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Entries in Adaptations (104)

Tuesday
Mar182014

Linkomaniac Pt. 1

The Daily Beast talks to Uma Thurman about Lars von Trier and gender politics
Five Thirty Eight parses Shakespeare and finds that Romeo & Juliet have a relationship that's not totally based on getting to know one another. Duh!
The Wire reviews Doll & Em, a new miniseries starring Emily Mortimer 

Playbill Katharine McPhee has landed a series lead gig in a CBS show called Scorpion. (I guess they never saw Smash?)
Salon on the eve of the release of Divergent, a reminder that not every YA best-seller aiming for Hunger Games phenom status succeeds: Beautiful Creatures, City of Ember, The Host and more...
The Guardian Brittany Murphy's final film, Something Wicked, is completed four years after her death
Vulture 294 "issues" Glee has addressed in its first 99 episodes
Variety they went really young casting Peter Pan for that self proclaimed "international" and "diverse" Pan film which keeps casting white people in all the roles (so I guess what they mean by diverse is international and all ages). The boy's name is Levi Miller

Today's Long Read
The complete short story "The Birds" which inspired Alfred Hitchcock's 1963 classic and will inspire the remake (argh) which might star Naomi Watts and be directed by Diederik Van Rooijen -- which I keep hoping will be cancelled -- is available online if you've never read it. It's from Daphne du Maurier who Hitchcock obviously liked as she also wrote Rebecca. (Thanks to Sasha for pointing it out.)

Sunday
Mar162014

Review: "Enemy" Pits Gyllenhaal Against Gyllenhaal

This review originally appeared in my column at Towleroad

Have you ever read Jose Saramago's "Blindness"? That genius novel, about a sudden epidemic that renders the whole world blind, is hugely unsettling in content. It's also experimental in form. No character is named, the two protagonists are only referred to as "The Doctor" and "The Doctor's Wife", and punctuation is so scarce that there's nothing to guide you; you have to feel your own way through the blocks of words. The film version in 2008, which starred Mark Ruffalo and Julianne Moore, was too traditional in execution and couldn't capture the mad confusion and haunting power of the book. I haven't read Saramago's novel "The Double" upon which the new film Enemy is based but no one is playing it safe in the transfer this time. This is the kind of movie that feels like a true transfer of surreal text to visuals.

When I attended the Toronto Film Festival last fall, I didn't know what to make of Denis Villeneuve's hallucinatory thriller, which is as far removed from his other recent mainstream thriller (Prisoners, reviewed) as it could be. As far as I can tell the new movie is about a university teacher (Jake Gyllenhaal) who, while absentmindedly watching a video at home, sees a movie actor (Jake Gyllenhaal) who looks exactly like him. His initial shock gives way to curiousity and then to obsession. Things only get weirder from there... 

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Tuesday
Mar042014

Stage Door: Is Kelli O'Hara Obsessed with Best Actress Losers?

Here's Jose to talk about a currently odd Broadway trend.

People like to complain about the movies running out of ideas, with only remakes and sequels in production. But the stage is no different.

Here in New York, Times Square can fool you into thinking you've fallen in a time vortex which has dropped you back in the mid-90s. Billboards for Broadway shows adapted from 1990’s movies are all over the place (The Lion King, Aladdin, Kinky Boots) and two of the newest and biggest are for Bullets Over Broadway (which starts previews next week!) and The Bridges of Madison County. The latter makes me ponder the peculiar choices of its leading lady Kelli O'Hara. Is she secretly a cinephile or actressexual?  

More after the jump (help us guess what Kelli will star in next!?) 

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Saturday
Feb222014

Yes, No, Maybe So: "What a bunch of A-holes"

Oscar season has crushed my will for timely YNMS entries since everything 2014 is a "No, No, Maybe No" until March 3rd, you know? But let's catch up very briefly so that we don't start at a deficit once the Oscars wraps and a new film year is truly free to begin. After the jump we'll discuss the new trailers and other marketing blitz business regarding Guardians of the Galaxy...

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Wednesday
Jan292014

We Can't Wait #5: Inherent Vice

[Editor's Note: We Can't Wait is a Team Experience series, in which we highlight our top 14 most anticipated films of 2014. Here's Amir Soltani on "Inherent Vice."]

Inherent Vice
Doc Sportello, a perennially buzzed detective in Los Angeles at the beginning of the 70s, gets himself tangled up in a mess with former lovers, low life gangsters, prostitutes, billionaire crooks, a ship called Golden Fang and a whole lotta people with really weird names.

Talent
One of America’s greatest filmmakers, Paul Thomas Anderson, is behind the camera and one of America’s greatest actors, Joaquin Phoenix, is in front of it. Cinematographer Robert Elswit is collaborating with the director again after a one-film break, as is composer Jonny Greenwood. Josh Brolin, Owen Wilson, Benicio Del Toro, Martin Short, Reese Witherspoon and P.T.'s partner Maya Rudolph fill out the rest of the cast list.

Maya Rudolph in "Inherent Vice"

Why We Can’t Wait
With Paul Thomas Anderson’s name attached, little else is needed to drum up excitement. In my opinion, he has directed three spotless masterpieces (Boogie Nights, There Will Be Blood and The Master) and the rest of his filmography is as compelling as it is provocative. His is a singular and vital voice in modern American cinema. But there’s another factor at play here too: Inherent Vice is one of my favorite novels of recent years, and one of Pynchon’s most polished and coherent works. Its relatively modest scale should lend itself better to adaptation than the rest of his bibliography.

It will also be interesting to see Anderson in a more relaxed mood again. Vice has the potential to take him back to the Altman-esque structure he so successfully utilized in Boogie Nights, both because of its sprawling cast of colorful characters and its bitter humor and casual insight into the Angelenos counterculture. Few directors can get an ensemble to click as comfortably as Anderson does and it’d be a shame if he never used that gift again. If adapted faithfully, Doc Sportello is more central to the narrative than Dirk Diggler was, but there’s still plenty of meat for everyone else to chew on here. Plus, look at that cast! It’s mouthwatering. So good, in fact, that I’m willing to forgive the presence of Reese Witherspoon!

But We Do Have To Wait
Warner Brothers has the distribution rights, but we know we have to wait a while. None of Anderson’s films have been released earlier than mid-September on the calendar, and chances are this one won’t be an exception. A festival bow in Venice is likely; one in Toronto is almost inevitable.

Previously on "We Can't Wait"
06 Into the Woods
07 Snowpiercer
08 Nymphomaniac
09 Boyhood,
10 Big Eyes,
11 The Last 5 Years,
12 Gone Girl 
13 Can a Song Save Your Life 
14 Veronica Mars 
runners up  just missed the cut.

Friday
Jan242014

We Can't Wait #14: Veronica Mars

[Editor's Note: We Can't Wait is a Team Experience series, in which we highlight our top 14 most anticipated films of 2014. Here's Dancin' Dan on Veronica Mars.]

Veronica Mars
Kristen Bell reprises her role as the title character in this neo-noir murder mystery that picks up nine year after where Season 3 of the eponymous TV series left off.

Talent
Rob Thomas, creator of the original series is in the director's chair. Kristen Bell is joined in front of the camera by other series regulars including Jason Dohring.

Why We Can't Wait

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Wednesday
Jan222014

A Year With Kate: Little Women (1933)

Episode 4 of 52 Anne Marie is screening all of Katharine Hepburn's films in chronological order.

In which we remember childhood fondly.

When I was 11, our school librarian told me that if you love a book enough, you have its first line burned into your brain. Being a very literal child, I immediately selected my favorite book, Little Women, and studiously memorized the first line:

“Christmas won’t be Christmas without any presents, grumbled Jo, lying on the rug.”

Later—much later than I’m comfortably willing to admit—I realized that Mrs. Krall actually meant that when you love a story, you revisit it so often that it stays with you. I think we can all agree this extends to film as well. [more...]

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