Cinematical

It's pretty easy to pick out Christmas movies and Halloween movies, and it's not too hard to find a New Year's movie, or even Arbor Day or Memorial Day movies. But how do you select a Fourth of July movie? Steven Spielberg's Jaws (1975) takes place during the Fourth of July, when the sheriff (the late, great Roy Scheider) tries to close the beach to protect the people from the killer shark and the greedy mayor wants to keep the beaches open to make lots of money. And who can forget Martin Scorsese's Cape Fear (1991), with its image of a cackling, cigar-smoking Robert De Niro looming over the helpless, passive family, while fireworks explode overhead? These movies may not be entirely appropriate, or they may be all-too-appropriate symbols of America in 2008, but either way, they're both terrific movies.

The road movie is a uniquely American genre; unlike other parts of the world, Americans have the freedom to drive across 3000 miles of open land without getting hassled. It also involves cars, for which Americans have a singular passion. There are dozens of great road movies (not surprisingly), but let's go with three of the most unique examples. Tim Burton's cult classic Pee-wee's Big Adventure (1985) brings the title hero on the road to find his stolen bicycle; the film also has the best hitch-hiking sequences since It Happened One Night. Monte Hellman's Two-Lane Blacktop (1971) is the ultimate existential car movie, and David Lynch's The Straight Story (1999) is the road movie transplanted to a power lawnmower (which is pretty American, too, when you think about it).

You say you've got an indie jones? A desire to see something that's not playing on every single screen in America? Then you've come to the right place. "Indie Spotlight" is a new column that will appear each Friday at Cinematical, listing the films that are opening in limited release that weekend. We'll tell you what they are, where they're playing, and what the critics are saying about them, to give you something to see beyond the multiplexes.

This Fourth of July is a fine time to declare your love of independents, as these films are opening in art houses across the land: Diminished Capacity, Gonzo: The Life and Work of Dr. Hunter S. Thompson, Holding Trevor, Kabluey, Tell No One, The Wackness, and We Are Together.

Diminished Capacity
What it is: Matthew Broderick plays a man suffering from memory problems who returns to his hometown to hang out with his uncle (Alan Alda), who has Alzheimer's. He connects with an old girlfriend (Virginia Madsen), too; not sure on whether she can remember things or not. Oh, and it's a comedy.
What they're saying: Cinematical's Christopher Campbell gave it a so-so review; boss man Erik Davis liked it better, but he's in the minority.
Where it's playing: New York City (Landmark Sunshine Cinema; Clearview's 62nd & Broadway), Chicago (Landmark Century Centre Cinema), and Los Angeles (Laemmle's Music Hall 3, Beverly Hills).
Official site: IFC Films.

Gonzo: The Life and Work of Dr. Hunter S. Thompson
What it is: Sadly, Gonzo is not the long-awaited biopic of the misunderstood Muppet. It is instead a documentary about the legendary writer/journalist/hallucinogen-enthusiast whose work you might know from Fear and Loathing in Las Vegas. The doc, by Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room), premiered at Sundance.
What they're saying: Cinematical's James Rocchi reviewed it favorably and interviewed Gibney. Our Nick Schager liked it, too.

It usually takes about a week after the kids get out of school for summer to kick in, and if there was ever an official starting line, it's Fourth of July weekend. Maybe you're hitting up a barbecue with some friends this weekend, relaxing by the pool or shooting off some fireworks -- and that's cool. Enjoy yourself. Me? I'll be doing a little of the BBQ, but I'll also enjoy a screening of at least one of the following seven films. See, what's summer without a memorable summertime flick ... or several?

This year's best summertime film (according to me), The Wackness, hits theaters in limited release tomorrow before rolling out to other cities. That film caters a bit more toward a specific time period (1994) and a specific location (NYC), but those summer-in-the-city flicks are rare, especially a good one. Instead of following all those kids who left town, went to camp, traveled abroad, what have you, The Wackness remains with the one dude who didn't leave town. The kid who was stuck spending his summer on hot pavement, dealing pot to his therapist while chasing the girl of his dreams.

But perhaps that's how you remember summer growing up. Or maybe you spent most of your summers in camp, or on the baseball field, or with a few of your best pals on another bizarre adventure. Those summer months hold a lot of memories for you, I'm sure, as they do for me. And what's up with summertime movies and awesome soundtracks? Ever notice that? Anyway, here are some of my favorites ... feel free to tell me yours.

There's a very interesting discussion going on over on Hollywood Elsewhere today about whether studios re-releasing older movies on Blu-ray are going too far in tweaking the originals to make them look "better." At the center of the discussion is the Dirty Harry Blu-ray DVD. Glenn Erickson, writing for film.com, points out that the Patton Blu-ray DVD was "enhanced to minimize the natural grain," but that in that case, the altering makes it look more like the theatrical 70mm presentation, so he doesn't take issue with that one. The Dirty Harry Blu-ray, however, Erickson considers "more complicated." He notes:

"The Blu-ray disc shows heavy tweaking to minimize grain, sharpen contrast and brighten colors. Sunny exteriors haven't changed much but heavy processing has given most night shots an almost unnatural look -- detail and bright color in what were once dimly lit areas, with everything else falling into inky blackness. "

Jeff Wells doesn't have a problem with this -- if it makes Dirty Harry look better, who cares? But in the discussion thread on the post, folks are getting down into the nitty-gritty of the issue: studios doing digital remastering for Blu-ray transfers, sometimes without consulting the cinematographer as to why scenes where shot as they were. HE commenter TheVicuna links to an excellent interview at cameraguild.com, the website for the International Cinematographer's Guild, with cinematographer Vilmos Zsigmond; in part of the interview, he talks about the DVD transfer of Robert Altman's The Long Goodbye, for which he was not called in to supervise the transfer; the resulting transfer, Zsigmond says in the interview, was "terrible."

Empire has been given an exclusive new photo from the highly anticipated remake of The Wolf Man. Click the photo to the right to see the whole thing, and then feel free to begin eagerly anticipating April even more than you already are. (Woohoo, April!) The pic respresents the first official non-lupine look at Benicio del Toro as Lawrence Talbot. And, costume nerd that I am, I'm in love with his Gothic cloak. This movie promises to make me drunk on Victorian drapery.

It also provides the first look at Emily Blunt and Anthony Hopkins, both of whom are nearly unrecognizable. Blunt is so stripped of make-up that she looks straight out of a tintype. She plays Gwen Conliffe, the fiancee of Talbot's recently deceased brother, whom the werewolf-to-be begins developing an affection for her. Hopefully, it's for her personality, and not as a late night snack. Wait, that didn't sound right.

Hopkins, of course, plays the senior Talbot, who is estranged from Lawrence long before he turns lycanthropic. If Empire and IMDB didn't tell me otherwise, I would argue that it was Richard Briers in the photo and not Sir Anthony. Really, everyone but del Toro is unrecognizable in this photo, so kudos to the make-up and hair department.

The Wolf Man is set to be released April 3rd, 2009. I still wish they would release this in the fall, but perhaps a copious amount of bloodshed is just what springtime needs.

Okay, so we went through something similar with Frank Darabont's unused draft of the latest Indiana Jones installment, which managed to be a bit better (read: Mutt-less) compared to the still entertaining end result. Now, it appears that the original draft for Hancock -- long titled Tonight, He Comes -- has popped up by way of Jeff Wells over at Hollywood Elsewhere (read it here). Oh, and if it's authentic, it happens to be missing the next-to-last page.

I've found the behind-the-scenes hearsay -- conveniently summed up in this NY Times piece -- on this film to be fairly fascinating. First, as scripted by Vy Vincent Ngo, Tonight had made the rounds as a reportedly hard-R superhero drama that capitalized on the somewhat sexual nature of the title. However, it seems once Will Smith was brought on board, Sony saw fit to tame things down considerably.

Even as recently as April, the MPAA had twice handed them an R instead of the sought-after PG-13, and now the finished result runs a choppy 92 minutes -- distinctly shorter than indicated in AICN test screening reports which made particular mention of a subplot involving statutory rape. Of course, as Wells brings up, it's hard to ignore the involvement of producer/screenwriter Akiva Goldsman, whose recent work on Smith's last hit, I Am Legend, had a similarly slapdash second half at the compromise of the original material.

I've yet to get more than a couple of pages into this thing, but do you guys think this is the real deal, and if so, do you guys think that this is the real film compared to what's on thousands of screens this week?

This may sound paranoid, but I am convinced that Thomas Jane must have made some enemies in Hollywood. The guy is talented, he has great screen presence, he's awfully easy on the eyes; and still he ends up flicks like Mutant Chronicles. If you don't believe me, take a look at the new teaser for the sci-fi thriller over on the actor's personal site, and tell me this movie doesn't look destined for obscurity.

Chronicles is loosely based on the successful role-playing game of the same name from Target Games. In Philip Eisner's (Event Horizon) script, the world has been divided into four corporations who are constantly at war. When a new plague of mutants are unleashed unto the world, an ancient society recruits a battle-hardened soldier (Jane) as humanity's last chance for survival. Joining Jane are Ron Perlman as the mystic Brother Samuel, Devon Aoki as a fellow bad-ass, and John Malkovich as the political leader Constantine.

On paper, the whole thing sounds fine; mutants, elite military squads, and pseudo-mysticism -- what could go wrong? After watching the trailer, the answer would appear to be ... everything. The film was originally announced back in 2006, but other than a quick poster release and a website, there hasn't been much attention paid to the film...and now I'm starting to understand why.

Mutant Chronicles is scheduled for release later this year.

[via Coming Soon]

Werner Herzog's Bad Lieutenant cast just became a whole lot crazier. Variety is reporting that Val Kilmer and Xzibit are joining Nicolas Cage and Eva Mendes in the much-maligned remake / re-imagining / re-something of Abel Ferrara's cult classic.

Kilmer will be playing Cage's police partner, presumably the straight arrow to complement Cage's cop-on-the-edge. This comes right on the heels of Kilmer being cast in Silver Cord, so I think it's safe to say someone's trying to make a comeback. (Am I the only one who laments the passing of years, and what it has done to one of my biggest crushes? Has it really been so long since The Saint?)

Xzibit, fresh off The X-Files: I Want to Believe, will be playing their nemesis, Big Fade.
Remember, folks, it's a re-imagining, which is why you don't remember any of these characters from the original.

If there aren't shockingly hilarious tales of egos and fistfights from the Lieutenant set, I'll be among the bitterly disappointed. While I suspect Kilmer has chilled with the passing of years, I'm thinking that combining him with Herzog is bound to be tempestuous. Is it too much to ask that Herzog just goes even further, and hires Sean Young and Gary Busey? Perhaps even Mike Myers? Throw the script out the window, and just film the production. I think it would be far more fun than any re-imagining.

Way back in November, John C. Reilly signed on to play Larten Crepsley in the adaptation of Darren Shan's Cirque Du Freak. Since then, we've gotten a sneak peek at Salma Hayek's bearded lady, but nothing of the sharp-toothed Crepsley -- until now! Empire has posted a first look at Reilly's character, which you can see cropped on the right. (It's a little bigger over at Empire, but unfortunately, not much.)

The film focuses on a 14-year-old kid, Darren Shan (Chris Kelly), who visits an illegal freak show, sneaks in after hours, and gets thrust into a life of freak shows and vampiric servitude. The photo shows Shan and Crepsley, so maybe this is when the poor kid getting pulled into the freakish life. Although really, I think Crepsley's outfit is the most freakish thing. That, and the darkly rouged cheeks.

The flick should hit US shores in 2008, before the scheduled UK release in February of 2009.

*Note: Both the real Darren Shan and the kid who plays the fictional Darren Shan use two names. To clear up confusion between the Empire report, here, and IMDb: The young actor goes by Chris Kelly and Chris Massoglia, while Darren Shan is also known as Darren O'Shaughnessy.

The rule of thumb in this film blogging world of ours is, what goes up must come down. In other words, any trailer that finds itself premiering on YouTube can only find itself taken down from YouTube. So, for now, let us offer you what appears to be the teaser for this winter's big-budget remake of The Day The Earth Stood Still, in which an alien visitor (Keanu Reeves) gives us Earth denizens a hefty heads-up that if we don't straighten up our act, he and his giant robot friend will do it for us ...

Now, I may or may not be entering spoiler territory with this following paragraph, so feel free to skip it (in that case, long story short: also stars Jennifer Connelly and due in theaters on December 12th) -- BUT, from what I can recall reading at one point, our main man's angle this time around is not concerns of nuclear warfare (that's SO 1951!), but rather more environmentally-fixated priorities. Who knew that between this, WALL-E, and The Happening that the big H'wood cared so much about the state of our planet.

On the other hand, pitched properly, green can only equal more green in their eyes.

[thanks to Film Web]