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Friday
Sep162011

Ask Nathaniel...

I've had allergies or a cold or something all week so i'm slooooow with the writings and the thinkings and the typings and the abilities to do sentence endings due to my whiny hypochondria uncomfortableness. Drive is hard to write about without effusive drooling y'all... and drooling is uncomfortable when you have a sore throat unless your drool is made of chamomile tea. 

We haven't done one of these Q&As in a while so here goes. You ask the questions, I choose 10 or so to answer on Monday or Tuesday. (No cheating with multi-parters or questions that would require encyclopedic volumes to answer like "name the 100 fiercest hair whips in the movies"). Ready. Set. Go....

Friday
Sep162011

Cinema de Gym: 'Role Models'

Editor's Note: In Cinema de Gym, Kurt writes about whichever piece of whichever movie was playing while he cardio'ed. I wish my gym would play movies.

Kurt here. I've just moved from my suburban Philadelphia stomping grounds to a cozy new place in Brooklyn (yay!). Thus, no more weekly trips to the treadmill screening room, which, even if it had followed me here, would likely fall outside of my new monthly budget. But, fear not! I logged a lot of hours in that offbeat movie house, and though my scale might not reflect that (what gives?), I've compiled quite a lengthy list of gym films du jour. So, rather than bag the column, I'm going to burn through that Cinema de Gym queue, with a promise that my memory is sharp. 

Anyhoo, our title for today is Role Models, the 2008 Seann William Scott/Paul Rudd comedy about two dudes forced to mentor young kids as a means of community service. The segment I saw didn't reveal what crime led these guys to do the time, but it did feature a pre-Glee Jane Lynch as a characteristic ball-buster, her oppressive lectures showing more than just shades of Sue Sylvester. If not the probation officer of Scott and Rudd's characters (I couldn't tell), Lynch at least plays the woman running the role-model program, and she's rather candid about her history with drug addiction, the freedom from which has given her purpose, but hasn't much mended her social skills. Used to underscore a subversive tone that paints the legal system as bogus and chaotic, Lynch's slave driver seems wholly unequipped to work with kids, despite a constant assurance of her firm belief in the whole babysitting-as-rehab plan. She pairs Scott and Rudd with Ronnie (Bobb'e J. Thompson) and Augie (Christopher Mintz-Plasse), respectively, two kids whose lives are suffering from a lack of positive parental influence. Augie, specifically, lives with his small-minded mom and her smaller-minded boyfriend, both of whom take cruel, alternating shots at Augie's obsession with medieval role-playing.

However improbable, I liked the whole real-life world of warcraft the film cooks up as Augie's pasttime, a population of devoted, armor-wearing super dorks who turn a neighborhood park into their own Middle Earth, complete with duels, a king (Ken Jeong) and social hierarchy. It's a preferable second life for Augie, but his family's shortcomings render him defenseless when it, too, reveals itself to be a harsh place. Which is of course where Rudd comes into play, joining the club of tunic-wearing plastic sword wielders, and finally confronting Augie's troubles at the source. A dinner scene with Augie's parents has an appropriate, if obvious, gratification, with Rudd offering us vicarious jollies by telling the ignorant adults that they're deadbeats who don't have a clue who their son is. It's the scene in which everyone hears what they need to hear, including Rudd's character, who, if we're going by typical plot logic, fulfills his community service at that very point. 

I didn't get to see much of Scott and his foul-mouthed terror, who, as you may know, launched a mini-career as a go-to foul-mouthed terror following his performance in this film. Scott's current lack of work had me missing his presence (a recent stint in rehab offers some explanation for the career dip), and I'm sure if he'd appeared more often I would have had more laughs. The third feature effort from multi-hyphenate David Wain (Wet Hot American Summer), who's got a new one dropping in 2012 with Rudd and Jennifer Aniston, Role Models didn't strike me as all that funny, but it works in concept, and it suggests more emotional ambition than a lot of other titles of its ilk (which are legion, to be sure). Had the Lord of the Rings wagon arrived about eight or nine years earlier than it did (I was 20 when the last film stormed the Kodak), I maybe, just maybe, would have gravitated toward a Renaissance-Faire realm like Augie's, and if my parents were the sort who mocked it, I'm sure I wouldn't have minded having Paul Rudd go to bat for me.

Conclusions?

1. While she's done wonders for Jane Lynch's career, one could argue that Sue Sylvester also highlights how filmmakers have long been typecasting this gifted comedienne.
2. Speaking of typecasting, wouldn't it be interesting to see Mintz-Plasse in a non-geek role? 
3. Jerk parents who put their petty interests before those of their kids are pretty high on my list of love-to-hate characters.
4. I can't say I'm a fan of Rudd's career, but I think I'd get pretty weak in the knees if he stepped in to be my hero.

Who's your role model?

Friday
Sep162011

Downton Abbey Returns. The Emmys Are Coming.

Pssssst. Don't tell any Kate Winslet fans* but I'm secretly rooting for Downton Abbey to totally own Mildred Pierce this weekend at the Emmys.

*oops. That's like everyone reading. And me.

Whatever, Downton Abbey is primo tv, obscenely addictive. Closing Statement: Mildred Pierce doesn't have Maggie Smith. I rest my case.

P.S. I'll be live blogging and tweeting the Emmys this weekend so check in, won'cha?

Friday
Sep162011

The Adventures of Simba Across the Third Dimension

Michael C. here.

As a dyed-in-the-wool 3D non-believer I can’t say I was thrilled at the notion of Disney combing through the vault, “improving” titles with the latest technological gimmick as an excuse to wring more cash out of their back catalogue. The idea reeks of George Lucas style revisionism. Yet having seen Lion King 3D (opening today) I now have to reconcile this position with the fact that I thought the whole thing worked beautifully. Maybe enough time had passed for the story to feel fresh again. Maybe I was just in a great mood the morning of the screening. But whatever the reason I can’t deny Lion King 3D did what Lion King IMAX failed to do for me, which was to break through my deep familiarity with the material and hit me on a gut level.

Hey, why mince words: I had a blast.

Lion King may be the most technically polished use of 3D I’ve seen, miles ahead of any other after-the-fact 3D conversions, and right up there with Avatar and Up which I consider the gold standard. The Disney team has clearly taken incredible care with their prized title in this their inaugural attempt to access the potential gold mine of retrofitting classics. The level of detail impresses. The snouts of the lions protrude slightly in front of their faces and African plains that were formally flat paintings now stretch convincingly into the distance. Zazu becomes a breakout star since he gives the depth of field a work out every time he swoops by in the foreground high above the action. At the screening I saw there was no hint of dimness or the dreaded multi-plane effect that plagues cheaper 3D conversions.. I can honestly say I’ve never felt the urge to peek out from under the glasses, which is pretty much the highest compliment I can give to the technical job. 

Ultimately, a third dimension will never make a bad script better or make a boring movie exciting. Lion King 3D works so well because Lion King 2D did. But still, when the movie is already playing like gangbusters I can't deny the added depth can help turn things up to 11 from time to time. "The Circle of Life" wows as if it was conceived with 3D in mind from the start, and the wildebeest stampede is predictably stunning. More surprisingly the added dimension also lends increased grandeur to simple scenes like an early heartfelt talk between Mufasa and son in a vast open field. In other scenes where the newfound depth doesn’t do much– "Can You Feel the Love Tonight", for example, doesn’t exactly pop – it’s easy enough to ignore. 

How viable this will be for other Disney classics remains an open question. The group of titles that would really justify the conversion is probably slim. I can’t say a 3D version of The Jungle Book would have me clamoring for tickets. If, on the other hand, they ever give Fantasia the same deluxe treatment they have given Lion King then sign me up.

Friday
Sep162011

France Declares War... (Not That Kind).

If France worries about such thing -- which they probably don't given their justifiable pride in their celluloid history -- they'd probably be frustrated by now that that 10th Oscar win for Best Foreign Language Film continues to elude them. It's now been 19 years since they've managed a win (Indochine) in the Oscar category they once owned. Their best shot since then (Amélie) suffered a surprise loss. Their best nominated film in many years (Un Prophete) had the misfortune of arriving in an atypically strong year for the category. Then just last year they missed what most expected was an easy-get nomination for the international hit Of Gods and Men. It all adds up to a strange golden drought given their much-statued history; they've received the most Best Foreign Language Film Nominations in history (36) but Italy still surpasses them in wins (10). 

Valerie Donzelli and Jérémie Elkaïm in "War is Declared"

Oh yes, the news...

France announced this morning that they will submit La Guerre est déclarée (which I've heard translated as both "War is Declared" and "Declaration of War" for international title purposes) for this year's Oscar race. It's a true story medical drama about a couple who fought to save their two year old son from a brain tumor. Here's the interesting angle: the writer/director is the mother Valérie Donzelli of the actual child (who survived) and she and her partner Jérémie Elkaïm are the lead actors, so essentially they've made their own family's biopic even though they've fictionalized it a bit (they have different names in the movie). The title, in case you're wondering, has a double meaning. The family obviously waged a war against the tumor and on the morning of their son's first operation they awoke to news of the Iraq war being launched. 

TFE reader Frédéric who send the news (merci!) says he's seen the film twice already and it only opened two weeks ago in France... though it actually premiered at Cannes. In other words, he really loved it. Here's the trailer.

The film has won many admiring reviews, Variety's among them. They wrote:

What sets "War" apart from other countless disease-of-the-week movies is that it tells its heartfelt story in a lively and energetic style. Donzelli and Elkaïm, who made the film on a small budget and with a tiny crew, not only follow in the free-spirited footsteps of New Wavers such as Truffaut (who, in "Jules and Jim," made a tragic menage a trois feel like a lighthearted romp) but also manage to cram in many small, authentic-feeling details. 

In nearby and somewhat surprising news, BELGIUM is sending the crime drama Bullhead rather than the latest acclaimed Dardenne Brothers film The Kid With the The Bike. Here's the international trailer for that one which is about illegal cattle hormone trading or some such, farmers and the mafia.

BULLHEAD - international trailer HD from Savage Film on Vimeo.