The 3:10 To Yuma actor feared he'd lost his role in the film when he failed his test weeks before filming was set to start - but managed to land his license at the last minute.
He tells WENN, "I almost got into a head-on collision with the driving instructor in the car! I got down the block, maybe three streets, and I was making a left at a light and this guy was coming and he had his left turn signal on, so we were both going to make the left turn. We were about to go until the guy tried to speed up and try to go around me and I slammed right into him.
"The driving instructor slammed the brake on his side and was screaming, 'Go back, go back! You failed!' I had to take the test again a few weeks later. Then I ended up getting my license and driving Renee Zellweger a month later. How dangerous is that.
"I was the guy behind the wheel and I didn't want to kill Renee Zellweger or my movie brother Mark Rendall or the crew by crashing right into them... I was like, 'Oh s**t, I have to drive this tank!.
"When I was just learning how to drive it the gas pedal stuck down and I kept on going right into the trailers. I wasn't turning. I was just scared and in shock... It finally unstuck and I slammed on the brakes seconds before we hit the trailer. It was really scary. The car is worth way more than me.".
On the outside Charlie Bartlett (Anton Yelchin) couldn’t be further from the mold of a “normal teenager.” He wears a suit everywhere he is precocious and he has a spring in his step that suggests oblivion to his high school surroundings. Of course Charlie isn’t really at all oblivious and at his core is very much that “normal teenager”: He wants only to be popular. After starting anew at a public school--because he got kicked out of yet another private school for distributing fake IDs--Charlie is promptly pummeled for the way he dresses by the school’s bully (Tyler Hilton). He complains to his psychiatrist whom his mother (Hope Davis) keeps on retainer. The shrink decides to put Charlie on Ritalin. Ever the entrepreneur Charlie tries to parlay his easy access to drugs into popularity and it works like gangbusters. Before long “Dr. Charlie” is listening diagnosing and prescribing drugs to the entire student faculty. He’s got the popularity the trust and the girl (Kat Dennings) the latter of which just happens to be the principal’s (Robert Downey Jr.) daughter. And that relationship--not to mention the slight legality issue of prescribing controlled substances to minors--threatens to ruin his whole operation. Yelchin (Alpha Dog) is a Hollywood rarity: He’s an ‘it’ boy because of his acting not his looks (sorry Anton). Rarer still is the fact that Yelchin’s actual age is near that of Charlie Bartlett and not since the days of Freaks and Geeks has that industry taboo been broken so successfully. It’s all a credit to the young actor who in the span of Bartlett oozes everything from vulnerability and precociousness to Ritalin-induced mania and the theatricality of a much older actor. There’s nothing he can’t do in this movie; the same goes for his acting future. And the same goes for his adversary in Bartlett Downey Jr. although that’s been abundantly clear for decades now. Downey Jr. is famous for making seemingly effortless work of a complex character which is precisely what he does with Principal Gardner--a concerned parent recovering alcoholic and dutiful high school enforcer/villain. He’s a force to be reckoned with on screen and when Yelchin’s Charlie finally squares off with him the scene is a thing of beauty. As an essential link between those two characters Dennings (40-Year-Old Virgin) is a credible charmer and refreshingly the rare non-ditzy non-clichéd high school-portrayed girl we’re used to seeing. Rounding out the cast is Davis (American Splendor) aka Laura Linney-in-waiting. Her clueless alcoholic mom is a source of laughs and ultimately sobriety--for the character and us. For the first time in his decades-long career Jon Poll trades the editing room for the director’s chair. And after seeing Bartlett it makes sense that Poll who has edited movies like Austin Powers in Goldmember and Meet the Parents/Fockers is a behind-the-scenes veteran but a rookie helmer. His debut is fresh and loose but also very sure-handed. The movie is constantly a pleasant unclassifiable surprise spurning both the raunchiness of teen comedies and the pretention of psychology dramedies. The result is something far less precious and opaque than Wes Anderson’s Rushmore--to which Bartlett bears a broad thematic resemblance--yet a sharp commentary nonetheless. To that end Gustin Nash’s debut screenplay is just as impressive as his director’s rookie effort. His writing is clearly steeped in satire namely how loose today’s doctors are with the prescription pads--especially when it comes to our children--but it’s also able to be sweet and real when necessary. It’s the most impressive screenplay debut we’ve seen in a while--gold standard Juno notwithstanding--and the directorial one isn’t too shabby itself.
Tucked away between shiny modern skyscrapers quirky old-fashioned Mr. Magorium's Wonder Emporium is a toy store literally like no other. Step inside and a sock monkey might give you a hug--or a fire engine might appear out of nowhere. That's because the store is imbued with the enthusiasm and magical childlike wonder of its owner: frizzy-haired 243-year-old dynamo Mr. Magorium (Dustin Hoffman). When Magorium decides it's time to move on his designated heir self-doubting store manager Molly Mahoney (Natalie Portman) isn't the only one who objects. The store itself throws a fit sulking and brooding and hurling toys at unwitting customers. It's up to Mahoney--with the help of stuffy accountant Henry "Mutant" Weston (Jason Bateman) and eager young store clerk Eric (Zach Mills)--to discover the best way to live up to Magorium's legacy. The movie's most pleasant surprise is Hoffman's charming performance. He could have followed in Gene Wilder and Johnny Depp's footsteps and made Magorium a fey Willy Wonka-like sprite. Instead Magorium is an original a mile-a-minute chatterbox who uses big words takes delight in the extraordinary and never stops smiling at life. And the calm gentle demeanor he brings to Magorium's farewell scenes with Mahoney will make a potentially tough plot twist a lot easier on kids. Speaking of Mahoney Portman is at her best in the moments that call for wry humor and Puck-ish mischief; the more earnest the script asks her to be the less interesting her character gets. Bateman is underused as the straight man (his lone lapse into silliness is a high point in the movie) but Mills is wholly endearing as wiser-than-his years Eric. With so much going for it why isn't Mr. Magorium's Wonder Emporium more magical? It's hard to say; perhaps it's something to do with the fact that the characters seem to talk about magic more than they actually interact with it. Or that despite all of said magic Mr. Magorium and his store never really do anything that you wouldn't expect of an eccentric bicentarian living in the ultimate funhouse. Writer/director Zach Helm gives viewers plenty to ooh and aah at (the set design is wonderful) but his story is never quite unusual or unexpected enough to transcend "cute" and "sweet" and reach "classic." All of that said with Hoffman in fine form and so many fabulous toys bouncing around the screen kids are likely to be delighted (and clamoring to add to their Christmas lists...)
In Barrow Alaska there comes a time each winter when sunlight fades out and darkness rolls in like an unwelcome visitor—for a month. Many people abandon the small town without hesitation while those who stay brace themselves for a storm of inhumane relentless frigidity and a test of sanity. But this year one group keeps the town warm—with blood—for its 30 days of night. The town’s two remaining law enforcers Eben (Josh Hartnett) and Stella (Melissa George) are forewarned by a strange drifter (Ben Foster) that “something’s comin’ ” but before they can even finish scoffing the sun has set and the vampires have descended or ascended upon Barrow for blood and recruitment. With only himself and Stella to keep the few living well alive Eben is forced to go on the defensive for the full 30 days. But as he soon learns these vamps are a smart breed with a perpetual case of the munchies. Just when you think Josh Hartnett has finally chosen the right role to suit his dark features and limited range—he decides not to play a vampire. Still 30 Days' constant darkness and overall chaos would seem to accentuate his positives by drowning out his negatives much the way Sin City spun and sold his small role but that’s not quite so. It turns out he’s capable of the quickie action or momentary drama but the scenes in which he is to save the er night—well it’s a good thing the Hartnett-as-Superman rumor was just that. As Hartnett’s partner in non-crime/estranged lover George (Turistas) manages to create some tension without resorting to shrieking or the drama-school histrionics we’ve come to expect from supporting actresses in horrors. Also successful is the ever-versatile Ray Winstone (The Departed) playing a grizzly outsider-turned-insider who joins the anti-vampire crusade. In a role surprisingly tiny considering his current rate of ascension in the industry Foster (3:10 to Yuma) is the best and creepiest this movie has to offer. And in the vampire corner is Danny Huston (The Number 23) who is horrifying as hell on first look only to de-emphasize that appearance by crowing and chatting instead of simply chugging blood. On the first day of night the vampires will seem scary; by the 30th day they’ll seem more like zombies—unless that’s just you projecting onto them. Director David Slade whose previous feature (the indie Hard Candy) could not have been more different from this one will initially win over horror-philes with 30 Days. After all it starts off on a high note with an almost apocalyptic aura to the impending darkness and its consequences. The story is set up adequately and the scares to come are alluded to without getting too greedy. And Slade doesn’t let us down immediately following sundown with jolting flashes of the beasts readying to overtake the small town. But once he gives them faces and personalities it doesn’t take long for the suspense to die—and die some more. That’s almost midway in after which point it becomes clear that the movie will consist only of a heavily abridged countdown to that 30th night and predictable bloodshed. As Slade nears the film’s climax 30 Days nears videogame-like music and machismo before its slightly more compelling conclusion is reached. On a brighter note the lightless Alaskan town—although obviously not totally pitch black for the movie’s sake—does look positively bleak especially when the cinematography takes to the skies.