2014 Adding to the free-spirited mélanges, former Yankee Jim Bouton joined the team. Bouton was pitcher-non-grata in the "Bigs" after his hilarious account of the game, Ball Four, failed to touch the funny bone of the baseball establishment. Opining that it took the intelligence of a gerbil to coach baseball, Bouton's opinions did not gel with the hype and mythology of "America’s Game." That made him fit in perfectly with his fellow Mavs: They all played for the love of the game and did not put up with the pretensions and strictures of "organized" baseball. Ultimately, Bing’s have-fun approach (including a dog that would run out onto the field to stop the game when one of Bing’s pitchers needed a rest) produced winning results. The Mavericks began to regularly beat the Majors’ star-roster farm teams. That did not meet with great pleasure from such owners’-minions as Commissioner Bowie Kuhn. To ensure that the Mavericks didn’t win the A-level championship, the Major-League teams sent down some of their best upper-level players to thwart them in the championship. It was an indication of the respect they had for Bing and the animosity they felt for his showing them up. PHOTOS: Sundance at 30: Vintage Photos of Park City's Biggest Stars Wondrously, Bing triumphed in the bottom of the ninth when the league tried to muscle him out with a chintzy buy-out. Bing’s field-of-play was also the courtroom, and he walked off with his dream-deMand. Throughout, Kurt Russell’s on-screen recollections of his father and the wild-and-fun days of the Mavericks are a winning highlight. Told with a bright twinkle in his eyes and doled out with humorous candor, Russell reveals the respect and admiration he had for his father. Cast: Bing Russell, Kurt Russell, Todd Field, Frank “The Flake” Peters, Joe Garza, Jim Bouton, Joe Garagiola Directors: ChapMan Way, Maclain Way Producer: Juliana Lembi Director of photography/editor: ChapMan Way Music: Brocker Way No rating, 80 minutes.
Fonte » www.hollywoodreporter.com - 26/01/2014 00:09
Se la notizia del rinvio dell'uscita del film data poco fa aveva creato qualche dubbio, arriva ora invece una notizia importantissima per Grace di Monaco diretto da Olivier Dahan. Il film, che vedrà N...
Fonte » www.rssnews.it - 26/01/2014 00:09
Dopo aver trionfato agli Efa, vinto il Golden Globe e aver ricevuto la candidatura ai prossimi Oscar, Paolo Sorrentino è approdato alla settima edizione del Festival Internazionale di Cinema e Musica di Kustendorf, diretto da Emir Kusturica. Dinnanzi al pubblico serbo, Sorrentino ha parlato lungamente della sua carriera, rispondendo a doMande riguardanti il suo stile di regia e di racconto: "Non mi piacciono i film naturalistici né dirigo film che denunciano. Mentre stavo girando un film su Giulio Andreotti, mi sono reso conto che la sua vita pubblica era ben nota a tutti, mentre la gente sapeva quasi nulla della sua vita privata. Questo è il motivo per cui ho inventato la sua vita privata. Quando ha commentato il film, Andreotti ha detto che tutte le istanze della sua vita privata erano vere a differenza di quelle politiche adottate dal dominio pubblico. Il rapporto tra realtà e finzione è complesso."
Fonte » www.cinemaitaliano.info - 25/01/2014 00:11
Il decimo film in concorso al Festival delle Cerase è ZORAN IL MIO NIPOTE SCEMO, in programma lunedì 27 Gennaio ore 20 a MONTEROTONDO al cinema Mancini. È prevista una replica domenica 2 Febbraio ore 18 nella sede dellorganizzatore IL LABORATORIO ONLUS, il cinema Nuovo Teatro di Palombara, Via Isonzo n° 44.
Fonte » www.cinemaitaliano.info - 25/01/2014 00:11
Se la notizia del rinvio dell'uscita del film data poco fa aveva creato qualche dubbio, arriva ora invece una notizia importantissima per Grace di Monaco diretto da Olivier Dahan. Il film, che vedrà N...
Fonte » www.voto10.it - 25/01/2014 00:10
 Svelato il mistero dietro lo stop all?uscita di Grace di Monaco: il film aprirà il prossimo Festival di Cannes
Ecco perché la Weinstein Company ha eliminato il biopic di Olivier Dahan con Nicole KidMan dalla propria schedule
Fonte » www.bestmovie.it - 25/01/2014 00:10
Anche quest?anno il trio commenta live Sanremo in radio e in tv, grazie al canale ?radiovisivo? di RTL. Puntuale come il Festival della canzone italiana torna anche la Gialappa?s Band che dal[...]
Fonte » www.tvblog.it - 25/01/2014 00:10
Grace of Monaco del regista francese Olivier Dahan (La vie en rose) è stato scelto come film d'apertura del prossimo Festival di Cannes...
Fonte » www.primissima.it - 25/01/2014 00:09
The bloody sophomore feature of the Indonesian Mo Brothers stars "The Raid 2" co-stars Kazuki Kitamura and Oka Antara.A psychotic serial killer in Tokyo and a journalist-turned-vigilante in Jakarta both upload videos of their brutal and bloody acts online and subsequently connect in Killers, the skilled sophomore feature of the Indonesian Mo Brothers, Timo Tjahjanto and Kimo Stamboel, and reportedly their last collaboration for the foreseeable future. Backed by a battery of producers that includes The Raid director Gareth Huw Evans and Sion Sono producer Yoshinori Chiba, this alMost 140-minute film quickly insinuates itself into the increasingly deranged lives of its two violence-obsessed but otherwise quite dissimilar protagonists, with the Indonesian cameraMan (Oka Antara, from The Raid 2) initially hesitant about his actions while his Japanese counterpart (Kazuki Kitamura, from Kill Bill and The Raid 2) is already a full-on psychopath complete with his own torture chamber, initially egging on his new colleague but then worried he might become a bigger star killer than he is. The characters’ online connection allows the filmmakers, who here move away from the slasher genre to something approaching psychological horror, to explore violence as a mindset. This Sundance Midnight title should do extremely well at both regular and genre festivals, though its running time might make it difficult for the film to make much of a mark theatrically, though VOD sales should be healthy. Nomura (Kitamura) is the personification of sleek modernity, though the girls he takes home to his austerely decorated, loft-style apartment never make it out alive (he’s essentially an American Psycho living in Tokyo). He takes special pride in his fully equipped basement, where the girls are literally tortured to death and he captures everything on video. Nomura’s footage is carefully edited and then uploaded to a specialized website, where a disgraced cameraMan and journalist in Jakarta, Bayu (Antara) watches the material, which, one night, inspires him to dole out some much-needed justice himself and catch everything on camera. His footage is then seen by Nomura, who Manages to find Bayu online and convinces him that the second killing is always the hardest. PHOTOS: Sundance 2014: Exclusive Portraits of Aaron Paul, Kristen Stewart, Keira Knightley, Zoe Saldana and More in Park City Of course there’s plenty of (realistic) gore and torture here but what really fascinates is the cat-and-mouse game of sorts that develops between the two men, as their unusual online relationship, conducted in English, makes it possible for these two killers to externalize something of their attitudes toward their darkest secrets. The plot thickens considerably as the film winds its way toward a necessarily bloody yet also extremely well-plotted conclusion (the film was written by Tjahjanto in collaboration with producer Takuji Ushiyama), and along the way, even audiences might come to question whether perhaps there are good and bad uses of murder, especially after the separated Bayu’s young daughter (Ersya Aurelia) falls into the wrong hands. Remarkably, there’s not a single mention of religion, making the choice to kill or not to kill a purely moral and ethical one. To offset all the bloodshed and drama, there’s some extremely dark humor, such as when Bayu visits his odious in-laws for dinner just after Nomura has tried to convince Bayu to look for a second victim, or in an alMost farcically staged scene outside a Tokyo nightclub, where two cops in the foreground are oblivious to the fact that a prostitute (Mei Kurokawa) is trying to escape from the trunk of Nomura’s badly parked car in the background. Though cinematographer Gunnar Nimpuno’s camerawork has a tendency to get overly shaky when the excitement mounts, these moments are only brief. The rest of the film looks appropriately smooth, with the work of editor Arifin Marhan Japri especially noteworthy, as the film’s rhythms are expertly modulated across its two-hour-plus running time. Venue: Sundance film Festival (Premieres)
Production companies: Nikkatsu, Guerilla Merah
Cast: Kazuki Kitamura, Oka Antara, Rin Takanashi, Luna Maya, Ray Sahetapy, Mei Kurokawa
Directors: the Mo Brothers
Screenwriters: Timo Tjahjanto, Takuji Ushiyama
Producers: Yoshinori Chiba, Kimo Stamboel, Shinjiro Nishimura, Takuji Ushiyama, Timo Tjahjanto
Executive producers: Naoki Sato, Keizo Yuri, Akifumi Sugihara, Kenjiro Toba, Daniel Mananta, Damien Lim, Kerenina Sunny Halim, Rangga Maya Barack-Evans, Gareth Huw Evans, Andrew SuleiMan, Stephen Odang, Berhard Subiakto, Aoura Lovenson Chandra, Damon Hakim
Director of photography: Gunnar Nimpuno
Production designers: Satoko Saito, Rico Marpaung
Editor: Arifin Marhan Japri
Sales: XYZ films
No rating, 137 minutes
Fonte » www.hollywoodreporter.com - 25/01/2014 00:09
Jesse Moss? riveting documentary follows the migration of workers lured to North Dakota by the oil rush, and the uneasy welcome that awaits them there, with one Man determined to be the exception.The Great Recession has given rise to an infinite number of shattering new American narratives, and documentarian Jesse Moss has locked onto an uncommonly affecting one in The Overnighters. An evocative real-life Steinbeckian tale of a frontier boomtown and the desperate souls who flock there praying for a fresh start, this is a penetrating examination of issues pertaining to poverty, class, social stigmatization, religion and even sexuality. Compassion and community are key themes of a sharply observed film that provides a sobering illustration of the tenuousness of stability in 21st century America. The jumping off point for Moss was the discovery that since hydraulic fracturing technology was introduced in 2008, the resulting oil boom has made North Dakota the country’s fastest growing economy. Driven from their home states by soaring unemployment, bankruptcy and foreclosures, tens of thousands of men have migrated there for well-paid jobs in the oil fields, often forced to separate from their families. Moss leaves aside the controversies surrounding fracking for others to debate. He also stays away from the widely reported explosion of macho roustabout behavior in an area where the ratio of men to women has warped radically, fueling domestic and sexual violence and prostitution. Instead The Overnighters explores a huManistic drama about men who have fallen through the cracks and are scrambling to get back in the system. Moss settles on an ideal microcosm in the small town of Williston, where the population has doubled since 2010. While jobs are plentiful, housing is scarce; rents have tripled or quadrupled in recent years. Given that a local address is an oil company employment requirement, the catch-22 situation leaves the more vulnerable of the new arrivals in limbo, sleeping in cars or RVs or on a church floor. Pastor Jay Reinke is the film’s fascinating central figure, converting the Concordia Lutheran Church each night into a makeshift shelter despite mounting opposition from his congregation, neighbors, town officials and the media. The pastor’s wife is supportive of her husband’s programs and willing to open her home to his trail of down-and-outs. But even she suggests a degree of forbearance, saying, “Hopefully at some point we’ll transition back to how it used to be.” Moss captures Reinke’s intense connection to the men by focusing primarily on a half-dozen of these “overnighters,” who stay for varying lengths of time. They range from an 18-year-old with a girlfriend and baby son back in his economically crippled Wisconsin home town, to an older Man from Spokane, WA, whose past includes alcoholism, meth addiction and a 16-year prison term. Their stories provide wrenching glimpses of the American Dream constantly expanding and contracting according to shifting circumstances. Commenting on the caring pastor’s refugee influx, one native of the prairies over-dramatizes her fears for the town, saying, “They rape, pillage and burn, and then they leave.” But the film refrains from taking an overtly judgmental position on the community’s resistance, underscoring how people’s attachment to their church as a safe, familiar environment will instinctively make them feel threatened by an invasion of strangers. At one point a longtime churchgoer, apparently speaking for Many, says they feel used by these men encroaching on their place of worship. But Moss implicitly suggests it’s the men who are being used by towns and corporations that welcome their labor and compensate them financially for it, but give no thought to how the least resilient of the outsiders are expected to live. A single shot of a massive Halliburton warehouse speaks volumes next to images of workers in trailers or unfurnished shacks. Reinke’s failure to consult the congregation before ushering men with shady pasts into his flock (church attendance being a gently enforced condition of lodging) seems a poor leadership decision. Reports of an uptick in crime feed anxiety, but the real challenge surfaces when the local newspaper publishes a list of registered sex offenders, including more than one overnighter. The escalating complications as the pastor lurches erratically into damage-control mode, alienating some of the men he has helped, give the film dramatic texture as well as moral and ethical complexity. The filmmaker was a one-Man crew during shooting, and yet aside from an amusing moment when a campsite Manager assaults him and his camera with a broomstick, his presence is alMost undetectable. This allows for what seems like absolute candor from the subjects. Moss traces the enormous personal cost to Reinke of his crusade, but he avoids depicting him with a Mother Teresa-type gloss. Reinke considers his mistakes and flaws, admitting the guilt of neglect toward his family while openly questioning whether his actions are as selfless as he would like to believe. “What are my motives here?” he asks. When an angered Man accuses Reinke of being a deceitful egoManiac, the reverberations of that earlier self-examination return. Many will anticipate a confessional revelation that comes toward the end of the film, and the director leaves himself open to charges of being Manipulative by withholding this information to deploy it for climactic purposes. The development opens up further questions that remain unanswered. It’s understandable that Moss would pull back out of respect for Reinke, though the inclusion of an emotional scene with his wife is sure to make Many people uncomfortable, even if she must have signed off on it. However, irrespective of any qualms that surface, the turnaround in the pastor’s life gives the final section considerable pathos, adding to the film’s powerful sense of huMan precariousness. To use his own description, Reinke is no less “broken” than the men he has cared for and sheltered. The increasing focus on the pastor’s issues reshapes this into a different movie than the one Moss appears to have set out to make, about the sociological impact of the oil boom. But watching as real-life characters and events evolve in divergent directions is one of the rewards of superior documentary filmmaking, and Reinke's difficulties do ultimately serve to illustrate the ripple effect of the big-picture story. Fluidly edited by Jeff Gilbert, and shot by Moss with haunting intimacy, The Overnighters alMost casually establishes a lingering sense of place, juxtaposing natural beauty against the blight of industry. The score by Brooklyn musician T. Griffin is also highly atmospheric, blending sounds that fit the region – guitar, banjo, harmonica – with somber electronics that reflect the darker veins being explored in this boomtown chronicle. The film is non-fiction storytelling of remarkable nuance. A lovely touch on the end credits is a series of talking heads showing men who simply say their name and where they come from. They serve as a reminder of the vast sea of huManity passing through this place, and the heartbreaking range of experience these men bring as they grasp for a life of dignity. Venue: Sundance film Festival (U.S. Documentary Competition) Production companies: Mile End films, in association with Al Di La films, Impact Partners Director-writer: Jesse Moss Producers: Jesse Moss, AManda McBaine Director of photography: Jesse Moss Music: T. Griffin Editor: Jeff Gilbert Sales: film Sales Co. No rating, 101 minutes
Fonte » www.hollywoodreporter.com - 25/01/2014 00:09
Mark Duplass, Elisabeth Moss and Ted Danson star in director Charlie McDowell's debut film.There is no question that debuting screenwriter Justin Lader has found a novel way to address the eternal issue of fading love and physical attraction within couples over time in The One I Love. Nor can one fault the assured work of first-time feature director Charlie McDowell or the adeptness of co-stars Elisabeth Moss and Mark Duplass. But it’s also the case that, on a moment-to-moment basis, this smoothly made film can be incredibly trying, even annoying, to watch, due to the grueling repetitiveness of the scenes and dialogue and the claustrophobia of the paradoxically beautiful setting. Perhaps Many will not be bothered by this, in which case a significant audience, perhaps particularly among women, might be flock to this gently fantasy-tilted study of a perennial aspect of long-term relationships. Radius-TWC picked this up at Sundance with an eye to a fall release. PHOTOS: Todd McCarthy's 10 Best films of 2013 With thirtysomethings Ethan and Sophie in couples therapy over a presumed infidelity on his part and despairing over their lost ability to have fun (and sex) together, they are offered the chance by their chosen guru (Ted Danson) to “reset the reset button” via a stay at a countryside retreat where he guarantees what they’re missing will be restored. The place is, in fact, idyllic, a tastefully appointed country-style estate with two houses on it, surrounded by mountains (actually in Ojai), that they seem to have all to themselves. The place is fully stocked, including with wine and weed, quite the perfect environs if the desire is to be intimate. Which indeed happens, when Sophie ventures from one house to the next, gets cozy with Ethan, then later returns to the other house to find him asleep there. He can’t remember what just happened, which makes her mad, then the next morning she cooks him bacon, which he hates, setting off more arguments. The constant opening and closing of doors from one dwelling to another are the trappings of French farce, while the pitched marital misunderstandings produce spirited spats that remind of nothing so much as Lucy and Desi going at it in “I Love Lucy,” except that they’re not so much funny as aggravating. The two don’t remember anything about their first evening the same way and there are too Many instances involving seeming to be in two places at once for any of it to make sense. PHOTOS: THR's Sundance Instagram Photos Things continue for a while longer in the same vein, as the husband and wife persist in rehashing what they think did or didn’t happen earlier, with one insisting upon one version of events to the consternation of the other, back and forth and on and on to the point where you feel like you’re stuck in an echo chamber or, more concretely, present at the end game of a marriage. It’s enough to make you want to scream or, better yet, to flee in order to escape this beautifully appointed hell of confusion and sputtering connections. At a certain point, however, the film kicks into what might, for lack of a better term, be called a soft bump into the realm of Charlie KaufMan/Spike Jonze-like fantasy, a world that looks just like our own except different—and much more attractively designed and musically enhanced. To reveal just what happens and how would entail an egregious spilling of spoilers. But while a degree of cabin fever persists, the temperature gratifyingly lowers as the filmmakers’s central points take hold about the ability, or inability, to see in your mate what you saw in the very same person years earlier; what your feelings would be if your loved one went off with a younger version of yourself, and whether it’s possible to rekindle a former level of desire and passion after too Many years and bumps in the road. PHOTOS: Sundance 2014: Exclusive Portraits of Aaron Paul, Kristen Stewart, Keira Knightley, Zoe Saldana and More in Park City These are relevant matters to Most people who have been in long relationships and that Lader and McDowell grapple with them so alertly is impressive for filmmakers in their very early thirties. That said, there is little resonance and no real emotion eManating from the relationship. Like the film itself, it seems to exist in a vacuum apart from the dynamics of real life, and certainly without its myriad complications. This elimination of outside distractions benefits the story by forcing it to concentrate strictly upon what exists, and doesn’t, between Ethan and Sophie, but the lack of context also strips them of their full range as characters. Duplass and Moss are put to the test to carry the film entirely on their shoulders and unquestionably carry it off; reportedly, the dialogue was roughly half-written and half-improvised. On the other hand, viewers will have widely disparate reactions to spending 90 uninterrupted minutes with these characters. The production is smooth and beautiful, with McDowell displaying a directorial confidence that belies his beginner status, an accomplished boosted by Doug Emmett’s smoothly flattering cinematography. Musical elements are also shrewd, none moreso than the great use of the Mamas and the Papas’s version of “This Is Dedicated to the One I Love” at the end. Venue: Sundance film Festival (Premieres) Opens: Autumn 2014 (Radius/TWC) Production: Duplass Brothers Productions Cast: Mark Duplass, Elisabeth Moss, Ted Danson Director: Charlie McDowell Screenwriter: Justin Lader Producer: Mel Eslyn Executive producers: Mark Duplass, Jay Duplass, Charlie McDowell, Justin Lader Director of photography: Doug Emmett Production designer: Theresa Guleserian Costume designer: Bree Daniel Editor: Jennifer Lilly Music: Danny Densi, Saunder Jurriaans 91 minutes
Fonte » www.hollywoodreporter.com - 25/01/2014 00:09