After years of ubiquity, James Franco seemed to fade from the spotlight in 2012. But everyone's favorite actor-turned-professional higher education pursuer-turned-poet-turned-artist has added another line to his resume: filmmaker. His new gay art film, Interior. Leather Bar. — yes, you read that right — debuts at Sundance in 2013 and the first trailer is now available for your gawking pleasure online.
Just because you can watch footage from the movie/art piece/documentary/???? doesn't mean you'll be able to understand what it's about, though. It is a"homo-sex-art-film," according to co-director Travis Mathews, who wonders aloud in the trailer, "Is this something that we as the artists working on it are going to manipulate to make a certain point, or do you just want it to be what is?"
Actually, Interior. Leather Bar. recreates the 40 minutes of footage cut from director William Friedkin's 1980 film Cruising, which was scrubbed of scenes that took place inside an underground gay S&M club.
Maybe you should just check out the head-scratching trailer for yourself. But be forewarned: It's not exactly family friendly, unless your family is really into leather bars and oiled-up, beefy men. In which case: YOLO. No judgments here.
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[PHOTO CREDIT: RabbitBandini Productions]
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The actor, who played Sean Penn's character's lover in Milk, has been inspired to shoot his own version of the 1980 film, which starred Al Pacino as a New York cop searching for a serial killer in the city's gay underground.
However, James Franco's Cruising will not be a remake - the Oscar nominee could not secure the rights to the movie, so he decided to re-imagine what the lost 40 minutes of footage that Friedkin had to cut from the original to satisfy censors would look like.
Franco hired director Travis Mathews to shoot the film and he has warned fans to expect a lot of gritty and sexually explicit imagery.
Mathews tells indiewire.com, "He knew he wanted real gay sex in it. His people went looking for a filmmaker who had filmed real gay sex, and I suspect someone who would complement his vision. We talked about why we would be interested in still looking at this film. We talked about his interest in the film and his interest more broadly in so many gay-themed stories and visionaries. He's worked with so many in front of and behind the cameras over the years."
Friedkin was forced to re-edit Cruising to convince Motion Picture Association of America officials to lower his U.S. rating from the extremely restrictive X to R, meaning those under the age of 17 could view it as long as they were accompanied by an adult.
The project will premiere in part during New York Fashion Week next month (Sep12), before being released on the festival circuit next year (13).
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
Pity Mitch (John Francis Daley). It's his first day on the job at Shenanigans--a take on the nationwide-chain Bennigan's. The waiter who trains him Monty (Ryan Reynolds) is the same one he looks down on him. Monty shows Mitch the ropes as well as the cooks' genitalia. Sorry there's no other way to put it. See there's this game that the male employees play whereby...let's just say it's one of many unspeakable "games" they play that'll make you watch the film as you would a horror movie: your hands covering your eyes with just enough space between two fingers to catch a glimpse. And these are just Mitch's first moments on the job. Over the course of his shift he'll meet a twenty-something named Dean (Justin Long) who's trying to go straight--that is do something else with his life; a pushover (Patrick Benedict) whose timidity carries over to the urinal; and a veteran waitress (Alanna Ubach) who barks profane tirades about her patrons but not to them. People knock the MPAA's sense of humor but if they truly didn't have one this gross-out flick would be slapped with an NC-17 rating.
A film set in a restaurant falls squarely on the shoulders of its actors. Thankfully Reynolds and company make good carrying the film and its script of top-that one-liners and well shenanigans. Reynolds while now a bankable star in avenues other than comedy clearly has a knack for this stuff. His comedic timing and delivery are truly first-rate never more so than in Waiting excelling in the sheer vulgarity he has to shell out. Dodgeball's Long as Dean is downright earnest next to his buddy Monty but it's his role to defer to Reynolds' eloquent sarcasm. Of course this doesn't totally preclude him from joining in on the fun. He's just forced to take more barbs than he can dish out. Anna Faris (from the Scary Movie series) flies even more under the radar as Monty's ex the only one that stands in his way of proclaiming his prowess second to none. Also making pitch-perfect appearances as malevolent employees are fringe-sters Luis Guzman Chi McBride Dane Cook and Andy Milonakis with Anchorman's David Koechner as the manager.
Waiting is not the type of movie in which a separate director and writer is required--it's a package deal. That's because--and let's be honest here--a film set almost entirely in one location without a single stunt person or special effect doesn't need more than one voice. To this effect writer/director Rob McKittrick makes his first foray into each arena. Needless to say his directorial debut is almost a non-entity but that's more complementary than detrimental on a project like this. His stinging commentary on the other hand displays a comedic deftness that is worth keeping an eye on in the future especially if Waiting does any business at the box office.