“My dick is going to get so wet tonight ” declares Costa the foul-mouthed ringleader of a trio of sex-starved teens in the opening moments of Project X the new “found-footage” comedy from director Nima Nourizadeh and producer Todd Phillips (The Hangover). Believe it or not this qualifies as one of his more charming moments in the film. All of 17 but blessed with an obnoxiousness lesser men would take decades to cultivate Costa (Oliver Cooper) is the perfect mascot for a film that makes no bones of its mostly prurient intentions proffering what is essentially a succession of debaucherous montages intermingled with uneven attempts at comedy and held together by the slimmest pretense of a plot.
Caustic as he is Costa at least exhibits something of a recognizable personality; the same cannot be said of his two cohorts the tubby dweeb J.B. (Jonathan Daniel Brown) and the earnest blank Thomas (Thomas Mann). None of them seem to enjoy much in the way of popularity at their high school located in the fictional suburb of North Pasadena but Costa has a plan to fix that. On the occasion of his 17th birthday Thomas whose parents have conveniently departed for the weekend reluctantly agrees to host a party that Costa promises will be a “game-changer” for their lowly social status.
Hardly a game-changer is Project X’s script co-written by Matt Drake and Michael Bacall which mostly treads a predictable teen-comedy path. At its outset the party appears to be a bust. Soon however hordes of eager revelers descend upon Thomas’ house and the event swiftly devolves into a festival of wanton hedonism that would impress Charlie Sheen. The orgy of booze drugs and sex is captured by Nourizadeh in one impressively slick sequence after another set to a vibrant soundtrack.
To maintain the guise of an actual movie – and to occupy us between shots of topless beauties downing tequila and frolicking in the pool – Project X tosses in a few familiar tropes to push its story along: an unstable drug-dealer bent on revenge a buzzkilling neighbor seeking to end the night’s festivities prematurely a budding but hesitant attraction between Thomas and his childhood friend Kirby (Kirby Bliss Blanton). But the scenes are so hollow and contrived that you get the sense even the filmmakers don’t buy them and only added them to the film in a transparent ploy to forestall allegations of complete and utter vapidity. The efforts serve only to add a dash of the banal to the proceedings.
Project X’s natural forebears – R-rated teen comedies Superbad and American Pie – tempered their crudity and outrageousness with a surprising degree of depth and sincerity. Moreover they were actually funny. Project X is a shallow affair to be sure but a dearth of laughs is what ultimately dooms it. A belligerent little person who goes on a crotch-kicking spree after being tossed in an oven amounts to the film’s most sophisticated attempt at humor. More often it relies on recycled gags from previous films (including Phillips’ own library from Road Trip to The Hangover Part II) and Jackass-inspired mishaps.
The found-footage approach has proven to be a potent (if overused) tool in horror films but its utility in the service of comedy at least in the hands of Nourizadeh is limited. It mostly comes across as a needless gimmick good for marketing purposes but little else. Perhaps acknowledging as much Project X’s backup plan calls for an incessant raising of the stakes. As the once-innocuous gathering metastasizes into a fully-fledged riot one so dangerous that even the police dare not intervene the specter of parental disapproval gives way to the threat of incarceration and finally to the potential incineration of the entire neighborhood. The scale of the destruction is impressive – especially for such a (presumably) low-budget film – but like much of what precedes it almost entirely pointless.
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Merging Serpico with an almost Shakespearean sense of tragedy Pride and Glory details an extremely complicated investigation into the gunning down of four New York City cops after an attempted drug bust goes terribly wrong. With increasingly bad PR and an apparent cop killer still at large the Chief of Manhattan Detectives Francis Tierney Sr. (Jon Voight) assigns his son Detective Ray Tierney (Edward Norton) to lead the probe. The younger Tierney is reluctant since he knows all four cops served under his brother Francis Jr. (Noah Emmerich) and brother-in-law Jimmy Egan (Colin Farrell). Ray’s instincts may be right because as he digs deeper he discovers an awkward and uncomfortable connection between Francis Jimmy and the case. Could his own family have been involved in an inside job and tipped off the drug dealers? Soon Ray finds himself having to choose between the greatest moral dilemma of all: loyalty to the job or loyalty to his family. Although Pride and Glory doesn’t break any new ground and is composed of elements we’ve seen in many previous films dealing with police corruption this film is distinguished by some of the finest work in the storied careers of many of its cast. Norton follows up his summer comic-book movie The Incredible Hulk with a far smaller and more focused character in P&G playing a man caught in a moral bind facing the unthinkable prospect of going after his own family members. Norton wears his ticklish predicament on his face and is enormously effective conveying pure angst. Emmerich (Little Children) delivers a rich portrayal of a tortured soul not only caught up in an intense investigation but dealing with a wife (Jennifer Ehle) dying of cancer. Farrell is better than he has been in some time playing a shady officer who seemingly will stop at nothing to get what he needs. Voight as the proud family patriarch and veteran of the NYPD clearly understands the dilemma of this man who is watching his family torn apart. Co-writer/director Gavin O'Connor has spent a frustrating couple of years trying to bring this story to the screen but his perseverance pays off. Pride and Glory is a well-written cop tale that co-exists as an interesting character study about the power of family ties vs. personal pride. O’Connor manages to put us right in the center of the moral conflict at the heart of his story and with several first-rate actors (even in the lesser roles) crafts a film that seems authentic to its core. Incorporating Declan Quinn’s in-your-face realistic cinematography O’Connor resists going for a more obvious audience-pleasing flashier style achieving a look and feel that seems more grounded in the milieu he’s trying to capture. His script co-written with Joe Carnahan (who wrote and directed the equally gritty Narc) is tight and unsympathetic slowly letting layers of a very intricate and complex story peel away to reveal a core that packs a punch right to the gut.
Although actor/screenwriter Mike White writes with hilarious wit for his comrade in comedy Jack Black--in films such as School of Rock and Orange County--he is also becoming a master at the slice-of-life dramedy. With The Good Girl he expertly gave us a bored married woman stuck in a nowhere job trying to capture a little happiness. Now with Year of the Dog he hands us the ultimate sad sack Peggy (Molly Shannon) who is practically inseparable from her beagle Pencil. Life is uncomplicated and safe with her beloved pet an excuse she uses to great effect in order to avoid human contact as much as possible. But Peggy's world comes crashing down when Pencil meets a mysterious demise in the neighbor's yard. Shattered Peggy isn’t sure where to turn to fill the void. Friends family and co-workers try to distract her but in the end she emerges from her loss with a newfound sense of what will make her happy in the world. Molly Shannon huh? The SNL alum has generally been relegated to kooky sidekick roles after her disastrous (but somewhat guilty pleasure-ish) starring vehicle Superstar. But who knew she had the chops to pull something like this off. She’s perfect as the lonely downcast Peggy who has completely resigned herself to living with her dog as her only companion. Shannon gets to show off her wacky side in certain moments--like when she “adopts” about 20 dogs and lets them run all over her house--but the actress plays the majority of her role with restraint and great subtlety. Also quite good is Peter Sarsgaard as a fellow dog lover who starts off as a potential love interest for Peggy but ends up disappointing her like all the other humans in her life. His character’s unassumingly sweet and charming personality still wins you over even when he’s being a jerk to Peggy. Someone needs to give him an Oscar. In supporting roles there’s John C. Reilly as a blowhard and hunting enthusiast who lives next door to Peggy (and could be the reason Pencil died in the first place); Thomas McCarthy and Laura Dern as Peggy’s concerned but rather uptight brother and sister-in-law; and finally Regina King as Peggy’s saucy workmate just trying to give her friend a little excitement. Kudos all around. Mike White also tries his hand at wielding the camera for the first time with Year of the Dog--and much like his minimalist writing style he keeps the action fairly simple and focused. He seems to love the one-on-one scenes with his characters sitting across from each other--either in the living room at a lunch table or a desk--oftentimes with filled with long uncomfortable (or sometimes very comfortable) silences. Static yes but White obviously realizes his movies are more about what’s being said (or not being said) than the visuals. He also shows a real talent in guiding his actors to pitch-perfect performances--a very important part of being a good director. Of course not a lot happens in Year of the Dog which can be a drawback to indie movies of this ilk. It could be considered a giant bore-fest if you can’t connect with people who love their pets way too much. But if you can settle in and really listen to White’s quirky but ultimately realistic view on life as its dealt out you’ll really enjoy this stellar effort from the burgeoning filmmaking talent.
Yes it’s true. Although it reaped deserved accolades and an Oscar win for its star Philip Seymour Hoffman Capote keeps you somewhat at arm’s length as you watch Truman Capote go through his agonizing journey to writing his one and only masterpiece In Cold Blood. Infamous however wears its heart on its sleeve drawing you in immediately. When we first meet Capote (Toby Jones) it’s in New York. As the toast of the town and confidante to some of Manhattan’s elite grand dames including Babe Paley (Sigourney Weaver) and Slim Keith (Hope Davis) Capote’s mood is light and airy his antics hilarious. Then once Capote travels to Kansas to cover the grisly Cutter murders with his dear friend Nell Harper Lee (Sandra Bullock) the frivolity is peeled away layer by layer. When he finally becomes so tortuously—and yes even romantically (it goes there)—entangled with killer Perry Smith (Daniel Craig) and the writing of his book hits its crescendo Capote emerges as a beaten-down and bitter man who ultimately can’t even be lifted by his high society friends. Infamous is infinitely more heartbreaking. It’s really hard to top Hoffman’s Oscar-winning performance as Truman Capote. He embodies the character with such exquisite and subtle suffering you don’t mind the fact he doesn’t look anything like the diminutive author. Toby Jones (Finding Neverland) however does look like Capote. A LOT like him and is just as capable at wringing out all of Capote’s brilliance and faults. But rather than dominate Jones’ eerie look-a-like characterization blends in more with Infamous’ scenery allowing some of the other colorful characters to step up to the plate. Weaver and Davis are effusive and catty as Capote’s Manhattan buddies who give hints on what’s to become of Capote later in his life when he finally goes too far and crosses these fine society ladies. Craig is also particularly effecting as Smith full of pathos and rage. But the real stand out is Bullock as Harper Lee. Her unassuming but quietly fierce take on the To Kill a Mockingbird author far outshines Catherine Keener’s Oscar-nominated performance in Capote. Bullock brings such an essence to the role that when watching Lee tell stories of when she and Truman were children you see the little girl Scout from Mockingbird so very clearly. Kudos all around. Director/writer Douglas McGrath has to got to be kicking himself. Seriously. Of course he’s going to say “Given the riveting contradictions in Capote’s character the rich range of people who made up his circle and the comic and dramatic turns that marked the period the real wonder is that there were only two scripts.” But the fact of the matter is Capote came first and furious getting all kinds of good strokes. Releasing another movie about the very same subject on its heels...well that movie is going to have a harder time. Period. And that’s a real shame. McGrath does some truly marvelous things with Infamous. He shows how a flamboyant gay writer spoiled chic who plays court jester to the very cream of New York society is set down in the wastelands of Kansas to write about a horrible crime. Capote’s antics at first are hilarious such as trying to wear cowboy boots and a cowboy hat just to fit in. But then the shift into the dark side as Capote delves deeper and deeper into the psyche of the killers keeps you riveted. It might be the same but Infamous is just as worthy.
Top Story: Stewart Indicted
It may be time to think about how to decorate that jail cell. Homemaking maven Martha Stewart was dealt a major blow Wednesday after she was charged with securities fraud and obstruction of justice stemming from the inside trading brouhaha over the sale of her shares of ImClone Systems, Inc. in 2001, Reuters reports. Charges were made after settlement talks between Stewart and federal prosecutors broke down. Stewart is also expected to step down as chairman and chief executive of Martha Stewart Living Omnimedia Inc., Reuters reports.
Spike Suing Over Spike TV
Filmmaker Spike Lee is suing Viacom Inc. over its renaming the cable network TNN Spike TV, The Associated Press reports. The suit, which was filed Tuesday, claims it invokes the 25th Hour director's name, which he never gave consent to be used. "The media description of this change of name, as well as comments made to me and my wife, confirmed what was obvious--that Spike TV referred to Spike Lee," Lee said in court papers. Viacom bought TNN in 2000 and announced in April that it would change the channel's name to Spike TV on June 16, labeling it "the first network for men," in an attempt to further capture their already roughly two-thirds male audience. Viacom told AP on Tuesday that it was confident the court would reject Lee's claims to the popular name Spike.
Manilow Breaks Nose
Ouch! After waking disoriented in the middle of the night Tuesday, Barry Manilow accidentally ran into a wall, breaking his nose and knocking himself unconscious, Reuters reports. The 56-year-old entertainer had just returned home in Palm Springs, Calif. after spending two weeks in Malibu producing an album for Bette Midler. "I may have to have my nose fixed, and with this nose, it's going to require major surgery," Manilow quipped to Reuters, referring to his famously prominent proboscis.
Actor/Screenwriter Richard Cusack Dies
Richard Cusack--actor, screenwriter and patriarch of the famous acting family that includes stars John and Joan Cusack--died Monday of pancreatic cancer in Illinois, AP reports. He was 77. Cusack was best known for writing the 1999 HBO film The Jack Bull and appeared in films such as The Fugitive and Return to Me.
Clarkson Hits Gold--and Platinum
American Idol Kelly Clarkson is still feeling the love a year later. Her debut album Thankful has gone both gold and platinum after selling more than 1 million copies last month, according to The Hollywood Reporter. In figures released by the Recording Industry Association of America, the American Idol compilation album All-time Classic American Love Songs, which features the top 11 finalists from the second season of the Fox television hit, also soared high in sales with more than 500,000 copies sold.
Clay's Single Beating Ruben's in Sales
In more American Idol news, second season runner-up Clay Aiken's upcoming single "This is the Night"/ "Bridge Over Troubled Water" has steamed ahead of winner Ruben Studdard's single "Flying Without Wings"/ "Superstar" in advance sales on Amazon. com. Both singles are scheduled to be released June 10.
24 Producer Signs on for 24 Months More
Executive producer Howard Gordon, who heads up the hit Fox series 24, has inked a two-year deal with 20th Century Fox TV. According to The Hollywood Reporter, Gordon will continue as a hands-on executive producer on 24, which has been picked up for a third season, as well as develop new projects for the studio.
Readers Eager for Harry
Amazon.com Inc. announced Wednesday their advance orders for Harry Potter and the Order of the Phoenix has reached 1 million. The highly anticipated fifth Potter book is to be released globally June 21.
Role Call: Jim Has Fun With Dick and Jane, More To Fly in Aviator
Hot off his new comedy Bruce Almighty, Jim Carrey has signed with director Barry Sonnenfeld (Men in Black) and producer Brian Grazer (A Beautiful Mind) to remake the 1977 comedy Fun With Dick and Jane, Variety reports. The original film starred George Segal and Jane Fonda as a middle-class married couple who have to pull off heists to pay the bills…Meanwhile, stars are lining up alongside Leonardo DiCaprio for Martin Scorsese's The Aviator, a biopic about reclusive billionaire Howard Hughes. Cate Blanchett, Kate Beckinsale, and John C. Reilly are close to signing on to play Katharine Hepburn, Ava Gardner and Hughes' right-hand man Noah Dietrich, respectively, and No Doubt frontwoman Gwen Stefani will make her screen debut as siren Jean Harlow.
Freddie Prinze Jr. stars as Ryan Dunne the first local boy to break into the Cape Cod Baseball League--a stable of college all-stars who descend upon the idyllic seaside town for the summer to duke it out for pro scouts. Ryan is a fairly talented pitcher but tends to choke at key moments in a game. He's got a dad (Fred Ward) and a brother (Jason Gedrick) who work blue-collar jobs and (in a typically clichéd fashion) don't want to see Ryan fail as they have. But even with all the competition Ryan still manages to make friends with rowdy catcher Billy "Bru" Brubaker (Matthew Lillard). To complicate matters Ryan gets involved with the lovely and--surprise!--rich girl named Tenley Parrish (Jessica Biel) whose father (Bruce Davison) is none too pleased about his daughter's budding romance with the "boy from the wrong side of the tracks." The pressures are mounting. Will Ryan make it to the Big Show? And if so will we care?
No matter what he does Prinze seems to be in this teen flick rut. His Ryan may be the most complex character he has played so far but that isn't saying a whole lot. The actor has decent range and is capable of tackling heavier material. It's just time for him to grow up. Biel known best for her role as a troubled daughter on the family WB show 7th Heaven gets to stretch her wings here and does a good job playing an unspoiled rich girl who doesn't care what her family thinks. On the flip side Davison falls right into the villainous father figure role without trying anything new. Lillard underplays his talented slugger from USC yet manages to add a requisite amount of flair when needed. Still like his pal Prinze he needs to move on and join the big leagues. However a true standout is Brian Dennehy as the demanding but understanding coach. He is one of those actors you can always depend upon to give you a good performance.
The premise of the story in which the action is centered upon the Cape Cod Baseball League is different but the script never digs deep. Apparently the writers felt subtleties in a scene wouldn't adequately display the emotional impact needed so every cliché in the book is thrown right in your face. For example Ryan's embittered and widowed dad who has long given up his dreams will be damned if he sees Ryan fail. There are the typical barroom antics as well as the sneering rival pitcher (Corey Pearson) who wants Ryan out of the way. Or how about the "fast" girl in town (Brittany Murphy wasted in this role) with a heart of gold. You get the picture. It's clear director Michael Tollin enjoys the game of baseball. The film steps up a notch when the action is on the field. However many directors before him have portrayed the beloved sport better.