Andrew Dominik’s THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
Joel & Ethan Coen’s NO COUNTRY FOR OLD MEN
David Fincher’s ZODIAC
Sean Penn’s INTO THE WILD
Ridley Scott’s AMERICAN GANGSTER
David Cronenberg’s EASTERN PROMISES
Sidney Lumet’s BEFORE THE DEVIL KNOWS YOU’RE DEAD
Tim Burton’s SWEENEY TODD
Susanne Bier’s THINGS WE LOST IN THE FIRE
Tony Gilroy’s MICHAEL CLAYTON
Peter Berg’s THE KINGDOM
Zack Snyder’s 300
Paul Greengrass’ THE BOURNE ULTIMATUM
Michael Bay’s TRANSFORMERS
Jimmy Mangold’s 3:10 TO YUMA
Judd Apatow’s KNOCKED UP
John Carney’s ONCE
Werner Herzog’s RESCUE DAWN
Tamara Jenkins’ THE SAVAGES
Joe Wright’s ATONEMENT
Jason Reitman’s JUNO
Ben Affleck’s GONE BABY GONE
Kevin Lima’s ENCHANTED
Todd Haynes’ I’M NOT THERE
Gore Verbinski’s PIRATES OF THE CARIBBEAN: AT WORLD’S END
James Gray’s WE OWN THE NIGHT
Dan Klores’ CRAZY LOVE
Gavin Hood’s RENDITION
Paul Haggis’ IN THE VALLEY OF ELAH
Terry George had been attached to helm the spy thriller, which is slated to start shooting in June, depending on labor developments.
Berg, who recently wrapped the Will Smith starrer "Hancock" for the studio, met with Cruise to discuss the project, which centers on a CIA officer fingered as a Russian sleeper spy out to assassinate the president. While trying to reunite with his family, he struggles to prove someone else is the traitor. Kurt Wimmer ("The Recruit") penned the screenplay.
Lorenzo Di Bonaventura is producing "Edwin A. Salt" alongside Sunil Perkash.
Although actor-helmer Berg has never directed Cruise before, the two shared the screen in two recent Cruise vehicles: "Lions for Lambs" and "Collateral."
If Berg signs on to direct "Edwin A. Salt," he would prep the pic while doing post-production on "Hancock." He is expected to deliver his print of "Hancock" in May.
"Edwin A. Salt" will shoot half on stages in L.A. and half on location on the East Coast.
Berg most recently directed "The Kingdom" for Universal Pictures.
Well this sounds awesome. I have heard GREAT things about this script. Berg directed the piss out of THE KINGDOM and HANCOCK looks like a crazy action romp. This new film sounds like it could be his best film yet. I watched some of FRIDAY NIGHT LIGHTS a few days ago and I was reminded of how incredibly put together that film is. There is just something about his directorial style that really sits well with me.
Peter Berg's gripping action film THE KINGDOM, released this past fall, was originally supposed to hit dvd shelves this coming Tuesday. However, due to the holidays, Universal released the disc yesterday (at least at Best Buy on Pico in West Los Angeles). After watching the film with the commentary supplied by Berg, I love the movie even more. He's a cool guy to listen to; informative, funny, and modest. The various documentaries detailing all forms of production on the film are also terrifc. I loved this film after I saw it at a test screening last April, and the second viewing upon regular theatrical release last September was equally as exciting. It's a no fat, no nonsense procedural with an exotic setting and some absolutely first rate action sequences. Sporting an R-rating, and earning it during some particularly brutal close-quarters shoot-outs, it's a visceral film that pulls no punches. It's also smart and timely; the dark coda packs a punch as well. If you missed this film in the theaters, well, shame on you. Check it out on DVD.
ATONEMENT ****
JUNO ***1/2JUNO, the new comedy from director Jason Reitman (THANK YOU FOR SMOKING), is one of those quirky, pseudo-independent films that a lot of people absolutely flip out for. Me…I liked it. I really liked it. I didn’t love it, however, and I’m not exactly sure why that is. I’ve seen it twice now; there’s no debating that debut screenwriter Diablo Cody is someone to watch. Her script is punchy, sharp, and frequently funny. There’s a certain charm and a distinct air of melancholy that hangs over this comedic farce, and while I don’t think it reaches the heights of this year’s other pregnancy comedy KNOCKED UP, JUNO is a sweet little movie that is going to find a passionate audience. Possibly a bit too smug and self-satisfied for its own good, JUNO has shades of LITTLE MISS SUNSHINE and ELECTION running through its veins. I found myself constantly smiling and chuckling all throughout, and occasionally laughing out loud; it’s one of those comedies that needs to be seen twice because you will miss some of the jokes the first time around.
Ellen Page, who blew me away with her performance in last year’s HARD CANDY, is Juno, a spunky 16 year old Minnesota high school student who ends up pregnant after a fling with her best friend Paulie (a terrific Michael Cera). They’re not a couple per se, but it’s clear that there are some feelings between the two of them. They’re better friends than they are lovey-dovey boyfriend and girlfriend; the respect that they have for one another is the glue that keeps them together. So what’s a 16 year old pregnant girl to do? Get an abortion? After a messy encounter at a clinic, Juno decides that she’s going to have the baby, but give it up for adoption to a couple in need. And here’s where the best elements of the story come into focus. Juno picks a typical yuppie couple who are having problems conceiving naturally; the parents-to-be are played with perfection by Jason Bateman and Jennifer Garner. From there, the film becomes a statement about personal responsibility and the effects that something only like a pregnancy can bring to caring people. To even hint at the film’s ending would be a crime. Rounding out the ensemble cast is the always awesome J.K. Simmons and Allison Janney as Juno’s very understanding parents, and Rainn Wilson in a blink-and-you’ll-miss-him cameo. But the film belongs to Page, who dominates the screen every time she appears; she’s a lock for a best actress Oscar nomination.
Reitman, whose debut film was the brilliant satire THANK YOU FOR SMOKING, is a natural born storyteller (his dad is comedy director Ivan Reitman). He has an easy-going, relaxed style and creates a particular rhythm with JUNO that feels effortless and breezy. The script by Cody is always self-aware and knowing, and it’s here where the movie gets a little too smart for its own good. I’m just not sure if teenagers really talk they way they do in this film as they do in real life. The dialogue has the attitude of a 28 year old blogger (which Cody is); it’s a heightened form of speech that you only see in the movies. Not that there’s anything wrong with that. However, when compared to the amazingly realistic dialogue of the similarly themed KNOCKED UP, Cody can’t compete. Her pg-13 rated vernacular and sexual lingo is certainly funny, but it’s too interested in pleasing itself rather than the audience; it was only until the second viewing that I caught some of the wittier, more subtle jokes. And the music, which works excellently while in context with what’s on screen, is of the usual soft-tempo, indie-rock variety that can sometimes become an annoyance. It’s a testament to Reitman’s skill as a director that he’s able to wrangle all of these elements into such a satisfying picture.
However, I have one major gripe with the film, which is that the two main characters never, even once, thought to use a condom. We see them in sex-ed class, being shown how a condom should be applied (a banana is used in a funny sight gag), and we have to assume that since kids nowadays have heard so much about teen pregnancy that Juno and Paulie might have thought about using protection. But nope, it’s never discussed or even lamented over after the pregnancy is revealed. There is something unique about the film’s stance on teen pregnancy; while not outright encouraging it, Cody and Reitman are basically saying that there’s a lot worse that could happen to a 16 year old girl than get pregnant and actually go through with the child birthing process. It’s sort of a bold statement to make in this day and age and I applaud the filmmakers for taking a different stance on this sensitive issue.
For me, though, the best parts of JUNO involve Bateman and Garner, who has personally never been better on the big screen. Bateman, playing the ultimate man-boy, is perfect at capturing the mundane and the mournful; he’s scared to become a father, and he’s not sure if he himself has fully grown up yet. Watch him as he’s in “his room” full of his music stuff; it’s priceless. Garner, who should be considered for a best supporting actress nomination for her work, is amazing. Playing a neurotic, OCD-inflicted worry-wort, she nails every scene she’s in. Watch the tender moment she has with Juno in the shopping mall when she puts her hands on Juno’s pregnant belly; there’s more truth in that once scene than most movies have in their entirety. She cuts such a convincing portrait of a slightly depressed, overly manicured, wannabe soccer mom that it’s hard not to empathize with her, especially when the script takes a few unexpected turns.
JUNO is a lot of fun. It’s a good-hearted comedy that will make you laugh, smile, and think a little. The quirks and kinks of a story like this can sometimes feel labored in the hands of a lesser filmmaker. Reitman strikes the right balance between the whimsy of his style and the acrid nature of Cody’s dialogue. It wouldn’t surprise me if JUNO becomes a big hit ala LITTLE MISS SUNSHINE; I personally preferred the former more than the latter (and I enjoyed LITTLE MISS SUNSHINE as well), and it was clear to me that the audience was eating all of JUNO right up. A definite crowd pleaser, JUNO will work its considerable charms over anyone who has a chance to see it.
ONCE (****), John Carney's small, modest masterpiece, is the musical for people who don't like traditional musicals. I saw the film this past summer but never got around to reviewing it; after watching it for the second time last night on dvd, I was immediately reminded of its many charms. A sleeper hit on the art-house box office circuit, ONCE is the sort of film that will find a massive second-life on dvd and cable; it's a super low-budget effort that sits along side THE COMMITMENTS as one of the best working-class musical dramas of all time. There is spoken dialogue throughout the film, but much of the story is told through song. The actors, Glen Hansard and Markéta Irglová, were friends for a long time before they shot the movie, and are musicians first and foremost. The story is simple: boy meets girl, boy wants girl, girl sort-of wants boy, boy impresses girl, girl warms up to boy, and then....well...I'm not spoiling. What I will tell you is that each and every musical sequence is divine, especially when the two actors collaborate in the back of a music shop. It's one of the best single scenes of the year. The emotion, joy, and love that the characters develop for each other, and that they share over the power of music, is enough to lift you out of your seat and make you cheer. And the ending of the story is just about perfect; I couldn't have imagined a better way to cap this lovely film. By the end of the film's swift 86 minute run-time, you'll be wishing that there was one more song to be heard. Carney, who played in a band years ago with Hansard, takes a natural stylistic approach to his story, employing a hand-held digital camera shooting style that adds to the realism of the story. Much of the film, which took 17 days to shoot on a $150,000 budget, was shot by the cameramen from a distance, thus relaxing the actors and allowing them to be spontaneous with their performances. Honestly, the less I hype this movie up the better. It's a true gem, one that I look forward to re-watching over and over again. Seek this film out, you won't be disappointed.
I love the cop/procedural genre. Ed Norton and Colin Farrell, two of my favorite actors, star in the long-delayed crime film PRIDE AND GLORY, from director Gavin O'Connor (MIRACLE). The script was co-written by O'Connor with NARC and SMOKIN' ACES writer/director Joe Carnahan, so I expect some serious ass-kicking in this film. The film hits theaters next spring. I look forward to the release of a trailer. Love the poster.
ENCHANTED ***1/2Kevin Lima’s delightful fantasy ENCHANTED is, simply put, the surprise of the year. Sometimes when you least expect it, a movie can sneak up on you and win you over when you’re least expecting it. That’s what happened to me with this wonderful family film from Disney. As much of a movie for adults as it is for kids, the fanciful tone, excellent mix of animated and live action photography, and revelatory performance from the radiant Amy Adams all add up to one of the most purely enjoyable films of the year. Bill Kelly’s funny, knowing screenplay pays homage and takes its cues from a litany of Disney classics (CINDERELLA, SLEEPING BEAUTY, SNOW WHITE, and THE LITTLE MERMAID are all slyly referenced) and Lima’s surprisingly steady directorial hand never lets all of the action spin out of control, even when the ending piles on one too many flights of fancy. Still, aside from some minor quibbles, this is the sort of film that only a person with a cold, cold heart couldn’t enjoy. And for all you men out there—if you think I’ve lost it, recommending a PG-rated Disney film, you really only need one reason to see this film, and that’s its lead actress. While your significant other will be smiling with delight with the musical numbers and outright charm, you’ll be crushing hard on Adams, who gives an Oscar-worthy performance as the film’s heroine.
The set-up is simple: a beautiful animated princess named Giselle (Adams) has found her prince charming, the typically dashing Edward (a terrific James Marsden). Trouble is, Edwards witch of a mother, Queen Narissa (the elegantly evil Susan Sarandon), doesn’t want her son to marry Giselle. So, she pushes Giselle down a well and sends her to a place where “happiness doesn’t exist.” That place turns out to be New York City. Circa 2007. The once animated Giselle pops up through a sewer grate in the middle of Times Square and realizes that she’s now a real person. A princess in a strange world, a true fish-out-of-water. Edward follows his love down the well and the prince finds himself in the middle of the city as well, looking for Giselle, who has happened upon a divorce attorney (ha-ha) named Robert (a bland but solid Patrick Dempsey) and his adorable daughter Morgan (the cute Rachel Covey). Their meet-cute is one of the best scenes in the film; Morgan, positive that she’s in the company of a real princess, sees Giselle hanging from a billboard of a castle (she thinks she’s found her palace), and from there, the movie never takes off and never looks back once. Trouble is coming though, as the evil queen heads to the big apple to get her son back, and to put an end to Giselle once and for all. And by the end of the film, Giselle will have to decide for herself which man in her life is her real knight in shining armor.
The movie opens (and closes) in animated form, and during the film’s live action middle-section, a parade of animated or digitally rendered characters surround Giselle in seamless fashion. There are a number of musical scenes in ENCHANTED; one of the film’s best sequences showcases Adams (who does all of her own signing and who has a lovely voice) cleaning up Robert’s messy apartment with the help of various animals and critters. The lyrics to her song are funny and sweet, and all of the musical numbers are reminiscent of bits from some of the great Disney classics. Borrowing from other stranger-in-a-strange-land movies such as SPLASH and ELF, the naïve and childish sensibility of Giselle is expertly handled by Adams, who is just beyond cute for the entire picture. And at the film’s climax, which takes place at (of course) a big costume ball/party, she makes the full transition to real-life princess with beauty and class. This movie wouldn’t be anywhere near as good as it is without the many charms of an actress like Adams; this is a big, robust performance that ranks with the best of the year, male or female. Comedies have long been considered to be a tough genre to garner award buzz for; it will be a crime if Adams’ delicious comedic performance is ignored by the Academy. And Marsden is sensational as the square-jawed prince who bounds around the city looking for his princess; the unbridled enthusiasm that he brings to his role is infectious. He should be considered for a best supporting actor nomination.
ENCHANTED almost goes over the top in the last 20 minutes with the arrival of a fire breathing dragon and certain characters dangling from building ledges, but Lima’s solid direction keeps the film moving at a clip. Kelly’s script is consistently engaging and is always respectful to the films that are being referenced. The visuals are lush and colorful (the talented cinematographer Don Burgess is behind the camera) and the film’s overall energy is pulsating and vibrant. This was not a film that I expected to love as much as I did, but every once in a while, there’s a film that works in ways you never expected. ENCHANTED is one of those films. It’s not the best film of the year, but it’s one of the most enjoyable. You’ll walk out smiling, singing, and in love with the irresistible Amy Adams.
I'M NOT THERE ***1/2Todd Haynes’ experimental, eclectic new film I’M NOT THERE is a strange, bold film that strenuously avoids the routine conventions of the Hollywood musical biopic. Bob Dylan’s diverse career and life is the subject at hand, and Haynes, who previously directed the colorful satire of 1950’s melodramas FAR FROM HEAVEN, takes his audience on a trippy, surreal, occasionally frustrating ride through the many moments of Dylan’s impressionistic life. Abandoning the traditional three act structure and casting six different actors to play versions of Dylan, Haynes’ film is unique and fresh in ways that seem almost impossible for the genre. You won’t leave the theater knowing anything more about Dylan than you may already know, but for fans of his music, I’M NOT THERE is essential viewing.
Starting with the film’s title and continuing on with its defiance of a conventional narrative, I’M NOT THERE is about how Dylan was/is, essentially, a vapor of an individual. Representing different things to different people, Haynes’ nervy decision to cast multiple actors as the singer is an audacious move. It allows the audience to indulge in a multitude of feelings and sensations about the legendary singer, and his actors are pretty much all up to the task. And what a roster of talent he’s assembled: Christian Bale, Cate Blanchett, Richard Gere, Heath Ledger, Ben Whishaw, and youngster Marcus Carl Franklin all take on their roles with gusto and passion. Some of the performances are better than others (Blanchett leads the pack followed closely by Ledger; Gere is miscast) but they all carry a distinct, hallucinatory quality that bridges the film’s desire to marry the expected with the unexpected. I’M NOT THERE is, at heart, an art film. It’s personal and uncompromising in its vision and design, and it’s unlike any other musical biopic I’ve ever seen. Oh yeah—the music is killer too.
Haynes, who also wrote the film, cuts back and forth between the various actors, forming a kaleidoscope effect of emotions, styles, and moods. Blanchett (brilliant) is the drugged out Dylan, unable to respond adequately to the press and critics, stumbling around in a stony daze. Ledger is a famous actor playing a role in a film that is Dylan-esque; he’s married (to the lovely French actress Charlotte Gainsbourg) and has a kid and shows zero desire to be a part of the family dynamic. Bale is Dylan as innovator and creator; one of the best scenes in the film is the infamous Virginia Beach concert where Dylan went electric for the first time, much to the chagrin of his loyal fans. Whishaw, so good in last year’s under seen masterpiece PERFUME: THE STORY OF A MURDERER, is a bit wasted as the talking-head Dylan, spouting off lines of psychological assessment that work as links between the segments. Franklin, who has an awesome presence despite his young age and relative lack of acting experience, is Dylan represented as naive child and; the moments with Franklin singing with some train hobos is lyrical and sweet. But Gere, who roughly approximates Dylan when the singer took on a role in Sam Peckinpah’s classic Western PAT GARRETT AND BILLY THE KID, is truly lost. He’s not helped by Haynes’ decision to insert a bit of Fellini-esque magical realism (the 8 ½ references are explicit), and his segment sort of shambles from one dazed moment to another. It’s a bold artistic decision of Haynes to add this layer to his already surreal tale, but it’s here where the film feels a bit unfocused.
I’M NOT THERE has been crafted with love, passion, and reverence by Haynes, and it’s a film for anyone who considers themselves a true Dylan fan. The beautiful texture and diverse multi-format cinematography by the estimable Ed Lachman (FAR FROM HEAVEN, THE LIMEY) is a pleasure for anyone who considers themselves a cinematography buff. And as I mentioned earlier, the music is dynamic; it sends you out of the theater on a high. I’M NOT THERE is a private, challenging film that will certainly frustrate viewers who go into the film looking for easy answers and clear-cut ideas. Haynes, who has established himself as a singularly idiosyncratic filmmaker (aside from the brilliantly conceived FAR FROM HEAVEN his work includes the stunning glam-rock expose VELVET GOLDMINE and the creepy domestic “thriller” SAFE), is an artist working overtime in artist mode. Never pretentious or labored, this long-ish film works up a full, heady stream of images, sound, and ideas, and culminates with an exceptional final shot that wraps the film up beautifully. This is an interesting film that I look forward to re-watching down the line.
SOUTHLAND TALES (**1/2)
BEOWULF **
Next July can't get here soon enough. The smart and stylish filmmaker Christopher Nolan, who directed BATMAN BEGINS (as well as MEMENTO, INSOMNIA, and THE PRESTIGE), is back on board as helmer on THE DARK KNIGHT. Christian Bale is back in the bat suit and Heath Ledger is the new Joker. It's almost unfair that we all have to wait for next July to see this bad-boy! I have heard that the first 6-7 minutes of the film will be shown infront of prints of I AM LEGEND on IMAX screens next week when the Will Smith action flick opens nationwide.
