What's Going To Happen Next

David Lowery has a command of the medium. It shows in every second of footage I've seen from 'Ain't Them Bodies Saints'.

Anne Thompson did an interview with the director (very worth watching) in which he said he wanted each shot to have a purpose, and you certainly feel that. I haven't seen pure fluff shots from Lowery.

Lowery shoots so that you want to know what's just out of frame. How that is an indicator of good camera work I don't know, but I've noticed the same sort of thing in (good) movies that aren't shot with classical camera technique -- ones that use a lot of hand-held camera. Conversely, if you're wondering what's out of frame in a movie with classical camera work, it's often a sign of poor framing (although there must be times when everything is done just so and you still want to know what's out of frame).

Thompson mentions how Lowery has been compared to Terrence Malick. You can see the similarity but, to me, Lowery's work has more forward motion. You wonder what's going to happen next.

Malick's camera often meanders. Lowery's camera just looks like it's meandering when, really, it's purposeful and precise.

Must-Watch Trailer for 'Inside Llewyn Davis'

The next offering from Ethan and Joel Coen. Simply stunning.

Anne Thompson gets a look 2/9. Her write up will be must-read. Until then, here's the trailer.






















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International Trailer for 'Red Lights'

Rollout has been shaky, but I have hopes for this one. Good news: 'Red Lights' was just picked up for US distribution by Millennium Entertainment. Bad news: the flick got a 'lackluster reaction' at its Sundance showing according to Anne Thompson, who says, "The film delivers genuine thrills and strong performances from the two leads and Sundance no-show Robert DeNiro as a powerful and dangerous blind telepath (Elizabeth Olsen is just ok in a slight girlfriend role) and could be edited into submission..." and goes on to imply it may not do too well in theatrical release but could score on VOD.

Daniel Feinberg said in his review: "Red Lights" is a generally infuriating and occasionally intriguing muddle of a movie that spins wildly out of control in its final half-hour, climaxing in a two-minute montage of voiceover and exposition that either does or doesn't turn the rest of the movie upside-down in maddening fashion.

Okay, fine. Let's hope the flick gets a killer edit and scores. 'The Devil Inside' was called worse than 'muddled' and look what happened there. In the end, though, it doesn't matter to me -- I love this type stuff. Looking forward.

 

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Cruising in Medusa

Anne Thompson talks with 'Bellflower' stars Evan Glodell and Tyler Dawson while cruising Venice Beach in the car from the movie, Medusa.


Untitled from Sophia Savage (TOH) on Vimeo.

Good stuff. There's a couple more videos.

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'!Women Art Revolution'

Trailers for this have been kicking around for a while but, until this latest cut, I haven't been able to get a handle on Lynn Hershman Leeson's doc '!Women Art Revolution'. Got the sense it might be an important piece of work but trailers weren't telling me enough, being clear. Here's a good one:

Untitled from sophia Savage on Vimeo.

Doc makes its debut at the IFC Center in NYC June 1.

Here's the schedule of screenings (from Anne Thompson's blog):

June 1-7: IFC Center, New York, NY
June 10: The Screen at Studio 2, Santa Fe, NM
June 15-19: Museum of Fine Arts, Boston, MA
June 17-23: Laemmle’s Music Hall 3, Los Angeles, CA
June 17-23: Northwest Film Forum, Seattle, WA
June 23-26: Oklahoma City Museum of Art, Oklahoma City, OK
June 24-30: Denver Film Society, Denver, CO
June 24-27: Northwest Film Center, Portland, OR
July 1: Real Art Ways, Hartford, CT
October 5: International House of Philadelphia, Philadelphia, PA

Thompson has a roundup of reviews/interviews.

The Wrestler Trailer

Anne Thompson has 'The Wrestler' trailer. I've been waiting. Looks fantastic. Rourke is truly a force. Thompson includes a beautiful write-up that's worth a look:

..."I'm thankful to get this second chance. When you were as bad as I was, out-of-control and unprofessional and scary, more so than I realized. I didn't realize the degree to which I frightened people in the business."

Can't wait to see this movie.

NPR Watch

Terry Gross talks with Danny Boyle about 'Slumdog Millionaire'. Kim Masters on the three endings for 'Australia' shot by Baz Luhrmann (with comments from Bill Mechanic and Anne Thompson).

Revolutionary Road

Anne Thompson has an exclusive preview of 'Revolutionary Road'. Looks better all the time.

Thompson And Smith

I've never liked Kevin Smith's movies but word is good on 'Zack and Miri Make a Porno'. This is the most natural and honest interview I've seen (or read) with Smith -- he always seems so smarmy, to the point of over compensating for something. Is this the new Smith or is it Anne's charm that makes him so open? Either way I'm looking forward to seeing the movie and hope Thompson does more such interviews -- she has a knack for it.

Me And Orson Welles

I'm a big fan of radio drama from the 40's and 50's. I even listened enthusiastically to the CBS Radio Mystery Theater's 70's revival of the art form. But, how many people are there like me? 'Me and Orson Welles', directed by Richard Linklater, about the creation and productions of the Mercury Theatre Company, may be historically accurate and realized with assiduous attention to detail, but it's concerned with a figure few people know about today. Well, people know who Orson Welles was, but how many people (today) are fans of his?

Not many under the age of forty have even seen 'Citizen Kane'. We know it's one of the most important films but we don't know why, nor do we care. You have to go to a film school to find kids that have seen this movie and can discuss Welles' work.

'Me and Orson Welles' is currently poking around for a distributor at TIFF. Anne Thompson calls Linklater's movie a 'dive off the deep end' which will only appeal to a 'narrow band of showbizphiles'. On the other hand, Patrick Goldstein, being perhaps obliged to diplomacy having included excerpts from his interview with the film's director in the same write-up, calls 'Me and Orson Welles' "a blast." Goldstein heralds the film as capturing Welles at the height of his career as a "hilariously imperious and mercurial showman." That's a blast? Welles as a mercurial showman?

Here's Christian McKay portraying Orson Welles in a scene that simply has no appeal to the general movie-going public. In regard to this movie's bid to gain distribution from a buyer at TIFF Goldstein says, "I can't imagine someone wouldn't want a film that has such winning performances and offers you a front-row seat at one of the great moments in American theater." When was the last time someone said 'I wish they'd make a movie about great moments in American theater, or, I want to see a historical movie with winning performances?' It looks like an excellent movie and I'm sure the performances are wonderful and I look forward to seeing it on disc, but this couldn't possibly make money on the big screen.

"Cautiously Optimistic"

I've felt cautiously optimistic about 'The Curious Case of Benjamin Button' since first seeing the trailer. It's a nice looking story with high gloss but it doesn't get under my skin. It's not the kind of thing I would see in the theater.

Peter Sciretta (/film) and Alex Billington (FirstShowing) post a video of their impressions of the 20-minute montage from Curious which played at Telluride, and I'm not surprised that they're thinking much the same thing -- it's nice looking but didn't quite make a sale (although Alex liked it better than Peter).

Others have hinted the same sentiment. Anne Thompson, as well-tempered as ever in her Telluride watch, says "The movie could go either way--toward Oscar season glory or inflated noble failure."

Jeff Wells, as usual, puts his cards on the table reporting overhearing grumbles from people that had just seen the 20-minutes of footage -- and going toe-to-toe with them (I would have liked to have heard that conversation).

Latest word from the studio is the movie will run "a little over two and half hours," as reported by Thompson. That's not too long but it's pushing the envelope (if the movie is not compelling [I can feel my butt getting numb already]), and it's a bit of an endurance test even for an engrossing experience.

I'd like this movie succeed. We need to be swept up by fables like this from time to time. We'll have to wait and see.

Variety's Take

Here's Todd McCarthy's review of 'Iron Man'. Anne Thompson says, "Downey's Iron Man may be the robust action fantasy hero movie fans have been waiting for, a contemporary complex male who isn't carved from the same block as archetypes Batman or Superman. While Iron Man comics fans are legion, this is a new modern movie hero who kicks ass. And he's not a nice guy."

Why can't they all be this good? Is someone working on that?

The Future Of Movie Distribution

One of the major concessions of Hollywood's new deal with the writers is a cut of internet revenue from downloads. Here's Michael Lynton, chairman of Sony Pictures Entertainment, with Renee Montagne about where internet revenues might come from. Here's Anne Thompson on the future of online distribution.

U23D

Love U2. Their new 3-D concert movie 'U23D' looks to be the goods. Here's Bob Mondello's rundown -- he's got a way with words. And, here's a nice report on a showing at Sundance by Anne Thompson.

No Country For Old Men

Here is a first look at the trailer for 'No Country For Old Men'. Thanks to Anne Thompson and Variety for making it available. Tommy Lee Jones and Woody Harrelson never looked better or more natural. This is feeling like the best movie yet from the Coen brothers.

Grindhouse DVD

From Anne Thompson's interview with Harvey Weinstein, it would seem to be a foregone conclusion that 'Grindhouse' will be split into its constituent parts when released on DVD. Anne remarks, "DVD expectations on "Death Proof" and "Planet Terror" are high." That may not be etched in stone yet, but...

Note to HW: That sounds like a great idea, boss.

There's still plenty of room for the 'Grindhouse'-thing to make money. But, I can't help commenting on the poor release strategy of this movie -- a 3-hour endurance test released on Easter, a bad weekend for a schlock action/horror double-feature (one of which is entitled 'Death Proof').

My problem is the logic involved. At a recent conference at the Cannes festival Tarantino said about cutting 'Death Proof' (and Rodriguez's cut of 'Planet Terror') so that they would work as a double-feature, "We didn't cut our movies to the bone, we cut them past the bone." Harvey Weinstein said that the cuts had 'removed some of the essence of the films'.

Tarantino's cut of 'Death Proof' showed at Cannes and was called 'amazing' by critics there. Hmm. Go figure.

Okay, so what was the logic behind the double-feature strategy? 'Let's cut two movies until neither one of them is what they were intended to be and lack a lot of their power, then jam them together in a 3-hour horror/action double-feature and release it over the Easter holiday when no one could possibly want to see it'.

Okay, okay. End of rant.

Another note to HW: I'll be first in line to get the full-length version of 'Death Proof'. (Come on. Just look at that poster. Who wouldn't want to see that)? Will wait a while to get 'Planet Terror' (don't ask why). Would advise you go all out with the first DVD release -- drop all your 'making of' material and special features in, you won't get another chance 5 years down the road with a special 'Collector's Edition DVD' (WHISPER: Nobody will care by that time). Also, wait a few weeks longer than usual for DVD release -- give the interest more time to percolate. Let's make some money back on this thing.

Okay, Okay

Wong Kar Wai's 'My Blueberry Nights' opened Cannes. Anne Thompson liked it a lot, saying "...My Blueberry Nights is a delicious mood poem, a visually stunning ode to the lips of Norah Jones and Jude Law...". Wow, Anne. That sounds great. No, wait...really really great.

Jeff Wells, however, did not like it so much, calling the movie "...a horribly written, woefully banal self-discovery mood piece...". (Cool, they both use the word mood to describe this movie). Anyway, banal is bad, but banal in a manner which is woeful is...um...very bad. No wait, really really bad. Wells continues to point out that he couldn't remember the last time a movie co-written by a major director was so bad, citing the fact that many of the lines of dialogue in 'My Blueberry Nights' start with the word 'sometimes'.

Wells also did not like the camera work and/or the editing, pointing out that there is shot of melted ice cream on blueberry pie, which is nothing but a 'heavy-handed allusion (of) semen making its way through a woman's inner cavity'. Sounds like it. Would advise against the use of any such allusions.

Read Wells' entire review plus dozens of insightful reader comments over at Hollywood-Elsewhere.

I must say, these diametrically opposed opinions make me curious. I'm hoping for a delicious mood poem (nice turn of phrase Anne), but if 'My Blueberry Nights' turns out to be (sigh) woefully banal, well then, that would be a shame -- we're surrounded by so much banality already. It's everywhere.

Rocchi And Thompson

Anne Thompson talks with James Rocchi at Cinematical. You can hear the audio here.

What's On?

Anne Thompson mentioned Joost has announced a deal to distribute original content by several producers. I've been watching this new industry develop with great interest -- largely because I don't watch TV (and don't see movies in theaters) and am looking for viable alternatives. I just can't deal with commercials and adhering to the networks' schedules. Why should I watch Letterman late at night when I'd rather watch his shows (or select parts of his shows) on the weekend (don't get me started on going to movie theaters).

So get TiVo, you say. No thanks. I've already invested in my internet connection and latest computers and, well, don't own a TV (except for this little B&W thingy I got at Radio Shack for $40). I'm not interested in spending money on a technology that's history. I'm convinced the net is the main way we're going to be accessing media in a few more years -- including getting movies and TV shows.

Anyway, I was glad to hear Joost is broadening its scope. Here's a look at other emerging venues.

AOL just announced a deal to produce web programming with partners such as Mark Burnett and DreamWorks Animation.

The Joost deal adds content from ALL3MEDIA International, IndieFlix, September Films, and others to their already impressive lineup. (I'd love to get Joost but it's by invitation only and I haven't managed to wrangle one. Dang).

Then, there's the video sites like AtomFilms. I find a lot of cool shorts on Atom, but I can't see this type of site staying around much longer in their current configuration. I'd look for the addition of other content, possibly original serial programming, down the road.

Of course there's the movie download sites. These will really give movie theaters a run for their money in the next few years. For instance, CinemaNow offers movies for download for less than the retail cost of a DVD, and (really), for less than the cost of seeing a movie at a theater.

What about TV network programming? ABC is making its shows available online. The picture is on the small side and doesn't have great resolution, but you can watch shows like Lost and Grey's Anatomy anytime you want -- a huge step in the right direction. I didn't like NBC's or CBS's interface or picture as much, but at least the content is available.

I believe LonelyGirl15 was the first widely-viewed webisode serial -- it was quickly imitated by Michael Eisner's Prom Queen, the 80 episode psych-thriller playing 90 seconds at a time (episode 17 was just released).

Then, there's the producers that are sidestepping traditional distribution altogether and showing original films online such as FearNet.com and Sam Raimi's Ghosthouse. FearNet's content is not wide-release quality and Ghosthouse only has a few shorts, but the potential of this kind of direct marketing can't be denied. It's just a matter of time before Raimi (or someone else) releases a major feature-length movie online before sending it to theaters (if they bother with sending it to theaters at all).

That's a lot of stuff (and just the tip of the iceberg) and most of it has become available in the last year or so. One thing can't be denied -- the lay-out for the motion picture and TV industries is changing fast. To me, this whole scene is more exciting than traditional Hollywood studio pictures/distribution, and I'll be following it closely.

For now, I can't resist offering some free advice -- you might want to put off buying that national chain of movie theaters or TV stations for a bit.

Tough Talking Thompson

Anne Thompson gives us the lowdown on the 'Grindhouse' raunch violent spitting burn-rubber creature-feature slugfest premiere.