Su película más madura

Zac Efron se codea con Orson Welles

LONDRES, 20 Nov. (Reuters/EP)

Empeñado a dejar atrás su imagen de chico Disney Zac Efron está a punto de estrenar Meand Orson Welles (Orson Welles y yo) un drama con el que intentará convertirse en algo más que un ídolo de musicales para adolescentes.

En la película Efron, de 22 años, interpreta a un estudiante que accidentalmente obtiene un papel secundario en la producción de 1937 de Julio Cesar del Teatro Mercury, bajo la dirección de un joven Welles.  El novato actor británico Christian McKay interpretará al mítico actor, director, guionista y productor estadounidense.

Durante una semana tumultuosa, el joven actor debuta en Broadway, descubre el amor en una relación con una ambiciosa mujer mayor y se atreve a enfrentarse a un autoritario Welles.

Tras la discreta comedia 17 otra vez, esta película que supone la segunda aventura en el séptimo arte de Efron desde que se graduó en el exitoso High School Musical. “Definitivamente me siento triste de ver el final de eso (High School Musical), pero creo que todo se trata de la evolución y de crecer y probar cosas nuevas”, dijo Efron durante el estreno europeo de su nueva película en Londres.

“Este es el próximo paso en ese viaje para mí”, agregó el actor en medio de los gritos de decenas de admiradores y, sobre todo, admiradoras. Para McKay, ser elegido por el director Richard Linklater (Escuela de Rock) para encarnar a Welles fue una sorpresa. “Hicimos una prueba de pantalla juntos a la vieja usanza y él (Linklater) nunca la vio. Estaba convencido”, señaló el actor.

¿WELLES ECLIPSADO POR EFRON?

Por su parte, Linklater dijo que había elegido a Efron por su carisma sobre la pantalla más que por su fama. Interrogado sobre si creía que la popularidad de Efron eclipsaría al resto del elenco y a la misma película, el cineasta respondió: “Realmente no. No lo pensé de esa manera. Egoístamente como director quería encontrar al mejor actor posible”, sentenció.

“Welles es una de las personalidades más grandes de los últimos siglos, así que necesitaba a alguien con ese tipo de carisma, con eso de un protagonista (…) y Zac lo tenía”, concluyó el director. Orson Welles y yo todavía no tiene fecha de estreno en nuestro país, aunque teniendo en cuenta el tremendo tirón de Efron entre las adolescentes de todo el planeta, llegará tarde o temprano.

On November 30th “Me, and Orsen Welles” will premiere in Austin, Texas.  Richard Linklater’s film premiere will be for the benefit of Austin Film Society’s Texas Filmmakers Production Fund.
Starring in the film is Zac Efron, probably best known for his leading role in “High School Musical”.  Efron plays the “Me” role in a movie described as a coming of age “dramedy”.  I only hope that the comedic weight isn’t resting on Efron’s shoulders.

After watching his comedy bore-fest hosting SNL recently, I can’t imagine how he could handle himself in a feature film that promises laughs and drama.

Perhaps we should all wait and see if Efron will make up for “17 Again”, and steer his film career in a better direction.  It is clear that Efron has star power, and could be involving himself in films that would cement his big screen quality.  He did take a step in the right direction by hosting SNL.  The live show is really at a great point right now and anyone involved with it is making a pretty smart career choice.

Here’s to hoping that “Me, and Orsen Welles” is another step in the right direction for Efron.

Dirigida por Richard Linklater (“Escuela de Rock” -1993, “Antes del amanecer” -1995, “Fast food nation” -2006), “Me and Orson Welles”, cuenta entre sus protagonistas con el ídolo de adolescentes Zack Efron, quien alejándose de los papeles en los que se le ha podido ver hasta el momento (el interpretado en “High School Musical” – 2006” – sería un ejemplo), aceptó un rol más maduro en este film británico basado en una novela de Robert Kaplow.

La historia, ambientada en el año 1937, arranca cuando un joven de 17 años, Richard Samuels (Zac Efron), es elegido de manera casual por el director de la compañía de teatro Mercury Theatre, Orson Welles (Christian McKay), para interpretar un papel en la obra que está preparando: “Julio César”.

Welles, que cree beneficioso para los ensayos, reunir al equipo en parejas, decide que Richard los realice junto con la asistente de producción Sonja Jones (Claire Danes). Trabajar a las órdenes del todavía casi desconocido director no es fácil para el muchacho, que pasará por duras etapas en las que se sentirá frustrado viendo como sus ilusiones se desmoronan, pero todo a lo que se tiene que enfrentar, también le ayuda a madurar.

De la adaptación de la novela se han encargado Holly Gent Palmo y Vincent Palmo Jr, que ya han trabajado anteriormente con Linklater.

Entre el resto del reparto, veremos a Ben Chaplin, Kelly Reilly y James Tupper (este último dando vida a Joseph Cotten).

La película ha podido verse ya en el Festival de Toronto del pasado septiembre, y ha tenido una premier en Londres hace unos días, aunque no se estrenará oficialmente en Reino Unido hasta el 5 del próximo diciembre, unos días más tarde de hacerlo en USA, que la estrena el 25 de este mes (para España, todavía no hay fecha).

Los que ya lo han visto, alaban el film, pero sobre todo, la excelente interpretación de Christian McKay encarnando a Orson Welles. No ha recibido las mismas alabanzas Efron, del que se dice, no es el actor ideal para encarnar al protagonista.

Con lo que podemos ver en el trailer, puede que no podamos hacernos una idea propia sobre la razón o no de esos comentarios, pero sobre lo que sí podemos hacérnosla, es de que, posiblemente, nos encontremos ante una interesante película.

-

Swanson 

Essa cena diz tudo:

É… vai uma valsa aí?

Antes do Amanhecer já foi indicado a Melhor Diálogo e a continuação poderia ganhar também:

- Memory is a wonderful thing if you don’t have to deal with the past. (…) You can never replace anyone because everyone is made up of such beautiful specific details.

Não?

I’d better write this up.. I dropped in to the lunchtime Openline show on DCUFM to do a review of this yesterday.

The IFI in Dublin was the venue for a preview and Q&A session with Christian McKay, star of Me and Orson Welles.

Based on the book by Ropert Kaplow, the story takes place in 1937 in the week leading to the legendary opening of Julius Caesar in the Mercury Theatre off Broadway.  Newcomer McKay, plays the role of Welles,  while High School Musical hero, Zac Efron plays Richard Samuels, a youngster in search of a big break.

McKay is a wonder as the colourful Welles and the resemblence is uncanny. He brings Welles’ mood swings and gigantic personality to life.  Efron, who is a surprising good actor, still gets his chance to sing a little with a little ukulele number.

Filmed in the Isle of Man, the film boasts an impressive supporting cast including Claire Danes (Romeo & Juliet) and Ben Chaplin (The Truth about Cats and Dogs) and Director Richard Linklater turned this into an interesting story and worthwhile viewing.

During the Q&A, McKay lets his humour show, even though he says its nerves. He tells how Linklater had the opportunity to film in Hollywood but turned it down as it would mean having a different leading man. Linklater showed some courage in choosing and sticking with an unknown, (It paid off too).

He also told of how the filming took place in the Isle of Man and of some of the madness that surrounded the cast as the heartthrob Efron attracted mobs of fans.

Nice guy, great film, really good way to spend an evening,

Aunque no muchos la conozcan la actriz Claire Danes tiene una carrera muy larga en hollywood, y si, casi todas sus peliculas han fracasado, razon por la cual no quiso pasar desapercibida en la premiere en Londres de su nueva pelicula “Me and Orson Wells”, por lo que decidio dejar al aire sus encantos… mas que encantos parecen un par de limones con chipotes, pero bueno al menos hizo que toda la atencion girara en torno a su falta de bobbies y sus pezones, ese que ven ahi es Gay Efron, coprotagonista de la Claire en dicha cinta… aburrido!!

click en las pics para agrandar y ver tits

I love Zac Efron. I’m not sure why, but whenever I hear his name or his voice my 13 year old self rejoices! Seriously, I should write an academic paper on High School Music (1-3).

I am really distraught about the fact he will be in Austin alongside Richard Linklater for the Austin premiere of ME AND ORSON WELLES. My friend Loretta saw it in March during SXSW and sung it’s praises and she’s a hard woman to please! I’m going to be in NYC for Thanksgiving and looked at tickets home for the 29th and it was $400 bucks for a one-way ticket so there goes my friggin’ dream!! If anyone can go to this or is going to this please post lots of photos and comment so I can stalk you and we can become friends. I need someone else to share my love of Zefron with! My other pals are Twilight diehards (as in, camping in LA for 3 days to get into the fan section). Me & Zefron!? *sad face*

Austin Film Society presents the regional premiere of
Richard Linklater’s Me and Orson Welles
Monday, November 30, 2009
Doors/Bar @ 6pm | Show @ 7pm
Tickets: $131* – 17.50
The Paramount Theatre

Purchase Tickets Online or call (866) 9PROTIX.

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Click here or call (512) 692-0530 for details.

*VIP includes admission to premiere after-party at the Highball

With director Richard Linklater and actors Zac Efron and Christian McKay in attendance for post-show Q&A.

Based in real theatrical history, Me and Orson Welles is a romantic coming-of-age story about a teenage actor (Zac Efron) who lucks into a role in Julius Caesar as it’s being re-imagined by a brilliant, impetuous young director named Orson Welles at his newly-founded Mercury Theatre in 1937 New York City. The rollercoaster week leading up to opening night is riddled with rehearsal mishaps, a love triangle with Welles’ career-minded production assistant (Claire Danes), and the charismatic but sometimes cruel Welles (impressively portrayed by newcomer Christian McKay) staking his career on this risky production.

This screening is a benefit for Austin Film Society’s Texas Filmmakers’ Production Fund, which was started in 1996 by Richard Linklater to assist emerging Texas filmmakers. www.austinfilm.org

Trailer:

Every Hey Man uttered in Richard Linklater’s Dazed and Confused.

Source: Film Drunk

You know, I’ve been thinking about it for an entire day now, and I think I’m ready to say it out loud:

Dazed and Confused is one of my all-time favorite movies.

I’m quite certain I didn’t see this film in the theater when it was released in 1993, but it is very possible I first saw it in the large science classroom on my campus where movies were screened on the weekends. My best memories of the film are from later VHS or DVD screenings, though — either enjoying it with friends who had also seen it dozens of times or watching others discover its pleasures.

I mean, honestly: That movie is bursting with goodness. It has a cast of thousands, including many actors who would go on to become big stars, who flit in and out of each other’s storylines in a way that is both impressively intricate and tooooootally fitting with the movie’s it’s-all-good-man vibe. It has a fabulous soundtrack and a cool sunny, washed-out look. It has romance! violence! inter-generational strife! heartbreak! Aerosmith! Wooderson! The only way it could be any better is if it had a dance number.

It also has a hundred million quotable lines — of which, I feel obliged to report, “Wipe that face off your head, bitch!” is a favorite of one Ms. M. Kitt. I think of her whenever I hear any of the songs from the D&C soundtrack.

I think we should all take today off for a ceremonial viewing of Dazed and Confused. Don’t you? No?

It’d be a lot cooler if you did.

Watch this scene!

Before Sunset on IMDB

Director Richard Linklater and cinematographer Lee Daniel may have just realised one of the fundamental truths of the camera: put a man and a woman in a cramped space together for enough time, and soon the subtlest mannerisms are going to become some of the most outright and obvious expressions of their feelings.

I am talking about their two movies Before Sunrise and Before Sunset, recommended to me in this post, by Literary Dreamer. The basic story is that Jesse (Ethan Hawke) and Celine (Julie Delpy) meet on a train and immediately hit it off. Jesse has to get off at Vienna to catch a flight to the US the next morning, so he convinces – using a virtuoso argument involving time travel and a theme, of regrets about life-changing decisions, that is going to resonate through both movies – her to get off with him and catch a later train to her native Paris. Before Sunrise is about – spans – the day and night they spend roaming around Vienna (it is a part of his original argument that he’ll be roaming around all night because he can’t afford a hotel). The next movie is about what happens nine years later.

In Vienna, the size of the spaces they occupy for a significant amounts of time grows steadily larger, from a two-seat on a tram to a music trial room to a park. Which brings me to the fundamental truth. After a while of them sitting so close together that his removing his jacket provokes her to unconsciously withdraw physically, under the pretense of arranging her hair. And then there’s a wonderful little sequence where they go into a small room to listen to a record, and both of them… let me invoke Roger Ebert here (both of whose reviews I recommend for reading only after watching the movies, as he spoils them): “each one looks at the other, and then looks away, so as not to be caught. The way they do this – the timing, the slight embarrassment – is delicate and true to life.” For me, it transcended a sweet little scene to become an outright comedy, the type in which you laugh purely out of love. By the time we’re into parks and roofs and long shots, you can recognise each little mannerism from so far away that you find their movement more interesting than the scenic locations.

I wasn't looking at the green-lighted entrance

And, of course, there’s the dialogues. They discuss everything from what’s wrong with the world to… well, I don’t want to spoil, so I’ll just say why you are sitting and watching these two movies. And they are so good, so well-placed… Against my better judgement, here’s one from early in the second one (I, however, will abstain from identifying the souce of this dialogue):

Maybe what I’m saying is, the world might be evolving the way a person evolves. Right? Like, I mean, me for example. Am I getting worse? Am I improving? I don’t know. When I was younger, I was healthier, but I was, uh, wracked with insecurity, you know? Now I’m older and my problems are deeper, but I’m more equipped to handle them.

There is, however, one problem with the movies:  the ends sucked. First, I thought it was because I enjoyed the characters so much. However, on closer thought – taking into account the fact that there’s going to be a third one -, I decided that maybe they were supposed to. Though technically closure shouldn’t happen (these two movies with closures would be truly horrible), I think I felt that there could be some amount of closure to be found in that third movie. There was the early morning, before sunrise; then there was the day, before sunset; what about an account of that night, to finish things – and the twenty-four hours – off? If it comes to India, there’s one person who’s going to be there, first day, first show. Otherwise, as soon as he DVD is out.

For now, Waking Life.

Brilliant. Time to talk about our Ten lists once more, so settle in for the long haul and try and keep up. Much discussion ensues as Sam tries to extol the virtues of Ingmar Bergman, praise the magical realism of Billy Liar and attempt to make sense of All About Lily Chou-Chou. John continues the theme, causing slight, though understandable, consternation with his uncensored views on Raging Bull and confessions of multiple tears during Schindler’s List. Tom rounds the night off in business-like fashion with praise for The 400 Blows, controversial dislike for the second half of Stalker and man-crushed love for Le Samourai.

Download The Movie Overdose Episode 40.5

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Matthew McConaughey is one of those actors I can’t help but like. He’s a man who — in the real world — seems like a perfectly affable party fiend who would be fun to hang around with. Someone who doesn’t really give a damn, who makes movies to fund his lifestyle, and only gets to make movies because he’s just popular enough to justify a continued career. He’s famous for pot-smoking, naked bongo playing, and anecdotes about goat sex. His website is so completely “him” it’s as if he has been reduced to a computer echo of himself, a la Jeff Bridges in Tron, and then blasted onto our screens as a series of chill statements and photos of him on mountains, complete with lazy faux-dub rhythms in the background. The most lovable things on the site are the randomised “McConaughey Facts” that pop up at the bottom of the screen. Sample McConaughey Fact: “In my most recent trip to Papua New Guinea I was inducted into the Kuppa Tribe of the Malagan Clan.” That’s just so McConaughey.

As I’ve said many a time, anyone who can laugh at himself is all right in my book. When presented with footage of Matt Damon doing an impression of him on Letterman…

…he seemed to take it with good humour. (It’s about two minutes from the end of the clip.)

My favourite thing about that clip is that at the end of the interview, as the presenter is trying to wrap things up, he goes off on a tangent about spending his Christmas with a family he once visited as an exchange student. It’s right out of nowhere, but that burning need to communicate some random fact about himself for no reason other than that he seems to be looking forward to the excursion is something I — a notorious blabbermouth — can really relate to.

Even though I find McConaughey the Man endlessly entertaining, McConaughey the Actor is another matter. Watching one of his movies is a bit of a crapshoot. Will we get one of his committed performances, such as his delicate turn in Robert Zemeckis’ Contact, or as the demented Van Zan in Reign of Fire (which he was easily the best thing about)? Or will it be a frustratingly light but not particularly funny effort, as in Ron Howard’s instantly forgettable EdTV? For every Frailty or Lone Star there is a Wedding Planner, a Fool’s Gold, and probably a Failure To Launch to boot. Appearing in disposable romcoms might work to keep him in sex wax and bandannas, but it makes following his career difficult. Any hope that he might become Brad Pitt to Richard Linklater’s David Fincher fell apart when The Newton Boys came and went without making a ripple in the popular consciousness. He’s doing better than former girlfriend and fellow romcom stalwart Sandra Bullock right now, but it’s becoming touch and go.

He doesn’t even have an action career to fall back on. U-571 is only memorable for the shameful lies about the Enigma decoding effort, and Sahara — a film I quite like — is notorious for being one of the rare projects whose financial workings have been put on display for all the world to laugh at. Though not me. Seriously, I liked it. It was refreshingly irony-free, just a big crazy adventure about guys who get into scrapes for fun and do the right thing with no soul-searching. It was not of its time, sadly. It’s another film used as a short-hand for excessive Hollywood trash by people who haven’t seen it. Yes, it was obscenely expensive, and there’s no argument for that, but it’s got some charm. With about 20-25 minutes lopped out, it would’ve been treated with a lot more affection.

Unfortunately Ghosts of Girlfriends Past sees too much of the coasting McConaughey, with only hints of his real film-star energy. In a very loose adaptation of Dickens’ A Christmas Carol, writers Jon Lucas and Scott Moore aim for easy emotional targets and don’t bother to complicate the story too much. McConaughey plays Connor Mead, a photographer with Austin Powers’ hunger for consequence-free sexual encounter but none of the dental problems. Forced by a flicker of conscience to attend his brother’s wedding, Mead quickly upsets and alienates the wedding guests with his cynical anti-marriage attitude, until he is visited by the ghost of his lothario uncle Wayne, played as a Robert Evans/Hugh Hefner hybrid by Michael Douglas. Wayne warns his Scrooge-like nephew that he will be visited by three “ghosts” (though at least one of them is still alive; the movie ties itself in knots trying to be light while addressing themes of death and loneliness). These apparitions — who enjoyably treat the “visions” like interactive videos — show Mead the miserable consequences of his actions, and reveal the reason he’s so emotionally disconnected: as a teenager, he was snubbed by his true love, Jenny Perotti (Jennifer Garner). It broke his heart and sent him to find solace in the dubious wisdom of Uncle Wayne.

Mead’s dark night of the soul forces him to accept the idea of true love just in time to help his brother (Breckin Meyer) marry his long-term sweetheart (an unbearably whiny Lacey Chabert), and to rescue Jenny from a relationship with potential suitor Brad (Daniel Sunjata). This last task is the most problematic one in a movie that otherwise has too many easy answers. Though we’re meant to side with Mead as he throws off his selfish persona, he’s also trying to ruin a potential relationship between Jenny and a scarily handsome volunteer with Doctors Without Borders who seems to be a really sweet guy. Mead, on the other hand, is intolerably arrogant and thoughtless, though he maintains the same level of oily charm throughout. McConaughey isn’t given enough room to adequately show his conversion to the cause of love, so that while Dickens did a thorough job of showing how Scrooge could change from curmudgeon to saint, Mead’s post-revelation persona seems much like his previous personality, except more manic.

This isn’t the only problem. Lucas and Moore’s script holds few surprises and fewer laughs than even their inexplicably popular breakout hit The Hangover. Director Mark Waters, whose work on The Spiderwick Chronicles was so impressive, manages to bring some life to this formulaic project, with the added bonus that he lights the movie with something other than a very very bright light — a concept that seemed to elude the directors of other 2009 romcoms, especially the biggest romantic comedy hits of the year, Robert Luketic’s The Ugly Truth and Anne Fletcher’s The Proposal. Waters also gets entertaining performances from Michael Douglas and Emma Stone as the “ghost” who deflowered Mead in college. Garner is given less to do, but she sells her big emotional moments, including a moving bedroom scene midway through. It’s also McConaughey’s best scene, with Mead forced to watch his past self mistreat the woman he loves simply because he’s scared of his feelings. In moments like that, the conceit of making the romcom Christmas Carol seems more inspired than it actually is.

My affection for Garner is even greater than my support for McConaughey. Ever since her career-making turn in Alias, I’ve been a huge fan, obnoxiously maintaining that she would get an Oscar nomination (at least!) by the end of the decade. Unless the Academy is going to surprise me and give her a nod for her extremely entertaining turn in The Invention of Lying, I think I’m going to come up short on that one. Her decision to cut down on film roles while raising her children is an understandable one, but I wish she made more movies. There hasn’t been a single film featuring Garner that wasn’t massively improved by her presence — even something as weak as Daredevil occasionally flies thanks to her. In fact, the only thing that didn’t suck about Electra was her performance as the titular assassin; she brought far more pathos and commitment to the project than it deserved.

Compare Ghosts of Girlfriends Past to The Invention of Lying, which was even more fascinated with the interplay of honesty and self-deception. After a brilliant riff on belief and religion, it spends a long, entertaining time banging its head against the disparity between the concepts of love and biological necessity, playing games with the conventions of the genre while at the same time pointing an accusing finger at the audience for expecting such cliches. (500) Days of Summer plays a similar trick; a love-struck Joseph Gordon-Levitt is beguiled by a romantic vision of life soundtracked by The Smiths and Belle & Sebastian and then left crushed by the realisation that he’s been deluding himself as much as he has been lied to by Zooey Deschanel’s idealised Summer. Compared to those two movies, Ghosts of Girlfriends Past has no big ideas to share, other than that love is all you need.

Maybe it’s unfair to give Ghosts of Girlfriends Past a black mark for not matching up to the ambition of Gervais and Robinson’s high-concept fantasy or Mark Webb’s deconstruction, but now that filmmakers seem eager to break the genre down in order to build it back up, Ghosts of Girlfriends Past might end up being the last even vaguely entertaining traditional romcom made. Surely we can at least give it gold stars for being a more involving, charming, and imaginative movie than those flat and cynical laugh-free disasters The Proposal and The Ugly Truth. Where they trade in cheeky, strained jokes about sex and modern gender politics, Ghosts of Girlfriends Past has more luck focusing on the people in the relationship than the gimmicks that get in their way, and then trounces those films completely by casting two charming actors who seem to have some sparks together. Though McConaughey’s performance is disappointing and lacks modulation, the relentless charm that stops him from hitting a deeper note still has its uses. More so than many male leads in recent romcoms, at least he can flash a winning smile and drawl some flirty come-on with naughty aplomb, and when he’s matched with Garner’s wholesome persona, it’s hard to dismiss the rote shenanigans completely. Sometimes, making a reasonably successful movie really is that simple.

I just watched the trailer (preview, whatever!) for the new Richard Linklater film, ‘Me & Orson Welles’. And it looks interesting.

A film set in the 30s, about the theatre and the great Orson Welles. All good.

A film by the guy who made ‘Dazed and Confused’, and ‘Before Sunrise’. Good again.

A film starring Zac Efron…. Hmmm….

Not necessarily a bad thing. I have to admit, I took myself off to see ‘17 Again’ on a quiet evening, and really quite enjoyed it. Having never managed to bring myself to watch ‘High School Musical’, I must say I was somewhat trepidatious about the film, but given that time travel/body swap comedies are right up my alley, I gave it a go. And I’m glad I did. It was warm, funny, and Efron was surprisingly amusing and charismatic. He even reminded me a bit of a young Michael J Fox, but that may have been the echoes of ‘Back to the Future’ in the storyline.

However, let’s face it. The audience for ‘17 Again’ wasn’t all that removed from that of ‘High School Musical’. It was perhaps a tad more likely to capture the adult viewer, but certainly not likely to suffer from allowing itself to be carried by Efron.

But can young Zac ever really shake his ‘High School Musical’ roots and be taken seriously? I will be interested in seeing ‘Me & Orson Welles’ to find out.

What do you think?

by The Great White Gypsy

The Box – Written and Directed by Richard Kelly
The premise of this film sounds like a bad teenage horror story. A strange man gives a box to a couple having money problems. They will get money every time they push the button, but every time, someone they don’t know will die. Though it’s riding on Cameron Diaz’s acting skills (um…), if anyone can make it cool, writer/director Richard Kelly (Donnie Darko, Southland Tales) will have no problem.
Cameron Diaz, James Marsden, Frank Langella, James Rebhorn
November 6

Endgame – Directed by Pete Travis, Written by Paula Milne
Another slow, patient South African political film? Meh. I mean, I really like Hurt and Ejiofor, but Pete Travis directed Vantage Point, which sucked asshole. I really, really want it to be good, I’m just scared it’s going to be really, really bad.
William Hurt, Chiwetel Ejiofor, Johnny Lee Miller, Mark Strong, Derek Jacobi
November 6

The Men Who Stare at Goats – Directed by Grant Heslov, Written by Peter Straughan
Actor Grant Heslov hasn’t done much directing. Same goes for Peter Straughan and writing. But if you look at this cast, you really can’t go wrong in a story about Telekenisis/Psychic programs in the army. Hell yes.
George Clooney, Ewan McGregor, Jeff Bridges, Kevin Spacey, Robert Patrick, Stephen Root
November 6

Precious – Directed by Lee Daniels, Written by Geoffrey Fletcher
I hate the fact that the full title of this film is “Precious: Based on a novel by Sapphire”. I also hate the fact that Tyler Perry and Oprah Winfrey are “presenting” this one. However, cliché and cheesy as it most likely is, I seriously almost cried watching the preview. This has the potential for two hours of raw emotion that leaves you speechless. Or two hours of horrible acting and bullshit storyline. I’ll wait for cable.
Gabourey Sidibe, Paula Patton, Mariah Carey, Lenny Kravitz
November 6

The Fantastic Mr. Fox – Written and Directed by Wes Anderson
I hate, I hate, I hate Wes Anderson. However, there are always a couple elements of his films that impress me, and his attempts at stop motion animation intrigue me. Will I like it? Probably not. Will I see it? Of course.
George Clooney, Meryl Streep, Bill Murray, Jason Schwartzman, Willem Dafoe, Owen Wilson, Michael Gambon
November 13

Pirate Radio – Written and Directed by Richard Curtis
When I saw the preview for this, I thought, “Hey, that looks exactly like that movie advertised last year called “The Boat that Rocked”. Wait… I have no idea why this film took so long to release, or why they changed the title, but after waiting so long, I’ve built it up to possible “Almost Famous” level in my head. I really hope I’m not disappointed.  About a boatful of radio DJ’s who broadcast banned music over British airwaves in the ‘60’s. Curtis directed Love Actually.
Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Emma Thompson, Kenneth Branagh, Nick Frost
November 13

The Messenger – Written and Directed by Oren Moverman
Foster and Harrelson play a very overlooked part of the military in this new drama about the officers who deliver the horrible news to KIA soldiers’ families. Foster starts to care too much…you see where this is going. Moverman’s first film, looks good.
Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone
November 13

2012 – Directed by Roland Emmerich, Written by Roland Emmerich and Harald Kloser
When I want to see an action packed explosion film with weak story, I’ll catch the new Michael Bay flick. When I want to see a really entertaining film with great special effects that will leave me dumber for having watched it, I’ll go see a Roland Emmerich film (Independence Day, Stargate, Godzilla, 10,000 BC). If you don’t know what this film is about, you should probably look into it, cause we’re kinda running out of time, dude…
John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Woody Harrelson, Danny Glover, Oliver Platt
November 13

That Evening Sun – Written and Directed by Scot Teems
I think Clint Eastwood had a scheduling conflict playing a grumpy old man in Gran Turino, so Holbrook stepped in. This is a perfect example of a cookie-cutter Midwest drama starring a senior citizen afraid of change that might not be very good, but will definitely get nominated for at least 2 Oscars. Don’t get me wrong, Hal is great, but the story has the potential to be full of holes.
Hal Holbrook, Ray McKinnon, Mia Wasikowska, Carrie Preston
November 13

Uncertainty – Written and Directed by Scott McGehee and David Siegel
At the risk of sounding like a douchebag, I am very uncertain about this movie. Part romantic comedy, part drama, part action thriller? So confused. McGehee and Siegel have written and directed three other films together, and I’ve never heard of any of them. But Gordon-Levitt hasn’t let me down so far, and Thirlby and Collins are sexy. I’ll flip a coin.
Joseph Gordon-Levitt, Lynn Collins, Olivia Thirlby
November 13

Bad Lieutenant: Port of Call New Orleans – Directed by Werner Herzog, Written by William M. Finkelstein
Controverial old-school director Werner Herzog (Encounters at the End of the World, Grizzly Man) is remaking the 1992 drama (starring Harvey Keitel) about a gambling/drug addict cop, and he’s setting it in post-Katrina New Orleans. They say it’s Cage’s best performance since Leaving Las Vegas (not really hard), and Kilmer’s presence is reassuring. Looking forward to it.
Nicholas Cage, Val Kilmer, Eva Mendes, Michael Shannon, Fairuza Balk, Xzibit, Shawn Hatosy
November 20

Chi Bi (Red Cliff) – Directed by John Woo, Written by John Woo and Khan Chan
This is an epic film in the style of Hero and House of Flying Daggers. John Woo started out with some good films (A Better Tomorrow, Killer, Hard Boiled), he even had some good American movies (Hard Target, Face/Off), though there were bullshit ones too (Windtalkers, Paycheck). However, his dramas, like Last Hurrah for Chivalry, have gone largerly unnoticed by American audiences. And, of course, it’s been out in China for two years, and we’re just getting it now. Tarantino needs to step his game up.
Tony Leung, Takeshi Kaneshiro, Wei Zhao
November 20

Fix – Directed by Tao Ruspoli, Written by Charles Castaldi and Paul Duran
Documentary filmmaker Ruspoli blends styles in this fictional documentary about a convicted drug dealer and his friends, who are attempting to raise enough money to put him in rehab before 8pm so he can avoid jail time. I can already tell that Andrews’ over-the-top personality is going to steal the show, and Wilde is kinda cute. When’s it coming to Netflix?
Olivia Wilde, Tao Ruspoli, Dedee Pfeiffer, Shawn Andrews
November 20

The Missing Person – Written and Directed by Noah Buschel
Modern noir about a private detective (Shannon in a lead role…nice) searching for a missing person after 9/11. Elements of drama and comedy make it appear a little disjointed, but Shannon and Ryan are solid. Kinda surprised it didn’t go straight to DVD, but whatever.
Michael Shannon, Amy Ryan, Frank Wood
November 20

Me and Orson Welles – Directed by Richard Linklater, Written by Holly Gent Palmo
I can’t see Efron’s name on anything without thinking Highschool Musical, which makes me want to punch everyone under the age of 17 in the eye. However, this film is a little more dramatic, a lot less musical, and Christian McKay looks like the best Orson Welles since D’onofrio in Ed Wood. And if that still doesn’t convince you to see this period film about Welles directing stage plays, I have three words for you: Richard motherfucking Linklater (Scanner Darkly, Waking Life, Dazed and Confused). There you go.
Zac Efron, Claire Danes, Christian McKay, Ben Chaplin
November 25

Ninja Assassin – Directed by James McTeigue, Written by Matthew Sand and J. Michael Straczynski
The directors of The Matrix are producing this balls-to-the-wall violence-fest about…are you ready? A Ninja Assassin. Crazy right? Just think blades, bullets, blood, and nonstop special effects. I can’t freaking wait.
Sung Kang
November 25

The Road – Directed by John Hillcoat, Written by Joe Penhall
I must admit, I didn’t care for Cormac McCarthy’s award winning novel. The fact that writer and director are inexperienced worries me. Whether the acting, cinematography and effects can save it or not, the story makes me think no one will like this no matter what.
Viggo Mortensen, Charlize Theron, Robert Duvall, Guy Pearce, Garret Dillahunt
November 25

KEEP YOUR EYES OPEN

Metropia – Directed by Tarik Saleh, Written by Fredrik Edin
Anything with Vincent Gallo attatched generally gets my attention (Buffalo 66 was fucking weird). In this animated social commentary, Gallo’s character goes nuts when he starts hearing voices in the expansive underground tunnels Europe was forced to build after gas prices went too high. The animation looks pretty damn cool, so we’ll see.
Vincent Gallo, Udo Kier, Juliette Lewis, Stellan Skarsgard, Alexander Skarsgard
November 6 (Sweden)

Harry Brown – Directed by Daniel Barber, Written by Gary Young
Michael Caine hasn’t really been a badass since Get Carter, but this one may change that. Granted, it’s another cranky old man pissed off at street hooligans, but they did kill his friend…and he is ex-military. Comes out in the UK this month, possible limited releases in US.
Michael Caine, Emily Mortimer, Iain Glen
November 11 (UK)

Los abrazos rotos (Broken Embraces) – Written and Directed by Pedro Almodovar
Almodovar is huge in Spain, and the last time he teamed with Cruz was Volver, which was damn good. This film is about a writer/director telling a young man the story of why he changed his name after an accident took the life of his true love 14 years prior. Limited release this month, but expect it to be everywhere in time for the Oscars.
Penelope Cruz, Lluis Homar
November 20 (Limited)

Mammoth – Written and Directed by Lukas Moodysson
Husband and wife with a “perfect” life are put to the test when he takes a business trip to Thailand and decides to let loose a little. It looks very similar to parts of Babel, but more focused. Bernal and Williams have grown on me the last couple years, and Moodysson has done good work in Sweden.
Michelle Williams, Gael Garcia Bernal
November 20 (Limited)

Oggi Parker Posey (1968) compie 41 anni. Basta dare un’occhiata alla sua filmografia per capire come negli anni ‘90 la ragazza di Baltimora abbia avuto un rapporto viscerale con il cinema indipendente del suo Paese, partecipando a vari film culto di quell’onda proveniente dal Sundance Film Festival; non a caso il Time la incoronò “La regina degli indipendenti”. Tra i registi con cui ha collaborato ci sono Richard Linklater, Greg Mottola, Hal Hartley, Jill Sprecher, Mark Waters e Gregg Araki. Tra i film in questione – vari hanno vinto premi in festival cinematografici statunitensi ed europei – consiglio, in ordine di preferenza, L’amante in città, Suburbia (in italiano Benvenuti a Suburbia), Clockwatchers, La casa del sì e La follia di Henry. Tutti film all’epoca trasmessi a più riprese da Tele+.

Parker Posey

Brilliant. Time to talk about our Ten lists once more, so settle in for the long haul and try and keep up. Much discussion ensues as Sam tries to extol the virtues of Ingmar Bergman, praise the magical realism of Billy Liar and attempt to make sense of All About Lily Chou-Chou. John continues the theme, causing slight, though understandable, consternation with his uncensored views on Raging Bull and confessions of multiple tears during Schindler’s List. Tom rounds the night off in business-like fashion with praise for The 400 Blows, controversial dislike for the second half of Stalker and man-crushed love for Le Samourai.

Download The Movie Overdose Episode 40.5

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Okej, popquiz, hotshot. Det landar ett flygande tefat på din tomt och utomjordningarna som kliver ut ur farkosten KRÄVER att du på mindre än fem minuter förklarar för dem vad det här med att vara “tonåring” på planeten jorden handlar om. Tja, antingen spelar du ett spår från Gyllene Tiders “Moderna tider” för dem (vilket förmodligen är bortkastat – utomjordingar kan bara engelska) – eller så visar du videon till Smashing Pumpkins “1979″ för dem. Uppdraget slutfört. Den här videon är som en tidig Richard Linklater-film, till exempel Dazed & Confused, komprimerad till fyra och en halv minut. Man fylls av nostalgi efter de där tonårskvällarna som kändes så fantastiska (tyvärr har man glömt att en orsak till det var att ens liv sög i övrigt när man var sexton). Men men. Det var längesedan man hotades med stryk i stadsparken och blev påkommen med sin flickvän i hennes pappas ateljé, och det är väl kanske bäst så.

Min kärlek till Smashing Pumpkins storhetstid rostar aldrig – de var mitt absoluta favoritband ett tag (på den tiden då man hade ett favoritband) även om nedgången efter “Adore” var ett faktum. Men de släppte tre superalbum innan de spårade ur. De var för övrigt sinnessjukt produktiva under Mellon Collie and the Infinite Sadness-tiden – inte nog med att de släppte ett dubbelalbum med typ 28 spår, de släppte också typ sju singlar från albumet med 5-6 extraspår på varje singel! Herregud. 2009 är det bara rapparna som är så produktiva – och det säger jag samma dag som jag laddat ned två nya Gucci Mane-mixtapes.

This is my boss’s favorite movie. He always regales me with stories of this movie that I barely remember seeing a long time ago. I feel bad when I tell him I don’t remember it; like letting a hand raised for a high five go un-slapped, it just shouldn’t be done. And so I resolved myself to see this scant memory of a movie again, going so far as to look up deleted scenes and commentary afterwards. Dazed and Confused is, coming from the perspective of someone who has practically just seen it for the first time, an ambitious and irresistible coming-of-age flick that sprays awesome from the exhaust fume of its custom van.

There’s a lot to like here, with enough story to cover 2 movies easily. It’s set during one single day in a shitty Texas town during the mid 70s, and it focuses on the different social circles and agendas of a bunch of high schoolers. It’s the last day of school, and everyone has different plans. The soon-to-be senior boys and girls all have plans to haze the incoming freshmen, as is tradition. Randall “Pink” Floyd has plans to have a good time with his friends, which might just jeopardize his goal of playing football. Mitch Kramer, a freshman, tries in vain to avoid the hazing but ends up making friends with Pink, who gives him the opportunity to hang out with him and all his newly-senior friends to go cruising for fun and hijincks. They go smoke pot and drink with him for the first time, and each of Pink’s friends blossoms as a character, getting their own interesting story. As the day approaches night, things get wilder as the kids go out en masse to go find fulfillment and enjoyment in the hot summer darkness. Mitch his friend Carl have to contend with Fred O’Bannion, a pissed-off senior held back a year looking to haze them even further to sate his sadistic nature and dull the pain of staying in high school. Pink also has problems, being at odds with the coach and his football team who want him to sign a ridiculous pledge promising he won’t do anything to jeopardize a potentially Championship-winning season, not to mention the fact that they don’t want him hanging around with his best friends because of their bad influence (i.e. stoner tendencies).

But mostly it’s just an excuse to have wacky 70s stuff happen and crank some tasty tunes. Dazed and Confused is that perfect light and breezy view. It’s fun, vibrant, youthful, and full of energy that comes from nowhere but goes straight for the funny bone. Richard Linklater creates a feeling, a time, and a place that is so warm and inviting. Only his third feature, Linklater expounds on the ideas he brought forth in Slacker, perfecting it and expanding it to its logical groovy conclusion. It’s the bubbly tinge of youth’s fire in American Graffiti without the depressing epilogue. It came out at just the right time and place to take advantage of a feeling in the air that screamed for a real good time at the movies.

I won’t go too in-depth on the loose-knit story for you, seeing as the dialog is the major draw and not high school drama, but I do want to talk about the cast for a moment, because while a lot of these guys went onto later success, and a seemingly equal amount never amounted to anything, these are still good characters all the way around that you’ll care about and love . Jason London plays Pink, and he is a good-looking guy who channels almost a James Dean iconic status. He never went on to turn that many heads, but he makes sure you get your money’s worth on this one. Wiley Wiggins, famous geek and technical genius, plays Mitch, the king of the uncool abused freshmen. He’s a real laid back actor whose credibility comes from his nonchalance. Sometimes it gets a little real, though, and he still pulls through with aplomb; God, when he takes a few smacks from the older kids during the hazing, I feel like interjecting, like he was my little brother. Also, never went on to do anything else, so OOPS!. A young and still-sexy Milla Jovovich plays tomboyish but beautiful Michelle Burroughs. She is different than I’ve ever seen her before, and I mean there is almost NO recollection of her being so effervescent. She’s just unusually happy for her hard, sexy Eastern-bloc looks, and her demeanor quickly becomes a matter of HUH for me? It’s good, it’s just jarring. And, of course, the role that made McConaughey famous, Davis, is here. I somehow get the feeling that McConaughey didn’t have to try to hard to be this guy, who is an older man (possibly 30s?) that still goes to high school events to pick up girls (!!!). He really cleans house with that character, and I enjoyed his rollin’ ramblin’ style that has become so iconic in recent years. Every now and then, something will come out of McConaughey that doesn’t fuck my face up with its lameness, so I’m glad Linklater used him in JUST the right amount and just the right tone for that movie. Good job, DUDE!

I could go on; there’s a lot to tell about this little independent Texas feature. But I figure I can do an essay later, seeing as I’d REALLY like to go on about it right about now but have neither the research nor the time. I will say this; Dazed and Confused is a great movie about youth and long meaningful teenage conversations with a young, vibrant cast full of potential that needs maybe a little more focus, but overall has the immense appeal of a powerhouse comedy. It’s a good one to watch on Friday night, with the shades pulled back and your cologne pouring out of your pores as you try vigorously to get into the party spirit. I like it a lot, and i think you will too. I give Dazed and Confused 8 1/2 rollin’ ramblin’ men out of 10. Check it out!

Tomorrow, folks, we dive into Equilibrium! Until then!

When I’m sleeping, I don’t particularly enjoy being in my own mind. 

I’ve recently dreamt…

• my alarm clock was yelling at me
• I was on trial for drug possession in Jamaica
• I was in an old Kmart eatery with a bunch of stuffed shirts discussing how fantastic the original British version of The Office was

This has nothing to do with the picture, but I used to think Martinizing was pronounced Martini-Zing!

What I would like to know is why am I having other people’s dreams lately?

Not that kind of client. Thank Tron.

It’s been completely from another person’s perspective, and not in the way that ”it’s me/not me.”  I’ve been other people I know interacting with me – my family, my friends.  The strangest, by far, was when I was one of my clients.

None of this is particular fascinating, I’ll admit, but it reminded me of the opening scene of Richard Linklater’s Slacker.  He’s actually the guy in the cab explaining his theory on dreams and where they come from.  It’s more in relation to the regular “it’s me/not me” flights of the subconscious, than of the “completely being someone else” variety.  Maybe if he ever gets to Slacker 2: The Awakening, he’ll have my answers then.

(Click image to jump to video)