Watch This: New Red Band She’s Out of My League Trailer
We featured the very first trailer for She’s Out of My League just a few weeks ago and I guess at the time I thought it would be a PG-13 cheesy comedy, but boy was I wrong. Paramount has just debuted a red band trailer for the movie and it’s a lot more raunchier, dirtier, and crude than I ever thought it would be. Sure, as expected, this red band includes more profanity and sexuality in hopes of getting horny teens in theaters, but I was begged by Ethan to run it because it’s a lot more funnier than that first trailer. He’s definitely right about that. But will this be any good? I’m still not sure. That dinner table scene was pretty funny, though!
Watch the foul-mouthed red band trailer for She’s Out of My League:
If you’re into this kind of comedy, be sure to “Get Rated” over at: getyourrating.com.
An average joe (Jay Baruchel) who works as a TSA security guard meets the perfect woman (Alice Eve), but his lack of confidence and the influence of his friends & family begins to pick away at the relationship.
She’s Out of My League is directed by actor/writer/director Jim Field Smith of a few short films previously. He is making his feature directorial debut with this film. The screenplay was co-written by Sean Anders and John Morris (both of Never Been Thawed and Sex Drive previously). Paramount is bringing She’s Out of My League to theaters everywhere starting on March 12th. It may not be for everyone, but will you see this?
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Alex’s Sundance 2010 Review: Adam Green’s Frozen
Earlier this week, Brandon reviewed Adam Green’s Frozen from Sundance, giving it a measly 3 out of 10. Despite that negative review, I still stayed up tonight to catch a midnight screening of Frozen and I’m glad I did. For what it is, essentially a brutal B-horror movie, it’s actually a lot of fun. I mean a lot of fun, especially if you’ve ever been on a ski lift in your life. I’m not sure why exactly Brandon disliked it so much because I enjoyed it, despite the ridiculous characters and numerous logic problems. But it’s a horror-thriller with a crazy concept, so I expected them to bend the rules and make it entertaining, and that’s exactly what it was.
If you haven’t already heard yet (or seen the trailer), Frozen is about a group of friends who, stupidly, bribe their way onto a ski resort on the east coast for some skiing/snowboarding fun. But then they, stupidly, make the mistake of trying to get in one last run even though the resort is closed. And, obviously, they pay for their stupidity by ending up stuck on a ski lift at night. As a life-long skier, I was excited for this because I was looking forward to seeing this terrifying (and rare) occurrence play out. Remarkably, the way they end up stuck is actually quite reasonable, despite their absolute stupidity. Like I said, these kids had it coming.
Frozen does have problems with believability and stupidity, but that’s expected, and if you can look past all that (like I did), you’ll enjoy it for being very intense and horrific. There are definitely no wolves living in the mountains on the east coast, but if they’re added appropriately to ramp up the terror and fear, and it works well, then sure, throw them in there. As a director, Adam Green is good a setting a mood and keeping a good pace, which is important for a film like this. There are some fun surprises and great jump scares, but they’re not overused, and the film progresses smoothly and quickly without ever getting boring (for me at least).
Overall, I enjoyed Frozen, but it’s definitely not a new favorite horror-thriller or even my favorite midnight film from Sundance. If you’re already interested based on the premise, then it’s worth seeing. I got a kick out of it and had fun watching it with an audience and I expect most moviegoers will have a similar experience.
Alex’s Sundance Rating: 7.5 out of 10
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Brandon’s Sundance Review: Joost & Schulman’s Catfish
Immediately after the end credits completed, I tweeted: “Catfish is mind-blowing. Seriously one of the most odd, funny, weird, terrifying, sad, unique films I’ve ever seen. Honestly speechless.” I still kind of am. Good thing all of this is in writing. Catfish is a documentary from directors Henry Joost and Ariel Schulman about Ariel’s brother, Nev, a New York-based photographer who becomes pen pals with an eight-year-old girl from Michigan who sends him paintings of his photos. It’s a very contemporary feeling film as the filmmakers make copious use of Facebook, Google Earth, Gmail, Google Street View, and YouTube in their film as support of its topic. It adds a feeling of immediacy that the film tends to rely on. And that, my friends, is all I can say. Know, though, that that is just the beginning.
The film has become the film to see at this year’s Sundance. At last night’s screening there was a sold-out crowd and nearly two-hundred people had to be turned away from seeing it at all. It’s been generally lauded by critics and audiences alike. And it’s no surprise why. The subject, Nev, is handsome and charming. The story circling around him is entertaining, exciting, and unlike anything I’ve seen. The film kept me guessing and on the edge of my seat — literally on the fucking edge of my seat — right up until the end. Catfish is able to blend tones — as I said above, from funny to weird to terrifying to sad — better than a lot of films are able to nail a single tone. The film also captures a sense of sincerity that is very disarming.
Overall, Catfish is a spectacular film. It’s just a great story. A timely story. Humorous and benevolent while acting as a sort of cautionary tale for the internet age. If you can, whenever you can, see this film. Just don’t talk to anyone who has if you haven’t seen it yet. If they try any funny business, throw a Vulcan nerve pinch their way and quick. You won’t want to know anything going in.
Brandon’s Sundance Rating: 9.5 out of 10
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Brandon’s Sundance Review: Bryan Poyser’s Lovers of Hate
Awkwardness makes me laugh. And if the awkwardness is so awkward that it kind of hurts, that it’s shocking how awkward the situation has become, it makes me laugh even harder. Lovers of Hate, at times, is that awkward. And it’s also hilarious. The film is, on the surface, about the rivalry between two brothers. Paul (Alex Karpovsky) is a successful young adult fantasy author and Rudy (Chris Doubek) is recently-homeless, having only just separated from his wife, Diane (Heather Kafka). When Paul sees his opportunity to seize Diane, Rudy must go to any length available to stop the germ of his brother’s and ex-wife’s relationship.
The film, for the most part, takes place within one mansion in (coincidentally) Park City, Utah where Paul attempts to court Diane. In the house, director Bryan Poyser manages to play with a mix of tones, from awkwardly humorous, to hilariously demented, to downright creepy. If only slightly rewritten and recut, the film could very well have been a slasher movie — but from the slasher’s point of view. The film is produced by the Duplass Brothers, which is no surprise. It’s a charming film with real comedic teeth. And what’s best is that during any given moment of the film, who you’re rooting for may change. And it works.
Brandon’s Sundance Rating: 7 out of 10
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Brandon’s Sundance Review: Epstein & Friedman’s Howl
Howl was the opening night film at this year’s Sundance Film Festival. Starring James Franco and Jon Hamm, written and directed by Rob Epstein and Jeffrey Friedman, the film centers on Allen Ginsberg’s poem Howl, the obscenity trial levied against the book publisher who published it, and the analysis of the poem at large. The film is more experimental fare, mixing animation, black and white live action, color live action, and a faux-talking head interview with Allen Ginsberg played by Franco. Along with the interview, the other three sections are Ginsberg reading his poem aloud to a crowded bar, the obscenity trial, and a visual interpretation of Ginsberg’s words in the form of vibrant pastel colored animation.
The film is akin to taking a college course where your goal is to analyze and deconstruct the poem. The best part is that Epstein and Friedman have already done the work and you just get to watch it. It’s a biopic, but not. Through the faux-interview, we are privy to Ginsberg’s life and thoughts and feelings, but elsewhere it’s all about the trial and the effects of Howl. Jon Hamm, who plays the attorney, Jake Ehrlich, on the side of the defense, is a power house. He commands the screen. James Franco is outstanding is some parts of the film and only a mimic in others. His performance never quite gelled on screen. It’s the animation interpretation of the poem’s more heady verses that are most intriguing. It’s trippy and highly intellectual, but beautifully accomplished.
In the film, a witness for the defense states that “you can’t translate poetry into prose, that’s why it’s poetry.” Well, this film has ably translate one of the most impacting poems of the 20th Century into a film. Quite an accomplishment, and one that is able to be entertaining, too.
Brandon’s Sundance Rating: 7 out of 10
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Devil’s Ti West Directing More Horror Next: The Innkeepers
Up-and-coming horror director Ti West has booked his next directing gig following the cult hit The House of the Devil (which hits Blu-Ray next week). Variety reports that West will direct another horror flick called The Innkeepers next, about the last two staffers of a haunted hotel that’s going out of business. Based on that logline, I’m already reminded somewhat of The Shining just thinking about this, but West has a unique style that I’m sure he’ll use in this. MPI Media Group’s Dark Sky Films will finance and produce along with Larry Fessenden’s Glass Eye Pix. Production deal for The Innkeepers was concluded at Sundance this week.
West says that he intends for The Innkeepers to be “a truly terrifying” follow-up to The House of the Devil. He’ll start shooting in Connecticut this spring. In addition to House of the Devil, West directed the straight-to-DVD sequel Cabin Fever 2: Spring Fever. Larry Fessenden is another actor/writer/director (of The Last Winter most recently) and has been producing and helping develop most of West’s project since his debut feature The Roost in 2005. I never saw House of the Devil but I heard good things from Peter at SlashFilm about it. I’m already interested in The Innkeepers and we’ll keep you updated on casting news for it as well.
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Brand New Poster for Edward Norton’s Leaves of Grass Film
Another fun stoner movie! AICN has debuted the official poster for Tim Blake Nelson’s Leaves of Grass starring Edward Norton (twice) as two brothers. We ran a trailer for this last year and I’ve heard that it might be out in theaters sometime this spring, so keep your eyes open at your local art house for Leaves of Grass sometime this year. I like this poster but it’s not perfect, mainly because I’m sure the MPAA told them they’re not allowed to have any marijuana-related symbols or paraphenalia, which I’m sure is why there are some rolling papers and nothing else. I actually really enjoyed this film and suggest everyone check it out!
An Ivy League professor (played by Edward Norton) is lured back to his Oklahoma hometown, where his twin brother, a small-time pot grower, has concocted a simple scheme to take down a local drug lord.
Leaves of Grass is both written and directed by fellow actor Tim Blake Nelson, who directed Eye of God, Othello and The Grey Zone previously. This was produced independently by Tim Blake Nelson and Edward Norton and first premiered at the Toronto Film Festival earlier this year. It does not have a US distributor yet, as far as we know, but will probably pick up one and hit theaters sometime in 2010. Look good so far?
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Brandon’s Sundance Review: Jacques Audiard’s Un Prophete
Un Prophete (or A Prophet in English) is on another plane of existence. Director Jacques Audiard’s latest film since 2005’s The Beat That My Heart Skipped is, simply, a tour de force. From its performances, including first-time actor Tahar Rahim’s brilliant portrayal of Malik El Djebena, to its direction, to its writing, the film is wholly unique. In short, Un Prophete is a prison drama centering around new-inmate Malik and his six-year incarceration. But really, it’s so much more. The film unfolds like a novel, not bound by any structure beyond Malik’s experiences. The film is at its most powerful after it’s ended and you’re able to reflect on what’s taken place over the course of those two and a half hours. Early in the film, a character says, “The idea of this place is to come out a little smarter.” It’s a dual-purpose thesis, meant both for Malik, to whom it’s spoken, and the film’s audience. And Un Prophete is a riveting triumph.
Jacques Audiard may be more akin to an acrobat than a director, for his ability to contort and balance so much on screen so thoroughly and comfortably is nothing short of a main-ring attraction. Three separate gangs are fully realized on screen, their members flesh and blood beyond ideals and loyalties; Malik’s education, both within the prison and without is a movie in and of itself; and Malik’s amply rendered internal turmoil is brought to both figurative and realistic life. Most impressive, however, is that Malik is not a hero in the Western sense of the word. He’s not even an anti-hero. He’s a prisoner, a criminal since his early teens, and a man we watch brutally murder another inmate. He’s a drug dealer, a gang banger, and a generally unsavory guy. But while on screen, I found myself silently rooting for him. Enthralled because he’s just so damned interesting. This is a testament to some truly outstanding writing.
At its core, the film is an underdog story about the rise of a kingpin. A perverse, subverted rags-to-riches fairy tale. It explores family, morality, survival, humanity, grief, happiness, and the subconscious so completely that each theme could be its own film. Un Prophete is captivating. It’s an uncompromising vision. It’s cerebral, visceral, and one to be studied. Most of all, the film is incomparable to its peers, and one not to be missed.
Brandon’s Sundance Rating: 9 out of 10
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Morel is Throwing Out Berg’s Dune Script, Interested in 3D?
Ever since Taken director Pierre Morel was hired a few weeks back to direct Paramount’s new adaptation of Frank Herbert’s Dune, he’s been talking openly with a lot of different people about what to expect, even though they don’t even have a finished script. Morel most recently spoke with IGN and revealed that they’re “starting from scratch” and throwing out the original script written by Josh Zetumer for Peter Berg. “Peter had an approach which was not mine at all, and we’re starting over again. I don’t think we’re going to keep any elements of the Peter Berg script. It was good, actually. It was interesting. It was just not our vision.”
Last year, we reported that Zetumer’s script was “a massive epic” coming in 200 pages. Morel wouldn’t reveal who they’ve hired to write the new script, but he does say he’ll be working on developing Dune for the next few months (after his new film From Paris with Love is release). “Dune is such a huge, huge project,” Morel says. “It’s big, it’s challenging, it’s long-term — we’re only starting. We have to rewrite the script, we have to develop a whole universe. It’s going to be a long thing, so who knows. But I’m passionate about Dune so I’d love to do it next.” Morel adds: “Everybody now who reads Dune reads it with David Lynch’s images in mind. So we have to get away from that.”
So what will Morel’s vision of Dune be like if it’s different from David Lynch’s and Peter Berg’s versions? “We’re doing a re-reading, a brand new approach on the book, a very true approach to the book, the original material. So we will have to deal with trying to erase the image that David Lynch did so we can propose our image.” One part of the book that they’re working on is the “inner monologues” where readers hear the thoughts of various characters. “Everything that is in Paul [Atreides'] head, we’ll have to show it on screen and find the right approach to make it visually interesting. But I think the technology we have now allows us much more than we could do before, so we’ll see.” I’m very curious to see what they’ll do.
Lastly, addressing the 3D question (which will always be asked about every movie from now on), Morel says: “It’s so early in the project that we haven’t had that conversation yet. I’d love it to be 3D, of course. It’s the kind of movie that has the scope to be 3D. Will they do it in 3D? I’d push for that, but I don’t know. As a viewer, [I've watched] Avatar with my kids twice in the theater already and had a blast. It’s an amazing experience.” Indeed in is, and I’d only support a 3D Dune if they shoot it from the ground up in 3D, just like they did with Avatar. Now that would be something to behold! Still excited to see Morel’s Dune?
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Check These Out: EW’s Nifty Oscar Trends Countdown Charts
Even though the Oscars nominees will be officially announced on Tuesday next week, there’s still lots of last minute discussion and buzz surrounding what will be nominated and what will win. Over on Entertainment Weekly (via Awards Daily) they’ve put together multiple Oscar Countdown Charts that combine various predictions from multiple sources. The charts are superbly designed to help regular moviegoers track trends in this year’s Oscar race. You can click over to EW to check out more Oscar charts and interact with them, since you can click on them and do all kinds of fun stuff. As expected, The Hurt Locker looks like it will win.
Click the image below to go to EW.com for more Countdown Charts including Actor, Actress, and Director.
As much as I enjoyed The Hurt Locker, I’d much rather see Up in the Air or Inglourious Basterds or Avatar or even Up win Best Picture instead. But if this is any indication, it will win. I’m actually more excited to see what 10 films get nominated for Best Picture, since this is the first year they’ll have 10 nominees (and that could shake things up). If 500 Days of Summer or Star Trek or District 9 get nominated, I’ll be very happy. Additionally, on the Actress Chart, with Sandra Bullock’s win at the SAG Awards, I feel like she’s going to get the Oscar. And damnit, that just pisses me off. Give it to Carey Mulligan or Gabourey Sidibe instead!
So there you have it, these are the best Oscars predictions we’ve seen. What are your picks this year?
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