It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
The latest movie in the Step Up franchise aims for a politicized message behind all the flashy moves but it could do with a lot less plot and a lot more dancing. In Step Up Revolution the Miami dance group "The Mob" takes to the streets (and other random locations) to perform intricately choreographed routines with their own DJ a camera guy who uploads their videos to YouTube and a graffiti artist who leaves their signature behind. It takes at least that much effort just to get hipster New Yorkers to ride the subways without any pants on once a year; it's hard to believe that The Mob could pull off their elaborate schemes without getting caught but that's the magic of movies.
The Mob represents the more diverse working class side of Miami a young multiracial group of friends who create incredible works of art that disappear before they get shut down. One of the Mob's leaders Sean (Ryan Guzman) earnestly explains to newcomer Emily (Kathryn McCormick) that the group's reason is to give a voice to the voiceless or to be happy or to dance or something. It's not really clear but they have a lot of fun and look amazing doing it.
Once Sean and his friends find out that a greedy developer plans to raze their neighborhood to make way for another South Beach-style hotel monstrosity they have a reason to rally but until then they're just trying to win a cash prize by getting clicks on YouTube. The typical Step Up twist is that Emily is the developer's daughter. Mr. Anderson (Peter Gallagher) doesn't approve of Emily's love of dancing or other frippery and he certainly wouldn't approve of her hanging out with the people causing such mayhem in the streets of Miami.
Step Up Revolution biggest misstep is trying to give the movie more of a hook than the franchise's typical Romeo and Juliet-style love story and tap into "the Zeitgeist" (I swear that's from the studio-provided press notes) of flash mobs. The film could have cut out most of the plot and characters and still have a completely intact film insofar as the point of the film is its multimedia dance routines. The sort of productions The Mob pulls off are more akin to carefully planned art installations or music videos in terms of scope; it would have been better to at least make that somehow feasible in terms of the storyline. Yes we are here for a spectacle and we surely get a spectacle but it needs to have some roots in reality.
The dance scenes are fun sexy and occasionally a little sappy but overall quite enjoyable for people who enjoy "So You Think You Can Dance" type of shows. Kathryn McCormick and Stephen "tWitch" Boss both appeared on "SYTYCD" and their costar Misha Gabriel is a classically trained ballet dancer turned pro back-up dancer for folks like Beyoncé and Michael Jackson. Guzman doesn't have a dance background but he is an MMA fighter who obviously took his training very seriously. The entire outfit is pretty damn entertaining to be honest.
As far as the 3D goes it makes most of Miami look overcast and grey. The extra zings added in to make sure we get our money's worth like sand flicking out at us or a breakdancer whose foot seems to be aiming for our face only serves to distract from the real show at hand. There is also an awful lot of ramping and generally spazzy editing tricks that look cheap. The screenplay by Amanda Brody is definitely not its strong suit.
Step Up Revolution is the cinematic equivalent of a trashy beach novel. It's embarrassing to be caught actually enjoying it and you'll forget about it almost immediately but it's a decent way to spend a summer afternoon.
Two of the most prestigious independent film communities have recently each given their stamp of approval on independent cinema both past and future. Nominees for the 2006 Independent Spirit Awards were announced as was the lineup for the independent feature film and world cinema competitions for next year’s Sundance Film Festival.
Although each organization acknowledge and reward independent filmmaking, the two fetes are quite different. The Spirit Awards are more of a conventional awards show, which will be handed out March 4 in Santa Monica, California [for full coverage on the Spirit Award nominations, click here].
The Sundance Awards are the culmination of the 10-day festival (Jan. 19-29 in Park City, Utah) that showcases the films in contention for awards. Next year’s Sundance Film Festival lineup marks a return of sorts to the fest’s roots, by giving way to more fresh faces. The total number of submissions increased, resulting in a different and exciting format--the expansion of the world competition to include more international films.
Below are the films to be shown in the four competition sections:
American Dramatic Competition A Guide to Recognizing Your Saints (Director, screenwriter: Dito Montiel) Come Early Morning (Director, screenwriter: Joey Lauren Adams) Flannel Pajamas (Director, screenwriter: Jeff Lipsky) Forgiven (Director, screenwriter: Paul Fitzgerald) Half Nelson (Director: Ryan Fleck; screenwriters: Anna Boden, Ryan Fleck) Hawk Is Dying (Director: Julian Goldberger; screenwriters: Harry Crews (novel), Julian Goldberger) In Between Days (Director: So Yong Kim; screenwriters: So Yong Kim, Bradley Rust Gray) Puccini for Beginners (Director, screenwriter: Maria Maggenti) Quinceanera (Director/screenwriters: Richard Glatzer and Wash Westmoreland) Right at Your Door (Director, screenwriter: Chris Gorak) Sherrybaby (Director, screenwriter: Laurie Collyer) Somebodies (Director, screenwriter: Hadjii) Stay (Director, screenwriter: Bob Goldthwait) Steel City (Director, screenwriter: Brian Jun) Stephanie Daley (Director, screenwriter: Hilary Brougher) Wristcutters: A Love Story (Director: Goran Dukic; screenwriters: Goran Dukic, Etgar Kerett)
American Documentary Competition:
A Lion in the House (Directors: Steven Bogner, Julia Reichert) American Blackout (Director: Ian Inaba) An Unreasonable Man (Directors: Henriette Mantel, Stephen Skrovan) Crossing Arizona (Director: Joseph Mathew) God Grew Tired of Us (Director: Christopher Quinn) Ground Truth: After the Killing Ends (Director: Patricia Foulkrod) Iraq in Fragments (Director: James Longley) Small Town Gay Bar (Director: Malcom Ingram) So Much So Fast (Directors: Steven Ascher, Jeanne Jordan) Thin (Director: Lauren Greenfield) 'Tis Autumn: The Search for Jackie Paris (Director: Raymond De Felitta) The Trials of Darryl Hunt (Directors: Ricki Stern, Annie Sundberg) TV Junkie (Director: Michael Cain) Wide Awake (Director: Alan Berliner) Wordplay (Director: Patrick Creadon) The World According to Sesame Street (Directors: Linda Goldstein Knowlton, Linda Hawkins Costigan)
World Cinema Dramatic Competition 13 Tzameti (Director, screenwriter: Gela Babluani), France Allegro (Director: Christoffer Boe; screenwriters: Christoffer Boe, Mikael Wulff), Denmark The Aura (Director, screenwriter: Fabian Bielinsky), Argentina The Blossoming of Maximo Oliveros (Director: Auraeus Solito; screenwriter: Michiko Yamamoto), Philippines Eve & The Fire Horse (Director, screenwriter: Julia Kwan), Canada Grbavica (Director, screenwriter: Jasmila Zbanic), Bosnia-Herzegovina The House of Sand (Director: Andrucha Waddington; screenwriter: Elena Soarez), Brazil Kiss Me Not on the Eyes (Director, screenwriter: Jocelyne Saab), Lebanon Little Red Flowers (Director: Zhang Yuan; Screenwriters: Ning Dai, Zhang Yuan), China Madeinusa (Director, screenwriter: Claudia Llosa), Peru No. 2 (Director, screenwriter: Toa Fraser), New Zealand One Last Dance (Director, screenwriter: Max Makowski), Singapore The Peter Pan Formula (Director, screenwriter: Cho Chan-Ho), South Korea Princesas (Director, screenwriter: Fernando Leon de Aranoa), Spain Solo Dios Sabe (Director: Carlos Bolado; screenwriters: Carlos Bolado, Diane Weipert), Brazil/Mexico Son of Man (Director: Mark Dornford-May; screenwriters: Mark Dornford-May, Andiswa Kedama, Pauline Malefane), South Africa
World Cinema Documentary Competition 5 Days (Director: Yoav Shamir), Israel Angry Monk--Reflections on Tibet (Director: Luc Schaedler), Switzerland Black Gold (Director: Marc Francis, Nick Francis), U.K. By the Ways, a Journey with William Eggleston (Directors: Cedric Laty, Vincent Gerard), France Dear Pyongyang (Director: Yang Yonghi), Japan The Giant Buddhas (Director: Christian Frei), Switzerland Glastonbury (Director: Julien Temple), U.K. I is for India (Director: Sandhya Suri), England/Germany/Italy In the Pit (Director: Juan Carlos Rulfo), Mexico Into Great Silence (Director: Philip Groening), Germany Kz (Director: Rex Bloomstein), U.K. No One (Director: Tin Dirdamal), Mexico The Short Life of Jose Antonio Gutierrez (Director: Heidi Specogna), Germany Songbirds (Director: Brian Hill), U.K. Unfolding Florence: The Many Lives of Florence Broadhurst (Director: Gillian Armstrong), Australia Viva Zapatero (Director: Sabina Guzzanti), Italy
Only mildly titillating and not especially thrilling the wannabe erotic thriller In the Cut isn't able to rise to the occasion so to speak. This yawner stars Meg Ryan as Frannie a depressed creative writing teacher in New York who keeps mostly to herself unless it's to get together with her slutty half-sister Pauline (Jennifer Jason Leigh). Wary about love Frannie's seen how messed up relationships can get. The last guy Frannie dated an mentally unstable med student (Kevin Bacon) is stalking her while crazy sis Pauline is currently stalking a married man who has a restraining order against her. These people have serious issues and dour Frannie figures its easier just to fantasize about men and masturbate (hey don't we all?). Then she meets Det. James Malloy (Mark Ruffalo) an aggressive yet charismatic cop who questions her about the brutal murder of a woman in the neighborhood. Things get all screwy (in more ways than one) when the attraction between Frannie and Malloy grows and the slick detective ends up taking Frannie to some new sexual heights while at the same time strange occurrences are making her suspect Malloy is the murderer. Aw she's just so negative. It all comes to a head so to speak as the real murderer comes to light blah blah blah--but all we want to know is will Frannie finally find a good anti-depressant?
Along with so many actresses Meg Ryan apparently believes dying her hair brown wearing no makeup and sporting a sour and we suspect surgically enhanced face (she looks more nauseated than anything) gives her dramatic heft. And what about that gutsy move of showing a little frontal? Stop the presses--America's sweetheart bares her soul and her breasts! Unfortunately it all backfires. The usually perky Ryan can't dig deep enough to inhabit Frannie's miserable persona even though she's had practice (remember When a Man Loves a Woman and Courage Under Fire) and with In the Cut she comes off looking worse than ever literally and figuratively with a wrist-slitting performance that only proves comedies will forever be her forte (where's Sally when you need her?) As the skanky cop Ruffalo (You Can Count on Me) fares a bit better but still telling a woman all the things you want do to her in bed in a flat emotionless voice doesn't help his case as a sexually provocative leading man. If Ryan's Frannie was not so lifeless maybe she and Malloy could have sizzled but they never connect. The always-good Leigh would have made a much better Frannie. As disturbed Pauline she turns in the most interesting performance of the film.
Director Jane Campion (The Piano) admits she was going for a specific look and feel with In the Cut that of the emotionally charged '70s dramas and thrillers such as the classic 1971 erotic thriller Klute about an emotionally distant prostitute who helps a detective solve a string of murders. In the Cut tries to be Klute--sans Jane Fonda's Oscar-winning performance as the prostitute and Donald Sutherland's superb turn as the smitten detective. Campion's film lacks both stellar performances and the street grit that made those older films so powerful though she does give the film the same drab grimy look of a '70s indie film to match the mood of her main characters (and what fun that is). Plus the way she annoyingly films scenes out of focus makes you think you've got myopia--the periphery is constantly out of focus. Rather than being artsy all this does is trigger a headache.
There will be a strong French flavor at the Montreal World Film Festival this year, as the festival announced its lineup Tuesday. Many of the films in competition are French, including two well-known French actors' directorial debuts. Sophie Marceau (Braveheart) will be attending the festival in support of her film Parlez-Moi D'amour (Speak to Me of Love) as will Vincent Perez (Indochine) for his film Peau D'ange, starring Guillaume Depardieu. Two American films--Blue Car starring David Strathairn and Igby Goes Down starring Kieran Culkin, Susan Sarandon and Ryan Phillippe--will also screen in competition. French producer/director Luc Besson (The Fifth Element) will receive a lifetime achievement award. The festival runs from Aug. 22-Sept. 2.
Actor Nicolas Cage is planning to sell his comic book collection at the Dallas ComiCon convention Oct. 11-13, The Associated Press reports. The collection of about 400 comic books includes Action Comics No. 1, Superman's first appearance, as well as first appearances by Batman, Captain America and the Green Lantern. John Petty, the director of auctions for Heritage Comics Auctions, said the collection could "realize a value well into seven figures."
Three weeks after Arnold Schwarzenegger left the William Morris Agency he has signed a deal with rival Creative Artists Agency, Variety reports. Even though his career is fading a little with bombs like Collateral Damage, Schwarzenegger hopes to come back big in Terminator 3: Rise of the Machines, currently in production.
Family members of Pauline Phillips, otherwise known as Dear Abby, revealed Tuesday that the advice columnist has been diagnosed with Alzheimer's disease. Her twin sister, Esther Lederer, who wrote as Ann Landers for the Chicago Sun-Times, died in June. Phillips' daughter Jeanne had been writing the column, which appears in roughly 1,300 newspapers, for a few years and now takes sole credit.
Director John McTiernan is looking to get a Booster shot. Variety reports he is in talks to direct The Booster, a film about two legendary thieves who reunite during a winter storm to rob the 91st floor of Chicago's Sears Tower--from the outside. Sounds like fun.
Before she leaves Buffy the Vampire Slayer, Sarah Michelle Gellar wants to kill off her alter ego in style. The actress told the London Evening Standard, "It's important for me to go out on top." Her contract expires at the end of the next season, and producer Joss Whedon has stated he thinks the show is strong enough to go on without her.
Three members of the British band Oasis--Noel Gallagher, Andy Bell and Jay Darlington--were in a car accident in Indianapolis and are recovering from minor injuries, including facial bruises. The accident occurred Tuesday when the taxi they were traveling in was involved in a head-on collision. The band was to perform in the city Wednesday, but the concert has been postponed.
Rock legend Jimi Hendrix has been voted the greatest guitarist of all time in a poll by Total Guitar, a leading European guitar magazine. Jimmy Page of the band Led Zeppelin came in second place, with Eric Clapton claiming the third spot.