April Showers each night!

Have you ever seen Cemetery Man (1994), a schlocky Italian horror flick from 1994 starring Rupert Everett as the titular character? He fends off pesky zombies including his lover (the busty Anna Falchi) with some regularity.

Despite my long dormant Everett fandom (I was there right at the beginning with Another Country / Dance With a Stranger), I've still never seen this one all the way through. I was just thinking about this because I was in Nashville and some years ago when I juried there with Nick Davis, who loves the movie, he showed me pieces of it.

Everett's character Francesco Dellamorte apparently takes a lot of showers and apparently he's used to getting attacked by zombies -- just part of the job. more... But on this particular night in the movie they come earlier than expected. The lights go out in the shower, he sees one approaching in shadow (shower curtains = scary in movies), and then the zombies, in what looks like boy scout uniforms (hee!) begin to attack. He does what one does in these situations, shooting the zombies in the head.

The most hilarious thing about the gorey sequence is that Rupert is attacked in the shower but when he fights back in the very next cut he's wearing pants. How did this happen? Zombies move slowly but slow enough for their victims to slip on a pair of pants before finding a weapon? It's not for some 'no nudity' clause either -- since Everett gets naked elsewhere in the movie.

This final post shower attack makes me giggle. Who can blame the little shit for wanting a nibble?

If you were a zombie, which Brit beauty would you consider fine dining come shower time?

Whew. That title is a mouthful. I know you already know what I mean though, you golden fiends. This very impromptu post is brought to you by a recent Tribeca revival screening of Martin Scorsese's indelible King of Comedy (1983) and this Movie Line interview with Sandra Bernhard herself -- to whom I'm dedicating the list -- who couldn't make it but definitely helped make the movie what it is. My one and only back and forth conversation with Sandra -- over Twitter, the sometimes leveler -- involved how freaking robbed she was for an Oscar nomination for that movie. I couldn't believe I was talking to her but I was not the least bit in doubt that she'd agree with me.

10 Best Non-Nominated Supporting Actress Performances of the 1980s

Honorable Mentions: I think Rosanna Arquette's "Surrender Dorothy" bit in After Hours was quite memorable though the rest of the movie has long since faded; I cherish Martha Plimpton in just about anything but mostly Shy People (1987) and Running on Empty (1988) back in her vibrant teenage River Phoenix-adjacent days.

I Apologize To: Kathy Baker in Street Smart, Mona Washbourne in Stevie (1981), Vanessa Redgrave in Prick up Your Ears and Jamie Lee Curtis in Trading Places who all won devoted fans for those performances in their respective years (and some awards buzz though not enough for Oscar) but, believe it or not, I haven't seen any of those movies!

10 Bridget Fonda, Scandal (1989)
and nine more divas after the jump...

Ebertfest 2013 Dance Along from Ebertfest on Vimeo.

last week at Ebertfest...

[more Tilda]

Cannes is just three weeks away and the final jury lineup has been announced. We knew Steven Spielberg would head the jury but his team was still semi-secret. They are...

Just months after competing for an extra Oscar, they'll be discussing other people's movies

Competition Jury

• Daniel Auteuil (French actor/director)
• Vidya Balan (Indian actress)
• Naomi Kawase (Japanese director)
• Nicole Kidman (Australian actress/producer)
• Ang Lee (Taiwanese director/producer/scriptwriter)
• Cristian Mungiu (Romanian scriptwriter/director/producer)
• Lynne Ramsay (British scriptwriter/director/producer)
• Steven Spielberg (American director) PRESIDENT OF JURY
• Christoph Waltz (Austrian Actor)

Only one thing is certain about the outcome based on the composition of the team: By May 26th, Nicki's auteur lust will devour their collective imagination and they'll surely be competing for her hand in filmmaking. Which one of these directors will she work with next? (I mean, besides Steven Spielberg who Kate Capshaw aside, isn't particularly excited by actresses.) Can her first Romanian picture be far off? I'd most love to see what Lynne Ramsay could wrangle out of Kidman but I assume that Ramsay might have difficulty getting funding for her next picture given the ugly fallout from her sudden departure from Jane Got a Gun. 

Some years ago I made this visual and it still applies. But you just change the names as the years go by and Kidman recalibrates her attacks. Always plotting for legacy, that one!

Despite the media blitz that accompanies Cannes headliners, the competition jury is never the only jury at Cannes. It's just the one with all the headliners. There are multiple less glitzy but not necessarily less talented juries overseeing other prizes as well. 

Short Films Jury

• Maji-da Abdi (Ethiopian actress/producer)
• Jane Campion (New Zealand, director) PRESIDENT OF JURY
• Nandita Das (Indian actress/director)
• Semith Kaplanoglu (Turkey, writer/director/producer)

Un Certain Regard Jury
This jury decides who to spotlight in the realm of up-and-coming filmmakers (the ones Cannes isn't yet ready to include in the Competition lineup. Last year their prize went to the Mexican feature After Lucia which Amir wrote about here.) This jury lineup has not yet been announced but Thomas Vinterberg that handsome Dane who made the dogme masterpiece Festen (A Celebration) in the late 90s and whose current  feature The Hunt is winning him the best reviews he's seen since that startling debut will preside over this jury.

Can't wait to see which films they all embrace... and which auteurs win Nicole Kidman's hand. 

Erik Lundegaard "find the future movie star". This was really fun and hard... I briefly thought I saw James Cagney but that wasn't it... (here's the answer if you can't figure it out)
Los Angeles Times Lincoln Center honored the one and only Barbra Streisand this week. I was not invited though I sought an invitation which I have to admit depressed me. In related news: HAPPY BIRTHDAY BARBRA!
i09 the new After Earth trailer proves M Night Shyamalan doesn't know how evolution works
Salon YouTube's eighth birthday brings classic time-wasters 
Gawker Ben Affleck to spend only $1.50 a day for five days in honor of movie blogge... oh I'm sorry, as part of the "Live Below the Line" challenge meant to draw attention to Global Poverty. 

Speaking of Affleck...

i09 Marvel got the rights to Daredevil back from Fox. Will they use them. And how soon? I really wish they'd consider a TV series for at least one of their characters. Lawyers belong on TV. Surely they got the industry mandate on that?
Slash ...and speaking of Marvel Studios. Lee Pace, whom we love here at TFE, is in final talks to play the villain in Marvel's Guardians of the Galaxy. I don't know that series but this is terrible news since his perfect perfect mug will undoubtedly be buried in some weird unrecognizably villainous makeup. Stop making beautiful people ugly, Hollywood! Ugly actors need jobs too.

and more non-Marvel links
In Contention Dallas Buyers Club goes to Focus. Will it be their prime Oscar contender for 2013? 
Towleroad Downton Abbey: The Musical 
Welcome to Twin Peaks amazingly creepy mashup of Twin Peaks and The Shining
Empire Chloe Moretz, uncontent to haunt me in every Hollywood picture is considering working with one of my favorite European auteurs Olivier Assayas for a film called Sils Maria. I have to admit the plot sounds super interesting (especially since the Irma Vep auteur is behind it) with Moretz possibly playing an actress currently playing one of another actresses (Binoche) defining roles.  
Cinema Blend Entertainment giant and sort of retired director Mike Nichols returning with One Last Thing Before I Go. Ugh. why didn't he just say yes to August: Osage County then?!? 

and look!

Anna Kendrick made a music video. The song will be familiar if you saw Pitch Perfect. There's a funny reaction to this on Videogum.

and Tweet of the Day goes to Dwayne Johnson "the Rock" who sent his fans this pic from his hospital bed after hernia surgery.

Ha! (The Superman t-shirt is perfect since he's already practically a cartoon superhero)

For this week's Hit Me With Your Best Shot challenge I asked participants to look at A Star is Born (1954) though they could sub in the Janet Gaynor 30s version of the Barbra Streisand 70s version or the Clint Eastwood/Beyoncé ver-- oh they haven't made that one yet -- if they were itching to watch one of those instead. In the end you know we always come back to Judy G.

Here's what the Best Shot club chose in semi-linear narrative order (I cheated a bit to fill it out as there were far too few entries today). But since the movie was famously post post-production with now infamously missing sequences, who knows?! 

Ladies and Gentlemen, Mrs Norman Maine and... A Star is Born (after the jump)

I have a confession to make. I only selected A Star is Born (1954) for this week's edition of 'Best Shot' as an excuse to talk about one of the all-time greatest movie scenes. I'm talking All Time All Time. The scene is the shot and the shot is the scene and the scene justifies the whole movie's title... although it might be more accurately titled A Star is Reborn. I can't let it stop me that several people have already chosen it as their Preferred Shot though this will have the unfortunate effect of making a quite extraordinary whole movie look a little front-heavy since The Scene comes very early in the film.

Take it honey. Take it from the top...

And so she does, glancing over sheet music, humming the melodic line, and easing herself into her spotlight as the mood sweeps over her. She then unleashes one of the great Garland performances, which keeps shifting incandescendantly between three separate modes: tossed off AM rehearsal goof with the boys, fully detailed showmanship of a PERFORMANCE to come, and internal musical reverie. Judy Garland is giving three spectacular performances at once all of them bleeding into each other organically in this one continuous shot. It wouldn't be half as moving or incredible if George Cukor had broken it up into little bits.

But who needs to jazz up a scene with different camera angles when "The World's Greatest Entertainer" is giving you so many character angles already?

The night is bitter. The stars have lost their glitter.
The winds grow colder. Suddenly you're older.
And all because of the man that got away.

No more his eager call, the writing's on the wall.
The dreams you dreamed have all gone astray.
The man that won you, has run off and undone you.
That great beginning has seen a final inning.
Don't know what happened. It's all a crazy game! 

Coupled with the very smart screenplay, which aptly describes this very performance immediately afterwards as filled with "little jabs of pleasure" and George Cukor's astute understanding of what to do with Cinemascope (the mise-en-scène throughout the movie is A+), it's a performance for the ages. Garland's emotionally intricate performance (her best ever as she's just as good in the "book" scenes) is, if you stop to really consider what's happening in the frame, explicitly choreographed in every way possible to provide this bracing cocktail of performance, rehearsal, improv, and narrative while also hitting so many marks which work with very smart choices in Art Direction and Cinematography. Consider, for instance, that the dominant color in this scene is red which was also used to character Norman Maine's drunken madness in the film's opening scene but here the red is suddenly warm and cozy rather than garish and unnerving.

That this shot/scene feels so genuine, spontaneous, and possible rather than like a set piece engineered to mechanical perfection is one of the great miracles of Hollywood Showmanship. The crazy part is this: the movie's just begun! Big glitzy awesome musical numbers for Garland are still ahead of us and Vicki Lester hasn't even been "Born" yet but no matter; Judy Garland came roaring back to life right here.

Quite unfortunately just as this killer scene hooks you into the film for the long haul -- and it is a long haul as running times go though the movie is gripping -- it stops looking like a movie and starts looking suspiciously like film stills. I didn't even know it was National Preservation Week when I selected this film for this date in the series. Let's call it a happy accident and thank film preservations everywhere for their efforts. A Star is Born was notoriously butchered during release when the studio suddenly decided they wanted a tighter running time and started chopping scenes. So the movie that Oscar voters screened and voted for (six noiminations but absurdly shut out of Picture & Director) was not the version that many Americans saw in late 1954 and early 1955 as it made its way around the country. The version that's most readily available now is this Frankenstein version which tries to stitch in the missing scenes where they would have appeared in the film.

Esther Blodgett becomes Vicki Lester, contract player. They don't want to see her face!

On one level it's thrilling that these shards of old scenes are there since the movie itself is so wise and "deliciously sarcastic" (thanks, Vince) about The Hollywood Machine in all of its devouring glory. But I think the reason that A Star is Born is so enduring -- and I swear it improves on each viewing it's so sophisticated -- is that it combines this biting wit with genuine empathy for the Willing Human Casualties of that machine.

On the other level, these half-scenes distract me from the pleasure of the picture and I'd almost rather watch the compromised version that survived. A Star is Born tries to make peace with its own compromises in the Maine marriage, very movingly. On this particular viewing I was quite struck by two bookend shots from Esther's Vicki makeover. 

If I can't have the whole "Man That Got Away" shot, I'll take this second one as my best shot

In this first shot, Norman is forcing Esther to wash off the horrible studio mandated makeup but she objects already convinced that she has an "awful face" and "no chin". Norman only objects to the first comment and Esther finally laughs aloud at his aggressive but supportive commands. In the second shot, Norman is still controlling her but he's unearthed her natural beauty and "extra something" that stars have and has forced her to see her it. Maine's occassionally violent always controlling Svengali instincts are maddening but the complexity and tragedy of the marital drama in A Star is Born is that "Esther Blodgett" has always needed his heavy hand to finally realize her inner "Vicki Lester" and she may be truly lost without him. By the movie's end she's abandoned both women in favor of "Mrs. Norman Maine."

NEXT: DOUBLE INDEMNITY (1944) on May 1st

Best Shot Club
She Blogged By Night on Norman Maine... "like a child with a blow torch"
We Recycle Movies "How A Star is Born Changed My Life" 
Film Actually gets uncomfortably privy to Norman Maine's headspace
Cinesnatch Vicki Lester Steals a Moment
Antagony & Ecstacy on the Judy Garland Meta Narrative (and more)
Amiresque shares four vivid memories of this picture
Dancin' Dan a master class in how to shoot a musical sequence 
The Film's The Thing looks at ALL THREE film versions. Overachiever!
...or see all the choices Sequentially 

Amir here, with my first dispatch from Hot Docs, North America’s biggest documentary film festival.

My friends had parents who were dentists or ran stores. My parents own a strip club.”

So says Shawney Cohen, the director of The Manor, the Canadian film that opens the festival tonight. Advertised with images of the invitingly neon-lit entrance of a strip club and scantily-clad dancers, The Manor seems to have been chosen as the opening night film based on an old adage we know all too well: sex sells. It’s a risky move by the festival’s programmers because anyone going in to buy sex will surely leave the theatre disappointed. Those of us going in not based on the marketing material but on the promise of a great opener had nothing to worry about. The Manor is an intimate family portrait that explores universal themes of familial bonding through a sharp and wryly humorous lens.

Shawney was six years old when his Jewish parents – Roger, a European immigrant, and Brenda, a Torontonian – bought The Manor, a strip club in suburban Ontario with a hotel attached to it. The purchase of the club proved to be a turning point in the life of the Cohen family that, for better or worse, has remained tied to the locale for nearly three decades; and indeed, this tenacious relationship between the Cohens and The Manor forms the core of the film.

Very little of what happens on the stages of the club is captured by Cohen’s camera. The Manor isn’t even passively sexy; it’s actively unsexy. Cohen’s attention is directed at what the audience doesn’t want to see. He’s directed his focus on the all-encompassing impact that the strip club has made on the lives of everyone connected to it. From the concierge of the adjacent hotel – a former stripper at the club – whose overdose throws everyone for a loop to the arrest of one the mainstays at the club – an adopted son figure to Roger Cohen – everyone’s life seems irreversibly affected by their presence at The Manor.

The titular club hence becomes the film’s pivot; its importance not the product of the type of service it provides or the low-key glamour of its performers, but the consequence of the centrality it has for the Cohen family. Shawney, having lived his whole life trying to blend in with others and find normalcy in an unusual situation, sees no reason to glamorize or sensationalize a story that has become the only reality he knows. An hour and a half later, the curiously mismatched family members and their deceptive occupation grows into an intimate reality for the audience too.

Cohen doesn’t sex up his family’s story with sensual strip club lighting and alcohol. The club isn’t a guise under which a family film takes shape. As the story unravels, the impression becomes increasingly stronger that the only thing that forms the familial bond between the Cohens is the club. It is what hooks the family to the environment and often times to each other. Shawney takes a lot of mileage from the contrasting personalities of his family members to prove this point. His mother suffers from an eating disorder that has left her so thin and so weak that her hip shatters after a minor fall; his father suffers from a different eating disorder that has left him so obese he needs surgery to lose weight. His brother enjoys running the show at the club and dating the working girls from time to time; Shawney has felt the urge to leave his whole life. But even at times when they seem to share nothing in common, when marriages are about to crumble and relationships about to be broken, the club, its ownership and its problems bring everyone together.

All of this sounds incredibly personal, and it is; but that level of specificity allows Cohen to tell a universal story through his singular perspective. He questions the identities of his family members with intense scrutiny and asks them to reconsider themselves and their relationships at their most testing moments; and with a unique, dry sense of humor and a keen eye for finding the tender side of any situation, he invites us to do just as much.

first & last puzzles
the first and last image from a motion picture 

Can you guess the movie?

We're getting to know the Film Experience community one-by-one. This is going to take us forever! (That's a good thing. Thank you so much for being part of such a big vibrant fanbase.) Today we're talking to Patrick who lives in Germany and writes for DieAcademy.de, a German site devoted to our favorite awards show.

Hi, Patrick. How long have you been reading The Film Experience?

Maybe 6 years? I like this site so much since it's always interesting topics and wonderful to read.

I know you're really into the Oscars but how about the Lolas, Germany's own movie awards. Which German stars do you recommend our international readers get to know?

The Lolas are not as big of a deal as they should be, but I love some German actors who are still too unknown abroad but doing great work all the time, like: Sibel Kikelli (two time Lola winner for Gegen die Wand & Die Fremde), Susanne Lothar (a three time Lola nominee who died last year) and maybe the best young German actor of our generation August Diehl (who you've seen in Inglourious Basterds and Salt but he's been nominated for the Lola three times and won for "23"). It would be a great pleasure to read a post about any of them.

Two current German greats: August Diehl & Sibel Kekilli

Hey, surely you've noticed my love for Sibel Kekilli. So great every time (though it was weird to see her do that romantic comedy What a Man)

Yes I noticed that. I think she was the best of the cast in What a Man, too but not a good movie. But Head-On. What a performance!

Agreed. Name your three favorite movies in the following genres. Horror, Comedy, Drama, Musical and SciFi. Go...

Horror: The Exorzist, Psycho, Silence of the Lambs (if I put it into this genre)
Comedy: Some Like It Hot, Tootsie, Pillow Talk
Drama: The Godfather (1 & 2), American Beauty, All about Eve (if I could choose 5: Sunset Boulevard and The Hours)
Musical: West Side Story, Chicago, Moulin Rouge!
Sci-Fi: Alien & Aliens, Blade Runner, Terminator (1 & 2).

Do you care about a significant other's taste in movies?

The Answer ist YES! It sounds a bit overdone, but I have a problem with guys, who don't like Kate Winslet in general or have mainstream taste of movies and don't feel complex emotions. The movie that comes to mind is Brokeback Mountain. This movie is not about a gay couple, its about love and why two people can't be together because of external and internal circumstances. Heartbreaking! But I think some hearts are too cold to feel that and that is not what I am looking for. (I hope most readers will know what I mean?)

Patrick with his great love Kate Winslet

I understand you are kind of a lot obsessed with Kate Winslet. What other actors/actresses really grab you?

Julianne Moore. She's still so underappreciated it makes me burst me into tears. I also love Bette Davis, Thelma Ritter, Sean Penn, most of the work of Nicole Kidman and Michelle Williams, the 70s and 80s Work of Meryl Streep (but getting tired of her work after the brilliant Angels of America), Michael Fassbender, Ryan Gosling and many more.

Take an Oscar away. Regift it.

Only one? I love the Oscars, but wanna change so much, especially the Oscars for Kim Basinger & Catherine Zeta-Jones (both to Julianne Moore). The biggest fault from the last decade was the Oscar for Tom Hooper's Direction of The King´s Speech. TKS was good, but the direction was TV-Movie-Material I think and The Social Network is by miles superior! If Colin Firth had pick up Best Actor Oscar the Year before for his brilliant performance in A Single Man maybe he wouldn't have won Frontrunner Status and The Kings Speech wouldn't win Best Picture and Director??? When Kathryn Bigelow announced Hooper as the "winner" it was the only time I completely lost interest in the other awards for the evening; it STILL hurts!

Previous Reader Spotlights
And our imaginary Honorary Reader Oscars go to...
lovely ladies: Mysjkin, Lynn Lee, Ester, Leehee, Jamie and Dominique 
(and yes we need to hear from more of the girls) 
dashing gents: Christian, Lucio, Joey Moser, Zé Vozone, Tony T, Andy Hoglund, Ferdi, K.M. Soehnlein, Sergio, Borja, John, Chris, Peter, Ziyad, Andrew, Yonatan, Keir, Kyle, Vinci, Victor, Bill, Hayden, Murtada, Cory, Walter, Paolo, and BBats

I can't believe I'm doing this. It feels so perverse. But with the Notorious B.A.Y.'s 10th movie dropping this weekend, why not? Pain and Gain is winning generally favorable pre-release buzz for its dumb brute yuks and for Michael Bay's understanding of his own "gifts". And people are even asking if he's an "auteur"... which, well I called him that really early on because he is. Auteur means "author" so anyone with a clear ownership of their filmography -- where you can see their fingerprints all over their work -- qualifies. It doesn't mean "Great Filmmaker" though that tends to be how people use it.

Besides, I'm genuinely curious if you Film Experiencers have seen his movies. I've often bristled at the notion that movie buffs and cinephiles are elitist snobs. From my personal experience its the multiplex masses who are the true elitists, since they're so unlikely to seek out movies that are outside the mainstream comfort zones. Most "film snobs" I know will see just about anything and can find worth in just about any genre. Have any Michael Bay fans seen a film by Michael Haneke, Jane Campion or Lars von Trier?

Anyway... 

How many of Michael Bay's nine GIANT movies have you seen?

Bad Boys (1995), The Rock (1995), Armageddon (1997)
Remember when you couldn't escape these blockbusters? Actually I escaped them. I only saw Armageddon in theaters from Bay's Noisy Nineties Breakthrough period. Because his films were always on cable at one point I think I have seen sizeable portions of the others.

Pearl Harbor (2001), Bad Boys II (2003), The Island (2005)
Remember when Pearl Harbor had Oscar buzz. Hee!
Remember how profoundly uncool it was of Michael Bay to blame Ewan McGregor and Scarlett Johansson for The Island's box office failure? As if they were to blame for him getting his arguably worst reviews.

Transformers (2007), Transformers: Revenge of the Fallen (2009), Transformers: Dark of the Moon (2011)
Michael Bay has been directing giant fucking robots (or the green screens where they will eventually be super-imposed) for the past half decade. Now he's got actors again, though he very wisely chose cartoonish ones.

How many of these blockbusters have you seen? I'm surprised to realize that I've seen only 3 in theaters though it feels like I've seen them all from their ubiquity. I do plan to see Pain & Gain. You?

For some people who live in the United States, this weekend will be their first opportunity to see Norway’s 2012 Best Foreign Language Film nominee Kon-Tiki in a movie theater. Sort of. In point of fact, nobody in the United States, not this weekend nor during the film’s limited roll-out, is going to see the film nominated for that Oscar, unless it’s because they’ve imported the unsubtitled DVD from Europe. Because the version of Joachim Rønning and Espen Sandberg’s movie playing in the States is a combination of footage from the “real” version that played in Norway, with dialogue sequences re-shot in English. It is, literally, a different movie, with the exact same plot and shot setups.

(The New York Times had a nifty little demonstration of the two versions a couple of weeks back).

We’re not here to rip apart the Weinstein Company for releasing that version (though seriously, it’s pretty dumb – the audience for Kon-Tiki in English is certainly not significantly larger than the audience for the original version), but to consider the greater questions it raises about watching foreign language movies in the first place. I assume that you, like me, are at least a little bit offended by this bit of Anglophonic pandering, and would all things considered, rather see Kon-Tiki in its original version, and the question I ask both you and myself is: why?

...straight down the line."

Don't cross Barbara Stanwyck. Get all up in your noir this week with the classic Double Indemnity (1944), available on Netflix Instant Watch., Amazon Instant Video, or for purchase on iTunes.  We'll see you back here Wednesday night (5/1) for the next "Hit Me With Your Best Shot" episode. Join us!

Other Big Dates in Early May...
5/2: Summer Movie Madness kicks off with Iron Man 3 and big buckets of popcorn will be consumed right here.
5/7: Team Experience, which recently picked the best new millenial directors, returns with a list of the Best... nah, we won't spoil it ahead of time but trust - you won't want to miss it!
5/8: A mini 'Katharine Hepburn Fest' kicks off with a "best shot" for Summertime. We'll look at a few other movies, too.
5/10: The Great Gatsby. I'm worried but you know we'll be discussin'

What's going on in that movie-lovin' head of yours today?

Tell mama ...
Tell mama all.

For those of you who've had the pleasure of seeing Stephen Sondheim's classic Into the Woods (1986) on stage, you know that, like most of the great composer's once-prolific oeuvre, it is very particularly a Work of Theater. Some artists' skill sets transfer easily between stage, screen, television and literature and so on but others do not. Certain geniuses are so tied to a particular medium they become it; Stephen Sondheim IS Musical Theater. 

But musical theater is different from musical cinema. Naturally compromises will have to be made. The person doing the new compromising is Rob Marshall who Hollywood is still giving the musicals to, presumably because of the huge success of Chicago (2002) and not the floppery of Nine (2009). So yes, compromises must be made...  but they do not have to be made in casting. Many star actors -- if you're forced to cast that way -- have great singing voices. Les Misérables may have botched its casting of Javert (Ugh. Russell Crowe) but elsewhere Tom Hooper seemed to understand that beautiful melodic musical-friendly trained voices were required and could be found in big stars (Hathaway, Hackman, Seyfried) and rising ones (Tveit & Redmayne) and he cast accordingly... except for that bit about letting Helena Bonham-Carter "sing" again post-Sweeney Todd.

Unfortunately Hollywood loves to repeat its mistakes and somehow Sweeney Todd did NOT result in Johnny Depp and Helena Bonham-Carter being lifetime banned from future musicals ...

Retronaut Amazingly sexist rejection letter from Walt Disney to an aspiring female artist
Technicolor Disney has reference photos for animation mashed-up with final art. Cool 
LA Times AMPAS may expand past 6,000 members this year. They're talking about diversifying and may relax their membership cap
Cinema Blend 80s/90s hitmaker Adrian Lyne (Fatal Attraction) to return after a long absence for another sexual thriller, this one about an open marriage and a trail of bodies. Expect big stars to headline as the troubled couple.
Out Soderbergh interviewing Soderbergh? The director's gay brother talks to him about Behind the Candelabra. (Someone remind me why this isn't opening in movie theaters again?)

Empire Ryan Reynolds for Tarsem Singh's Selfless? This only leads to one logical question...
My New Plaid Pants what kind of revealing costumes will Tarsem put him in? 
Variety Jane Fonda about to get the immortalizing hand-in-cement treatment
Playbill the revival of Cabaret on Broadway already has Alan Cumming returning as the emcee but they're obviously looking for a starry Sally. Initial rumors said Anne Hathaway but now Emma Stone is the rumor
Slate "the secret autobiography of Tom Cruise" ...what's behind the grinning mask?
Guardian Pedro Almodóvar calls I'm So Excited his "gayest film ever". Hmmm. It's also supposed to be some sort of metaphor for Spain's economic crisis.

one more thing...
I was just bitching about Into the Woods but the idea of a new movie musical version of Guys & Dolls sounds great. Especially since the original film version isn't exactly a "classic" outside of being, well, old. It's especially good news if both Joseph Gordon-Levitt and Channing Tatum really are on board. But if it doesn't get a good director I'll worry. A lot. 

off cinema
i09 huge breakthrough in artificial skin. How long until we see Blade Runner style replicants? 
Gothamist last three days to see Edvard Munch's "The Scream" at MoMA. When I was last there I wrote about Tilda Swinton in a box but I neglected to tell you how embarrassed for everyone I was when I went to see The Scream. People were not looking at it but posing beside it with their Scream Face on (which always ended up looking more "Home Alone Face"). some people were so confused about the pose/provenance that they were doing Monkey See, Monkey Do. TRAGIC!  

Watching "Hugo" at MoMA

In the middle of a nearby exhibit about architecture, there's a 3D screen showing pieces of Hugo because of the famous train station set. My bestie snapped a photo of me unawares looking on (above). Some of the scenes they played weren't even set-specific though. Unfortunately this meant that I couldn't even escape Chloe Moretz at MoMA.

Also tragic!

Amir here, reporting from the Hot Docs Film Festival in Toronto.

Most critics who take notes during screenings will testify that, at least once, they’ve encountered a film that renders their notes useless. Pussy Riot: A Punk Prayer was one of those films, which is fitting since co-directors Mike Lerner and Maxim Pozdorovkin manage to capture the anarchic spirit of Pussy Riot quite authentically. Having started my notes with a relatively balanced number of positive and negative points, I found myself with almost a page full of crossed-out complaints and a film I felt compelled and excited by in equal measure.

Pussy Riot, an HBO produced documentary, follows Nadia, Katia and Masha, the three leading members of the now infamous Pussy Riot movement – a group of feminists who organize spontaneous demonstrations against the totalitarian Putin regime in Russia. Following their trials, which led to a two-year sentence for all three women, the directors combine footage from the courtroom, Pussy Riot’s audacious musical performances, public street protests to their arrests in Moscow and interviews with their family members to create a riveting narrative that becomes increasingly incisive as the film progresses.

As A Punk Prayer begins, images of a quiet night in Moscow are contrasted with the clandestine meetings of the group members planning for an impromptu performance. Right off the bat, the audience is made aware of a society in which outright dissent is boiling underground even if it doesn’t quite surface in apparent ways. Such jarring juxtapositions are given more contextual depth as different pieces of the puzzle gradually fall into place. After an unexpected performance in the Moscow Cathedral of Christ the Savior enrages the Christian Orthodoxy (and consequently the government) and results in Pussy Riot’s arrest, the filmmakers embark on a mission to view the story from as many perspectives as possible.

Though quite sympathetic to Pussy Riot’s activities and supportive of the efforts to release the women, Lerner and Pozdorovkin don’t fail to show the overwhelming opposition to Pussy Riot’s unconventional methods among large factions of the Russian society. In fact, they build their film on the foundation of these differing socio-political ideologies. The international attention received by the case is contrasted with images of the conservative Russian families gathered in a prayer to request the imprisonment of Pussy Riot members. A Madonna concert in Moscow – in which she requested the girls’ release and sported the name of the group on her skin and their headwear on her head – is juxtaposed with Orthodox priests debating about ways in which such blasphemous opposition can be shut down.

In their treatment of the Pussy Riot members, too, the directors act with level-headed judgment where they could fall for a hero worshipping trap. Though the upbringing of the girls is reviewed in short segments, tuned to interviews conducted with their parents, that don’t reveal anything more than a Wikipedia article probably could, the fly on the wall sound recordings of the conversations between Nadia and her friends provide unparalleled insight into their psyche and both their human and political reaction to their condition. It is a testament to the film’s strengths that the audience leaves the theatre not necessarily bemoaning the girls’ jail sentence – though depending on your political beliefs, that may well be – but pondering about the nature of injustice and the revolutionary efforts to overcome it in different shapes. 

Reports from the 2013 Hot Docs Film Festival

Paolo here. Because I tend to overreact to thing I proclaimed that last year's Hot Docs film festival here in Toronto was 'overtly sexual'! As it turns out, last year's crop had more diverse topics: death, culture, loss, legacy. And the same can be said about the documentaries this year but we won't abandon the docs about sex. Here's one now, James Franco's Interior. Leather Bar.

[NSFW Franco provocations after the jump]

...superhuman that is.

It appears that after her third stint as The Black Widow for Captain America: Winter Soldier (it's not just a cameo), Scarlett Johansson isn't ready to part with the super-powered set just yet.  

She'll be starring in Lucy as a woman who gains superpowers after being a mule for an experimental serum. It's a new project for director Luc Besson (who seems to be aiming for a big comeback after a quiet decade starting with Malavita this fall). This latest deal suggests she's content to stay in franchise mode for awhile longer still despite surely being one of the richest young actresses in the world what with so many spokesperson deals and big budget thesping already behind her at only 29 years of age. The size that nest egg must be by now (!) but maybe that's purposeful and her interests lie outside of acting like, say, Angelina Jolie. And since Angelina seems to have vacated the A List Action Heroine niche, someone's gotta fill it. 

But for those of us who fell in love with dreamy Scarlett early on it's kind of shocking in retrospect that Action would prove to be her genre of choice. That languorous Ghost Worldly Girl With the Pearl Earring Got Lost in Translation somewhere; how does that girl have all this energy to run around kicking ass? Wouldn't she rather sleep and pout and stare forlornly off into the distance? Doesn't it make you even more curious about the upcoming sci-fi but not that kind of sci-fi drama Under the Skin. Scarjo doesn't seem to have sizeable artistic ambitions -- or she's storing them up secretly for her 30s (she's still only 28!) -- so why did she opt to work with the very artful Birth director Jonathan Glazer inbetween all the green screens?

Time will tell... and hopefully reveal that movie. Still no release date for Under the Skin and hasn't it been in post for ages? At this point it's been almost a decade since Glazer trained his hypnotic camera on Kidman in catatonic grief crisis mode at the opera.

#ticktockticktock

As some of you know I attended the Nashville Film Festival last week as a juror. I haven't ever truly mastered the How To of reporting from film festivals -- I marvel at the blogs who seem to have time to see five movies a day and socialize with other festivalgoers AND review all of them as if there are 48 hours in each day -- so you're getting my jury notes super late! This time I was on the Narrative Feature Jury which meant 16 movies crammed into less than a week. I tried to see other features outside my slate but my eyes begged for relief after just two (The Spectacular Now and I Am Divine -- more on those later) since I wasn't able to stay very long this year.

Nashville is one of the USA's oldest ongoing film festivals and it doesn't get enough attention in the media. One of the reasons is surely the concurrent Tribeca, a far starrier affair. Still, I'd personally argue that festivals like Nashville are more crucial to the good health of cinema and here's why...