Matt Patches
After a few years of working behind the scenes on movies and TV shows (and earning an IMDb page for bragging rights), Movies Editor Matt Patches made a hard right into the world of entertainment journalism. In 2009, Patches became the Associate Movies Editor of, departing in 2010 to go rogue as a writer-for-hire. Patches covered movies and festivals for a number of outlets, including Movieline, MTV NextMovie, CinemaBlend, and Film School Rejects, before joining as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • 'Batman: Year One' Trailer Will Fill Your Dark Knight Needs
    By: Matt Patches Jul 07, 2011
    When director Christopher Nolan conceived a reboot of the Batman franchise, a departure from the campy style of Batman Forever and Batman & Robin, he drew from the darkest of source materials, picking this and that from a various books, storylines and artists. The end result was Batman Begins and The Dark Knight -- obviously he was looking in the right places. One of the major influences was Batman: Year One, a comic book classic penned by Sin City creator (and co-director) Frank Miller. Everything people love about Nolan and Christian Bale's brooding Batman can be found in the gritty realism of the book -- and now DC Animated Films has gone and turned the source material into its own cinematic experience. Batman: Year One stars The O.C.'s Benjamin McKenzie as Batman, Breaking Bad's Bryan Cranston as Jim Gordon, Dollhouse's Eliza Dushku as Catwoman and Battlestar's Katee Sackhoff as Bruce Wayne's romantic fling, Sarah Essen. The first trailer for the straight-to-DVD/Blu action flick has hit the web and looks perfectly tailored to tide us over until The Dark Knight Rises next summer. Check it out and watch for our coverage of the movie's premiere at this year's San Diego Comic-Con! Source: MTV
  • UPDATE: The Leader of the Dwarves Revealed
    By: Matt Patches Jul 07, 2011
    5th UPDATE: Topping off the army of dwarves is Thorin Oakenshield: a young dwarf prince and his race's leader in the quest to kill the dragon Smaug. Richard Armitage will wield swords as Oakenshield, a dwarf unique in valor, courage, and not being part of a ridiculous name-pairing. 4th UPDATE: All right, dwarves. What are you trying to prove? How many more of you are there going to be?  How many more outlandish beards and rhyming names can we take? After all this you guys had better really steal the show in The Hobbit, or we're going to lose it. Here we see Balin and Dwalin, looking a bit more pensive than your average dwarves. 3rd UPDATE: This is getting ridiculous. In a movie called The Hobbit, there seems to be an inordinate amount of characters in a non-titular species. At least this latest batch has taken the hairstyle phenomenon to a level unforeseeable. And finally! Names that don't rhyme...that much: Bombur, Bofur and Bifur. Oh, dwarves. 2nd UPDATE: MORE DWARVES. Seriously. Just get on the bandwagon now, because these Dwarves are dominating the promotional photography of the upcoming The Hobbit movies. Thanks to MSN for premiering the photo of the latest, youngest pint-size warriors: Fili and Kili. 1st UPDATE: The more dwarves, the better, right? That's generally been my all-purpose motto. And if you thought the beards in the last photo were impressive, you are in for a thrill. Meet Oin and Gloin: EARLIER: With the original Lord of the Rings Extended Edition trilogy out on Blu-ray for the first time, fans of Middle Earth and naysayers of Peter Jackson's epic saga are once again immersed in the world of J.R.R. Tolkein -- and the gushing, debating and sense of adventure won't be dying any time soon. Jackson is well underway with two prequel films based on Tolkein's novel -- The Hobbit: An Unexpected Journey and The Hobbit: There and Back Again -- with Ian McKellen returning as the lumbering wizard Gandalf, Andy Serkis as Gollum, Orland Bloom as Legolas, and new cast members Stephen Fry, Evangeline Lilly, Lee Pace, Benedict Cumberbatch and Martin Freeman (Sherlock) as young Bilbo. We got our first look at Freeman, Middle Earth's latest Hobbit, a few weeks ago and now Warner Bros. has revealed a glimpse at what to expect from the gaggle of new dwarves accompanying Bilbo on his journey. Check out the first image of Dori, Nori and Ori, a trio of dwarves brothers who look to carry over the original LORT dwarf Gimli's combo of physical comedy and lethal brutality. The picture quells our only worry: The Hobbit is not skimping on the beards. Via
  • Seth Rogen to Deliver the Funny in 'Jamaica'
    By: Matt Patches Jul 06, 2011
    Balancing compelling drama with laugh-out-loud comedy is no simple feat, but if any one is up to the task, it's Seth Rogen. This September sees the release of his touching cancer dramedy 50/50, a movie that co-stars Joseph Gordon-Levitt and could see both gentlemen earning a few award nods by the end of the year. Rogen must have known he struck gold with the film, as he's now set to recruit his 50/50 creative team for another round of top-notch filmmaking. Rogen will reunite with his co-producer Evan Goldberg, 50/50 writer Will Reiser and director Jonathan Levine for Jamaica, a new comedy based on Reiser's own childhood trip to the Caribbean island. Like 50/50, which chronicled Reiser's battle with cancer, Jamaica will take a look back a trip the writer took with his grandmother at the young, ripe age of 14. Obviously Rogen won't be playing a teenager, so expect the call to go out for young persons with a funny bone as the movie is moving swiftly towards production (but don't put it past the Knocked Up actor to find himself a co-starring role). What young actor can bring the funny like Rogen?
  • Is Andre 3000's Jimi Hendrix Biopic Really Happening?
    By: Matt Patches Jul 06, 2011
    Poor Andre 3000. Since 2004, Mr. 3000 (a.k.a. Andre Benjamin) has been attempting to use his musical influence to get a biopic of legendary guitarist Jimi Hendrix off the ground -- but to no avail. Seven years have passed with barely a word of update from the hip-hop star, but his perseverance appears to have been going on silently, as an update has finally revealed itself via Captain America leading lady Hayley Atwell. Atwell tells Esquire that her next project may be Benjamin's long-gesting exploration of the musicians career, which she describes as an "indie feature." While this is the first real word we've heard on the film's progress, don't take it as solid evidence that Hendrix will be rocking out on the big screen any time soon. Even Atwell has her doubts, following up her statement with a blurry, "…But I don't know, really. The Atwell team is like, Let's just wait and see…" While Atwell is set to receive a major career boost with her turn as the kick butt military lady Peggy Carter alongside Chris Evans' super solider Captain America, it's been some time since we've seen Benjamin show off his thespian side. Previously starring in Be Cool, Four Brothers and 2008's Semi-Pro, the musician-turned-actor has been relatively quiet the last few years -- perhaps he's waiting for the right guitar riff to wail back into the scene? Captain America: The First Avenger hits theaters July 22, meaning Atwell's next project announcement should follow soon after. Source: Esquire
  • The Sundance 2011 Wrap-Up: Best of the Fest
    By: Matt Patches Jan 31, 2011
    Sundance Film Festival: one of the few places a person can see over thirty movies in ten days and still walkaway with a lengthy list of regretful misses. This year was full of positive buzz, from rabid studio purchasing to the general thumbs-up public reactions to Park City's packed slate. While many of the screened movies have their theatrical destinies set before the final night, the Sundance award ceremony often gives a much needed boost to films across the spectrum. Of course, like any "Best of," they also manage to overlook the true gems. Here were the big winners of the festival along with a guide to who really should have taken home the awards: Audience Award: Documentary - Buck, directed by Cindy Meeh Buck has a special place in Sundance founder Robert Redford's heart - the film chronicles the true life story of Buck Brannaman, the real life Horse Whisperer (the basis for Redford's film). Buck is a heartwarming crowd-pleaser, but we're surprised the even gooier Being Elmo, a look behind one man's quest to become a Muppeteer, didn't sweep up this category. Both are must-sees. Audience Award: Dramatic - Circumstance, directed and written by Maryam Keshavarz The Iranian lesbian romance drama debuted to positive reviews and we're all for the win - the subject matter will be a tough enough sell for any distributor consdering picking up the film. We expected Sundance veteran Miranda July to pick this award up for her second feature, The Future, an adorable and emotional tale of a couple on the brink of splitting. While we enjoy July's brand of comedy, spreading the love to Circumstance will certainly help that picture's chances at being seen by a wide audience. Best of NEXT!: Audience Award - to.get.her, directed and written by Erica Dunton Critically panned by fest-goers, to.get.her, a drama concerning four teen girls' wild night, took the NEXT! category (designed for projects shot on little to no budget) by surprise. We had two favorites that deserved some the bump from winning this award: Bellflower, an off-beat mix of muscle cars and romance, and The Sound of My Voice, a twisted sci-fi/drama about a documentary team infiltrating an underground cult. Both movies transcended their budget limitations to tell engaging stories - we'll have to see if to.get.her commands that kind of attention. Directing Award: Documentary - Resurrect Dead: The Mystery of the Toynbee Tiles, directed by Jon Foy. Resurrect Dead took Jon Foy five years and a significant portion of his own income to complete, but the result is a wild mystery and fun 90-minute ride. It may not be the most expertly directed documentary to play the fest - James Marsh's slick Project Nim or the hilarious Shut Up, Little Man may take that honor - but with so much sweat and blood making its way to the screen (and a thrilling subject matter: the mysterious, sci-fi Toynbee Tiles), Foy is certainly deserved of the prize. Directing Award: Dramatic - Martha Marcy May Marlene, directed and written by Sean Durkin. Everyone at the fest thought Sean Durkin's first directorial effort, the terrifying Martha Marcy May Marlene, would take home the top prize, but at this fest the film will have to settle for excellence in directing. There's no doubt Durkin earned it - MMMM is a gracefully paced, unnerving experience, creating a sense of paranoia and dread few of his horror contemporaries could even attempt matching. Thankfully, this one has a distributor and you'll be seeing it soon. Excellence in Cinematography Award: Dramatic - was presented to Pariah, directed and written by Dee Rees, shot by Bradford Young. Another fan favorite, Dee Rees' Pariah rejuvenated the tired coming-of-age drama with grounded reality and fully fleshed out characters. Bradford Young's look compliments the feel. Instead of settling for the a gritty, "urban" look of most New York indies, Young's cinematography is diverse and complimentary to the world of the film. Waldo Salt Screenwriting Award - Another Happy Day, directed and written by Sam Levinson. Sam Levinson, son of famed director Barry Levinson (Rain Man), debuted with a harrowing feature film centered on a family that just can't get it right. Levinson picked up the screenwriting award for his script chock full of Aaron Sorkin-lite dialogue and Diablo Cody-esque pop culture references. It's not a particularly great film, but there's talent there. We would have loved to see Pariah, The Future, HERE or Terri take the prize, but the world isn't perfect. Grand Jury Prize: Documentary - How to Die in Oregon, directed by Peter D. Richardson. Once in awhile, a firm punch to the gut is a necessary wake up call to real world problems and issues. How to Die in Oregon is exactly that, rightfully taking top honors in the documentary category and leaving audiences across the fest bawling soon-to-be-frozen tears. The doc unravels the moral debate over Oregon's law to allow for terminally ill or elderly citizens to terminate their own lives and, as you can imagine, it's a tough one to watch. But for every gasp or sniffle, there's a moment of inspiration of hope - for an hour and a half, you're watching people do exactly what they want to do (legally). Grand Jury Prize: Dramatic - Like Crazy, directed by Drake Doremus Like Crazy hit home for many fest-goers, some calling the cross-continent relationship drama the new 500 Days of Summer. That might not be a sell for everyone, but for those who caught the picture, starring Anton Yelchin, Felicity Jones and Jennifer Lawrence, it resonated in a smart, true way. There are a handful of films that would seem fit for a win in this category, but a win for Like Crazy will only help its buzz when Paramount releases it sometime this year. Keep These Films on Your Radar: Kaboom, Project Nim, Pariah, Martha Mary May Marlene, Win Win, My Idiot Brother, Troll Hunter, The Woman, Life in a Day, HERE, Bellflower, How to Die in Oregon, Take Shelter, Resurrect Dead, Submarine, The Future, Letters from the Big Man, Shut Up, Little Man! The So-So Bunch: Jess + Moss, Uncle Kent, The Music Never Stopped, Hobo with a Shotgun, The Woods, Knuckle, The Sound of My Voice, The Devil's Double, Cedar Rapids,The Details, Terri, Flypaper The Disappoints of the Fest: Magic Trip, The Ledge, I Melt with You, Homework, Another Earth, Son of No One, Another Happy Day
  • Sundance 2011: 'The Future' Proves Miranda July Is The Hipster Woody Allen
    By: Matt Patches Jan 31, 2011
    No one would argue that Woody Allen has made a prolific career for himself as a filmmaker. With his unique storytelling voice, Allen carved out a place for himself among the greats, fusing comedy and drama to create a form all is own. He uses similar characters, scenarios and techniques, but the films feel fresh. After watching The Future, it's evident that writer/director/actress Miranda July is on course to embody Allen's unlikely career path. Like the famed New York director, July dabbles in a little bit of everything: visual art, writing, performance art, film - you name it, she does it. If a cultured film buff hangs a caricature of Allen on his wall, an art-driven hipster may do the same with July. She's an icon. The Future is fully submerged in July's off-kilter humor and colorful style. Her second effort (her first, Me and You and Everyone We Know premiered at the 2005 Sundance Festival), the film centers on a relationship at a defining moment, when two people decide whether to stick it out or reassess their lives. July's comedy relies on adorable antics and non sequitur logic, but she spins it in such a way that it transcends her own plot. If she wasn't so darn watchable, the audience may not put up with it. Allen and July share the ability to use their own quirks to elevate material. The often bizarre events in their films aren't just throw away jokes, but give way to musings on life. Instead of playing the neurotic New York Jewish guy dealing with life's problems, July plays the flighty Los Angeles hipster getting herself into trouble. The Future is an amusing film that aims for grander themes, but lingering around it is a sense of promise. Woody Allen started his career with wacky comedies and evolved into the sophisticated (and hilarious) filmmaker we know today. Miranda July's film is a display of cinematic talent - her own future looks quite bright.
  • Sundance 2011: Exclusive Interviews With 'Win, Win's' Paul Giamatti & Amy Ryan
    By: Matt Patches Jan 29, 2011
    There are few "real" movie stars out in Hollywood. Great actors lie around every corner, but can a chiseled man like Brad Pitt play a run-of-the-mill guy from New Jersey without the audience thinking, "hey, it's Brad Pitt!" Not quite. Win Win, the latest film from director Tom McCarthy to premiere at Sundance, strives for the inherent comedy and drama of the real world and pulls it off with the help of two down to Earth A-List actors: Paul Giamatti and Amy Ryan. In the film, Giamatti, star of Cinderella Man and Sideways, and Ryan, recently seen in Gone Baby Gone and The Office, play husband and wife making ends meet, helping a down-on-their-luck wrestling team get it together and reminding each other that, hey, they're in love. Not an easy task - so we asked the duo how they pulled it off: Paul Giamatti You seem perfectly suited for your role in this film - was it something Tom [McCarthy, director] wrote for you specifically? I don't know if he wrote with me in mind. I’ve known him about 20 years. We were in school together at Yale drama school. He was in a class behind me and I never worked with him in any way. So we were just buddies and a friend of mine for 20 years. I always talked with him about doing something. And he came to me with this that was almost done. Then he said I have this thing and when I’m done I want you to read it. I read it and not too long after it came together. How does bringing your character Mike in Win Win to life compare to working on something like John Adams, that's rooted in history. I imagine there isn't as much source material to play a lawyer from Jersey. There’s some extent drawn from life. Tom wrote this with a guy name Joe Tabone, who is an elder character. So I got to hang out with him and he was a resource. But mostly this isn’t a movie where I need to do a big backstory. I need to just be open to Tom helping me find this character. My favorite dynamic in the movie is between you and Amy. How much work did the two of you do to become a realistic couple? She’s amazing. We did rehearse and it was great. Amy is one of those people though. We almost never talked about anything. We paled around but never talked about the characters. But when we did it it just seemed to work. So it was just like both of us were we don’t need to talk about this. This is just a portrait of a good marriage. There will be certain marriages where they’re happy and she’ll forgive him. And some people will be like, 'oh that’s really nice.' Someone pointed out to me that we only kiss one and its a peck on the cheek. How well-versed were you in the world of wrestling? [Win Win co-star] Bobby Cannavale mentioned that he visited a Rhode Island high school and wrestled the kids. That’s creepy. Bobby is creepy [laughs]. I knew a bit about it, I did a little in high school but didn’t last. It was not wildly unfamiliar to me and part of the attraction was I thought this is such a weird culture. And I remember the guys I knew who wrestled and I thought to accurately to depict this on screen would be fun to get all that specificity on screen would be great. Amy Ryan In Win Win, your character is real as real can be - is it difficult embodying that type of character versus something outrageous or based on existing resources? How do you prepare to play "real?" A lot of it is checking your ego at the door at your costume fitting, that's a big step [laughs]. No, I come not far from this world, so I know these people well. I thought of a good girlfriend of mine, the way she approaches things. She has this bulldog quality about her. It was somewhat familiar to me and in preparation we had a lot of time and rehearsal, a lot of fleshing out the script. That was a big part of the process and even when we were in the middle of production, still he was like, 'I’m thinking of this scene, let me email you a different version.' This is your young co-star Alex, who is an actual Ohio state wrestling champ, it's his first movie. Were you able to bestow some actorly wisdom upon him (since I'm assuming he didn't need any help with his choke hold). If he asked I did. He’s a wonderful and open minded sweetheart and he would ask. One of our producers is also an acting coach who worked with him a lot and Tom just got this beautiful performance out of him with patience. And having the time to do a few takes more till he got it. You’ve had so many diverse roles in your career, both comedy to drama. How do you find a balance between the two? Especially in a film like Win Win where you're constantly shifting tones. A lot of this with this particular movie was trusting Tom, because...there was this nickname for the character on set. They kept calling me 'The Pounder.' He was like 'Pound him harder, be harder.' I was like, 'I’m going to come up with this crazy shrew,' and he’s like, 'no, no, no, trust me, you can go harder.' And I did have to trust Tom because those are the moments that work. They are comic reliefs in some ways, her reactions to things. But I have to say I wasn’t so sure in the beginning. My inclination was to soften her up a bit, but you can’t do it halfassed. I’m glad tom pushed me. What kind of relationship did you have with Paul? Were you able to talk a lot about your roles or was it more about distancing yourself? Oh no, we were around a lot. He’s so easy going. Honestly there was a lot of sophomore humor. He’s like me. You get really silly on those long days and there were probably a few fart jokes. It's not sophisticated the whole way. Now that you've conquered Sundance, what is next for you? I don’t have anything coming up next. Just The Office. I’m finishing up the last few episodes as Michael Scott leaves Dunder Mifflin.
  • Sundance 2011: Anne Heche Finds Her Inner Midwesterner In 'Cedar Rapids'
    By: Matt Patches Jan 28, 2011
    How do you turn a dry setting like an insurance sales conference into a lively comedy? Fill it with A-list talent. That's exactly what director Miguel Arteta did when he recruited his ragtag cast of Cedar Rapids, mixing the straight-laced comedy of Ed Helms, the demented zingers of John C. Reilly, the reserved sensibilities of Wire co-star Isiah Whitlock Jr. and the grounded keystone of the bunch: Anne Heche. Heche is a chameleon in Hollywood, bouncing from comedies to dramas and never losing her footing. Finding realism in unlikely scenarios is her approach and listening to her experiences from the set of Cedar Rapids, it wasn't too difficult to embody the simple world of the American Midwest: How is working with this group of guys? With a movie that relies on its group dynamic there must have been some serious bonding off screen. So much fun. It really is. John [C. Reilly], I’m obviously a huge fan of it. Ed [Helms] I didn’t know so much - but it was a real joyous atmosphere. John really keeps you cracking up as much as you can imagine. The dirtier and nastier he got, the dirtier and nastier his character got. But when you’re doing a character like that you tend to fill the room that kind of energy because you have to have it to give to the character. He was a riot. It was fun. We joked about that shot and Miguel to his credit, one of the things people love is how real it is. This could happen. These are 4 people that could meet. It does look like an insurance convention. The dialogue in Cedar Rapids rolls off the tongue. Funny, but also realisitic. Did you find there was wiggle room to play and deliver off the cuff dialogue? Very much so, but everybody said the script was written so beautifully. These characters are very clearly drawn, the jokes were very funny. Everyone was so thrilled to do the script because it was so hilarious on the page. Of course it comes alive in different ways and that camaraderie became something very comfortable that we felt like exploring. i think we really did feel like four buddies. The film also captures an unexplainable essence to the Midwest through its visuals and characters. Did you have experience living in place like the small town your character comes from? I was born in Ohio, I grew up in this little town called Aurora. As Miguel [Arteta] said, he wanted to honor it. I think most of us were from the midwest, including Alexander Payne [director of Sideways], the producer. I think we wanted to honor it and respect the boundaries that Midwesterners seem to live with. This movie didn’t go to the extremely outrageous. It wasn’t a caricature. Exactly, it wasn’t. And it's all due to Miguel, and he was very much a supporter of keeping these people in the world they are in. You don’t want to make fun of any of it. You want to love them. I think that’s where it came from for all of us, we were all playing really true people that we liked who were in their own way complex. My woman is a mom and a wife and she takes off and its her wild weekend, shes still a mom and a wife, shes not a wildcat. When i first read it, she was the oak box, she was drawn very wild. But her party is a step away from her mom. its not a wild and crazy and i think that served it well. but i think everyone worked a steps away from themselves Were there things on set that helped you realize that simplicity, the nature of your character? The costume designer and I worked together. We designed the first outfit where i come into the bar and see my old friends and for the first time connecting, and for the first time you see her as an “old fox.” The moment of who is this woman and 'is she wild and redheaded?' We had on this outfit that had a flouncy skirt, not too much but a little kick to the hemline. And it was absolutely...not. Pencil skirt, button up sweater. And it was my first clue. Miguel wasn’t in the same city, he was prepping and i got a phone call from him and they sent him a digital picture, what do you think of this, and he said, 'Wait, wait, wait, let's keep her in a plain grey business suit.' Was the film actually shot in Cedar Rapids, Iowa? No, it was in Anne Arbor, Michigan. Did you hear the story about how they were supposed to film in Cedar Rapids? Oh, no! Yeah, there was a scandal with the film commission. And the film commissioner took off and bought these SUVs with the money that people had given for the film so the whole office shut down. And they were in pre-production. Like a lot of SUVs and he was discovered. They had to move someplace else. They shot all the exteriors in Cedar Rapids. So not many films will be shooting in Cedar Rapids. Well that was a year ago, they might have straightened everything out!
  • Sundance 2011: 'Submarine' Makes Notorious Sundance Quirk Work
    By: Matt Patches Jan 28, 2011
    Garden State, Napoleon Dynamite, (500) Days of Summer - while Sundance shepherds many traditional dramas and comedies, the festival has also become a breeding ground for the alternative. Fusing clever writing with stylistic techniques, these off-beat films walk a fine line between traditional narrative and experimental filmmaking. They've also been huge hits. In the wake of success, everyone and their mother wants to whip up the next "quirky" hit. They're producing them in such mass quantities, filmmakers have it down to a science: start with a coming-of-age drama, throw in a lead character with several ridiculous occupations/hobbies, add in a fun-loving romantic interest and spice it up with a variety of camera angles and tricks. But obsession with visual flair and unconventional characters can overlook another important part of crafting a film: heart. This year's Homework is the perfect example: looked good, had a few laughs, but at its core was cold and empty. The IT Crowd and Mighty Boosh actor Richard Ayoade's first film Submarine is the polar opposite. The film reminds us what we loved about "quirky" movies before the word became a stigma on independent film. Submarine stars newcomer Craig Roberts as Oliver Tate, a high school control freak who sees his surroundings a chaotic biopic of his life (whose budget is too small for sweeping crane shots, settling for zoom outs). Oliver, a cultural scholar, has his hands in everything, attempting to salvage his parents marriage and his own budding relationship at the same time. What separates Submarine from every teen romance of the last five years is its commitment to weaving its colorful methods into its story and comedy. It makes sense why Oliver would narrate Submarine like a film noir detective or imagine the funeral procession for his own death. Like the fabricated worlds of Fight Club or Scott Pilgrim vs. the World, the weird world complements the character. Festival-goers are quick to compare Submarine to the aforementioned films and the eye-popping work of Wes Anderson, the king of quirk. But unlike Anderson's films, Ayoade has crafted something both slick and emotional. Think of Submarine as the BBC original to the American remake - they may both deliver laughs, but only one has the cojones to dig deeper.
  • Sundance 2011: 'The Woman' Is the Bloody Fun Version Of 'My Fair Lady'
    By: Matt Patches Jan 27, 2011
    When it's all said and done, one of the most horrifically memorable moments of Sundance 2011 will be the obnoxious naysayer at the opening night screening of The Woman. Director Lucky McKee was on hand for a Q&A, which got off to a bad start when a now infamous (and nameless) gentlemen stood up and fired away. It wasn't much of a question, but instead, a pointed rant, telling off McKee and denouncing the off-the-wall film as both degrading to men and women. Security quickly stepped in to haul the man out of the theater, but not because of his extreme reaction. Rather, the Sundance squad was more worried about the audience...retaliating. The volatile opinions aren't surprising - if McKee's Woman finds distribution, audiences will be divided. This isn't your typical horror movie: during a hunting trip, Chris discovers and captures a beastly woman covered in dirt and eating raw fish out of a stream. He brings her home to his family, where he chains her up and prepares to make her a sophisticated, real woman. Replace blood-thirsty female savage with English slum with a thick cockney accent and you almost have My Fair Lady! And that's what makes the ranting man's claims so mind-boggling. McKee splashes his canvas with over-the-top acts of misogyny and violence, so when Chris tortures The Woman or punches his wife or takes a parent-teacher conference a step too far, you're supposed to be shocked, appalled and losing your mind. It's a bold move and from start to finish McKee never lets up. If a character punishes a woman, they too will be punished (even if you're a woman). What probably scared ranting man most was how everyone in the theater screamed, laughed and thoroughly enjoyed the hell out of the movie. The Woman is cleverly crafted pop cinema with a hard message. If Quentin Tarantino can make Inglourious Basterds, a popcorn flick about Nazi Germany, why can't Lucky McKee spin Pygmalion into a gory good nightmare?